『청소년 토지』의 대중화 전략 비판

Abstract

By analyzing the narrative style of Chungsonyen To-Ji [Land for Juvenile], I studied the rewriting principle of Chungsonyen To-Ji and its problems and made a criticism of its key narrative strategy. Ultimately, this study means the first step towards the adaptation principle for young adult books from adult books. First of all, I compared the system of To-Ji [Land] and Chungsonyen To-Ji, and then gave an analysis on the narrative principle like omission, summary and transformation, clarifying the problems. Owing to the drastically curtailed pages and an easy narrative of the Chungsonyen To-Ji with the story and plot of To-Ji, even the middle school students over the sixth grades can read the novel. However, the narrative subject and its process in addition to the profile of the author, which are needed to understand the novel, are left out. As a result, the conflict between the narrative style like omission and the planned intention not to undermine the fun and meaning of the original breaks out. In the Chungsonyen To-Ji, the characters and the happenings irrelevant to the main happening in the To-Ji are omitted as much as 『청소년 토지』의 대중화 전략 비판 ● 최배은 383 possible. Accordingly, the scale of the happening gets smaller, the subject of an act becomes transformed, and the story and the motif of the original get ruined. Also, the happenings that get the motive of the protagonist’s character formation or act are left out. Therefore, it makes the causality and the coherence of the happenings weakened. And the summary narrative cannot establish the fictional world vividly. As well, a variety of view point and voice of the narrator are treated as a past tense, which makes the atmosphere of the novel monotonous. Consequently, the literary value of the novel gets depreciated and it restricts the readers’ opportunity to appreciate the novel heuristically.Considering that Chungsonyen To-Ji was published in 2002, when the term ‘juvenile literature’ was still unfamiliar to us. it seems that it was difficult to answer the question, like ‘what is the good story of literary works for juvenile readers?’, ‘what level is suitable to them?’, and ‘what is the proper narrative for them?’ For that reason, I hope that from now on, there will be the thorough-going review of the narrative in Chungsonyen To-Ji and its problem-solving.