文献资料: 学术研究的基础和根据 ― 中国现代文学中有关韩国创作和译作的文献问题

김재욱 한국중국현대문학학회 2010 中國現代文學 Vol.0 No.52

In the former half of the 20th century, Chinese literature joined the flow of world literature in the transition from tradition to modernity. It was during that period that a noteworthy literary phenomenon happened in Chinese literature. It involved the emergence of works that described foreigners and foreign lives and the translation of literary works of many different countries into Chinese. Part of the literary phenomenon, the works related to Korea and Koreans claim a certain position in the history of Chinese literature. The works related to Korea and Koreans in that period can be divided into two categories; one includes the works that depict Koreans' overseas lives, wandering lives and struggles to gain back independence in China and Russia after Korean Empire fell into the colonial rule of Japan; the other category includes the works that depict Koreans and their lives in Korea during the colonial days. A good number of Korean and Chinese researchers have conducted researches on modern Chinese literature since a Chinese professor named Wang Yao did “A Study on the Modern Chinese Literary Works Related to Korea and Koreans” in 1951. According to the investigator's examination, the researchers have discovered 63 “modern Chinese literary works related to Korea and Koreans” so far and developed discussions about them. As argued in Chapter 2, however, their researches have disclosed some shortage in the aspect of “discovering works related to Korea and Koreans.” The investigator set out to examine total 150 modern Chinese literary works and total 29 translated works related to Korea and Korean to promote researchers' understanding of “modern Chinese literary works related to Korea and Koreans.”

최근 중국현대문학 연구와 융복합 연구 방법론 모색

강에스더 중국어문연구회 2018 中國語文論叢 Vol.0 No.89

Chinese Literary Society of Korea University was founded in 1988, and has published Journal of Chinese Language and Literature (JCLL) for thirty years. For its history and authority in domestic Chinese studies world, JCLL is one of the most important Chinese studies journals when trying to understand the current tendency of Chinese studies in Korea. JCLL has published 383 papers on Chinese language and Chinese literature for last five years, and it has relatively considerable portion in Chinese modern literature research field. Especially, it reflects the rapidly changing modern Chinese literature research trend, and has a lot of papers on various subjects. For example, Hong Kong literature, Taiwan literature, Chinese ethnic minorities’ literature, Sinophone literature and so on. In addition, it also contains a lot of papers on the subject of modern Chinese culture. When it comes to “Text” and “Context”, JCLL has a lot of text – centered papers, but context – centered papers are getting more and more too. However, comparing to other journals, it still has literature – centered and text – centered papers more. This is because it is trying to adhere to its own policy of focusing on ‘Chinese language’ and ‘Chinese literature’. As the age of the Fourth Industrial Revolution has come, convergence research methodology is becoming popular. JCLL has a lot of potential to contribute to the development of modern Chinese literature research based on its own unique features. In particular, in terms of the importance of liberal arts, its conservative trait is noteworthy.

探究韩中现代文学比较研究 -以21世纪初10年(2001∼2010年)的韩国为中心-

유재성 동아인문학회 2011 동아인문학 Vol.20 No.-

The article aims to explore the progress on the research performance conducted during the first decade of the twenty-first century (2001~2010) and examine the principal of the study considering how the direction of Han Chinese scholars had conversed from the self-monitoring and thorough introspection standpoint among the three issues that are suggested by Professor Park Jae-woo in his comparative study on modern Korean and Chinese literatures amid active research request of the academic circles of Korean literature. In regard to data collection, the study gathered and put together all dissertations and books on the comparative studies of modern Korean and Chinese literatures that were published between 2001~2010 in Korea, except for papers released in China and other countries. As a study result, a total of 66 desertions were published and 17 of them were released by Korean scholars who study Chinese literature, while ten of them wereby scholars of Korean literature; there were two articles co-authored by scholars of Chinese and Korean literatures, which totaled 29 papers. On the other hand, 37 papers were released by Chinese scholars and 27 of them by Han Chinese scholars of mainland China and 9 articles by ethnic Korean scholars. Of them, one paper was co-authored by Korean and Chinese scholars. The study is classified by its direction, such asparallel comparative study, comparative study of impact, and interaction research. The article aims to explore the progress on the research performance conducted during the first decade of the twenty-first century (2001~2010) and examine the principal of the study considering how the direction of Han Chinese scholars had conversed from the self-monitoring and thorough introspection standpoint among the three issues that are suggested by Professor Park Jae-woo in his comparative study on modern Korean and Chinese literatures amid active research request of the academic circles of Korean literature. In regard to data collection, the study gathered and put together all dissertations and books on the comparative studies of modern Korean and Chinese literatures that were published between 2001~2010 in Korea, except for papers released in China and other countries. As a study result, a total of 66 desertions were published and 17 of them were released by Korean scholars who study Chinese literature, while ten of them wereby scholars of Korean literature; there were two articles co-authored by scholars of Chinese and Korean literatures, which totaled 29 papers. On the other hand, 37 papers were released by Chinese scholars and 27 of them by Han Chinese scholars of mainland China and 9 articles by ethnic Korean scholars. Of them, one paper was co-authored by Korean and Chinese scholars. The study is classified by its direction, such asparallel comparative study, comparative study of impact, and interaction research.

