‘소년감성(少年情懷)’에서 ‘중년위기(中年危機)’까지 ― 20세기 중국문학 연구의 한 가지 시각

진사화,김혜주 한국중국현대문학학회 2013 中國現代文學 Vol.0 No.67

사람들이 문학의 방향을 주시하고 있는 오늘날, 우리는 중국의 두 가지 ‘신세기’문학을 비교할 필요가 있다. 하나는 20세기 초의 문학을 가리키고, 다른 하나는 근 8년이 지난 21세기 문학을 가리킨다. 100년을 사이에 둔 이 두 ‘신세기’ 문학 간에는 어떠한 내재적 관계가 있을까? 이두 ‘세기 초’ 문학을 연결하는 한 세기 동안 과연 어떠한 문학 발전의형태를 겪어왔을까? 이에 대해 필자는 ‘소년감성’과 ‘중년위기’라는 두 가지 매우 문학화 된 시각을 제공하여 삶과 가장 근접한 시각에서 이 100년의 중국문학 변화 가운데 몇 가지 특징을 탐구해 보고자 한다.(복단대학교 박사과정 김혜주 역)

2014년 한국중국현대문학학회 국제학술대회 ― 천쓰허(陳思和) 기조강연 「四世同堂:21세기 이후의 4세대 작가에 대한 간략한 논의」를 중심으로

손주연 한국중국현대문학학회 2014 中國現代文學 Vol.0 No.71

2014년 10월 18일 춘천 강원대학교에서 열린 “최근 중국문학의 방향과 비평” 학술대회에서 기조 강연을 맡았던 천쓰허(陳思和) 교수의 강연을 정리한 글이다. 천교수의 기조 강연은 21세기 이후 중국 문단의 상황에 대한 진지한 고민 끝에 나온 결과물이었다. 천교수는 현재 중국 문단에서 활동하고 있는 작가들을 탄생한 시기를 기준으로 하여 50後, 60後, 70後, 80後의 네 세대로 나누어 살펴보았다. 천교수는 “어쨌든 작가는 개체인데 이러한 ‘세대’로 작가의 특징을 귀납시키는 방법은 모든 작가의 구체성을 포괄할 수 없고 작가의 개인성과 특수성을 말살시키는 결과를 낳기 쉽다.”고 하였다. 그럼에도 불구하고 여전히 이러한 세대 분류법에 의거하여 중국문단을 바라보면 현재 중국 작가들이 보여주고 있는 제현상을 보다 쉽게 이해할 수 있다는 것이 그의 주장이었다. 천교수는 그 근거로 프랑스 비평가 테느(Taine, Hippolyte)의 이론을 빌려왔는데 그 중에서도 테느가 예술의 발전을 ‘인종’(race), ‘환경’(milieu), ‘시기’(moment)의 영향으로 분석할 수 있다는 점에 주목했다. 이를 중국의 문단에 대입해 보면 작품과 시대적 관계에서 두 가지 시기가 부상하게 된다. 그 중 첫 번째 시기는 작가가 태어난 시기이고 두 번째는 작가가 작품 활동을 시작한 시기다. 천교수는 이 두 가지 시기의 ‘환경’(생활에서의 물질적 조건)과 ‘시기’(정신영역이 시대에 미치는 영향을 포함한 사회적 분위기)의 영향을 살펴봄으로써 4개 작가군의 특징을 비교해 보았다.

방법으로서의 ‘냉전 아시아―들’-“냉전 아시아의 탄생: 신 중국과 한국 전쟁” 국제 학술대회 참관기

김정수 한국중국현대문학학회 2013 中國現代文學 Vol.0 No.64

1. 대회명칭: “냉전 아시아의 탄생: 신중국과 한국 전쟁”(冷戰亞洲的誕生: 新中國與韓國戰爭)2. 일 시: 2013.3.8.(금)~3.9.(토)3. 장 소: 성공회대학교 미가엘관4. 주 관: 성공회대학교 동아시아연구소/한국중국현대문학학회5. 후 원: 한국연구재단/성공회대학교

