은어의 문화정치학과 만주국 문학

봉인영 ( Bong¸ Inyoung ) 서울시립대학교 도시인문학연구소 2021 도시인문학연구 Vol.13 No.2

만주국(1932-1945)이 건국된 1932년에 출판법이 제정되어 시행되었고, 그 여파로 검열 체제는 마이크로 층위에서도 작동하여, 문화 및 문학 생산에 직접적으로 영향을 끼쳤다. 중국 작가들은 일제에 저항하는 목소리를 낼 수 없는 상황에 처하여, 은어, 즉 특정한 하위문화(subcultures) 그룹에서 사용하는 암호화된 언어로 표현할 수 없는 것을 표현하기 위하여 분투하였다. 은어(argot)에 관한 연구는 현재까지 주로 감옥, 퀴어 및 청년 하위문화를 중심으로 이루어졌다. 이 연구는 1933년에 출간된 샤오홍(蕭紅)의 「두 청개구리」를 자세히 읽기(close reading) 방식으로 독해하고, 일본식민지 시기 중국 현대문학에서 은어가 활용된 방식을 다루어 기존 은어 연구의 외연을 확장하며, 만주국 문학에서 표현된 은어의 문화정치학 및 심층적 함의를 규명한다. 이 논문은 작가가 기아와 역병이 만연하는 식민 통치의 비참한 현실을 고발하고 내러티브의 정치적 메시지를 주제화하기 위하여 은어와 문학적 비유어를 활용한 방식 및 저항의 행위가 집약된 시골의 공간성을 분석한다. 특히 텍스트의 주제를 구현하기 위하여 동물에 관한 상징성을 활용하고, 자연 풍경 묘사와 정동(affect)이 결합하는 방식을 논한다. 요컨대, 이 논문은 텍스트에서 동물을 활용한 상징주의로 항일의 메시지를 표현하는 방식을 분석하여 문화적 알레고리가 본질적으로 정치적 알레고리로 기능함을 밝힘으로써, 식민지 시기 샤오홍 문학의 예술성과 전복성의 함의를 제시하였다. The enforcement of censorship in Manchukuo (1932-1945) directly affected the micro level of cultural and especially literary production. Thus Chinese writers were forbidden to mention anti-Japanese imperialism or anti-Manchukuo activities. The strict atmosphere of censorship soon compelled Chinese fiction writers to perform self-censorship; they strived to express the ineffable using argot, a special coded language used by particular subcultures. Studies of argot have to date been mainly limited to prison, queer, and youth subcultures. This study examines the still neglected part of the field with a close reading of the story, “Two Blue Frogs,” published in 1933 by Xiao Hong in Manchukuo. Centering on the cultural politics of argot and the aesthetic effects of tropes, the discussion further addresses the ways in which they thematize the grim reality of colonial rule and the political commitment to revolutions, as expressed by the tropes related to animal symbolism and nature. Moreover, this paper explores how the use of argot and secret codes as literary devices enabled the author to depict a more vividly diabolical, sociopolitical milieu in which the colonized waited for death from famine and pestilence. The study concludes that cultural allegory can also be political, as the anthropomorphized frogs in the story symbolize anti-Japanese revolutionary figures and voices of resistance, simultaneously cloaking and powerfully expressing key anti-state activities.

情動과 ‘백색 테러’

봉인영(Bong, InYoung) 한국중어중문학회 2018 中語中文學 Vol.- No.73

How was affect expressed by those who were persecuted during the White Terrors in Shanghai, China? This article examines the relationship between affect and the White Terrors as described by Hu Yepin, Rou Shi, and Yin Fu—three of the Five Martyrs of the League of Left-Wing Writers—in their poems, short stories, and reportage. In particular, it draws on affect theory to analyze the ways in which affect was voiced through the lietmotif of darkness, anthromorphization, and singing. By conceptualizing these writers’ treatment of affect as politicized affect, the article addresses how affect was figured in their works in intricate association with tropes and other rhetorical devices, and how they took advantage of the unique nature of Chinese characters by using phono-semantic compounds. It further explores cultural and political mechanisms for coping with the appalling fear of death and the diabolical persecution rampant in the city, due to the heinous suppression of socialism in China during the late 1920s and 1930s. Although the literary works of Hu Yepin, Rou Shi, and Yin Fu have often been assessed as overt vehicles of socialist ideology and utopianism possessing little artistic value, this study suggests that their works are replete with multileveled, sensory affects in combination with symbolic tropes and the rhetoric of simile and synecdoche. An examination of the significance of particular words formed by phono-semantic compounds opens an avenue for a discussion of the current status of affect studies and a call for further research on the relationship between affect and cognition and on the actions taken by individuals in response to being affected.

