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초록· 키워드
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This study examines recognition of foreign country by people in the earlier years of the 20th century as it was expressed in popular songs and the style of which the recognition was configured into lyrics, therefore discusses its significance in terms of popular culture.
1. In popular songs during the earlier years of the 20th century, ‘foreign country’ was understood along the line of ‘sorrowful place away from home’ by people of this period. However, in general, ‘foreign country’ gives far more extreme significance than a place away from home within the country. This is so both physically and psychologically. So, foreign country acts as a motive to induce sentimentality of tears by maximizing the sentiment of losing one’s home.
2. For people of this period, ‘foreign country’ was also recognized as a ‘hideout of hope’ to escape from painful realities. In popular songs, foreign country was sometimes configured as a new home and as a target of nostalgic yearning at other times.
3. Foreign country, while being recognized as a land of opportunity by people of this period, did not allow hasteful hope. In a foreign country arrived in search of new land, people of this period not only failed to obtain land, but also were victimized by other exploiters. In order to maintain living, they were often pushed into the vicious circle of having to place their lives at stake again or to move to yet another foreign country. So, foreign country was again configured as a space of despair and inadjustability.
4. Such diverse recognitions on foreign country indicate that foreign country was being recognized as a modern space. While recognizing the modern ambivalence of foreign country, the urban masses of the period must have felt sentimentality by further maximizing the situations they faced or, at times, consolation at the relative sense of stability. The sentimentality and consolation provided by these songs gave motivation for the songs on ‘foreign country’ to be perceived with new significance as popular songs by people of this period.
Losing of home and wandering in this period are more closely related to achievement of personal desires, or more ordinary and economic reasons. Songs on ‘foreign country’ represented personal desires and despair as well as pains of the urban masses during this period. Therefore, these songs aroused sympathy among people of this period.
To the urban masses of this period, songs on foreign country provoked tears by further maximizing the sense of loss experienced in a place away from home and were suitable to arouse catharsis. By providing the room of new possibilities, these songs functioned as an appropriate repertoire to satisfy the simple and plain fantasy.
Songs on ‘foreign country’ were produced conscious of people actually living in a foreign country or the related people. This indicates that production of songs on ‘foreign country’ considered the users more than any other songs. This is significant in the aspect of indicating that distribution of popular songs during this period already placed consideration on tastes or situations of the masses in order to ensure popularity.
1. In popular songs during the earlier years of the 20th century, ‘foreign country’ was understood along the line of ‘sorrowful place away from home’ by people of this period. However, in general, ‘foreign country’ gives far more extreme significance than a place away from home within the country. This is so both physically and psychologically. So, foreign country acts as a motive to induce sentimentality of tears by maximizing the sentiment of losing one’s home.
2. For people of this period, ‘foreign country’ was also recognized as a ‘hideout of hope’ to escape from painful realities. In popular songs, foreign country was sometimes configured as a new home and as a target of nostalgic yearning at other times.
3. Foreign country, while being recognized as a land of opportunity by people of this period, did not allow hasteful hope. In a foreign country arrived in search of new land, people of this period not only failed to obtain land, but also were victimized by other exploiters. In order to maintain living, they were often pushed into the vicious circle of having to place their lives at stake again or to move to yet another foreign country. So, foreign country was again configured as a space of despair and inadjustability.
4. Such diverse recognitions on foreign country indicate that foreign country was being recognized as a modern space. While recognizing the modern ambivalence of foreign country, the urban masses of the period must have felt sentimentality by further maximizing the situations they faced or, at times, consolation at the relative sense of stability. The sentimentality and consolation provided by these songs gave motivation for the songs on ‘foreign country’ to be perceived with new significance as popular songs by people of this period.
Losing of home and wandering in this period are more closely related to achievement of personal desires, or more ordinary and economic reasons. Songs on ‘foreign country’ represented personal desires and despair as well as pains of the urban masses during this period. Therefore, these songs aroused sympathy among people of this period.
To the urban masses of this period, songs on foreign country provoked tears by further maximizing the sense of loss experienced in a place away from home and were suitable to arouse catharsis. By providing the room of new possibilities, these songs functioned as an appropriate repertoire to satisfy the simple and plain fantasy.
Songs on ‘foreign country’ were produced conscious of people actually living in a foreign country or the related people. This indicates that production of songs on ‘foreign country’ considered the users more than any other songs. This is significant in the aspect of indicating that distribution of popular songs during this period already placed consideration on tastes or situations of the masses in order to ensure popularity.
목차
Ⅰ. 서론
Ⅱ. 서러운 타향, 상실의 극대화
Ⅲ. 희망의 도피처, 타국의 고향화
Ⅳ. 현실적 삶의 터전, 좌절과 부적응
Ⅴ. 대중 문화적 의미
Ⅵ. 결론
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