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The Position of Children's Playin the Latter of the 1930's, the Crack and Colony ―Focused on Kim Jinsu's Jongdalsae

  • The Journal of Korean drama and theatre
  • 2018, (62), pp.161-194
  • DOI : 10.17938/tjkdat.2018..62.161
  • Publisher : The Learned Society Of Korean Drama And Theatre
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : October 28, 2018
  • Accepted : December 21, 2018

Son JeungSang 1

1경북대학교

Accredited

ABSTRACT

This paper is aimed at examining the meaning of Kim Jinsu's Jongdalsae in the latter half of the 1930's of children's play. Sonyeon movement was depressed in line with the ceased publication of children's magazines such as 『Eorini』, 『Shinsonyeon』, and 『Byeolnara』 in 1935 and the disbandment of Sonyeonhoe. The situation of colonial Chosun changed rapidly due to the outbreak of the Sino-Japanese War in 1937 and the execution of the 3rd Chosun educational ordinance. Children's literature began to cultivate the minds of children by virtue of circulating loyal imperial subjects. When the Japanese Empire emphasized the imperialism of colonial Chosun children, Jongdalsae was released. Passing the censorship means that the dominant discourse demanded by the Japanese government is clearly visible on the surface of the work. Kim Jinsu tried to resist in accordance with the imperialistic policies by using the writing method of contradiction. In Jongdalsae, the writing method of contradiction has something to do with subject and children's song. He spoke love and affection for others emphasized in self-disciplinary training textbook inserted a children's song, Aoi Meno Ningyou(the doll of blue eyes) was made by Noguchi Uzzo. He gave the audience a feeling of sadness about lark's family by saying that when we can fly freely. Kim Jinsu intended to demonstrate the possibility of resistance while conducting Japanese colonial discourse.

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