일체 담론과 재제국화 ― 戰後 폴 리처드의 태양 상징과 우주적 의식

봉인영 ( Bong Inyoung ) 한국중국학회 2023 중국학보 Vol.106 No.-

이 논문은 프랑스의 폴 리처드(Paul Richard, 1874~1967)가 戰後에 출간한 저서 및 전기에 나타난 그의 태양 중심 사유 및 신토 이데올로기가 보편적인 우주적 사유로 확장되는 방식을 살펴본다. 또한 크라머가 “유럽에서 온 반세속주의자, 범아시아주의자”라고 부른 리처드가 1960년대 과학을 적극 활용하고 과거로부터 온 미래를 구축하여 신토주의를 보편화하는 방식을 탐색한다. 먼저 리처드의 종교적 다원주의가 아동기 때의 영적 체험 및 프랑스 바하이 신앙의 수장 압둘 바하와의 교류에서 비롯되었음을 논한다. 본고는 태양 상징의 심층 함의, 신토 중심의 일체 담론 재생산 기제 및 과거에기반한 현재 시간의 신격화 과정을 분석한다. 아동기 무한대에 대한 체험에서 출발하여 음양 사상으로 아시아 공통의 사유를 구성함으로써, 이 양극적 일체가 신토주의를 보편화하는 근거로 작용함을 밝힌다. 리처드는 아인슈타인의 ‘우주적 종교’ 개념을 활용하여 ‘우주적 의식’을 제안하였고, 이는 신토주의를 정당화하는 근거가 되었다. 이 논문은 리처드의 ‘우주적 의식’ 개념이 (유사)과학에 기대어 실제로 일본의 지배 이데올로기 재생산에 기여하고 있음을 제시한다. Based on close readings of Paul Richard’s writing on Japan after World War Ⅱ and his autobiography, this paper explores the ways in which Richard, defined by Kramer as an “anti-secularist pan Asianist from Europe,” constructed a past-driven time, a future from the past, to universalize Shintoism in the 1960s. This study first addresses the origins and complexity of Richard’s religious syncretism dating back to his spiritual experience in childhood as well as his encounter with Abdul Baha, the head of the Baha'i faith in France. Richard’s focus on the sun as a deity through analogies and experience of the infinite served as an underlying rationale that was integral to the formation of Asian thought and (biopolar) oneness for universalizing Shintoism. Moreover, this study shows that Richard drew from Einstein’s idea of “cosmic religion” to develop his notion of “cosmic consciousness” as a justification for Shintoism. Finally, this paper suggests that Richard’s cosmic consciousness, bolstered by (quasi) science, actually led to the recirculation of Japan’s imperial ideology.

샤오홍(蕭紅) 소설 관용구의 中-韓 번역전략

蔣迪 ( Jiang¸ Di ),봉인영 ( Bong¸ Inyoung ) 한국외국어대학교 중국연구소 2021 中國硏究 Vol.88 No.-

Studies of strategies for phraseme translation have heretofore primarily focused on the analyses of translating English into Korean or vice versa, either from a correspondence or formal equivalence perspective; it entails matching Source Text’s (ST’s) phraseme with Target Text’s (TT’s) similar or dissimilar phraseme, or by using a technique of explanation. Deviating from the established phraseme-phraseme approaches, this study employs skopos theory and functionalist approaches to interpret the Chinese phraseme within TT’s cultural and cognitive contexts. Drawing on Reiss and Vermeer’s approaches to culture-bound elements, the paper addresses ways in which ST’s culture and values are transmitted through those of in TT. Using a case study that translates Chinese phrasemes (e.g., chengyu, idioms, and proverbs) presented in Xiao Hong’s short stories into Korean, this paper argues that Chinese phrasemes could be translated into the general Korean lexicon while preserving its figurative implications, multi-layered meaning, and informativity. Moreover, this study suggests that translation of Chinese phrasemes into Korean general terms invokes the rhetoric of simile by appending adverbs and adnominal phrases in Korean. Lastly, this paper concludes that the addition of adverbs in the translation of chengyu can be optional as the main function resides in emphasizing translated sentences, while the addition of adverbs and adnominal phrases in the translation of idioms and proverbs is essential to delivering the correct meaning of translated sentences.