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아편전쟁 재현정치학의 계보 ― 동아시아 각국의 아편전쟁 영화를 중심으로
윤영도 한국중국현대문학학회 2019 中國現代文學 Vol.0 No.91
The popular narratives about opium wars, which have been reproduced in the films of the East Asian countries, has been continued the history of representation almost for 70 years from the drama ‘Ahensenso’(1929) to 1997 ‘Opium war’(1997). These films have been produced on the social circumstances of three eras, including the era of imperialist war, the era of Cold War, and the era of post-Cold War, and have operated their own politics of representation, in the context of each era and each region. ‘Ahen senso’ (Japan, 1943), ‘Wan shi liu fang (aka ‘Eternity’)’ (China, 1943), ‘Lin Zexu’ (People's Republic of China, 1959), ‘Opium War’(Taiwan, 1963), ‘Apyeon jeojaeng (aka ‘Opium Wars’)’(South Korea, 1964), and ‘Yapian zhanzheng (aka ‘the Opium War’)’ (People's Republic) 1997) is the films of Opium war in each countries of East Asia. This paper explores the origin of narratives of the six films mentioned above, and then examines the meanings and the genealogy of the chain in East Asia in three historical contexts of the imperialist war, the Cold War, and the Post-Cold War.
‘권/권리’ 개념 절합의 계보학 — 『만국공법』을 중심으로
윤영도 한국중국현대문학학회 2020 中國現代文學 Vol.0 No.95
Among the modern conceptual words created by William Martin as a translated language in the Wanguogongfa(萬國公法), relatively few have survived. And the words related to ‘Quan/Kwon/Ken(權)’ have some quite portion among the few. 'Quan/Kwon/Ken' can be said to be a very problematic translated word because it has been wondered if it properly contains the meaning of the original language (English) as a translation language. In this paper, I would like to examine the genealogies of the epistemic articulation that took place in the course of the transition of the modern discourse order in East Asia countries, focusing on the translation of “Quan/Kwon/Ken”, which is one of the translated words of Wanguogongfa that survived in the modern discourse. Not only in that it is a fundamental concept that defines the relationship between the modern nation-state and its most basic members, the people (or citizens), but at the same time, it is the premise of the existence of the state, like sovereignty, which is the most fundamental of the modern international order. It can be said that it is very meaningful work to re-examine the process of the modern transition of the discourse order from the point of view of the concept related to “Quan/Kwon/Ken”.
『형제』의 리얼리즘과 그 서사적 총체성에 관하여 ― 『형제』를 둘러싼 논쟁과 그 쟁점을 중심으로
윤영도 한국중국현대문학학회 2010 中國現代文學 Vol.0 No.53
Yu Hua(余華) is one of the most famous writer in contemporary China and one of the most popular chinese writer in Korea. His 90's novel, Huozhe (活着 ; translated into English as “To Live”) and Xu Sanguan mai xue ji (許三觀賣血記 ; translated into English as “Chronicle of a Blood Merchant”), which is a portrait of life for the Chinese during Anti-Japanese War and Chairman Mao’s reign, have steadily being loved by korean readers, but his recent novel Xiongdi (兄弟 ; translated into English as “Brother”) has caused some dispute between reviewers in China and Korea. Some reviewers have highly appreciated as much as Xu Sanguan mai xue ji and Huozhe, but Some others have criticized severely that this novel is beneath notice. For more proper valuation, we have to investigate more deeply into the text and context. This thesis is trying to analyze Yu Hua's novels through the concept of ‘chronotope’ and ‘narrative totality'. It will help us to understand the meanig of Yu Hua's novels as a ‘totality’, in terms of aesthetics.
전후 홍콩 영화와 동아시아 문화냉전의 절합 - 1940년대 후반부터 1950년대를 중심으로
윤영도 중앙대학교 외국학연구소 2013 외국학연구 Vol.- No.23
This paper explores the role and meaning of Hong Kong Cinema in the process of articulation between East Asian regional order and global cultural Cold-War from 1945 to 1960. Hong Kong had been on the border between two ideological camps, the leftist pro-CCP and the rightist pro-KMT Both camps were able to coexist and compete to achieve cultural hegemony not only in Hong Kong, but also in East Asia. The Hong Kong cinema was an critical battle field for media during the cultural Cold War in East Asia. Hong Kong was the only country which had the ability to produce and distribute films into the international film market through an overseas Chinese network in East Asia, especially in Malaysia and Singapore. The formation of the cultural Cold War in Hong Kong film industry was started from the discord and struggle between leftists and rightists who had immigrated from mainland China, especially from Shanghai during the second Chinese civil war. During the 1950s, the outspoken propaganda war had been gradually dismissed and substituted by more commercialized and more covert cultural Cold war.
식민/탈식민시기 영화 속 타이완원주민 재현과 소비- ‘사욘’을 중심으로
윤영도 중앙대학교 외국학연구소 2017 외국학연구 Vol.- No.42
Stories about Taiwanese Aborigines, including the Atayal people, have been narrated and represented by the others who have the hegemonic power and language. In the concept of G. C. Spivak, exactly they are "the subaltern" who can not speak. But recently Taiwan aborigines began to narrate their own stories in their own voice through movies, such as Warriors of the Rainbow: Seediq Bale and Finding Sayun, which was released in 2011. This paper compares three films which are based on the story of an Atayal girl, Sayon (Sayun), who disappeared in the rapids during the Japanese occupation period. Sayon’s story has been reproduced and interpreted in different ways in three films: Sayon’s Bell (1943), Sayon (紗蓉) (1958), and Finding Sayun (2011). This paper analyzes the political implications and the cultural contexts of each movies, which produced in the Colonial period, the Cold War period, and the Post-Cold War period, and especially focuses on the representation and the discourses of Taiwanese aborigines. In conclusion, the last film, Finding Sayun, is an important example of the self-narrative of Taiwanese aborigines.
홍콩 영상매체 속 ‘내지 신이민’ 재현과 문화정치학의 변천
윤영도 한국중국현대문학학회 2012 中國現代文學 Vol.0 No.63
In the 1970’s, Hongkonger has created their local consciousness as permanent residents rather than temporal migrant, and started to construct their own cultural identities by representing the ‘New arrivals from mainland’ as ‘the other’ who has been supposed to have opposite features to Hongkonger. Popular visual media such as films and television series has been playing the key role in building Hongkonger’s identity and othering ‘New arrivals’. This paper explores the history of social changes and the context of identity conflict concerned with the ‘New arrivals’ in Hong Kong,and analyzes the representative politics in several significant texts from 1974, when the regulation on illegal border crossing has started up with the launch of ‘Touch-base policy’. For the past 40years, There has been some severe changes in representation of the ‘New arrivals’ in Hong Kong films and TV series, and it has been reflecting and also been influencing the cultural politics and articulation between Hongkonger, ‘New arrivals’, and China in the real world.