중국 근현대 통속문학의 성격 논고

張乃禹(Zhang Naiyu) 중국어문학연구회 2021 중국어문학논집 Vol.- No.129

Chinese modern and contemporary popular literature was formed in line with the development and context of Chinese literature, established in the course of negotiation and convergence with full-scale literature, and is placed on an extension of Chinese traditional literature by utilizing Chinese characteristics in cultural ideas and aesthetic ideas. In accordance with the development of the times, numerous modern elements such as pop culture, electronic media and market operation are melted, forming another form of modern Chinese literature. So "modern city," "popular media" and "citizen consciousness" can be said to be three basic elements closely related to Chinese modern and contemporary popular literature. However, the phenomenon of "patterning" in the narrative and aesthetic expression of Chinese modern and contemporary popular novels, which have both been influenced and constrained by mass media and marketability, emerges as one of the prominent features. Popular literature is inseparable from popular culture. The formation of large cities with the background of the development of popular culture, the development of media, the emergence of civic groups, and the composition of civil society provided indispensable premises and foundations for the development of popular literature. Citizenship" is a basic component closely related to Chinese modern and contemporary popular literature. China"s distinctive urban pop culture has now been shaped by the huge Chinese citizen class, and the prosperity of popular literature has developed in this very stable yet rapidly changing pace of the city"s pop culture atmosphere. The mass media has changed the concept of creation and aesthetic form of modern and contemporary Chinese novels. The fact that mass media have mechanical characteristics of mass input and production affects popular literature. Thus, popular literature secures its identity as a media product based on the premise of mass production and distribution. The patterned popular novels are welcomed and loved by readers because, above all, the combination of patterns itself is full of joy. Patterns are an important means of expression of popular novels, which cannot be popular novels without formalized structures, certain creative patterns and formalized paradigms.

중국 근현대문학의 자발적 타자, 사이노폰 문학

임춘성 ( Yim¸ Choonsung ) 성균관대학교 성균중국연구소 2021 중국사회과학논총 Vol.3 No.2

중화인민공화국은 공식적으로 중국 대륙 내의 문학을‘한어(漢語)문학 (Chinese literature)’이라 하고 대륙 밖의 중국어 문학을‘화문(華文)문학(literature in Chinese)’이라 일컬었다. 화문문학이 문자에 초점을 맞춘 것이라면, 언어에 초점을 맞춰‘화어(華語)문학’이라 하고, 창작 주체에 초점을 맞춰‘화인(華人) 문학’이 라고도 한다. 한어문학은 대륙에서 다수자 문학이지만, 화문문학/화인문학은 현지 (거주국)에서 소수자 문학이다. 스수메이(史書美) 등은 다수자 문학으로서의‘한어 문학’과 대립하는, 소수자 문학으로서의‘사이노폰 문학’(sinophone literature)을 차별화할 필요성을 주장하고 있다. 이 글에서는 중국 근현대문학의‘자발적 타자’라는 관점에서‘사이노폰문학’을 고찰하려 한다. 우선 기존의 한족 중심의 중국 근현대 문학사 담론의 배제와 복원 그리고 팽창 경향을 약술한 후 스수메이의 논술을 중심으로 사이노폰 연구와 사이노폰 문학 연구를 탐토(探討)하고, 주요 쟁점인‘디아스포라 반대’(against diaspora)에 초점을 맞춰 비판적으로 고찰 하고자 한다. The People’s Republic of China officially referred to literature within the Chinese continent as ‘Chinese literature(中國文學)’ and Chinese literature outside the continent as ‘literature in Chinese 華文文學).’ If Hwawen literature is focused on language, it is also called ‘Huaren Literature(華文文學),’ focusing on the creative subject. Chinese literature is a majority literature on the continent, but Huawen/Huaren literature is a minority literature in the local(resident country). Shu-mei Shi argues for the need to differentiate ‘Sinophone literature’ as minority literature, which is at odds with Chinese literature as a majority. In this article, we examine the Sinophone literature as a other of modern Chinese literature. First of all, we will review the tendency to otherization and expand in the discourse on modern Chinese literature and explore the concept of Sinophone, focusing on Shumei Shih’s discussion.

