어문학부 : 20 세기초 대만의 어문 운동

민정기(Jung Ki Mihn) 한국중국학회 2001 中國學報 Vol.44 No.-

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청말 『점석재화보(點石齋畵報)』가 보여주는 동아시아 세력 관계 재편 속 대만 원주민 형상

민정기(Mihn Jung Ki) 한림대학교 아시아문화연구소 2010 아시아문화 Vol.- No.26

In this essay I have discussed how Dianshizhai huabao(點石齋畵報), a pictorial newspaper published in Shanghai from 1884 to 1898, visually represents Taiwan and it’s indigenous people in midst of political turmoil and power struggle in East Asia. Since the coming of western powers and mass immigration from the continent(Fujian province mostly), the natives of the island had no choice but to be degraded to “primitive”, “savage” minority. China boasts a long tradition of visually depicting it’s neighbours as the inferior “Other” in the context of Hua-yi (華夷) discourse, which influence is evident in Qing ethnographical drawings depicting Taiwan natives, especially in the case of raw-savages(生番) whom the drawers likely have never encountered but all the same gave fierce under-human forms similar to the imaginary beings of far away places found in Shanhaijing(山海經) drawings. The Dianshizhai huabao in part shared the same customs of representation, and this consolidated stereotype images the late Qing Chinese adopted in the modern context of their “inferior” neighbors in the new world order. Taiwan is usually represented as a place where powers collide, and it’s aborigines are in most part depicted as the passive and surrendering party. Sometimes they are shown as a party of less importance in the process of power struggle. In the very few pictures where Taiwan natives are the main subject, they are shown as tree climbing or man eating savages. Overall, the Taiwan natives, just as they had no authority over naming the island or over literal representation for themselves, they had but to be visually represented by the powerful others in the modern context. They were objects of domestication in the eyes of the Chinese in pre-modern times, and became the Other of the new world order dominated by the Western civilization. At least in the visual world of Dianshizhai huabao, they seem to have no place in the civilized modern world.

만청시기의 대중매체가 그려 보인 자금성-재현관행의 변화와 지속-

민정기 ( Mihn Jung-ki ) 인하대학교 한국학연구소 2015 한국학연구 Vol.0 No.38

1909년부터 1910년까지 1년 여 동안 상하이에서 발행되었던 『도화일보(圖畵日報)』의 창간호에 자금성의 실경이 실렸다. 이는 뒤 이은 혁명의 결과 자금성이 실제로 중국의 일반 대중에게 과거의 유산이자 관광지로서 드러나게 되기까지의 일련의 과정을 선취하고 있는 하나의 ‘시각적 사건’이었다. 그 전까지 자금성은 철저히 제한된 범위 내에서 그 신성성과 불가침성을 강조하는 재현관습에 따라 그려졌다. 이는 중국 근대 화보의 선구로, 시각재현에 관한 과거의 금기를 상당부분 깼던 『점석재화보(點石齋畵報)』(1886~1898)에서도 크게 달라지지 않았다. 반면, 『도화일보』에 실린 그림은 사진에 기초를 둔 것으로 기존의 관습과 시선을 전복하고 있다는 점이 무엇보다도 도드라진다. 자금성에 대한 사진적 재현, 그리고 지난 날 그것을 둘러싸고 있던 아우라의 제거는 분명 군권의 시대에서 민권의 시대로의 이행을 예견하고 선취한 사건이었다. 하지만 동시에 그와 같은 사진적 재현이 놓인 더 큰 맥락을 살펴볼 때, 즉 그것이 불가피하게 열강의 침탈 과정과 불가분의 관계에 있었으며 재현기술이 수반하는 특정의 시선에 기댈 수밖에 없었다고 할 때, 이는 중국이 아닌 것으로부터 ‘중국’을 재규정하고 앞날을 가늠해야 했던 중국 근현대의 지난한 자기 모색의 과정을 예견한 사건이기도 했다. In the first issue of the daily pictorial newspaper Tuhua ribao(圖畵日報) which was published in Shanghai from 1909 to 1910 for over a year, a realistic picture of Beijing’s Forbidden City was shown. This indeed was a ‘visual event’ which preceded the actual process of the Forbidden City being transformed into a historical site and a tourist attraction following the revolution and social change of early 20th century. Prior to this, visual representation of the Forbidden City in Ming and Qing era was restricted by customs that emphasize it’s sanctity and inviolability. These customs, of which the sacred cloud and mist played key role, were still intact in Dianshizhai huabao(點石齋畵報), the late 19th century Shanghai based pioneer of modern Chinese pictorial which overthrew many customs regarding visual representation. On the other hand pictures of the Forbidden City published in the Tuhua ribao which were unmistakably based on photographic depictions, is prominent in their parting with former customs and point of views. Photographic representation of the Forbidden City and elimination of the aura that traditional representation gave forth is clearly an event that foreshow the shift of times and ideas, and coming age of people’s rule. But at the same time, when we consider the bigger context on which the realistic-photographic representation lay, that the new form of representation is inevitably linked with the aggression of the Western powers and that certain techniques of representation is bound with certain point of gaze, it is an event that also preceded tough process of self-search and forecast of the future in the coming modern era, where the Chinese had no better choice but to reregulate themselves in terms of what are not ‘Chinese’.

