• Russian Language and Literature
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• no.66
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• pp.277-307
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• 2019

В данной работе эмпирически проанализированы материалы об опросе читеталей, читательских конференции, вечерах рабочей критики и записках чтения крестьян в качестве исходных данных, чтобы изучить понимание и требования массового читателя как субьекта советской культуры. В результате массовый читатель в 1920-х годах предпочитают классическую литературу, а не современную, и они ценят использование ясного и чистого русского языка, отражающего жизнь реальности, но избегая чрезмерно повторяющихся тем (гражданская война). Можно сказать, что они предпочитают литературу, которая может влиять на людей. Эстетические вкусы массовых читателей были особенно консервативными, особенно с ясным выражением и простым языком. В 1920-х годах массовый читатель создавал идентичность в качестве культурного субъекта в советской литературе на основе опыта участии в новой литературе. Но в начале 30-х годов массовый читатель теряет возможность использовать свою роль и способность как субъект советской культуры. Сталинский процесс культурного объединения в социалистический реализм, утвержденный в 1934 году, был сосредоточен на управлении и руководстве массами как советских культурных реципиентов, а не на понимании масс как субъектов. В результате массовый читатель был маргинализирован в советской литературе.

• The Korean Publising Journal, Monthly
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• s.113
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• pp.17-17
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• 1992

잘 팔리는 번역소설들 대다수는 몇몇 기발한 착상을 중심으로 독자의 흥미를 끌만한 요소를 배열하는 구성방식을 취하면서 줄거리 전개나 인물의 논리성에는 부차적 의의를 둘 따름이다. 또한 주체적인 사고와 그것에 근거한 판단을 유보하려는 독자의 성향에 영합하면서 동시에 그 성향을 조장하는 경향이 존재한다.

• The Korean Publising Journal, Monthly
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• s.98
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• pp.19-19
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• 1992

전문가들이 주로 찾는 전공서적과 이론서들보다 평범한 독자들이 즐겨 읽는 책들, 다시말해 아카데믹한 도서가 아닌 추리.과학소설 같은 대중적인 책들을 구비해 다수의 독자를 창출하는 것이 바람직하다.

• The Korean Publising Journal, Monthly
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• s.214
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• pp.10-11
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• 1997

• Journal of Popular Narrative
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• v.25 no.4
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• pp.289-319
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• 2019

Kim Chan-sam's 『世界一周無錢旅行記』 was released in 1962. This was a time when the general public was strongly restricted from traveling abroad. Most of the people lived in 'domestic'. Low development and political upheaval continued. The readership wanted a fantasy, which came out of a desire to escape from the peninsula. So was to become more popular around the popular characters called 'Kim Chan-sam'. Kim Chan-sam had to be a pushover to the public. This figure had to be secular and de-politicized. Above all, ideological bias had to be removed. The book's imaginary geography is the "world as a non-communist state" with a high purity. The Cold War ideology was prevalent throughout South Korean society. Kim Chan-sam knew exactly what he could and could not tell the South Korean reader. He couldn't tell you the reality of my readers not being able to travel abroad. Not to mention a society locked up 'domestic' on the Korean reality. The study analyzes Kim Chan-sam's storytelling strategy. Looking at the meaning of the travel fantasy,agenre of the 1960s, I would like to ask why travel writing in our time is still bound by its past limitations.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.41-66
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• 2019

This paper looks at the readers and publishing strategies of paperback romance novels in the the 1980s based on the 'high-teen' concept. The purpose of this article is to examine the meaning the 'high-teen' concepts as expressed in the media through the publication of paperback romance series in the 1980s. Among paperback romance series, this paper was based on pirated/licensed version of novels published by Harlequin, a Canadian publisher, and the magazine media's advertising promotional phrases that were published targeting the same readers. Since the 1970s, mass media have referred to teenagers as high-teens and called them important consumers. High-teen was a term referring to teenagers in school uniforms, mostly girls, and in the 1980s, 'high-teen' was also introduced as a new consumer market, and the publishing market put forward a number of publishing strategies to attract them. The paperback romance, including , has identified 'high-teen' readers as late-teen girls, sensitive consumers for best-sellers/million-sellers, readers with a tendency to read stories of love, and readers that favor American and Western culture. Since the 1980s, the market for paperback romance has been in the recession, but readers have kept the romance genre alive by accepting and localizing the Harlequin series. With the rise of a new form of media called the 'Web Novel', interest in the romance genre is increasing, and we hope this study will serve as a starting point for a variety of discussions with (women) readers about romance reading/enjoyment.

• Cartoon and Animation Studies
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• s.46
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• pp.151-179
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• 2017

The purpose of this study is to analyse the characteristics of the 1920s and 1930s to analyze the emotions of laughter in the popular culture, This period, such as the style of comic books, tools, and textures, has been influenced by the influence of the eodi, and it is in its way to establish the aesthetic aesthetics of the colonial Joseon Dynasty. In the pop culture of the 1920-30s, laughter was a new feeling in the gloomy atmosphere of colonial rule. It was the comic media that showed the sensation to the public, owned it, and injured it. Also, the comic book was an important period in which comic books were produced to produce quantitative and qualitative growth. The study explored how the comics interacted with other media in the 1920s and 30s. And the study analyzed what was selected in there. This can quickly explain how the comics gained, or how they obtained them. This shows how the comics gained, in a way, how they obtained laughter.

• The Korean Publising Journal, Monthly
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• s.216
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• pp.26-27
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• 1997

70년대 중반에는 이른바 '호스티스 소설'이 널리 읽혔다. 70년대 후반에서 80년대까지는 대하소설을 필두로 무거운 주제의 소설이 독자의 사랑을 받았다. 90년대 들어서는 본격문학과 대중문학의 경계를 허무는 베스트셀러들이 여러 종 나왔다.

• The Korean Publising Journal, Monthly
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• s.251
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• pp.22-22
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• 1999

책을 만드는 사람은 인간의 욕구를 염두에 두어야 할 것이다. 출판시장에서도 '생존을 위한 필요조건'을 충족시키는 책들이 대형 베스트셀러가 되는 경우가 많았따. 독자들이 책 읽는 이유를 모르고서는 결코 큰 시장을 찾아낼 수 없다.

• The Korean Publising Journal, Monthly
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• s.239
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• pp.5-5
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• 1998

순수문학부터 대중문학 장르까지 아우르고 있는 환상소설은 90년대 리얼리즘 급격한 퇴조, 통신세대의 등장과 맞물려 독자적인 영역으로 자리잡아가고 있다. 90년대 중후반 관심이 늘기 시작한 환상소설 출간은 영화.만화 등으로 연결, 출판계 지형을 바꿀 만큼 잠재력이 클 것으로 전망한다.