질주하는 열차에 실린 사랑의 환상곡 -손주(孫周) 감독의 ≪주어적화차(周漁的火車)≫론(論)

고점복 고려대학교 중국학연구소 2009 中國學論叢 Vol.25 No.-

≪周漁的火車≫改編自作家北村的小說≪周漁的喊叫≫。表面上影片的主要內容是周漁和陳淸、張强之間的三角戀愛。所以有些人的眼裏,孫周導演的影片≪周漁的火車≫不過是一部都市愛情劇,孫周自己也坦白地說過這是一部表現愛情題材的電影。影片描述的是女人周漁穿梭於兩個男人之間,致力尋조저所渴求的愛情。如果單單將這部影片當作愛情來看, 我們多多少少會有點失望,而把타看作一部剖析現代文明的精致而嚴肅的寓言來解讀,我們會發現影片已經深刻地觸及到了現代文明的痼疾之中,眞切地摸到了現代人的滄桑痛處。影片令人最難忘的意像是火車的運行與節奏感。周漁乘著火車來回兩地,旣是저追逐保持愛情的行動,也是選擇和徘徊的象徵,與兩個男性相呼應,代表夢想與現實的兩個方向, 周漁不知道自己該選擇甚요。這樣,影片是在火車的運行與節奏感裏面完成的。周漁與火車相伴相生形象地喩示了人自誕生而來便不停地奔波、追求、尋覓,一刻也沒有停止。저代表了人類與生俱來的慾望、永不滿足的追求。人要生存,要滿足現實的慾望糾纏,同時人還要追求純粹的、精神的境界,因此人們就相銀幕上呼嘯而過的火車一樣永遠不停止。

논문(論文) : 루쉰(魯迅) 사유의 특징으로서의 “부정(否定)” -<고향(故鄕)>을 중심으로

고점복 중국어문연구회 2012 中國語文論叢 Vol.0 No.55

<故鄕>是魯迅精品小說之一。作品的意味極爲深長。該文當然不否定<故鄕>的藝術的價値和文化批判的意義。問題在於<故鄕>的批判精神建立在什?樣的價値觀念上。<故鄕>是以自然對抗社會的二元對立的藝術結構。該文不着重於這樣的二元對立的結構,反而着重於魯迅的思惟模式來試圖分析“否定”的哲學性之意義。<故鄕>觸及了人的存在的深層悲劇,卽人的社會狀態和文明狀態對人的“異化”。作爲魯迅的一種思惟特徵的“否定”就是在人所處的深層悲劇和異化裏面的錚紮。魯迅通過對於現實的錚紮,才獲得了生命的眞正意義。該文用這樣的看法分析了魯迅的思惟特徵,特別是在認識論上的“否定”之意義。作品的話者“我”因感到自己的希望的茫遠,所以同時否定自己的希望和閏土的偶像。從這樣的角度我們可以說“否定”是魯迅追求希望的方法。魯迅認爲,“在進化的련(?)子上,一切都是中間物”。這意味着人的歷史始終是一個漫無盡期的過程,不可能有一個圓滿的結局。本文以這樣的觀點分析<故鄕>和魯迅的思惟模式。

루쉰(魯迅) 풍자 개념의 미학적 가치 탐색

고점복 고려대학교 중국학연구소 2023 中國學論叢 Vol.- No.79

The purpose of this paper is to explore the aesthetic value of Lu Xun's concept of satire. Lu Xun refers to satire as “a record of facts.” In the Chinese literary tradition, satire has a rhetorical value that enables communication between the top and the bottom. On the other hand, satire in the Western literary concept can be said to be a kind of rhetoric stemming from the difference between reality and ideal. Since satire deals with people's attitudes toward people, things, events, realities, lives, ideals, etc., it is bound to persist wherever human communities exist. However, since individuals have different views on them, they cannot and should not be arbitrarily classified. However, it is necessary to instantly capture the attitude of each individual that appears differently depending on the situation, region, and time. In other words, the difficulty of satire lies in realistically recording the momentary aspects of human beings that appear differently depending on various conditions. For this reason, the subject and style of satire, as well as the form, are bound to be diverse. Satire, fundamentally a social literary style, cannot transcend the world. Since we, who live in society, cannot help but regard society as a living being, all phenomena or images implying social hypocrisy get a satirical effect enough just by presenting them as they are. The 'current literature' defined by Lu Xun records not only the object of our own society but also the subject of ourselves. Literature that enables reflective participation through this is 'current literature'. Lu Xun intervenes in reality through literature that records facts that must exist. There can be no indiscriminate exposure or praise of a specific object. In order to induce changes according to the moral awakening of readers who read his works, Lu Xun's writings must have artistic expressiveness that can be recognized as either a record of a specific thing or a record of a general thing. This is the reason why this paper sees satire as the creator's intellectual struggle stemming from the perception of the gap between reality and ideal.