'시계혁명'과 신식 창가 : '군가'의 발견과 '시'에 대한 부정 Discovering of Martial Songs and Denial of Shi Poetry

閔正基 中國語文硏究會 2003 中國語文論叢 Vol.24 No.-

Liang Qichao during his exile in Japan used every possible media to advocate reform of Qing China. In the process he asserted the need for new poetry as well as new fiction and new drama He presented Huang Zunxian's poems such as Farewell in modern days今別離' as meeting his standard of the 'Revolution of the World of Poetry(詩界革命)'- the harmony of new ideals(新意境) and traditional aesthetics(舊風格). He also praised Huang's lengthy narative poems as widening the scope of Chines poetry. But establishing a sound model for new poetry was not as easy as advocating new fiction, as leaving behind traditional poetic values that lasted through millenium was difficult. When Liang met with the new vocal music movement that was led by some Chinese students studying in Japan, he quickly aquires the new vocal music and it's lyrics into his arguement on new poetry. At the same time he discovers Huang's relatively crude 'Martial song(軍歌)' and praises it as the high tide of 'Revolution of the World of Poetry'. The praise of martial songs and new vocal music which mainly express patriotic nationalism as the future of Chinese poetry, as rhetorical as it is, shows the important factor which fuled the thinking of modern Chinese literature-hope for a rich and strong Chinese nation. Liang's stress on new vocal music in part led to the deconstruction of years old idea of what poems should be like. But on the other hand it narrowed the scope of the future of new poetry, depriving it of the power to aethetically and critically examine the modern conditions of Chinese life.