경성제국대학 부속도서관 내 백화체 문학 장서의 구성 연구

이윤희 한국중국소설학회 2019 中國小說論叢 Vol.57 No.-

Currently, 938 copies of the vernacular Chinese literature books published in China during the 1920s and 40s are preserved in the torture archives of Seoul National University’s central library. This is a collection of books collected under the leadership of Karashima Takeshi, who was then a professor of department of Chinese language literature at Kyungsung Imperial University, and accumulated data reflecting his plan to recognize modern China with contemporary living literature. The collection of literature books by 316 authors, including leading newspaper writers such as 魯迅, 周作人, 郭沫若, 茅盾, 蔣光慈, 巴金 and 沈從文, as well as lesser-known writers such as 王獨淸, 周全, 汪靜之 and 胡山源. The genre of fiction, poetry, prose and play are evenly distributed, as well as a number of literary theory books. It is noteworthy that the literary theory preserves a number of books on revolutionary literature as well as literary theories related to genres such as novels, plays and poems. The theory of emerging literary arts, introduction of Russian literary theory and revolutionary literary works can be read as an example of how the collection of books was guaranteed a certain amount of autonomy and discretion, even though it was an Imperial University library founded by the colonial authorities. In addition, through the collection of vernacular Chinese literature books, you can also see the publication of various books and books by the several literature groups, which was a universal phenomenon in the literary world at the time. As well as various books such as 文學叢刊, which are the largest modern literary books organized by 巴金, and 小說月報叢刊, 文學硏究會叢書. There are also relatively complete books, including 144 volumes of 商務印書館, which are the main reports of modern translation literature. <說部叢書> and 民衆小說戱曲讀本 are not vernacular Chinese literature books but are notable for their collections showing the academic interest of Karashima Takeshi, who was also a researcher of Chinese literature. The collection of vernacular Chinese literature books is a “broad basic material” encompassing genres and themes, a document book that reflects the achievements of Chinese modern literature in the first half of the 20th century, and is expected to be actively utilized by Korean scholars afterwards. 현재 서울대학교 중앙도서관 고문헌자료실에는 1920~40년대 중국에서 출간된 백화체 문학 도서 938권이 보존되어 있다. 이는 당시 경성제국대학 지나어문학과 교수였던 가라시마 다케시의 주도 하에 수집된 도서 컬렉션으로, 동시대의 살아 있는 문학으로 현대 중국을 인식하고자 하였던 그의 구상이 반영되어 축적된 자료들이다. 백화체 문학 도서 컬렉션에는 魯迅, 周作人, 郭沫若, 茅盾, 沈從文, 蔣光慈, 巴金 등 신문학 대표 작가는 물론이고 王獨淸, 周全平, 汪靜之, 胡山源 등 잘 알려지지 않은 작가에 이르기까지 316인 저자의 저서가 소장되어 있다. 소설, 시, 산문, 희극까지 장르 역시 고르게 구비되어 있으며, 문예이론서도 다수 포함되어 있다. 문예이론에는 특히 소설과 희극, 신시 등 장르 관련 문예이론은 물론 혁명문예이론 저서가 다수 보존되어 있는 점이 주목할 만하다. 錢杏邨 등의 신흥문예이론, 러시아 문예이론 소개와 혁명문예작품 등은 그곳이 식민 당국이 설립한 제국대학 도서관이었음에도 불구하고 도서 수집 당사자의 재량과 자율성이 일정 정도 보장된 문서고였음을 말해주는 예증으로 읽을 수 있다. 이 밖에 백화체 문학 도서 컬렉션을 통하여 당시 문단의 보편적 현상이었던 각종 총서와 문학사단 저서 출간 또한 확인할 수 있다. 巴金이 기획한 최대의 현대문학총서인 文學叢刊을 비롯하여 小說月報叢刊, 文學硏究會叢書 등 다양한 총서가 있을 뿐 아니라, 근대번역문학의 보고라 할 수 있는 商務印書館의 <說部叢書> 144권을 비롯하여 民衆小說戱曲讀本 33권 등도 비교적 완정한 총서로 보존되어 있다. <說部叢書>와 民衆小說戱曲讀本은 백화체 도서는 아니지만 중국 속문학 연구자이기도 했던 가라시마 다케시의 학문적 관심을 보여주는 소장본으로 주목할 만하다. 백화체 문학 도서 컬렉션은 장르와 주제를 망라한 ‘방대한 기초자료’로서 20세기 전반 중국 현대 문학의 성과를 반영하는 문서고이며, 이후 한국 학자들의 적극적인 활용이 기대된다.

