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반면교사로서의 유럽 - 량치차오(梁啓超)의 "구유심영록(歐游心影錄)"에 대한 일고찰
백지운 한국중국현대문학학회 2006 中國現代文學 Vol.0 No.39
Ouyouxinyinglu(歐游心影錄節錄) marks a turning point in Liang Qichao(梁啓超)'s life as a thinker. On the one hand, through the two times of political failures(Bianfa Weixin and Xinhai Geming), he needed a complete reconsideration of nation-building; on the other hand, the burst of World WarⅠ and the spread of social revolution made him reexamine modern civilization of West of which he had followed the pattern for modernization for China. In the concrete, Liang Qichao tried to figure out some important problems : first, he was to investigate the remote and immediate causes of World WarⅠ. In the course of this, he analysed the 'democracy' and 'science' which have stood for the modern western world. Second, he was interested in the future of newborn nation-states of the Balkan Peninsula. He expressed his sympathy for those new countries, but at the same time, he concerned that they could become the seed of discord of future world. Third, he needed to establish an angle of view of social revolution which was disseminated throughout the world directly after the war. Forth, he focused on where to find out a prospects of civilization, while all the conflicts between nations, races, classes go to extremes. In conclusion, his key concern in Ouyouxinyinglu was to find out a way of nation-building without statism. In order to avoid a precedent failure of west, racial conflict and class conflict, he had to not only think about building a modern nation, but also ponder upon an supernational principle which could control over the brutality of modern nation. It was in the The Grand Unity Thought that he searched for this supernational principle. And to form out this principle, he excavated and reconstruct a "collective leadership system of feudal lords(方伯集團的政治)" in Chunqiuzhanguo Shidai(春秋戰國時代). Thus, he suggested "Cosmopolitan Nation", an antinomic coexistence of both nation and cosmopolitanism as a course China should take.
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백지운 한국중국현대문학학회 2011 中國現代文學 Vol.0 No.58
The first Taiwan literary work introduced in Korea is Sayonara, Zaijian, Huang Chun-ming's collection of short stories, which was published as one of the “third-world literature” series of Changbi publisher in 1983. A story “Two Painters” in the collection was adapted into a play named “Chilsu and Mansu” in 1986 with both critical and popular success, and was made into a movie of the same title by Park Kuang-su, a forerunner of the Korean New Wave Film movement in 1980s. The fact that Huang Chun-ming's story was welcomed by Korean audience is attributed to the similar historical paths and social structure since modern times. Also, a vigorous atmosphere of the third-world alliance movement across the East Asian cultural arena around the 1970s was one of the factors that conveyed Nativist literature into Korean cultural sphere. Like Chinese and Japanese scholars, Korean intellectuals began to focus on the Taiwan literature through the Nativist Literature debates of 1977-1978. However, there was a special element peculiar to Korean circumstance. It was the National Literature debates which have heated up the Korean literary world since the late 1960s. The obvious resemblance between the National Literature discourse and the Nativist literature discourse was that both insisted on the literature's societal engagement and criticized modernism literature for its blind following Western literature. The specific themes of the literary works which support these two discourses consist of overcoming the Japanese colonial legacy and the class contradiction arisen by rapid economic growth, the direction of third-world national liberation movement, and the national division problem etc. In addition, the path where the Nativist Literature came out of the soil of modernism and soon after opposed to it is comparable to that of the National Literature in Korea, which was born out of the “Pure-Engaging Literature debates” in the early 1960s and had been through long contention with modernism. Since 1990s, with the advent of postmodernism, Nativist Literature and National Literature have faded away. However, a comparative research on these two literary phenomena that once built a united front in each locus in the name of “Nation” and “Native” during the 1970s, and diverged in the middle of the socio-cultural upheaval of 1980s, and finally waned under the dominance of the postmodernism is still worthwhile because it would make it possible to view some local cultural issues within the broad framework of East Asia.
