초록 열기/닫기 버튼
이 논문에서는 1950년대 최정희의 문학 활동을 다음의 세 가지 측면에서 재조명하였다. 첫째, 피난지 대구 시절이다. 종군작가단원이 아닌, 한 명의 독립된 작가로서 이 시기 최정희가 전시 대구에 조성된 출판 환경 및 문학 인프라를 적극적으로 활용하며 창작 활동을 해나간 과정을 ‘부역작가’의 낙인을 극복하고 전후 문단에서 재기하고 전성기를 맞이할 수 있었던 계기로서 재평가하였다. 둘째, 아동문학가로서의 활동이다.
This paper re-visits Choi Jung-Heui’s literary activities during the 1950s from three perspectives. First, it studies the writer when she was seeking refuge in Daegu. Being an independent writer, Choi actively utilized the new publication environment and literary infrastructure in wartime Daegu. This was the turning point that allowed Choi to overcome her stigma as a war traitor writer, gain recognition in the post-war writing scene, and enter the golden age of her writing career. Second, it reviews her activities as a children’s writer. With the publication of Jangdarikkot pil ddae (When Radish Flowers Bloom), Choi’s stories stood apart from other works in terms of the narrative of war, and the reallocation of texts for troop education in the context of her book—classified as children’s literature—decreased their emphasis on educating soldiers and propaganda. One key characteristic of Choi’s writings in the 1950s was identified as “speaking with a forked tongue” through children’s literature. Third, it examines Choi’s activities as the first female judge. By highlighting the symbolic effect of women serving as agents of reproduction and distribution in literary circles, this paper shows that Choi contributed to expanding the base of potential female writers and female readers in the 1950s.
키워드열기/닫기 버튼
Korean War, Postwar Literature, 1950s, Choi Jung-Heui, Fleeing Conflict, Refuge Daegu, Children’s Literature, Women Literature, Women Writer, Jangdarikkot pil ddae (When Radish Flowers Bloom), Hakwon, Hakwonsa, Yeowon, Spring Writing Contest