한국 근대문학 자료의 목록화에 대한 시론(試論) - 상호텍스트성과 양층언어현상을 중심으로 -

김한성 ( Kim Han-sung ) 숙명여자대학교 한국어문화연구소 2017 한국어와 문화 Vol.21 No.-

This paper attempts to explain the necessity of both close reading and distant reading when interpreting and understanding modern Korean literary texts from 1895 to 1945 in general. Readers of modern Korean literature works need to have a bigger picture to see modern Korean literature through distant reading after reading texts as close as possible. Diglossic circumstance in the modern period lets readers to think over the complex relationship between Korean vernacular letters and Chinese characters. Korean readers will understand Korean language and literature better by comprehending intertextual dynamics between Korean vernacular letters and Chinese characters. This paper examplifies Yi Sang(1910-1937)`s poem, Poem Number One. Yi Sang saw that Korean literature is “belated by several decades behind others” (20), and he tried to catch up to other literature fields, such as those in Japan or the West, by composing unfamiliar poems for readers. Contemporary Korean critics shared his idea of Korean literature, but have wrongly believed that Korean literature should be severed from premodern literary works for the modern progress, and especially should be censored from Chinese texts. These critics seem to be worried that Chinese texts can deteriorate the identity of Korean literature by refusing autonomous Korean literature in its history. However, they misunderstood Yi, because Yi never argues the separation from classical literature. Rather, Yie puts the traditional diglossic arrangement in Poem No. 1, whose intention is clearly shown from Poem No. 2, which was wholly composed in Korean vernacular. His argument of belatedness is the lack of premodern understanding to modern Korean readers, not severing the tradition of premodern. Yi, who has been acclaimed as one of the most modern, experimental, and creative writers in contemporary Korean literature, was indeed familiar with the premodern tradition of Korean literature. Thus, cultural contents in the field of modern Korean literature should be seen in the process of linguistic tension between Chinese characters and Korean letters. Following this line of thinking, modern Korean literary works could be more valuably interpreted using a procedural discourse from the premodern literature based on the Chinese characters to the contemporary literature based on the Korean letters.

