『繪圖朝鮮亡國演義』 小考

류창진 한국중국소설학회 2005 中國小說論叢 Vol.21 No.-

近代用歷史演義的形式描寫朝鮮亡國的小說中, 「繪圖朝鮮亡國演義」要算是在國內沒有介紹過的作品. 「繪圖朝鮮亡國演義」二十回. 作者楊塵因, 安徽全椒人, 民初的通俗小說作家. 此作以朝鮮愛國志士安重根刺殺伊藤博文爲主要線索, 寫出了日本呑滅朝鮮後的慘痛情景, 以及朝鮮志士奮起救國的事迹. 書中所寫重大事件與主要人物大都有史實爲依據, 幷征引了不少史料. 筆者讀「繪圖朝鮮亡國演義」以後, 便覺到這作品的基本構造和情節, 以及人物描寫, 與「醒世奇文英雄淚」很相同. 所以筆者對着這兩部作品進行比較分析, 要糾明這兩部作品的互相影響關系.. 這些兩部作品從日本伊藤博文的登場和他的‘國策’野心寫起, 中間經歷了朝鮮的一些政治的事件和東學亂, 一直寫到朝鮮的滅亡和安重根的殉國. 雖然這兩部作品的創作年度相隔八․九年, 但是其創作意圖是借朝鮮亡國歷史宣傳救亡圖存․改良社會.

재현(再現)‧변형(變形)‧재해석(再解釋): ‘만보산(萬寶山)사건’ 제재韓‧中‧日 소설의 문학적 분화 연구

류창진 중국인문학회 2014 中國人文科學 Vol.0 No.58

记录‘万宝山事件’的韩‧中‧日小说-伊藤永之介的「萬寶山」、李辉英的「萬寶山」、李泰俊的「农军」、安守吉的「稻」, 这些作品将同一件历史事件通过作者的世界观和文學的形象化过程展現其多样性. 这四篇小说用文学作品的形式诠释了万宝山歷史事件, 它的形象化过程中也具备了震幅大的磁场, 而这个磁场根据震幅来展现“再现”、“變形”、“再解释”等的文學的分化. 本文就是通过探究文學形式上的分化对韩‧中‧日文学内部的谈论境界加以扩充. 首先, 伊藤永之介的「万宝山」、李辉英的「万宝山」、李泰俊的「农军」、安守吉的「稻」等作品都是对移居满洲的朝鲜农民的眞實的生活的體现, 通過比較史實的手法來对日本帝国主义为了侵略满洲而把朝鮮農民作爲政治工具的的事實, 以及日本與中国爲了各自國家的政治目的和利益而對朝鮮農民实施移居政策的體現來加以論述. 其次, 通过虚构的叙事手法试图變形韩·中·日的政治·民族的力学关系的例子在李辉英的「万宝山」與李泰俊的「农军」中的表现相对突出. 作为历史事实的万宝山事件, 如果说此事件是围绕水路建设和水田开垦而展开的朝鲜农民與中国农民之间的纠葛对立的话, 那么李辉英的「万宝山」就是通过意识上的纠葛对立使被压迫民族卽朝鲜农民和中国农民共同对抗日本帝国主义而進行抗日叙述的變形. 所以, 为了抗日而有意識的將政治進行小說性的改造是不可避免的, 在民族主义观点方面上的變形的叙事结构同样引人注目. 李泰俊的「农军」多是通过有計划、有意識的來对万宝山事件进行叙事性的變形. 他将「农军」的时代背景设定为满洲国建国之前, 即万宝山事件发生之前. 这可以被称为作品的基本构图是通過描寫朝鲜农民和中国农民之间的对立和纠纷、朝鲜农民对中国(农民)的民族性的抵抗而採取的變形敍事手法. 通过这样的叙事手法, 「农军」採用了对万宝山事件的主要事实敍事變形手法. 而且, 通過與李泰俊在1938年满洲旅行之后而创作的「移民部落見问记」的比较中也确定了这样的變形. 安守吉将朝鲜农民的满洲开拓的歷史归为移民史的一部分, 倂比較接近歷史事實地對「稻」进行再解析. 满洲移民初期朝鲜农民通过对“稻”的热爱来克服移民初期的惨淡和穷困的生活, 体现出了他們对人生执着的强烈願望, 并且體现出了對满洲生活的根子的强烈意志. 安守吉就是通过「稻」来再解析朝鲜农民對满洲开垦的移民历史. 这也是通过作品的时代背景, 即1930年初对于朝鲜农民的满洲移民, 中国方面从欢迎態度转变为镇压的顶峰时期所表現的结果.

