『어린이』자매지 『학생』의 의미

Abstract

The history of juvenile literature of modern Korea, shown from magazines, goes with the dark modern history of Korea. Choi Nam-sun's The Sonyun, the first literary magazine for children, was never free from the responsibilities for the recovery of sovereignty as well as a breakdown from the feudal system. As a result, the magazine shows a remarkably enlightening feature. In the 1920s, Bang Jung-hwan's The Orinee gave rise to modern juvenile literature. What's more, the word 'Orinee' and the enactment of Children's Day could be made. At the same time, juvenile literary men came into the world. In this sense, the magazine The Orinee has an important meaning in the history of juvenile literature in that the magazine firmly set up the independent area of childrεn and their own human rights. By the time The Orinee took its place as a magazine of the nationalist camp, another magazine The Byulnara came to be published to the firm effect that it’s for proletariat children. Consequently, the history of juvenile literature, shown from the magazines between the 1920s and the 1930s, tells us the antagonism of one camp to another: that is, the nationalist camp with The Orinee to the proletariat camp with The Byulnara. The antagonism of the two camps formed a class which showed a part of the literary history from the 1920s to the early 1930s. The literary magazines for children ceased to be published after the middle 1930s by the oppression of Japan. Instead, only the name barely remained in existence for the purpose of religious missionary work. The only remaining juvenile magazine The Aisarang stopped publishing in 1944, too. Then the literary group journals, such as The Dongwon, The Chogajip, The Parangsae and so on, were handwritten and mimeographed as the symbol of the last lamp of the nationality. There fore the movement of juvenile literature through juvenile magazines means that of the recovery of national rights and independence. At the same time, the history of juvenile magazines stands in the line of the literary history which longed for the sovereign rights free from the colonial policy of Japan. The Haksang, a sister magazine of The Orinee, shows the publisher Bang Jung-hwan’s ambition and frustration. He desired to sustain the progress and development of the younger generation. He suffered the misery of rewriting or crossing off some of his manuscript repeatedly so as no to be confiscated. However, on an important national mission ‘Better late than never', he wished to inspire their spirit, urging their national identity. His expectation was that his precious young readers grew up with the spirit and dream to become human resources of our nation in their teens. He believed that juvenile magazines are essential for the teenagers who should play a 'bridge' role between children and adults. The Haksang got the following positive reponses: that is the school columns, like “Visiting Professors" and “Admiring Our School", made students be proud of themselves. Through the literary corner, students could have confidence and desire for writing, too. Besides, dome editorials of the magazines reminded the students of the national spirits and history. On the contrary, the magazine also showed the limitation. For instance, the writings, such as “Quiz for the Prize Contest" and ‘'Tickets For Reader", should have been put in The Orinee, not in The Haksang. Thus, The Haksang didn’t get away from The Orinee completely, and wasn't an independent magazine such as The Kaebyuk or The Bylgeongon. This is why The Haksang could not help having the shortest life among the magazines from Kaebyuk Publishing Company. But The Haksang can be said to have a meaning in the literary history in that the magazine played a cultural part with clear consciousness for the very intermediate generation, juveniles, between children and adults.