루쉰과 나쓰메 소세키(夏目漱石)의 근대 주체 탐색― ‘나래주의(拿來主義)’와 ‘자기본위(自己本位)’의 ‘주체 세우기(立人)’ 양상

고점복 고려대학교 중국학연구소 2020 中國學論叢 Vol.0 No.68

The purpose of this paper is to examine the pattern of establishing a modern subject through Natsume Soseki, a intellectual of late modern country, and Lu Xun, a intellectual of premodern country. To this end, this paper discusses the aspects of Soseki’s ‘Self-Hood(自己本位)’ and Lu Xun’s ‘Nalaizhuyi(拿來主義)’. The Soseki’s ‘Self-Hood’ is not a selfish individualism but a ‘moral individualism’, and The Lu Xun’s ‘Nalaizhuyi’ emphasizes subjective activeness in the acceptance of foreign cultures. Through the ‘Self-Hood’, Soseki reconsiders the value of traditions forgotten in the process of modernization and emphasizes the reflective introduction of foreign cultures. The ‘Self-Hood’ and The ‘Nalaizhuyi’ emphasize the subject’s activeness and emphasize the value of freedom in which the subject’s activeness is expressed. For both Soseki and Lu Xun, freedom for the exercise of personality is the basic condition of modern subjects. Another reason why both emphasize the exercise of personality and freedom is the witness of the individual’s anxiety and solitude faced in the process of modernization. China and Japan only differed in the pace of modernization, and both were forced to throw away familiar ones and accept unfamiliar ones. This is due to the fact that the modernization of the two countries did not proceed voluntarily, but was counter-forced by external forces. On the other hand, since freedom for the exercise of personality may infringe the freedom of others, both require an ethic of self-check. This emphasis on the morality of literary art is also a key mechanism for the completion of both literary forms and contents. Both literary forms and contents, similar to self-centeredness, have a strong social color. They hoped that exercising their personality enthusiastically would ultimately break down the barriers between people, and in fact their literature had the effect of healing individualistic loneliness and anxiety faced by modern Japanese and Chinese through the exercise of personality.

중국 당대문학 속의 에로티즘 -``신체사작(身體寫作)``을 중심으로-

高點福 고려대학교 중국학연구소 2012 中國學論叢 Vol.36 No.-

從20世紀80年代開始, 身體逐漸成爲熱門話題. 隨後的90年代更是一個身體覺醒的時代, 現實生活中, 人們開始關照身體的種種感性需要和當下體驗. 與此相關, 文學的感性和特點逐漸得到作家們的重視. 身體寫作就是用身體來寫作, 寫身體, 寫女性自己的身體, 通過寫身體來訴說女性的幻想和慾望, 是女性對自己被抑壓到無意識領域中的各種經驗的直率表達. 可是在消費社會裏面, 身體受到消費社會之各種各樣的制約. 比方說, 政治話權, 經濟條件, 社會道德等等. 身體在消費社會中的主導身分是通過消費來確定的, 當然, 這只是幻覺而已. 人們以爲只有做一個消費者, 我們才能擺脫被別人消費的命運, 而眞實的情況 劇是我們通過消費他人也消費了自己. 身體爲了實現自己作爲被消費物的角色, 他自己首先必須是一個消費者. 在消費社會裏, 一切有形的無形的物都在被消費之中, 一切都因爲被消費而拉伋化. 這樣的現像比較容易詔到棉棉, 衛慧等等的90年代後出現的女性作家的作品裏面. 在他們看來身體只能由快感來書寫, 身體本文只能作爲快感的遺迹而存在. 他們的小說對肉慾的沈迷, 不斷地自我消費的深度闡釋的可能. 在純粹的快感原則的驅動下他們感受生命的飛翔, 靈感的噴涌, 這就是他們認識世界和進入世界的唯一方式. 本文着眼於這種身體寫作的書寫戰略來分析了在消費社會裏的文學和個人之存在方式和危險.