1930-40년대 한국문학계의 중국문학 수용과 번역에 대한 재평가:박태원(朴泰遠)을 중심으로

류창진 중국인문학회 2013 中國人文科學 Vol.0 No.55

The purpose of this study was to probe what made Tae-Won Park, who was famed as a liberal and modernist, enable to create his own literature world by accepting and translating the Chinese literature into Korean language. This study focused two perspectives: the motifs and aesthetic features that appeared in his translation works, and a re-evaluation of his works in light of his creativity and originality. According to three phases that he passed through in the process of acceptance and translation of the Chinese literature, three major issues were reviewed; ① how had his literary paths been changing from the simple curiosity about the Chinese literature? ② what was the dividing line between the creation and translation in his literary works? ③ what made him inevitably lead to become a writer who possessed an adversarial but inclusive style?In the period of 1930 to 1940, a significant change was noticed in Park's literary works; the change was considerably associated with political and social circumstances at the time. Under the Japanese occupation between 1910 and 1945, the Korean writers were not free from militaristic ideology and political propaganda. They had only two choices; abandoning literary activities and accommodating themselves to the political and social tide. At this crossroads, Park became skeptical about producing literary works, but kept exploring new terrain of the literature. By accepting and translating the Chinese literature, Park's efforts to break fresh ground set himself apart from other contemporary writers. Moreover, the translated Chinese novels by Park contributed as a bridge to his own literary creations and provided a solid foundation for his further literary pursuit.

1900-1910년대 한국 신소설 속의 중국 심상(心像) 연구

류창진 중국인문학회 2015 中國人文科學 Vol.0 No.61

从1900年到1910年代, 这一时期的韩国新小说是以开化启蒙时代的现实为依据创作而成的. 而且, 在该时期的新小说中,作为他者的中国心像,从向着对传统的‘守旧’和近代觉醒的‘开化’的境界线上可以被捕捉到. 如此,影射中国心像的韩国新小说有李人稙(1862-1917)的「血的淚」(1906), 李海朝(1869-1927)的「鬢上雪」(1907)‧「自由鐘」(1910)‧「巢鶴嶺」(1912)‧「雨中行人」(1913), 崔瓚植(1881-1951)的「秋月色」(1912)等. 本论文将思维模式定在‘1900-1910年代’韩国‘新小说’范畴, 针对近代化和文明化的谈论中渗透的中国心像进行了深刻地分析和整理. 该论文具体将这些新小说中渗透的中国心像样态分为以下三种类型进行了探讨. 一. 文明开化的落伍者; 二. 自主性的近代化模式; 三. 韩‧中‧日东亚三国共榮论和殖民主义談論中的中国. 并且, 由此掌握当时知识分子们对中国心像的基本路径, 进而对该时期的国家性‧政治性‧社会性的谈论进行了分析. 对此,研究结果整理如下. 第一. ‘文明开化的落伍者’的中国心像在「自由鐘」‧「血的淚」‧「秋月色」等作品中可以被捕捉到. 具体来说, 这些作品在接受西方文明的过程中, 把消极性主体的中国他者化, 主张从社会进化论的观点来接受文明开化. 同时, 在此过程中, 恰到好处地把同朝鲜(韩国)一样未能进入到近代化制度圈的‘中国’活用在了叙事当中. 即, 在这些新小说中, 中国以为了传播和扩散近代意识的反面教材的作用和职能的主要题材而登场. 第二. ‘自主性的近代化模式’的中国心像在「自由鐘」‧「血的淚」‧「鬢上雪」等作品中可以被捕捉到. 特别是, 可以看出这些小说对引导近代中国改革的梁启超和康有为等维新派颇为关注, 在实际作品中一定部分反映着梁启超等变法派的思想和康有为的大同思想. 但是,作为自主性的近代化模式, 他们并不是估計传统中国文明, 而是仅局限于根据梁启超和康有为等维新派进行的一系列自主性‧改革性的活动上. 第三. ‘韩‧中‧日东亚三国共榮论和殖民主义談論中的中国’心像在「自由鐘」‧「秋月色」‧「血的淚」‧「巢鶴嶺」‧「雨中行人」等作品中可以被捕捉到. 从这些小说中可以看到, 在韩‧中‧日东亚三国共榮论和殖民主义談論当中, ‘瓜分灭种’的危机意识占据其中. 与此同时, 围绕着危机意识的解决, 便产生了多种谈论. 提出这些談論的的主角—知识分子和文人们在诊断危机‧摸索对策的过程中往往将‘中国’假设为他者的典型, 也强调了命运的共性. 因此,作为韩‧中‧日东亚三国的轴心, 在展望中国的心像和殖民主义談論中, 展望中国的心像里蕴含着当代知识分子们复杂微妙的心理状态.

