??? ???? ? ??? - ???? ¡º???¡»? ?? ? ??(KAPF)? ?? ?? - (The reason why KAPF went to another country £­ KAPF¡¯s media strategy as seen through children¡¯s magazine ¡ºBYEOLNARA¡»)

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1920?? ?? ???? ???? ???? ??? ??? ?? ??? ??? ?????? ??? ???? ???. ?? ?? ??? ??? ???? ??? ? ??? ???? ????? ?? ??? ??. ?? ???? ??? ¡º????¡» ??? ? ??? ? ????? ??? ?? ?? ???? ???? ???? ??? ??? ?? ??? ?? ? ? ??? ?? ??. ??? ????? ??? ?? ??? ??? ??? ???? ????? ???? ??? ???? ???.
???? ?? ?? ??? ??? ?? ??? ?? ??? ?? ??? ???? ??? ???. ?? ???? ? ??? ?? ?? ???? ¡º???¡»? ?? ?? ?? ????. ??? ??? ¡º???¡»? ????? ??? ???? ???? ??? ???. ?? ?????? ???? ???? ?? ??? ????? ??? ?? ??? ?????. ??? ¡º???¡»? ??? ?? ????? ?? ??? ??? ??? ??? ???. ??? ¡º???¡»? ????? ???? ??? ??? ?? ?????. ?? ??(NAPF)? ??? ? ??? ????? ??? ????. ?? ¡º???¡»? ???? ??? ??? ???? ??? ????? ?? ??? ??? ?? ? ??. ??? ¡º???¡»? ??? ?? ??? ???? ???? ??? ?? ??? ???? ???. ??? ??? ???? ?? ??? ???? ? ??? ????? ??? ???? ?????.
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Media, a product of modern times, has always existed in the formation and development of modern Korean literature. This was no different in the development of professional literature, and at that time, socialists chose the medium as knowledge, ideas, ideology, and methods, and used it as a means of promoting socialism and instigating anti-colonial struggles. Even though the field of various media formation became the main background for the formation of professional literature, the recognition of the problem of this study began because KAPF¡¯s media strategy as seen through children¡¯s magazine ¡ºBYEOLNARA¡» was unable to operate bronchial media in Korea.
KAPF¡¯s media activities, which were triggered by Kim Ki-jin¡¯s discussion on popularization in the late 20s, tried to maintain his position as a mass media with the position that he could not hesitate to combine with Korean language publishing capital and compromise on Japanese authorities¡¯ censorship.
Contrary to what was described as the first harvest of the effort, the ¡ºLiterary Movement¡» window, which was planned as the KAPF organ, does not lead to continuous operation, and KAPF¡¯s media strategy is once again frustrated. KAPF, which accepted domestic limitations such as Japanese censorship, made a series of achievements led by the Tokyo branch, but it was true that there was no media that continued to lead in Korea.
KAPF¡¯s primacy seems to have been desperate for the media to engage in practical artistic activities, and it is noteworthy that KAPF, led by Lim-Hwa, chose none other than the children¡¯s magazine ¡ºBYEOLNARA¡» as a venue for domestic media activities. ¡ºBYEOLNARA¡» showed the form of a magazine formed around a human network in which some of the KAPF members worked as a school relationship between ¡ºBYEOLNARA¡» Temple operated by Ahn Joon-sik and Baejae Gobo. The early ¡ºBYEOLNARA¡» served as an object for KAPF to activate his class consciousness. This was part of a media struggle that KAPF, who suffered a period of stagnation as he entered a class struggle, tried to transform. It has become a venue for overcoming the KAPF crisis in Korea, coupled with KAPF¡¯s reorganization. In fact, a number of articles with a clear purpose of classism were published on the page of ¡ºBYEOLNARA¡». In addition, in various pages influenced by class literature in each country, including the NAPF, you can read KAPF¡¯s will to operate ¡ºBYEOLNARA¡» as a medium for global struggle rather than staying at the limits of domestic or children¡¯s magazine. In short, ¡ºBYEOLNARA¡» was a place of media strategy closely planned by KAPF in terms of cultural popularization. As one of the popularization strategies, the planning of children¡¯s magazines was an essential process for activities aimed at differentiating ages.
Nevertheless, KAPF¡¯s sense of purpose toward the ¡ºBYEOLNARA¡» existed in the path of achievement and frustration. It is also unreasonable to define the nature of the ¡ºBYEOLNARA¡», which has lasted for nearly 10 years. This is why there is a need to seek a new composition of colonial children¡¯s magazines through the investigation of the various media characteristics of ¡ºBYEOLNARA¡».