이미지-서사’와 중국 ‘역사문화지리체’를 구성하는 정치적 공간의 생산

고윤실 한국중국소설학회 2021 中國小說論叢 Vol.65 No.-

One ‘center’ in which the territory of a modern nation and ‘Chinese nation’ have been integrated then becomes the pivot of the imperial desire for expansion through a concentric imperial structure of “China-Periphery-Semi-Periphery.” In fact, projects like “One Belt, One Road” remind us of the structure of an empire, in which it spreads to the periphery and semi-periphery like a concentric circle, concerning a new mode of production, centered around China, that is, the political relation closely combined with economic power (China that had means of production like capital and economic project and its surrounding nations that do not have them or those that are subordinate to it). A plan for enormous politics/economy-geographical unity through the sea and land routes needs perception and imagination about the territory of ‘China,’ that is, the empire’s domain. This is combined with patriotism created by nationalism and place attachment, and nature in the border areas expands the Chinese people’s consciousness of hometown as the Chinese nation’s historicultural geo-body beyond the meaning of ‘hometown,’ newly presumed as intellectuals’ psychological root in the early-20th century. The historicultural geo-body is the entity of ‘China’ in which differences and diversities have been integrated, which becomes the space of centrality for the imperial expansion. The overwhelming created by the landscape and ‘image-narrative’ exhibits the recognition effect as a true collective mirror and is concluded as one metaphor—sharing a sense of belonging or primitive root. If the representative tourist attraction, that is, a symbolic space acquires a recognition effect as a collective mirror, it becomes espace monumental that provides one’s sense of belonging and an image of one’s social face for “individual members of society.” In this study, natural landscape, which is a geographical space, is found through the representation of an imperial territory and the project of imagination, and minorities’ legends and the cultural element and historical context of hometown China are reconstructed as ‘a historicultural geo-body’ that embodies ideologies and fantasies through the image-narrative of the actual performances. At the same time, one ‘center’ in which the ‘Chinese nation’ and the territory of the modern nation have been integrated through this historicultural geo-body acts as a pivot of China’s imperial desire for expansion abroad. 근대국가의 영토와 ‘중화국족’이 통합된 하나의 ‘중심’은 다시 “중국-주변-아주변”의 동심원적 제국 구조를 통해 확장하고자 하는 제국적 욕망의 구심점이 된다. 실제로 “일대일로(一帶一路)”와 같은 프로젝트는 이는 마치 중국을 중심으로 새로운 생산양식, 즉 경제력과 밀접하게 결합된 정치적 관계(자본과 경제적 기획과 같은 생산수단을 갖고 있는 중국과 이를 갖지 못한 주변국 혹은 종속된 주변국)를 동심원처럼 주변과 아주변으로 퍼져나가는 제국의 구조를 연상시킨다. 해상과 육로를 통한 거대한 정치경제-지리적 통합체에 대한 구상은 ‘중화’의 영토, 즉 제국의 판도(版圖)에 대한 인식과 상상을 필요로 한다. 이것은 국족주의(nationalism)와 장소애착이 만들어내는 애국주의와 결합되는데 변방의 산하는 20세기 초 지식인들의 정신적 근원으로 새롭게 상정된 ‘향토’의 의미를 넘어서 중화국족의 역사문화지리체로서 중국인들의 본향의식으로 확장된다. 역사문화지리체는 차이와 다양성이 통합되어버린 ‘중화’의 본체이며, 이것은 제국적 확장을 위한 중심적 위치의 공간이 된다. 경관과 ‘이미지-서사’가 만들어내는 압도는 진정한 집단적 거울로서의 인정효과를 발휘하며 하나의 은유—소속감, 원시적 근원의 공유—로 귀결된다. 대표적 관광지, 즉 기표적 공간이 집단적 거울로서의 인정효과를 획득하게 되면 “사회 구성원 각자에게 자신의 소속감과 자신의 사회적 얼굴의 이미지를 제공하는 기념물 공간(espace monumental)”이 된다. 본 연구에서는 지리적 공간인 자연경관이 제국적 영토의 재현과 상상이라는 기획을 통해 발견되고, 소수민족의 전설과 향토중국이라는 문화적 요소와 역사적인 맥락이 이미지-서사를 통하여 이데올로기와 환상을 담지하고 있는 ‘역사문화지리체(historiculturalgeo-body)’로 재구성되는 과정을 살펴본다. 동시에 이러한 역사문화지리체를 통하여 ‘중화국족’과 근대국가의 영토가 통합된 하나의 ‘중심’이 어떻게 대외적으로 확장하고자 하는 중국의 제국적 욕망의 구심점으로 작용하고 있는지 검토한다.