중국 근대의 일상과 문학, 그 기억과 표상

柳昌辰 중국인문학회 2023 中國人文科學 Vol.- No.85

중국 근대 탐정소설의 유행은 근대 사회의 일상과 밀접한 관련을 맺고 있으며, 이는 탐정소설에 대한 시대적 기호와 취미, 그리고 근대적 사유와 인식의 특수성을 역동적으로 반영한다고 할 수 있다. 본 논문은 이와 같은 문제의식에서 출발하였다. 즉, 중국 근대 탐정소설이 표상하는 실체에 접근하려면 그것이 언술(言述)되는 사회의 문화적‧문학적 특성에 대한 이해가 필요하다고 할 수 있다. 따라서 본 논문은 이 시기 탐정소설은 물론 이와 관련된 소설 홍보‧사건 보도‧소설 비평 등 포괄적인 언술 자료를 바탕으로, 탐정소설이라는 하나의 소설 장르를 가능하게 하였던 근대적 사유와 인식을 규명하고자 하였다. 구체적으로 첫째, 탐정소설의 기대지평과 흥미라는 미적 현상을 중심으로 중국 근대의 일상과 문학을 탐문하였다. 둘째, 과학적 지식과 합리적 사고로 대표되는 계몽의 논리 측면에서 탐정소설을 조망하였다. 셋째, 근대적 독서물로서의 취미 기호 측면에서 탐정소설을 탐문하였다. 이와 같이 중국 근대 탐정소설 작품과 작품 외적 자료의 분석을 통한 중국 근대의 일상과 문학, 그리고 그 기억과 표상을 조망하는 연구는 탐정소설의 위상을 새롭게 정립할 수 있는 계기를 제공할 것으로 판단된다. Modern China had all the conditions for the development of popular fiction such as detective novels, thanks to the development of various modern media, the expansion of mass education, and urbanization. In addition to the basic principles of presenting a case and resolving it logically, detective novels have secured their own unique territory based on the selection of themes that attract readers' attention, the surprise of unexpected endings, and the scientific knowledge and rational thinking that can convince readers. The popularity of modern detective novels in China is closely related to the daily life of modern society, which dynamically reflects the tastes and hobbies of the times and the specificity of modern thinking and perception. This paper is motivated by the same problem: in order to approach the substance of modern Chinese detective fiction, it is necessary to understand the cultural and literary characteristics of the society in which it is written. Therefore, this paper aims to identify the modern ideas and perceptions that made detective novels possible as a genre of fiction based on a comprehensive set of texts, including detective novels, as well as related novel publicity, event reports, and novel criticism, during this period. Specifically, it explored the daily life and literature of modern China, focusing on the aesthetic phenomena of expectation and fun in detective fiction. Second, it examined detective fiction in terms of the logic of the Enlightenment, represented by scientific knowledge and rational thinking. Third, it explored the possibilities of detective fiction in terms of hobby tastes as a modern reading material. This study, which examines the daily life and literature of modern China, as well as its memory and representation, through the analysis of modern Chinese detective fiction works and extracurricular materials, will provide an opportunity to reestablish the status of detective fiction.

林紓의 번역 사상 小考

류창진,정해리 중국인문학회 2014 中國人文科學 Vol.0 No.56

林紓從事文學飜譯, 很少有專文系統論及自己的飜譯思想. 林紓在飜譯外國小說過程中, 對一些實際問題提出了自己的看法. 例如他究竟如何看待飜譯, 他的飜譯態度如何, 這一切可以從林譯小說的序言‧跋語‧跋尾‧識語‧評語‧小引‧例言中發現一些片言只語. 在這些資料中, 林紓談到了自己飜譯的目的. 這篇文章對這些零星的資料歸納總結, 進行把握林紓的飜譯思想. 這篇文章主要想探討以下幾方面的問題. 具體來說, 主要探討政治意識, 受容西歐文化, 認識和提高女權及女性敎育.

