지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
All around the world, children’s literature has many things in common, but at the same time, its own national specialities. Chinese contemporary children’s literature also has its own characteristics with regards to China’s society, history and culture.
This paper examines these characteristics by looking at four respects. First, children’s literature has been developed over a short period of time by the state-dominated system. The ‘One-Child Policy’ implemented by the Chinese government since the 1980s has caused “Little Emperor Syndrome”. Parents’ hope on their only child’s generation has led them to pay more attention to children’s literature and the Chinese government has managed some policies such as training writers, planned publications and establishing literary awards. Second, Chinese children’s literature comforts ‘Little Emperors’ who are children regarded as unique treasures, because of their ‘only-child’ status. There are two kinds of Chinese only children: well-off ‘Little Emperors’ born and raised in cities, leading a consumption culture; and the ‘Left-behind Children’, born and raised in the countries, whose parents have moved to cities for jobs. ‘Little Emperors’ in cities are under a lot of stress due to their parents’ excessively high standards, school grades and entrance examinations. Chinese children’s literature comforts them by creating fantasy, brother-like friends and friend-like fathers in literary works. Chinese children’s literature also tries to comfort the ‘Left-behind children’ growing up in poor and lonely conditions. Third, Chinese contemporary children’s literature tries to angle towards younger viewers with various themes, particularly humor and fantasy. Lastly, Chinese Children’s literature has been commercialized to meet the children’s needs and this has facilitated an intense peer culture and consumption culture in cities. Chinese contemporary children’s literature reflects the sociocultural characteristics of China, whose economy has grown rapidly since its open economy policy in 1992. It also shows the income and education gaps between urban and rural areas, capitalistic popular culture in huge cities and the child-centered culture prevalent in the country.
This paper examines these characteristics by looking at four respects. First, children’s literature has been developed over a short period of time by the state-dominated system. The ‘One-Child Policy’ implemented by the Chinese government since the 1980s has caused “Little Emperor Syndrome”. Parents’ hope on their only child’s generation has led them to pay more attention to children’s literature and the Chinese government has managed some policies such as training writers, planned publications and establishing literary awards. Second, Chinese children’s literature comforts ‘Little Emperors’ who are children regarded as unique treasures, because of their ‘only-child’ status. There are two kinds of Chinese only children: well-off ‘Little Emperors’ born and raised in cities, leading a consumption culture; and the ‘Left-behind Children’, born and raised in the countries, whose parents have moved to cities for jobs. ‘Little Emperors’ in cities are under a lot of stress due to their parents’ excessively high standards, school grades and entrance examinations. Chinese children’s literature comforts them by creating fantasy, brother-like friends and friend-like fathers in literary works. Chinese children’s literature also tries to comfort the ‘Left-behind children’ growing up in poor and lonely conditions. Third, Chinese contemporary children’s literature tries to angle towards younger viewers with various themes, particularly humor and fantasy. Lastly, Chinese Children’s literature has been commercialized to meet the children’s needs and this has facilitated an intense peer culture and consumption culture in cities. Chinese contemporary children’s literature reflects the sociocultural characteristics of China, whose economy has grown rapidly since its open economy policy in 1992. It also shows the income and education gaps between urban and rural areas, capitalistic popular culture in huge cities and the child-centered culture prevalent in the country.
목차
1. 들어가며
2. 국가주도형
3. ‘소황제’를 위로하는 아동문학
4. 유머와 판타지의 강세
5. 상업아동문학의 등장
6. 나가며
〈參考文獻〉
〈Abstract〉
참고문헌 (37)
참고문헌 신청
이 논문의 저자 정보
이 논문과 함께 이용한 논문
1980년대 이래 중국 아동청소년소설 연구 : 全國優秀兒童文學獎 제1~9회(1980~2012) 수상작을 중심으로
송연옥
한국중어중문학회 학술대회 자료집
2016
.04
중국의 아동문학상 연구 : 전국우수아동문학상(全國優秀兒童文學獎)을 중심으로
송연옥
중국문화연구
2015
.02
中國 當代兒童小說 속에 나타난 小皇帝 징후 : 《피피루 총동원》, 《큰머리 아들과 작은 머리 아빠》, 《개구쟁이 마샤오》를 중심으로
송연옥
중국문화연구
2011
.06
[원종찬의 한국 아동문학사 탐방(12)] 전시 체제와 소국민문학 : 일제 말의 친일 아동문학
원종찬
창비어린이
2017
.03
중국 아동환상소설 베스트셀러의 면모와 본토화적 사고
추이이핑
아동문학평론
2016
.09
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2014-912-000505273