중국근현대문학사 최근 담론에 대한 비판적 검토

임춘성(Yim, Choon-sung) 한국외국어대학교 외국문학연구소 2011 외국문학연구 Vol.- No.41

지금 중국근현대문학사는 새롭게 구성되고 있다. 이전의 관행이었던 5ㆍ4기점이 부정된 지 오래고 범위도 지속적으로 확장되고 있다. 기점 면에서 첸리췬 등의 ‘20세기중국문학사’가 1898년을 기점으로 제시했고 판보췬은 1892년으로 앞당겼으며 옌자옌은 1890년으로 설정하고 있다. 왕더웨이에 따르면 1851년 태평천국 시기로 앞당겨진다. 『해상화열전』을 기준으로 본다면 5ㆍ4에 비해 약 30년 가까이 거슬러 올라가는 것이다. 문학사 범위도 지속적으로 팽창하고 있다. 삼분법 시기의 셴다이문학사는 좌익문학사였지만, 20세기중국문학사에서 우파문학을 복권시켰고 ‘두 날개 문학사’에서 통속문학을 복원시켰다. 여기까지는 이른바 ‘국가’ 범위라 할 수 있다. 21세기 들어 중국근현대문학사는 자기 변신을 통해 초국적으로 팽창하고 있다. ‘중국문학’으로부터 ‘중어문학(漢語文學)’으로 그리고 ‘중국인문학(華人文學)’으로 자기 변신하고 팽창하면서 재구성 단계에 들어섰다. 이들 담론은 중국근현대문학사를 고정된 실체로 보기보다는 유동적인 개념으로 이해함으로써 포스트주의와 궤를 같이 하고 있다. 그러나 가능한 모든 범주를 아우르는 통합의 움직임은 자연스레 범위 밖에 있는 것을 배제하는 움직임과 동시에 진행된다. 이런 움직임이 이 글에서 최근 중국의 논의를 흥미롭게 고찰하면서도 우려를 금치 못하는 이유이기도 하다. 중요한 것은 어느 기점과 어떤 범위가 타당한가라는 질문보다, 그 기준이 무엇이고 기점과 범위에 대한 논의를 통해 중국근현대문학사를 바라보는 시야 perspective를 어떻게 확보할 수 있는가라는 문제설정일 것이다. 이제 중국근현대문학사는 기존의 고정된 관행에서 벗어나 다양한 담론들이 각축할 수 있는 담론 공동체를 형성해 재구성의 단계로 접어들었다. Recently the history of modern Chinese literature is being reconstituted. It has been a long time to deny May forth 1919 as a starting point which was the custom and its limit has been continually expanded. In the aspect of the starting point, Qian Li-qun(錢理群)'s ‘20th century's Chinese literature’ suggested 1898 as a starting point, Fan Bo-qun(范伯群) antedate it to 1892, and Yan Jia-yan(嚴家炎) set it up to 1890. According to David Wang(王德威), it was antedated to 1851(太平天國). If we take a Haishanghualiezhuan(海上花列傳) as a standard, the starting point was about 30 years earlier than May forth. In fact, Xiandai literature history in the trichotomy era was a left-wing literature history, and a right-wing literature was rehabilitated in the 20century's Chinese literature history, and a popular literature was reconstructed in the ‘two-wings literature history’. These discourses are still in the boundary of the nation-state. Entering the 21st centry, the history of modern Chinese literature is expanding transnationally through the self-transformation, from Chinese literature to Hanyuwenxue(漢語文學) and Huarenwenxue(華人文學). These discourses take the history of modern Chinese literature not as a concrete substance but as a fluid concept. But the movement of integration which embrace all categories is used to be simultaneously proceeded with the movement of exclusion. I suggest, more important thing is, not a question that which is proper starting point and limit, but a problematic what is the standard and how can we secure the perspective which help us observe the history of modern Chinese literature. Nowaday the history of modern Chinese literature is free from the existing custom and build the discourse community in which various discourses may compete each other and enter into the reconstitution stage.

중국현대문학 데이터 시각화와 서비스 플랫폼 연구

박정원 한국중국현대문학학회 2019 中國現代文學 Vol.0 No.88

We are undergoing a paradigm shift in knowledge transfer and sharing due to the advent of the fourth industrial revolution and the expansion of social networks. All educational activities that have been conducted in flat analog environments are required to change to paradigm such as real-time interaction, interactive content, and a revolution in the accessibility of smart devices in accordance with the hyper-connection era. Text-based literature, combined with a variety of multimedia elements, has all the infrastructure to try to escape from "reading literature," "listening literature," and "communicating literature." The problem is how to visualize modern Chinese literature data and build a service platform to use in education and learning. It's time for educators and researchers to easily build their own data service platforms, not only experts to build data archives, but also with minimal knowledge of data visualization and platforms. This study started with the fact that data visualization and service platform building for writers' cultural space information, author video data, and work text required for education and research in Chinese modern gate studies can be performed differently from other majors. In other words, there is a panorama of the space of the contemporary Chinese writer, a video or video of the author, a multi-character film (Chinese+Korean+Korean) and a novel written by Chinese writers. In this paper, the characteristics of modern Chinese literature data were identified and analyzed to characterize visualization and service strategies for each data, thereby strengthening digital competitiveness in the education and study of Chinese modern literature.

중일 현대문학 비교연구의 거시적인 사유

왕샹위안,문대일 한국중국현대문학학회 2013 中國現代文學 Vol.0 No.65

Modern Sino-Japanese literature is the connecting agent between modern Chinese and Western literature, and it has been a source of inspiration for the form modern Chinese literary ideology. The developmental process of modern Sino-Japanese literature possesses a high level of interconnectivity and similarity; however, due to the differences in historic traditions and the actual environments, the development of literature in China and Japan manifested into two different kinds of driving forces. The basic driving force for modern Chinese literature mainly originated from literature exterior to society and politics. The basic driving force for modern Japanese literature mainly stemmed from conflicting campaigns from within the literature. Because the difficulties and standpoints of the authors from these two countries were different, the literature and works that appeared from these two nations bear different qualities and traits. Generally speaking, the influence of Japanese literature on modern Chinese literature is indeed noticeable and eye-catching;however, the influence is external, temporary and partial rather than being profound and substantial.