역사서사(歷史敍事)에서 문학서사(文學敍事)로 - ‘萬寶山事件’ 제재 韓‧中 소설 연구

류창진,정해리 중국인문학회 2013 中國人文科學 Vol.0 No.53

Korean and Chinese novels on WanBaoShan Incident which was a conflict between Korean and Chinese peasants in Manchuria over have essential implications on putting together Korean modern history and discussing the identity of the Korean people today. Among them, three literary works, specially WanBaoShan written by LiXiaoshi, Peasant by LeeTaeJun, and Riceplants by AhnSooGil signify the Incident from various positions. This study explores the device of fictional variation which can be found in the novels written during the transition period from epic narratives into fictional narratives. The fictional variations employed in the novels are configured as national resistance for clamoring for participation in the reality, Korean immigrants’ awareness of their own sufferings and national conflicts between Korean immigrants settling in and Chinese peasants in Manchuria, and Chinese peasants’ perceptions of Korean immigrants.

원시신앙-무(巫) 문화의 문학적 전개- 선총원(沈從文)과 김동리(金東里)를 중심으로

류창진 중국인문학회 2012 中國人文科學 Vol.0 No.51

沈從文和金東里比起同時代的作家, 具有鮮明的原始信仰-‘巫’文化的文學特性. 不把巫俗世界單純的限制爲巫俗或迷信. 而是單純的把它和文學接軌, 以此作爲比較․考察沈從文和金東里兩位作家的根據. 本文以沈從文和金東里的文學思想的成果爲基礎, 以其中出現的‘巫’爲中心來硏究原始信仰的文學痕迹, 進而硏究從過去到現在的兩爲作家的精神源泉. 沈從文和金東里兩位作家更注重被加功之前的狀態, 比起'現在'․'這里', 而是把'那時'․'那里'作爲烏託邦有回歸的傾向. 如果說同時代的作家們是用理性捕捉而苦鬪現實問題, 那麽沈從文和金東里要再現被理性․合理․啓蒙來遺忘的原始信仰, 從而開闢出新的世界.

16-17세기 중국의 대(對) 조선 사행록(使行錄)에 투영된 한‧중 상호인식의 변용과 기억 - 공용경(龔用卿)의 《使朝鮮錄》과 주지번(朱之蕃)의 《奉使朝鮮稿》를 중심으로 -

류창진 중국인문학회 2018 中國人文科學 Vol.0 No.70

This paper focuses on GongYongQing's 『ShiChaoXianLu』 and ZhuZhiFan's 『FengShiChaoXianGao』 in that the layers of the times and the interrelationships between China and Korea are explored by following the trace of mutual recognition between them based on sinocentrism In addition, the Chinese and Korean intellectuals also identified how they perceived and responded to the traditional Korean-Chinese relationship, thereby building an axis of mutual recognition between the 16th and 17th centuries. Under this assumption, this paper is divided into three directions. First, it is studied for the recognition of the international order in East Asia between the 16th and 17th centuries and the relationship between Korea and China, which had been exposed in 『ShiChaoXianLu』 and 『FengShiChaoXianGao』. In the 16th and 17th centuries when the Joseon Dynasty visited the Ming Dynasty, the relationship between Korea and China was stipulated as a tributary-investiture relationship, and this relationship was operated in a relatively stable way at the period. In particular, during this period, the response and strategy of the Joseon Dynasty were to strengthen the order of a tributary-investiture relationship and to apply the principles and customs in the relations between the two countries for promoting the realistic interests of China. Therefore, in the expectation that the Joseon Dynasty would fulfill its role as a army of the frontier, it would ultimately be expected to maintain or enhance the traditional relationship between Joseon and Ming, and to gain recognition of China's vested interests in Joseon In short, GongYongQing and ZhuZhiFan tried to force Joseon to confirm and recognize the fact that Ming and Joseon were in the relationship of the suzerain state and a vassal state and fulfill it in order to maintain the traditional relationship between them. Considering this point, the perception of GongYongQing and ZhuZhiFanthe in 『ShiChaoXianLu』 and 『FengShiChaoXianGao』 is not merely to maintain the traditional relationship with Joseon. It can be interpreted as an attitude to strengthen political influence as a powerful subject in a new order in East Asia. Second, based on the poetry in these books, they showed the perception of Joseon 's literature and courtesy. During this period, "sinocentrism" was linked to the political and cultural exchanges between China and Korea, and sometimes it acted as a more important factor. GongYongQing and ZhuZhiFanthe referred to the old record of 'JiZi' and 'ChaoXian' and emphasized the cultural connection with China. They emphasized that the scholarship of Joseon was high, polite and tradition. According to their perception, they revealed the cultural connection between China and Joseon that preceded the Ming Dynasty. This reference could be said to be a step toward a sense of Chinese consciousness which is the advanced culture of Joseon was originated form JiZi Third, the paper explored the aspect of poetry exchange between China and Joseon and the perception of Joseon's civilization. In GongYongQing's 『ShiChaoXianLu』 and ZhuZhiFan's 『FengShiChaoXianGao』, they included the poems of the Joseon Dynasty which they gain by hands-on experience during their sojourn. On the other hand, through these poems they showed the prejudices about the customs and the recognition of Joseon in the way of the cultural exchanges with the rulers and literary men of Joseon. Therefore, these poems have a value showing not only their literary value but also another aspect of mutual recognition between Korea and China between the 16th and 17th centuries. To sum up, GongYongQing's 『ShiChaoXianLu』 and ZhuZhiFan's 『FengShiChaoXianGao』 are directly conveying a process section of establishing a power of China in the East Asian international order and shows clearly how the Ming who intended to strengthen the central position of East Asia embodies their status and authority in Joseon.

