중국 新時期 아동문학의 특징

@article{ART001728862},
author={ 송연옥 },
title={중국 新時期 아동문학의 특징},
journal={중국문화연구},
issn={1598-8503},
year={2012},
number={21},
pages={231-251},
doi={10.18212/cccs.2012..21.012},
url={http://dx.doi.org/10.18212/cccs.2012..21.012}

TY - JOUR
AU - 송연옥
TI - 중국 新時期 아동문학의 특징
T2 - 중국문화연구
PY - 2012
VL -
IS - 21
PB - 중국문화연구학회
SP - 231-251
SN - 1598-8503
AB - 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.
KW - 中國當代兒童文學, 유머와 판타지, Little Emperor Syndrome, 商業兒童文學,留守兒童(Left-behind Children)
DO - 10.18212/cccs.2012..21.012
UR - http://dx.doi.org/10.18212/cccs.2012..21.012
ER -

송연옥 (2012). 중국 新時期 아동문학의 특징. 중국문화연구, 21, 231- 251.

송연옥 . 2012, “중국 新時期 아동문학의 특징”, 중국문화연구, no. 21, pp. 231-251. Available from: doi:10.18212/cccs.2012..21.012

송연옥 “중국 新時期 아동문학의 특징” 중국문화연구 21 pp. 231-251 (2012): 231.

송연옥 . 중국 新時期 아동문학의 특징 중국문화연구 [Internet]. 2012; 21: 231-251. Available from: doi:10.18212/cccs.2012..21.012

송연옥 . “중국 新時期 아동문학의 특징” 중국문화연구 no.21 (2012): 231-251. doi: 10.18212/cccs.2012..21.012

홈 권호 목록 논문 목록 논문 상세

중국 新時期 아동문학의 특징

중국문화연구

약어 : -

2012, no.21, pp.231 - 251

DOI : 10.18212/cccs.2012..21.012

발행기관 : 중국문화연구학회

연구분야 : 중국어와문학

송연옥¹

¹숙명여자대학교

인용한 논문 수 : - 서지 간략 보기

초록

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.