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The purpose of this study is to identify the process that dong-yo (Modern children’s songs) was included in literature.
In Korean juvenile literature, dong-yo as ‘songs for children’ was shown in 1920’s. The songs in the twenties were different from chang-ga, popularized before the 20s, because dong-yo was excluded of enlightenment. The recognition of dong-yo as a genre in 1920’s was divided into two ways: the one is an interest in ‘traditional dong-yo’; and the other is recognition on ‘artistic dong-yo.’ The conception of ‘dong-yo’ began to be formed from such interest and recognition.
The aspect of dong-yo was a chaos of tradition, adaptation, and creation until the middle of the 20s. The subject that should give children songs was not established or confirmed, and the distinction between specialized writers and readers was ambiguous. This phenomenon caused of forming ‘juvenile writers,’ a unique group of dong-yo writers.
The dong-yo as the lyrics was sung to certain tunes, and this is not different from the phenomenon in which chang-ga was sung to tunes. The fixed types of the 20s’ dong-yo and the conventionality shown in the words may be the evidence that the 20s’ dong-yo was not completely established as a sort of literature.
The insufficient dong-yo in the 20s made a new breakthrough in 1930, led by a group of poets who were the juvenile writers in the 20s and grew up. The poets freshly realized juvenileness and juvenile reality, developed new recognitions on the formal problems of dong-yo, and then to mark the beginning of dong-yo literature’s differentiation to be the sub-genres as children verse and dong-yo.
In Korean juvenile literature, dong-yo as ‘songs for children’ was shown in 1920’s. The songs in the twenties were different from chang-ga, popularized before the 20s, because dong-yo was excluded of enlightenment. The recognition of dong-yo as a genre in 1920’s was divided into two ways: the one is an interest in ‘traditional dong-yo’; and the other is recognition on ‘artistic dong-yo.’ The conception of ‘dong-yo’ began to be formed from such interest and recognition.
The aspect of dong-yo was a chaos of tradition, adaptation, and creation until the middle of the 20s. The subject that should give children songs was not established or confirmed, and the distinction between specialized writers and readers was ambiguous. This phenomenon caused of forming ‘juvenile writers,’ a unique group of dong-yo writers.
The dong-yo as the lyrics was sung to certain tunes, and this is not different from the phenomenon in which chang-ga was sung to tunes. The fixed types of the 20s’ dong-yo and the conventionality shown in the words may be the evidence that the 20s’ dong-yo was not completely established as a sort of literature.
The insufficient dong-yo in the 20s made a new breakthrough in 1930, led by a group of poets who were the juvenile writers in the 20s and grew up. The poets freshly realized juvenileness and juvenile reality, developed new recognitions on the formal problems of dong-yo, and then to mark the beginning of dong-yo literature’s differentiation to be the sub-genres as children verse and dong-yo.
목차
Ⅰ. 문제제기
Ⅱ. 동요문학 성립의 전제 조건
Ⅲ. 1920년대 동요 문학이 지니는 한계
Ⅳ. 동요문학의 새로운 전환
Ⅴ. 결론
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UCI(KEPA) : I410-ECN-0101-2013-809-000687332