한국 근대전환기 ‘중국’ 제재 서사문학 연구: 근대 매체를 중심으로

류창진,정해리 중국인문학회 2016 中國人文科學 Vol.0 No.62

该论文具有两大目的和意义. 第一、整理与分析早在1890年-1910年期间所谓被命名为"近代转換期"的该时期的报纸和杂志等主要媒体上刊载的"中国"题材叙事文学作品. 第二、以此研究结果为基础,将被渗透在韩国近代转換期谈论中的作为他者的"中国"从多角度进行穿凿. 具体地在本论文中作为整理和分析对象的韩国"近代转換期""中国"题材的叙事文学作品主要是通过「独立新闻」、「皇城新闻」、「帝国新闻」、「每日新闻」、「京乡新闻」等报纸的论说栏或者杂报栏,还有「朝阳报」、「西友」、「大韩协会会报」、「教育月报」等杂志被得以发表的. 该论文将这些作为"中国"题材叙事文学作品中所展现的谈论的一个形态的"中国",按照主题分五大类型进行了分析. 这五种类型分别是: ① 近代国家裝置的制度化; ② 吸纳文明开化; ③ 批判当代现实和主张国民的義務; ④ 强调教育和启蒙; ⑤ 强调朝鲜和中国的共同命运以及追求奋发图强等. 将此具体整理如下: 属于①的类型有「叫广安生的人」、「清国境况问答」、「在以前殷朝汤君时期」、「外国人和大韩人的问答」等作品. 这些作品以很强的西方指向性为基础,流露着近代法律制度的公正施行等近代国家政治的制度化. 属于②的类型有「一老人遇少年」、「清国志士诵俚语一篇」、「清国北京近处有一富人」、「从前的齐国人」等作品. 这些作品都提出将传统的所谓"中国=未开"的思考方式为基础,通过将此重新诠释,筹建文明富强所需要的各种制度和设施,积极接受精通西方先进文明的人才培养等文明开化. 属于③的类型有「在从前的六国时代」、「前明后昧之由」、「清国叫康有为的人」、「小国孰无利人或名将焉?」等作品. 属于④的类型有「有个儒生」、「有个儒生自称」、「孟子说(1)」、「孟子说(2)」、「人们的行实中」、「半岛野话」等作品. 属于⑤的类型有「杞忧生小传」、「清国的一位儒生」、「在以前我们国家」、「亚洲大陆上」、「动物谈」、「外交时谈」、「支那(清国)」等作品. 这些作品是在近代转型期具有历史性的危机状况下,在摸索对策的过程中用他者的典型来象征"中国",强调朝鲜与中国的命运的共性.进而通过所谓中国的他者形象来敦促朝鲜(人)奋发图强. 该论文通过如上分析,此时期的"开化谈论"这一话题在形成其含义的过程当中,将如何活用和认识"过去"的中国\与"现在"的中国从多方面进行了观