Zur’s Figuring Korean Futures is a study of the emergence and the development of children’s literature in postmodern era of Korea, and it explores how notions of childhood became a symbolic meaning of Korean nationalism. The book begins with a central question: How did a specific, modern form of children’s literature emerge in Korea and how did this emergence impact the consciousness of people who were negotiating contested spaces between a Japanese military occupation and a Western intellectual imperialism, and an independent national Korean identity. In looking at the child as a symbol forKoreannationalism and childhood as a social construct, Zur discusses how the concept of the childmoved from the periphery to the centrality of Korean culture, which captured a point in time when children became visible, and intellectually and affectively distinct from adults. From a critical perspective, Zur’s work offers an analysis of the social, political, and ideological forces and structures that produce and constrain children’s literature in postcolonial Korea. Zur traces pre-European contact ideology and the literary artifacts of tongsim—the natural, unadulterated “child-heart,” (pp. 48–98) to its first textual and visual production in children’s periodicals in colonial Korea. Zur argues that children’s literature written at the height of modernity emerged while under Japanese occupation beginning at the end of the Korean dynasty in 1910 and lasting until 1945 at the end of World War II. Adult authors during this time period celebrated the child as a protagonist for the future. This time period in Korea prompted the production of a children’s literature, and transcribed visual and textual images that centered around past, present, and potential futures. Zur further argues that children’s literature in modern Korea was affected by East and West intellectualism, and educational and psychological discourses more generally. The first three chapters explore how notions of childhood in this genre became symbolic for Korean nationalism. Zur presents two frameworks of childhood: the politics and aesthetics of youth and the emergence of stylized text and images shaping the development of children’s periodicals. First, the aesthetics of youth is explained as the child entering a different world from that of adults all together. The concept of tongsim (child-heart) was thought to be innocent and pure, a heart that was considered a space of “privilege” which was affectively closer to nature than “acculturated

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描绘韩国的未来：现代韩国的儿童文学 作者 Dafna Zur

Zur 的 Figuring Korean Futures 研究了韩国后现代时期儿童文学的出现和发展，探讨了童年概念如何成为韩国民族主义的象征意义。这本书以一个中心问题开始：一种特定的现代儿童文学形式是如何在韩国出现的，这种出现如何影响那些在日本军事占领与西方知识帝国主义以及独立自主之间的争议空间中进行谈判的人们的意识？韩国国民身份。Zur 将儿童视为韩国民族主义的象征，将儿童视为社会建构，讨论了儿童的概念如何从韩国文化的边缘转移到中心，这抓住了儿童变得可见的时间点，在智力和情感上与成年人截然不同。从批判的角度来看，祖尔的作品分析了后殖民时期韩国产生和制约儿童文学的社会、政治和意识形态力量和结构。Zur 追溯了前欧洲的联系意识形态和同心的文学作品——自然的、纯洁的“童心”（第 48-98 页）到它在朝鲜殖民时期的儿童期刊中的第一个文本和视觉作品。祖尔认为，现代性高峰时期的儿童文学是在日本占领下出现的，从 1910 年朝鲜王朝末期开始，一直持续到二战结束时的 1945 年。在此期间，成年作家将孩子视为未来的主角。这个时期在韩国促使了儿童文学的产生，并转录以过去、现在和潜在的未来为中心的视觉和文本图像。Zur 进一步认为，现代韩国的儿童文学受到东西方知识主义以及更普遍的教育和心理话语的影响。前三章探讨了这一流派中的童年概念如何成为韩国民族主义的象征。Zur 展示了童年的两个框架：青年的政治和美学，以及影响儿童期刊发展的程式化文本和图像的出现。首先，青春美学被解释为儿童一起进入一个与成人不同的世界。童心（童心）的概念被认为是天真和纯洁的，