논문(論文) : 루쉰(魯迅)과 거리의 몽상

고점복 중국어문연구회 2012 中國語文論叢 Vol.0 No.52

在魯迅的小說中,我們容易可看到在街頭上常見的中國人形象。比如<藥>的老栓、<端午節>的方玄綽、<在酒樓上>的閏土、<祝福>的祥林嫂、<阿Q正傳>的未庄人等等,他們都是魯迅關注的庸俗中國人。這一群人,他們身處社會底層,飽受蹂躪和奴役,但是,他們却不思反抗,充當無聊的看客。這種畸形的心態,集中地鮮明地體現在魯迅小說中的一般中國人形象。這樣的一群人在小說中從不同的場面,不同的環境反映出那一群被黑暗壓制以至於靈魂畸形的不同職業的下層人民形象。他們都是在街頭上尋조生存之路的可憐的存在。衆所周知,魯迅爲了改造中國人的思惟方式和傳來的生活慣習寫作文學作品的。可以說有街頭上的一般中國人才會有魯迅的文學作品。魯迅的小說作品都是對於這樣的街頭上的一般中國人之描寫進行剖析中國人的氣質和生活觀念。本篇注重於魯迅小說作品裏被形象化的人物分析了他對於中國人的理解和他的文學思惟方式。

루쉰(魯迅) 사유의 특징으로서의 ‘부정(否定)’ ― <故鄕>을 중심으로

고점복 중국어문연구회 2012 中國語文論叢 Vol.0 No.55

<故鄕>是魯迅精品小說之一。作品的意味極爲深長。該文當然不否定<故鄕>的藝術的價値和文化批判的意義。問題在於<故鄕>的批判精神建立在什麽樣的價値觀念上。<故鄕>是以自然對抗社會的二元對立的藝術結構。該文不着重於這樣的二元對立的結構,反而着重於魯迅的思惟模式來試圖分析“否定”的哲學性之意義。<故鄕>觸及了人的存在的深層悲劇,卽人的社會狀態和文明狀態對人的“異化”。作爲魯迅的一種思惟特徵的“否定”就是在人所處的深層悲劇和異化裏面的掙扎。魯迅通過對於現實的掙扎,才獲得了生命的眞正意義。該文用這樣的看法分析了魯迅的思惟特徵,特別是在認識論上的“否定”之意義。作品的話者“我”因感到自己的希望的茫遠,所以同時否定自己的希望和閏土的偶像。從這樣的角度我們可以說“否定”是魯迅追求希望的方法。魯迅認爲,“在進化的鏈子上,一切都是中間物”。這意味着人的歷史始終是一個漫無盡期的過程,不可能有一個圓滿的結局。本文以這樣的觀點分析<故鄕>和魯迅的思惟模式。

라이허(賴和) 소설에 나타난 타이완인의 근대 적응과 극복의 양상 - 白樂晴의 이중과제론에 기반한 읽기

고점복 고려대학교 중국학연구소 2023 中國學論叢 Vol.- No.82

As can be seen from Lai He's life, which coincided with the period of Japanese colonial rule, the new literature for him was bound to take on the mission of the times: to promote Taiwanese self-awareness and the search for a new society. As with most colonizer-colonized relationships, Taiwanese society was subjected to various modernization efforts by the colonial power, Japan, to facilitate its takeover. The modernization led by the Japanese colonial rulers first defined themselves by the standards of civilization, and then considered the Taiwanese as an alien group with a backward culture. In turn, this meant that Taiwanese were to be regenerated through various modern institutions and education, and that Taiwanese culture was to conform to that of the colonial power, Japan. As a colonized intellectual, Lai He can be said to have created his works in a contradictory state of mind, unable to completely deny or affirm the various modern discourses created to secure the legitimacy of the colonial system and the submission of Taiwanese. Lai He's predicament can be made more concrete and current through Baek Nak Cheng's argument that the double project of adapting to modernity and overcoming modernity problematizes not only the Korean Peninsula, but also the modern capitalist system. For Baek Nak Cheng, modernity is a society in which both adaptation and overcoming exist simultaneously, especially in societies that have been subject to passive modernization, such as the Korean Peninsula, Taiwan, and Japan. The situation of Taiwanese intellectuals during the Japanese colonization is similar. The dilemma of wanting to see society develop and yet refusing to allow colonialism to be imposed on Taiwanese, in other words, resisting colonialism requires criticizing modernization, and accepting the baptism of modernity means accepting colonial rule, represents the ontological divide of Lai He and his contemporaries. Thus, the problem of adapting to modernity and overcoming modernity mentioned in the double project theory is a useful methodology for discussing the reality of colonial Taiwan and the existence of Taiwanese intellectuals. Beginning with Taiwan's first new novel, <鬥鬧熱>, Lai He's work symbolizes the problems of feudalism and colonization. In works such as his autobiographical novel, the unfinished <阿四>, he calls for the awakening of Taiwanese through the clash between the ideals of colonial education and reality. While these characteristics of Lai He's literature can be basically characterized as enlightenment through literature, its contemporary value will become clearer when it is discussed in relation to the core of the theory of the double project of adapting to modernity and overcoming colonialism, in that Lai He is faced with the predicament of resisting colonization while pursuing modernity. In this case, Lai He's literature has the advantage of reconstructing various problems caused by modernity from a contemporary perspective.

