http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
- 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
- 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
RISS 인기검색어
- 검색키워드
- 저자 : 김윤수 ( Yunsu Kim ) (검색결과 30 건)
- 무료
- 기관 내 무료
- 유료
-
-
‘혁명’의 실천과 실천적 ‘연애’ - 중국 연안(延安)시기 ‘연애’담론을 중심으로 -
김윤수 ( Yunsu Kim ) 성신여자대학교 인문과학연구소 2018 人文科學硏究 Vol.38 No.-
‘5.4신문화운동’ 시기에 전개된 다양한 여성해방론 중에서 ‘연애’는 많은 여성들로 하여금 가부장적, 봉건적 문화의 폐해를 자신의 문제로 느끼게 해주었기 때문에 많은 호응을 얻을 수 있었다. 서구에서 유입된, ‘서로를 사랑하는 두 사람 사이의 친밀한 관계’를 의미하는 ‘연애’라는 용어는 배움을 통해 서구의 문화를 익힐 수 있었던 신여성들의 전유물로 인식 되어졌다. 延安시기에도 소위 사적인 것으로 간주되는 ‘연애’, ‘혼인’, ‘가정’과 같은 여성들의 경험이 공적영역의 의제로 논의되었다. 이 시기의 ‘연애’는 근대적 의미의 낭만적 사랑과 계몽적 성격을 지닌 ‘자유연애’ 담론과 달리, ‘혁명의 실천’을 의미하였다. ‘연애’는 이데올로기적 성격을 띤 사유와 행동양식이 되었으며, 이 시기의 ‘연애’담론은 개인주의적 성격을 벗어나 사회에 대한 책무가 강조됨으로써 근대의 사적 영역과 공적 영역이 조우하는 새로운 방식을 만들어냈다. 5.4신문화운동 시기, 여성의 ‘연애’를 성적방종으로 치부하였던 남성중심 논리와 마찬가지로, 延安시기에는 여성의 ‘연애’가 ‘혁명’으로 환원되지 않는 개인성의 추구로 인식되어 억압되었으며 호기심의 대상으로 전락되기도 하였다. 또한 여성성을 ‘가정’의 범주로 제한하는 전략으로 인해 여성에 대한 억압은 여전히 지속될 수밖에 없었고, ‘혁명’과 ‘항전’이 가지는 정당성으로 인해 여성에 대한 억압은 더욱 은폐될 수밖에 없었다. ‘Love’, among various feminist theories deployed during the ‘May Fourth Movement’ period, naturally won immense responses as it made many women to realize the evils of patriarchal and feudal cultures, which were the issues that concerned them. The word ‘love’ was introduced by the West and referred to a ‘close relationship between two persons who are in love with each other’. Love was perceived as an exclusive property of modern women who became familiar with the Western culture through learning. Women’s experiences that are considered private such as ‘Love’ and ‘Family’ had been also discussed as topics in public sphere in the Yenan Era. ‘Love’ in the Yenan Era referred to practice of revolution rather than romantic love in modern sense and ‘Free Love’ of enlightening nature. The perception of love and the method of expression regarding ‘Love’ and marriage became the reason and patterns of behavior of ideological nature. The discourse on love during this period emphasized on the responsibilities toward the society beyond the individualistic nature and created a new method that combined private and public spheres of modern age. Like the male-centered theory which regarded women’s ‘Love’ as sexual laxity during the ‘May Fourth Movement’, women’s love was considered as a pursuit of individuality which does not return to revolution, thereby suppressing the suffering during the Yenan Era and degenerating into the subject of lascivious curiosity. Moreover, the suppression of women continued during the wartime due to the strategy that limited femininity to the scope of ‘family’ and was concealed even further due to the justification claimed by revolution and resistance to Japan.
