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이 논문의 연구 히스토리 (7)
2007
2006
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The purpose of this treatise is to study the formation of the short stories in 1990s in relation to the publishing media. The short stories in 1990s have been investigated in that they presented the first step of the authentic modern literature at the narrative literature in 1920s such as 'the New Novel' in former times. However, the literary works at this periods had the limitations of being unwillingly subjected to the censorship of the Imperialist Japan and the discourses of its media, since they were hardly published after having been gone out of print of the newspaper and the magazine coercively by the Imperialist Japan. The short stories which were applied for The Maeilsinbo written solely in Korean at that time weren't freed from the colonial discourses of the newspaper. The short stories in The Hakjigang, or in The Chungchun published by the Chosŏn's intellectuals also weren't liberated from the discourses oriented to 'the modern paper.'
This caused the short stories in the Maeilsinbo to reflect the aspects of lives in the editorials and the reports directly in order to have the readers interested in them. They had the apparent intentions to illuminate the readers through the literary works and promote the marketing. This led the short stories' point of view to the third person and the pursuit of the complete narrative. At this point, these short stories hold the style of the 'short stories' in form but have an affinity to 'the New Novel' in content. On the other hand, the short stories in The Hakjigang and in The Chungchun reflect the editors' intentions to construct the modern institution focused on the literature, and describe the modern knowledge and the agony of the modern individuals. The short stories writing the author's own portrait use the first person point of view, and express the fragmentary and contemplating content rather than the development focused in the narrative. However, because these two short stories in different aspects are mixed up at this and that media, we can understand that the short stories at that time made preparations for going across the modern style of the short stories affecting each other.
This caused the short stories in the Maeilsinbo to reflect the aspects of lives in the editorials and the reports directly in order to have the readers interested in them. They had the apparent intentions to illuminate the readers through the literary works and promote the marketing. This led the short stories' point of view to the third person and the pursuit of the complete narrative. At this point, these short stories hold the style of the 'short stories' in form but have an affinity to 'the New Novel' in content. On the other hand, the short stories in The Hakjigang and in The Chungchun reflect the editors' intentions to construct the modern institution focused on the literature, and describe the modern knowledge and the agony of the modern individuals. The short stories writing the author's own portrait use the first person point of view, and express the fragmentary and contemplating content rather than the development focused in the narrative. However, because these two short stories in different aspects are mixed up at this and that media, we can understand that the short stories at that time made preparations for going across the modern style of the short stories affecting each other.
목차
1. 서론
2. 1910년대 매체의 특징과 단편소설과의 관계
3. 식민지 근대의 현실인식과 단편소설의 서사전략
4. 문명화 담론의 내면화와 근대단편으로의 정착 - 결론을 대신하여
참고문헌
[Abstract]
참고문헌 (6)
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UCI(KEPA) : I410-ECN-0101-2009-810-018153061