ScholarWorks@숙명여자대학교

초록

This study raised the question of understanding ‘juvenile stories’ in a cultural industry era, where the story environment varies but the categories of ‘juvenile stories’ are limited to ‘juvenile literature’, and examined the aspects of ‘juvenile literature’, ‘juvenile plays’, and ‘juvenile stories’ in ‘web platform narratives’ formed since 2000s to raise the awareness of ‘juvenile stories’. ‘Juvenile literature’ could be formed by publishing capital, ‘juvenile plays’ by state support, ‘juvenile web narratives’ by ‘platform capital’. ‘Juvenile literature’ and ‘juvenile plays’ have many teenagers as implied readers and expose and criticize the reality of suppressing teenagers. In particular, there are various attempts to expose the taboo issues such as family dissolution, pregnancy and abortion, single mothers, homosexuality, domestic violence, and sexual violence, and explore them from the perspective of youth subject. Web narratives free from an educational perspective are content voluntarily enjoyed by teenagers. Above all, in webtoons, more and more works are delicately reproducing the lives and desires of youth readers with them a high proportion of teenage main characters and various subject matters. Web novels and web dramas are still dominated by strong genre works. In addition, genre negotiations are taking place as novels, plays, movies, webtoons, web novels, and web dramas are actively adapted. In short, the lives and conflicts of teenagers reproduced in the “Juvenile Stories” look similar, but the ways of solving the problems are different. Juvenile literature and Juvenile plays seek the value of recognition while juvenile web narratives seek emotional pleasure. Currently, “juvenile stories” do not create a characteristic youth character in common. It seems to be due to the fixed notions of “juvenile”. Namely, that is because ‘juvenile literature’ and ‘juvenile plays’ are tied to the ideal view of juvenile and “juvenile web narratives” are tied to genre customs.

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