-
<소항심처(小巷深处)(1956)>에 나타난 ‘기녀(妓女)’의 개조 재현 양상과 ‘갱생’의 의미
金潤秀 ( Kim Yunsu ) 중국어문연구회 2020 中國語文論叢 Vol.0 No.101
In the background aiming to organize neo-socialistic men in the early stage of founding the New China, the strong and full-scale prostitution prohibiting movement was carried out. The ‘prostitutes’ were located in an ambiguous point in which it was not clear if they were the objects of compassion and pity, or the objects of blame as the main culprit of pleasure and decadence. In this circumstance, the Chinese government of the time aimed to set the ‘prostitutes’ as the representative image of women who were reformed as an ideal socialistic image of women after getting out of the capitalistic class. Defining the prostitution as a class issue caused by bourgeois men who were exploiting proletarian women, the ‘prostitutes’ were regarded as the suppressed ruled, and the ‘prostitutes’ liberation’ from the prostitution meant the ‘liberation’ from the institutional oppression. Lu Wenfu’s Deep in the Alley is a representative novel work handling the reformation and rehabilitation story of a ‘prostitute’. In the plot of Deep in the Alley, Xu Wenxia who degenerated into a ‘prostitute’ due to financial hardship at home when she was only 16, was reformed as a laborer and also obtained her love through the reforming education after the foundation of New China. The ‘productive labor’ is working as an important medium and device that bring the rehabilitation and salvation to Xu Wenxia who used to be a ‘prostitute’. Even though Xu Wenxia used to be a ‘prostitute’ in the past, she gets a new life and also obtains the psychological freedom and happiness by actively participating in the reforming movement led by the government. Besides the ‘productive labor’, the ‘love and romantic relationship’ also works as an important medium and device that bring the rehabilitation and salvation to Xu Wenxia. This work realizes the meanings of love by presenting an ideal male character called Zhang Jun who leads Xu Wenxia to become a professional electrician. The love between Xu Wenxia and Zhang Jun is described as a path toward the rehabilitation and salvation, instead of the truth revealing the passionate and private emotion of individuals. This shows that Xu Wenxia needs an assistant who could ideologically and vocationally lead her to get the salvation and rehabilitation, which also means that it is impossible for her to reach the rehabilitation and salvation by herself.
-
섹슈얼리티와 사적 욕망, 그리고 사회주의 서사의 균열 ― 손리(孙犁)의 <철목전전(铁木前传)(1956)>을 중심으로
金潤秀 ( Kim Yunsu ) 중국어문연구회 2020 中國語文論叢 Vol.0 No.98
Tie Mu Qian Zhuan contains a message to actively join labor activities and to contribute to building ideal socialist China superficially. However, the end of the novel shows Maner who pursues her own happiness instead of being assimilated, reunion of Maner and Liuer, and their ‘road trip’, all of which indicate that there is ulterior narration structure differentiated from the superficial narration structure. In addition, in the ulterior narration structure, there is conflict between an individual, represented by Maner, and village people, and this conflict is originated from Maner’s sexuality and personal desire. Maner is not only free form the female appearance in the general socialism narration but also very complicated in the figure. Maner, who has complex aspect, seems skeptical about the socialism norms, and she also defies the suppressive norms by going on a road trip with beloved Liuer. Maner, who freely crosses social norms and orders with her sexuality and desire, causes crevice in the socialism narration in the novel. Maner represents outdated female that is never reformed from the socialism narration perspecrive of those days, but she can give catharsis of violation as she penetrates patriarchal suppression that socialism ideology has and lives freely following her desire.
-
-
-
-
김윤수 ( Kim Yunsu ) 고려대학교 중국학연구소 2021 中國學論叢 Vol.- No.72
In the early stage of establishing New China, the government claimed to support a new socialist image of women liberated from feudalism. Thus, the ‘prostitutes’ had to be reborn as ‘workers who could make a living by themselves’ by working at productive labor. The works handling the alteration of prostitutes mostly show the rehabilitation through labor as a theme while the work Red Powder is mainly composed of a desire for material and erotism. The work Red Powder shows the ‘desire’ that was considered as a taboo in the socialist ideology of the time. By placing the ‘tabooed’ code such as ‘desire’ in front of the work, it is against the ideology that the new Chinese society was aiming for at that time. The realization of erotism between a prostitute Xiao e and a son of ruined upper class Lao pu of the characters includes the resistance to deviate from socialist ideology, which needs to be paid attention. The work Red Powder shows a beauty of tragedy and sorrow by focusing on the looks of characters who failed in adapting themselves to the new social structure of new China, and the devices like ‘taboo’ and ‘violation’ are playing the central role in this work. The characters of this work are the ones alienated from the time such as prostitute, disabled person, and surplus human. Both Xiao e who refused to work, and Lao pu who was living lethargically refused to be rehabilitated into socialist-type humans, which means they are the ones who already violated the social ‘taboo’ as the people who were ousted to the outside the boundary of state. Just as the women’s desire for consumption is usually connected to moral disorder and violation of sexual custom, Xiao e is also described as a morally-dissolute, extravagant, and femme fatale look. Her femme fatale aspect could be seen when she freely used her own sexual allure to get what she wanted. And due to her vanity and extravagance, her husband Lao pu embezzled the company’s public funds, and eventually, faced a tragedy of being shot to death. Such a tragic ending for those two main characters who broke social ‘taboo’ not only means the failure of erotism, but also shows a discord between personal self and ordered society.
-
-
KCI연관 검색어 추천
이 검색어로 많이 본 자료
활용도 높은 자료