21세기 한국의 중국어문학 대학원 과정은 어떤 인재를 어떻게 양성할 것인가? : 현행 교과과정에 대한 검토와 향후 개선 방향에 대한 제안

閔正基 韓國中國語文學會 2003 中國文學 Vol.40 No.-

The key role of graduate schools of Korean Universities in the later half of 20th century was to import western knowledge and to train researchers/teachers who would skillfully conduct such duty Western knowledge and values which was internalized through the function of these institutions served as a basis for legitimization of the 'modem' Fields such as English language and literature, French language and literature, German language and literature, not to say of various disciplines in social and natural sciences, were key fields in such process. They were given mission to educate languages of 'developed' nations/regions and to train educators of these languages They were also given mission to educate and conduct research on Western literature which was thought to bear the essence of Western civilization and to tram professionals to do such work Although they fundamentally supported the modernization process of the Korean society, these disciplines also critically tackled the process based on various critical thinkings burrowed from the West It can be said that these disciplines were at the core of the production/reproduction of discourses in Korean society Chinese language and literature, although a line up in the field of foreign language and literature, due to historical and political circumstances had a quite different position. In an era where Western-modern civilization was considered the ultimate role-model, Chinese ideas and literature had little meaning in the eyes of the 'modern' Koreans. Loss of direct contact with Chinese society(other that Tiwan) during the cold-war age, also was a important factor of such neglection Graduate schools of Chinese language and literature were few in numbers It even seems a miracle that this discipline was institutionalized after all Unable to participate in the process of legitimizing the 'modem', and in the same token in the process of criticizing it, this discipline took the duty of preserving the classical knowledge which was considered, mainly by the members of the discipline of course, to bear 'timeless truth' Research and teaching was more or less restricted to Chinese classics, literature of modem China was considered a taboo, for it was perceived as leftist literature Entering the 1980s, circumstances surrounding the discipline began to change First, Critical role of disciplines in the humanities field became bigger as Westernization- modernization began to be questioned after long years of hard dictatorship and state driven modernization of economy Younger generation of researchers in the Chinese language and literature field began to question the scholarship centered on classics, and yearned to participate in the critical discourse of the times Modern Chinese literature in spite of all the restrictions caught the interest of many and was used as a source for advocating the alternative Modern Chinese vernacular was taken as an important tool to appropriate modern Chinese texts Second, with the fade of cold-war age, direct/indirect contact with China increased rapidly, and with establishment of diplomatic relations with mainland China in 1992, request for pragmatic knowledge of China increased Demand for skillful users of Chinese language also increase rapidly Third, as Korean economy entered such stage of capitalism that uses knowledge and information as important capital, the state is stressing the universities and graduate schools to produce multi-functional individuals as compared to one field professionals educared under strictly divided disciplines who served as a main work force for the industrialization in the past decades The state is constantly requesting 'reform' Fourth, there is also voices within the academic institutions calling for reform, although from different perspectives Critical scholarship is calling for a new system to place the old department based graduate schools in order that it can produce discourse other that pro-Westernization/modernization discourse The discipline of Chinese language and literature as well as the graduate schools that make the stem of the field is facing such challenges that it has to change somehow in order that it would survive and become something of a meaningful scholarship in the Korean society I suggest that we who make part of the discipline have to come to some degree of agreement on future agenda of our discipline. In suggest that it should be renewed into a more open field which I think can be achieved by reviving the traditional Chinese term 'wen(文)' which means civilization and culture and wider usage of 'text' as well as modern aspect of literature/words By introducing wider scope of Chinese 'text' into our studies we can hopefully widen our place regarding the future stance of the field. More important, we have to agree upon what characteristics the new Chinese language and literature should have I argue that it should produce knowledge that increase our understanding of our big neighbour and this contribute to our peaceful co-existence and also contribute to maintaining the diversity of our cultures The new Chinese language and literature will have to produce knowledge other that Western Chinese studies(or Sinology) and Japanese Singaku(支那學) used to produce in the process of defining 'the other' for the sake of ruling and exploiting. What it produces will have to be and can be different from what scholarships of English, French or German language and literature in Korea used to produce, which mainly contributed in internalizing Western values The new Chinese language and literature can act as a meaningful joint in the network of Korean humanistic studies if it become a scholarship which is critical to Western-modern values as well as Sino-nationalism, Graduate schools of Chinese language and literature in Korea in the future should be able be able to raise a new generation of researchers/teachers who could work in this context. Chang cannot be made in a short period of time But we will have to prepare what we can Current curriculum of major Graduate schools of Chinese language and literature in Korea proved unworthy to adapt to new circumstances and raise productive researchers and teachers I suggest that it should undergo reform very soon, and especially need to renew and intensify following areas First, courses on the basics of Chinese studies, dealing with used of important tool books, approaches to bibliography, etc Second, courses on reading and translating classical Chinese and modern vernacular Chinese Third, courses on the History of Chinese Language and Literature Fourth, courses on contemporary philosophy and methodology useful in interpreting Chinese texts as well as courses that cover wider range o topics on China other than language and literature Reform is critical especially in the case of coursework for master's degree

南社 - 관련 자료와 가능한 연구 방향에 대한 검토

민정기 한국중국어문학회 2001 中國文學 Vol.35 No.-

Nanshe(南社), even thouth acclaimed as the most influential circle of intellects in Late Qing-early Repubican China, has never been seriousy studied even by the Chinese scholarship. The neglection, I presume, has to do with the difficulty of interpreting the seemingly big gap that exists between their rather radical political vision and their conservative attitudes concerning literature. The fact that the Chinese scholarship tends to degrade literature movements prior to May Fourth movement could also be a factor which caused the neglection. I myself think that proper studies of Nanshe could broaden our understanding on diverse ideas that formed the Chinese 'modern' (literature). In this essay, I have surveyed basic materials concerning Nanshe, including their official publication Nanshe and important notes and studies on the circle ranging from Hushi(胡適) and Luxun(魯迅)'s criticism to recent studies. Following the survey I have argued that in order to properly discuss the characteristics of Nanshe literature it is critical to overcome the idea which pretends that modern Chinese literature followed a single line of 'evolution'. Following the argument I have suggested some possible subjects which could be tackled in the future.