• 프린팅코리아
• /
• v.8 no.1
• /
• pp.82-82
• /
• 2009

조사대상 문고본 중 절반이 넘는 도서(51%)가 1쇄에 그치고 있으며, 10쇄 이상 발간한 문고본은 36종으로 2.7%에 불과했다. 분야별 분포에서는 일반 도서와 달리 문학보다 사회과학 분야의 비율이 높았으며 국내 저자의 비중이 외국 저자보다 높게 나타났다.

• The Korean Publising Journal, Monthly
• /
• s.243
• /
• pp.26-27
• /
• 1998

프랑스에서 문고판 서적은 연간 8천6백만권 정도 팔려나가는데, 이는 총도서판매량의 10%에 해당한다. 문고본 출판량이 방대하니 대형서점들마다 문고판 전문매장을 따로 갖추고 있다. 하지만 '주머니 판형'의 책만을 전문으로 취급하는 곳은 파리에서 이곳 '아쉐트 포코테크'뿐이다.

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

• The Korean Publising Journal, Monthly
• /
• s.155
• /
• pp.6-7
• /
• 1994

• The Korean Publising Journal, Monthly
• /
• s.155
• /
• pp.4-5
• /
• 1994

• Journal of Popular Narrative
• /
• v.25 no.3
• /
• pp.67-99
• /
• 2019

This paper analyzed romance novels imported into Korea in the 1980s and examined the traits of Korean girls' culture at that time. To this end, This paper chose as subjects the series of 'high-teen romance' published by Samjungdang, 'princess bestseller' by Seoul Publishing and the 'silhouette romance' by Joongang Ilbo in the 1980s. Through the aspects of the paperback romances, the traits of the artist, the content of the work, and the response of the reader, this paper analyzed the position and affection of romance as a genre in Korean culture in the 1980s. In the 1980s, most of the paperback romances available in Korea were translations of the modern and progressive present lines of Harlequin Enterprise's category romance. There were also many writers who were mostly introduced with progressive characters like Charlotte Lamb. The Harlequin romance depicts a story of sensual love. These translated 1980s paperback romance novels allowed girls in Korea to freely imagine the problems of sex and love. In particular, it showed a new perspective on women's sexuality. In Korean love novels, the sexuality of women was treated as an object for the gaze of men. The novels of female writers as college student who criticized this dealt with women's sexuality, but focused on criticism and resistance to the ideology of chastity. The paperback romance made it possible for women to freely enjoy their sexuality by escaping the ethical standards of reality. In addition, the paperback romance was an escape from the frustration of love. Romantic love in Korean love novels did not lead to the unification of mind and body, and always ended in tragedy. On the contrary, the paperback romance started with the fear of the girl who felt love for the first time, showed the process of winning over anxiety, confirming love and reaching a happy marriage. Through this, girls understood general love that was not subordinated to the ideology of chastity, and accepted love positively. The process of establishing romance as a genre in Korean culture and the traits of its readers have not yet been sufficiently clarified yet. This paper compared the romance genre with the other love novels of the day, explaining the position and meaning of the romance genre in Korean culture in the 1980s. Through this, we were able to chart the historical development of the Korean romance genre.

• The Korean Publising Journal, Monthly
• /
• s.243
• /
• pp.14-17
• /
• 1998

• Journal of the Korean Society for information Management
• /
• v.28 no.3
• /
• pp.257-273
• /
• 2011

This study aimed to identify the problems by analyzing the actual condition based on the legal requirements among Saemaul mini-libraries in Busan Metropolitan City. The results are like these. There were 154 Saemaul mini-Libraries. Of them, the rate of Small-Libraries which satisfied the requirements of a municipal library to the Library Act was 0%(0) in part of building floor space, 1%(1) in part of a reading room, 40%(59) in part of the data in a library and 31%(45) in the number of books to be supplemented per year. Mini-library which satisfied as the requirements for a small-scale public library was 37%(58) in part of the floor space, 66%(101) in part of a reading room, and 73%(112) in part of data in a library. 50%(77) of the mini-library was open more than 5 days per week. 52% (80) Mini-libraries was open for more than 5 hours per day. mini-library with permanent professionals(librarians) was only 1%(2). Mini-libraries of 99%(152) were non-professional workers(no librarians). For the average budget per year, 81%(127) spent less than 10 million won. 5%(5) received government subsidies. The mini-library of 74%(114) spent less than 5 million won on average for purchasing materials. Most of mini-libraries didn't meet the requirements of small-scale libraries to be private libraries or public libraries. It was also found that mini-libraries had various features on the location.

• Journal of the Korean Society for Library and Information Science
• /
• v.36 no.1
• /
• pp.5-24
• /
• 2002

The purpose of this study is to find out ways for establishing the identity and for strengthening the function of Dong-office minilibraries, which are nation-widely sprouted according to the Government’s policy of converting the Dong-office’s functions. The general operating status of the minilibraries were investigated by telephone interviews with the minilibrary operators, the collection and usage status by on-site observation, and the user behaviour by user surveys. For the effective operation of the Dong-office minilibrariea they should be identified as service stations of public libraries, supported technically by the local public libraries, and connected to the local educational and social service institutions for the securance of users and volunteers. Networks among the minilibrary operators should also be established for exchanges and cooperations. Furthermore, operating models should be developed according to the library’s environments and the user’s needs.

• The Korean Publising Journal, Monthly
• /
• s.174
• /
• pp.18-19
• /
• 1995

45년, 해방의 기쁨에 도취해 시작한 출판은 60년대의 경제부흥, 70년대 문고본 양산, 80년대 지속적 성장세를 거쳐 90년대에 이르기까지 현대사의 부침과 행보를 함께 했다. 46년말 약 1천종에 불과했던 발행 종수는 이제 3만종에 육박하고, 출판사수는 1만개사를 넘어 비약적 성장을 거듭한 출판계 앞에는 정보화 국제화의 과제가 놓여 있다.