중국 근현대문학사 담론과 타자화의 정치학

임춘성 한국중국현대문학학회 2009 中國現代文學 Vol.0 No.48

The signifier of Chinese modern literature have slided incessantly, for example, ‘new literature(新文學)’, ‘xiandai(現代) literature-dangdai(當代) literature’, ‘20th century literature(二十世紀文學)’, ‘xiandangdai literature(現當代文學)’, ‘two-wings literature(雙翼文學)’ etc. This study presently fixed the signifier as the ‘Chinese modern literature’(‘geunhyundae moonhak’ in Korean, ‘xiandangdaiwenxue’ in Chinese) and investigated the discourse about the history of Chinese modern literature which have started after May forth movement. After May forth movement, it designated ‘new literature’ by itself, which was contrasted with ‘old literature’(舊文學), after new China, called it ‘xiandai literature(現代文學)’ and ‘dangdai literature(當代文學)’. In the ‘new era’, there was new discourse which was called as the discourse of ‘20th century literature(二十世紀中國文學)’, it criticized the trisection of jindai(近代)―xiandai(現代)―dangdai(當代), and widened the belt of consensus. At the beginning of the 21th century, ‘two-wings literature’ discourse was presented. It embraced the popular literature(通俗文學), that had been eliminated by new literature after May forth movement. This study conducted a follow-up survey about the fluid transition of the discourse about the history of Chinese modern literature and investigated ‘the politics of othernization’ which was embedded in the inner part.

中國現代小說과 政治權力 ― 農民小說의 黨派性을 중심으로

이주노 한국중국현대문학학회 2003 中國現代文學 Vol.0 No.27

】The Peasant Novels and the Political Power in Modern China

5ㆍ4시기 ‘문학장’의 재편 ― ‘문학연구회’를 중심으로

김수연 한국중국현대문학학회 2011 中國現代文學 Vol.0 No.59

The literary field in general is interpreted as a differentiated social field that is autonomous in the sense that it follows its own logic - the competition for cultural legitimation. and the producing and reading a literary works, following Bourdieu, been seen as embedded in continuing processes of distinction and the making of hierarchies. After all, it is able to be said that literary field is linked with contested processes of social change. This paper presents the reorganizing of the literary field in the May Fourth era, in particular from 1919 to 1921. There was Research Society of Literature in the center of reorganizing of the literary field which was founded in 1921. That was not a belletrist group, but a group comprised of persons engaged in a social movement. The most members of the society was group of students who have received an education of republic and worked mostly with magazines. They cooperated with The Commercial Press that was the largest cultural capital in those days, and requisitioned Xiaoshuoyuebao as it's main periodical from the old school. This brought about a result of replacement of the old and the new, that is, the reorganizing of the literary field.

臺灣解嚴前後小說文本裏的後現代呈現 ― 以戰後第三代文學家的文本爲主的硏究

李 淑 娟 한국중국현대문학학회 2005 中國現代文學 Vol.0 No.34

The article studied Taiwan fiction after the mid‐1980s. I argue that Taiwan fiction since the mid‐1980s has been characterized by postmodern writing style, this papers aims to study why the postmodern writing became vogue, while the relevance of this theoretical concepts applied to post‐martial law Taiwanese fiction. The articulation of dissident views during the Nativist Literary Debate paved the way for more intense struggles toward democratization in the early 1980s, some writers found the limitations of realism writing, furthermore Taiwan society have became changed under the circumstances, ‘beyond realism’ is in demand, while the Postmodern writing strategies fit well into the de‐mystification agenda of skeptical fiction. Beside, the media’s promotion does a good influence on the prevalence of postmodernism. I analysis the postwar third‐generations Writer’s fiction during this period, these fiction stands out in this aspects as well. Especially in ‘self‐reflexive’, ‘anti‐grand narrative’ and ‘living situation of modern‐day’.

跨國流動的華文文學 ― 台灣文學場域裡的?在台馬華文學?

張 錦 忠 한국중국현대문학학회 2005 中國現代文學 Vol.0 No.34

This paper provides a critical account of the development of Mahua literature in Taiwan since the 1960’s. As a diasporic literature, MLiT [Mahua (Chinese Malaysian) literature in Taiwan] exemplifies the mobility and transnationality of new or emergent Chinese literatures in the Pacific Rim. In the 1960’s and 1970’s, Mahua poets in Taiwan joined forces with local Modernist poets to actualize their “Chinese imagination,” claiming their stay in the island a cultural return. From the late 1980’s onwards, a younger generation of Mahua writers have emerged in Taiwan literary scene. Travelling to Taiwan for further study in higher education, they have instead established themselves by winning prominent literary prizes and hence forming a community of MLiT. However, while Taiwan serves as a flexible and resourceful literary environment for the transnational or diasporic or expatriate producers of literatures in Chinese, the position of MLiT is quite ambiguous. On the one hand, critics of Taiwanese literature complain that writers of MLiT tend to write more about the world that they have left than the place that they live at the moment. On the other hand they are accused, by Malaysian critics of Mahua literature, of misrepresenting their equatorial homeland. Such a (dis)position of the writers of MLiT provokes reflections on the transnationality of contemporary Taiwanese literature and new Chinese literatures at large.