‘경제적 인간’의 꿈과 좌절 ― 라오서(老舍)의 『駱駝祥子』論

고점복 한국중국현대문학학회 2018 中國現代文學 Vol.0 No.86

Material is an essential element in human life, whether it is a modern social system or a pre-modern social system. Human beings can plan a life-like life through solving basic food and shelf. The main character of LuotuoXiangzi, Xiangzi, is a rickshawer for the basic settlement of food and shelter and better life. Since he has only a healthy body, he has no choice but to capitalize the body. It is natural that human beings like Xiangzi, whose only means of production is labor force, plan to survive through the sale of labor power. In the case of Xiangzi, it is a migrant worker who has flowed into the city with the collapse of rural society, which was a traditional unit of life. The city, which is a flower of modern civilization, has various charms to attract healthy labor force like Xiangzi, but only until labor is basically possible. Since labor is a resource that can not be reproduced when it is completely consumed, new supply must be constantly made. In this cycle of consumption and supply, the dream of migrant workers like Xiangzi is involved, and through such dreams, the city becomes a huge black hole. In short, the development of a city comes from the exploitation of a vast group of working human beings and a device through which the individual is mistaken for voluntary labor. Those who want to live through the possibility of the market must comply with the market standard, and from this, the market as the means becomes the purpose and dominates the human being. Xiangzi's struggle for success in a society where money is more important than human dignity contains a social myth that judges individuals by possessing material. In other words, the key point of the problem is to check the sickness of the market-oriented society through the rumination of the process that economism is accepted as social myth. In this respect, the message of LuotuoXiangzi is quite heavy. This paper has newly analyzed the meaning of LuotuoXiangzi from this point of view.

고독과 혁명, 루쉰(魯迅)적 실존의 양상 — <孤獨者>論

고점복 중국어문연구회 2019 中國語文論叢 Vol.0 No.96

The purpose of this paper is to examine the ontological aspects of Lu Xun through Guduzhe(孤獨者). Guduzhe describes the fateful solitude faced by an individual through the main character, Weiliansu(魏連殳), who has the will of social reform, and the narrator ‘I’, who invented the solitude that is the essence of life. It also describes the existential aspects of individuals who endure solitude like fate. As a result, the analysis of the work Guduzhe goes beyond the interpretation of the work to the interpretation of the author’s ontological fate. Weiliansu, a protagonist of Guduzhe, is frustrated with social change and ends his life as a military adviser. His death, which is like suicide, tells the reality of China’s modern intellectuals and the reality that Lu Xun faced. The narrator tracks the solitude of the reformer Weiliansu’s life in various ways through the narrator ‘I’. Weiliansu is an example of a figure isolated internally and externally in an uncertain world. We can find the typical human figure in Weiliansu who can not choose his own fate. The realization of the ideal is far from against the solid barrier symbolized by the S city. Individuals who have no choice but to be bound by such solid barriers for a living cannot choose their own destiny. The internal division of the individual who cannot be the master of destiny deepens and eventually leads to destruction. On the other hand, the speaker ‘I’, who participates in the education movement with the will of social reform like Weiliansu, also lives a lonely and destitute life. The speaker, ‘I’, is also rejected by the community and moves around to find work. The difference is that the speaker does not show dramatic changes like Weiliansu. The difference divides life and death. Weiliansu wants to leave a small snatch to his community through death. On the other hand, the speaker, ‘I’, tries to testify to the life and death of reformers such as Weiliansu. This paper deduces the ontological aspect of Lu Xun from the aspects of Wei Liansu and the speaker ‘I’. It is a form of “controversy(掙扎)”, which is the aspect of the persistent struggle of the narrator ‘I’ who wants to testify to the loneliness faced by modern intellectuals, the death caused by them, and the loneliness and death of modern intellectuals.