XXX Международный конгресс ИИСАА. 19–21 июня 2019 г. Т. 2

Секция XVII 186 XXX Международный Конгресс по источниковедению и историографии стран Азии и Африки Most of these works follow the narrative of “Chunhyangjeon”. However, there is a group of works that is different: Kim Gyu-taek’s “Modern Chunhyangjeon”, Cho Poong-yeon’s “Nylon Chunhyangjeon”, and Lee Hyung-pyo’s “Bangja and Hyangdan.” Maitaining the basic contents of the Chunhyang narrative, these works changed their settingto reflect the contemporary cultural situation. In this paper, we classify the above works as ‘Modern Chunhyangjeon’ category emphasizing that it is a dynamic text. First, “Modern Chunhyangjeon” is a cartoon series [Manmun Manhwa] written by Kim Gyu-taek (1906–1962) and published in “Jeilseon” magazine. “Modern Chunhyangjeon” was serialized in “Jeilseon” from November 1932 to March 1933. This work follows the narrative of “Chunhyangjeon.” In the process, however, a re-creation was made to insert new scenes applying the tastes of the contemporary society of the 1930s. For example, there are scenes where the main male protagonist Lee Mong-ryong squeezes pimples on his face with an acne medicine or drinks whiskey listening to the music with a phonograph. “Modern Chunhyangjeon” refers to Chunhyang and Lee Mong-ryong as “a modern boy” and “a modern girl” and embodies the modern scenery of the 1930s. Secondly, Cho Pung-yeon’s (1914–1991) “Nylon Chunhyangjeon” was a series works published on the Sunday edition of the “Hankook Ilbo” newspaper in 1954. This piece also follows the basic plotline, ‘love, separation, trial, and reunion’ of “Chunhyangjeon,” but it uses social issues and cultural codes of the 1950s. The work is set in the black market of the dollar in Myeong-dong, Seoul. Chunhyang’s mother Wolmae is a Madame and dollar seller of the tea-room ‘Gwanghanru’ (originally a place from where Lee Mong-ryong sees Chunhyang for the first time). Hyangdan is a teashop girl. Lee Mong-ryong, the head of the Hodong Theater, campaigns for the cultural reconstruction, and Chunhyang becomes a member of Hodong Theater, where she meets Lee Mong-ryong. This work is different from the original narrative of “Chunhyangjeon”, as Lee Mong-ryong and Hyangdan suddenly go to North Korea and act as spies. This unexpected turn of the story seems to have version // Journal of Sokdang Academic Research of Traditional Culture , vol. 52, 2012; Mee Won Lee. Social Stratification in the theatrical variations of Choonhyangga // Journal of Korean Theatre Studies Association , vol. 57, 2015; Chae-young Lee. A Study on the Media Transition Storytelling of Cable TVDrama a: Focusing on the “TVBangjajeon” // The Studies of Korean Literature , vol. 46, 2015; Chan Huh. The source of silent film <Chunhyangjeon ( 春 香傳 )>, and Korean classical novel // Yeol-sang Journal of Classical Studies , vol. 46, 2015; Yong Won Kim· Seung Kyu Jeon. A study on features reinterpreting original characters from spin-off film: Mainly focused on <Maleficent> & <The Servant> // Korean Society of Basic Design & Art Studies , vol. 74, 2016; Ji-Seung Roh. The Meaning of Tradition and National literature embodied in Movies Chunhayngjun of South and North Korea // Journal of Korean Literature , vol. 34, 2016; Soong BeumAhn. Understanding of theAfrican Culture: Character of MongYong in Original ChunHyang Jun Films of Shin Sang-Ok directed in North and South Korea — Political and Sociological Aspect of Characterization // Cross-cultural studies , vol. 42, 2016.