鄕土文學之?後?:台灣紀錄片與?類文化願景

邱 貴 芬 한국중국현대문학학회 2005 中國現代文學 Vol.0 No.34

Taiwan new cinema is often said to be an heir to xiang-t’u literature of the 1970s. This paper argues that it is Taiwan new documentary filmmaking, rather than Taiwan new cinema, that inherits the cultural legacies of xiang-t’u literature. Like Taiwan new cinema, Taiwan new documentary emerged in the early 1980s in the wake of xiang-t’u literature debates. But while the new cinema is informed by an aesthetics and outlook closely associated with the rise of the new bourgeois class in the Taiwanese society, the new documentary was born out of the close alliance of documentary filmmaking with street demonstrations at that time. Starting out as grass‐roots “eye‐witness” counter news reportages to disrupt the official control of media, Taiwan new documentary is concerned most of all with the possibility of “giving a voice to the voiceless”―a major theme of xiang-t’u literature of the 1970s. This emphasis on the representation of subaltern voices becomes a distinctive feature of Taiwan new documentary in the course of time. With its strong interest in “the voice of the people”, Taiwan documentary could be regarded as a visual counterpart to xiang‐t’u literature. Filmic representation, however, involves a whole different set of problems as it shows subaltern subjects “talking” on screen. Focusing on two contemporary documentaries --- Lugang Coolies and Poles Extremity, this paper tries to illustrate the problems and the vision of “giving a voice to the voiceless” that make Taiwan new documentary so distinguishably different from Taiwan new cinema. It also examines how two crucial notions associated with xiang-t’u literature, “homeland” and “nostalgia,” play out in the films to open up new space for critical thinking. 紀錄片近年來頗受影界矚目, 韓國紀錄片≪遣返≫(Repatriation)第一個月的賣座據說就超過兩萬人數, 台灣吳乙峰的≪生命≫擠進2004年台灣電影十大賣座排行榜並榮獲國際獎項, 而美國的≪華氏911≫(Fahrenheit 911)也在國際影展裡備受矚目。 亞洲紀錄片這幾年的表現生龍活虎, 但是相關的紀錄片硏究卻方興未艾, 本論文試圖抛磚引玉, 開闢台灣新電影硏究之外的另一類電影硏究空間。 如果1982年標示了台灣新電影的發軔, 大約在同一時間另一股結合草根運動的影像表達模式也正開始對台灣社會民主化與影片製作的發展産生衝擊。 這波另類台灣影像製作革命主要的戰場在紀錄片。 相較於台灣新電影高蹈的藝術傾向, 從1980年代台灣民主運動戰場發展出來的台灣紀錄片似乎更顯現了承襲了台灣鄕土文學運動所標榜的「爲民喉舌」的文化語言姿態, 與台灣新電影中産階級菁英電影語言大異其趣。 卽使在1990年代之後, 年輕一輩的紀錄片工作者紛紛冒現, 社運時代所强調的「寫實」風格也受到挑戰, 但是, 基本上台灣紀錄片仍保留相當濃厚的「草根」氣息;呈現「一般人民的聲音與觀點」依然是紀錄片相當重要的特色。 如果台灣紀錄片可視爲「台灣鄕土文學的影像化」, 由於音像語言與文字書寫表達模式不同, 紀錄片顯然在實踐傳達「人民心聲」的企圖時, 涉及更複雜的議題, 有相當更豐富的探討空間。 本文將以兩部台灣年輕導演的作品--周美玲的≪極端寶島≫和紀文章的≪鹿港苦力≫--爲例, 探討「弱勢發聲」在紀錄片這個特殊傳媒模式裡複雜的推演, 並透過兩部影片所展現的「庶民/鄕土想像」, 重新開啓台灣鄕土文學裡「鄕土」、 「懷舊」這些關鍵槪念的基進政治意義, 探索另類文化願景的可能。

1930년대 중국의 문학검열기제와 출판미디어의 대응전략

김수연 한국중국현대문학학회 2020 中國現代文學 Vol.0 No.93

The production and distribution of all messages must have the character of endless struggles or compromised by-products in the gap between the dominant language of the society and the intention of the artist. In that sense, censorship functions as a literary device that defines the characteristics of literature, not merely an external interference mechanism of literary art. This article aims to examine the process of institutionalization of literary censorship in China based on an understanding of the overall social network and historical context in which censorship works. We will consider how modern censorship mechanisms are formed in China, especially in the 1930s, when censorship was organized. In other words, this paper examines the system of censorship organization, publishing laws and censorship standards, and analyzes the different countermeasures of the publishing media.