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재난서사에 대항하기― 쓰촨대지진 이후 중국영화의 재난서사
백지운 한국중국현대문학학회 2014 中國現代文學 Vol.0 No.69
The disaster narrative is a competitive arena between theauthoritative interpretation and the counter interpretations of adisaster incident. The disaster narrative is paradoxical in the waythat the opposing narratives end up consolidating the authoritativenarrative. This paradox indicates the disaster narrative’s limit andhighlights the significance of the counter-disaster-narrative. For a theoretical establishment of the counter-disaster-narrative,this article refers to Frankenstein as oppositional Arctic writing inimperial English society. While the mainstream Polar writingsintend to transform the disaster during Arctic expeditions intofanatical applause for national heroes, Frankenstein chooses to facethe fear and anxiety that permeates English society. Here, theoutline of the counter-disaster-narrative emerges. By transformingfrom a social tragedy into a hopeful drama, disaster narrativesconsolidate the existing social structure rather than questioning it. In this context, Frankenstein’s coping mechanism for social anxietyand fear provides a useful theoretical basis for the counter-disaster narrative. Based on this framework, this article analyses Chinese disasternarratives after the Sichuan Earthquake focusing on Aftershock(2010) and Back to 1942 (2012), both of which are directed by FengXiaogang. These two movies provide a stark contrast in theirdepictions of disasters. While Aftershock transforms the nationaltrauma of the Tangshan Earthquake into a drama of hope andprosperity, Back to 1942 cuts off the channel to hope with anunrelenting portrait of a dystopia after the Henan Famine. Back to1942 leads us a fundamental question of what disaster narrativesshould be. The disaster narrative is more about humans andsociety than nature. As Frankenstein explains that fear about themonster is actually rooted in our deep-seated fear about thebrutality of the “civilized” human beings, Back to 1942 connotes ananxiety lurking deep down in a contemporary Chinese society thathas been rushing toward becoming a global power.
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백지운,이충현 한국멀티미디어언어교육학회 2018 멀티미디어 언어교육 Vol.21 No.4
Language learners in Asian EFL contexts find spoken English challenging due to insufficient exposure and opportunities for practice. Many researchers investigated multiple tools and methods to improve this, and one of the ways that has been gaining increasing popularity is the incorporation of mobile devices. Although its potential is widely recognized, it is seldom realized in real classes. A popular teaching approach using such technology appears to be blended learning, which attempts to maximize practice and promote autonomous learning. This study employed a blended learning environment using mobile devices and a social networking app to investigate students’ engagement in English speaking classes. Participants in this study were 112 intermediate students at a university in Korea, using Kakaotalk to discuss and summarize lesson contents as well as a medium for peer and teacher feedback. A questionnaire and classroom observations were used to examine students’ perceptions on mobile assisted blended learning (MABL), and their engagement of the activities. The results showed highly positive perceptions and engagement overall for the framework of MABL, although some students were skeptical due to the difficulties they encountered. Assessment of the effectiveness of MABL in enhancing students’ speaking performance is suggested for future research.
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코스모폴리타니즘의 동아시아적 문맥 ― 조계도시 상하이의 문화분석을 위한 시론
백지운 한국중국현대문학학회 2009 中國現代文學 Vol.0 No.48
The object of this article is to critically reconstruct the cosmopolitanism discourse of Shanghai. Generally, cosmopolitanism, which germinated in the idealism of the Enlightenment as a pedagogical and political project, cannot be freed from the criticism of universalism. The same problem is seen when we explain the cultural identity of Shanghai in the 1930s with cosmopolitanism: cosmopolitanism is usually equated with westernization and this tendency is displayed when we distinguish today's Shanghai which is emerging as an international city. For this essay, I reviewed three studies which analyzed Shanghai culture from different points of view. They were authored by: Leo Ou-fan Lee, Chen Si-he and Meng Yue. Unlike Leo, who described Shanghai’s culture in terms of cosmopolitanism reducing its colonialism, Chen and Meng actually start their analyses from the premise of its colonialism: where Chen characterized Shanghai culture as antinomy due to colonial deformity, Meng deduced post-colonial cultural practices from the local unruly anti-imperial activities that disturbed the hegemonic master cord of the New Culture Movement. However, both share the common limitation in that their critical view is limited to Sino-Western dualism, more fundamentally the limitation of the absence of an East-Asian view. If we say cosmopolitanism is the manner by which a city acquires internationality, it must not be restricted to the West but should be reconstructed from the network among the nation-states, empires and colonies that have existed in the East-Asian region including Japan, Korea, Russia and China.
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