중국의 “제국적 전회”와 문화 상상 — 영상 콘텐츠의 담론 반영과 재현을 중심으로

고윤실 한국중국현대문학학회 2020 中國現代文學 Vol.0 No.95

China’s NRTA(國家廣電總局, National Radio and Television Administration)is the place that supervises, monitors, and directs the necessary systems and procedures in all stages for establishing policies for the television and Internet contents service management and planning and producing the contents. All video contents in China, such as televisions, documentaries, animations, and films are produced and circulated through the screening and ratification according to the plans and guidelines established in the NRTA. The National Radio and Television Administration presents the main direction of creation and the direction of the maintenance of regulations and systems based on China’s major political meetings. The authorities’ policies and discourses are strategically reflected and reproduced in video contents with a top-down approach. This study analyzes how recently China’s political discourses such as “the Rise of the Great Powers”, “The Chinese Empire”, and “China Dream” are represented and reflected in video contents. First, China has formed modernity, centering around the discourse of the development to a nation-state; however, recently, it has revived the imperial tradition that has been discontinued and seek the re-establishment of self-identity in this process. At this time, political discourses such as “the Rise of the Great Powers”, “China Dream” and “Revival of the Chinese People” have been formed, which came to have significant impacts on the production and planning of video contents. Cultural imagination as a representational practice of the discourses allows China to reconstruct the relationship between history and the world and to seek a cultural identity that can be shared by all members. The video contents dealt in this discussion are television documentary series and historical dramas. These two genres are conveyed through a familiar life media. Documentaries allow the educational reception of discourses in contemporary China through the method of investigative journalism while historical dramas project contemporary China’s position through the process of the rewriting of historical memories. Documentaries and historical dramas can be said to be typical genres in which the ideology of the bureaucracy intervenes in the superficial way of guaranteeing objectivity and historical testimony, respectively. By analyzing the time and contents of the broadcasting of documentaries, “河殤(China Presenting River Elegy)” and “大國崛起(The Rise of the Great Powers),” this study analyzes how they make the people’s memories and perceptions of realities be positioned in the epic of the history of the empire, and how they form China’s image as an empire at home and abroad through “一帶一路(The Belt and Road Initiative)” and “舌尖上的中國(A Bite of China).” Next, through the recent historical drama, “大秦帝國(The Qin Empire)” Series, this study investigates how the process in which Qin achieved the Great Unification and promoted the unification of the world is put into the modern position in the course of the rise of the great powers and how it newly carves the spirit of “Integration of the family and the state(家國一體).” This study also analyzes how the pre-history of the empire is mythicized by restoring a marginal woman in history as an imperial character through “羋月傳(The Legend of Miyue).”

중국의 드라마를 통해 본 도시와 이미지의 정치

고윤실 한국중어중문학회 2018 한국중어중문학회 학술대회 자료집 Vol.2018 No.11

애니메이션 『대어⋅해당(大魚海棠)』 읽기 ― 중화민족 기원서사의 재구성과 당대 중국 관방이데올로기의 재현

고윤실 한국중국현대문학학회 2017 中國現代文學 Vol.0 No.83

The film Big Fish and Begonia(2016) is a home-grown Chinese animation in Chinese-style based on the subject matter of mythology and legend. In this film, mythology of the Han and the mythology of one of the northern minorities – the Manchu – are combined, providing a mysterious imaginary world about the origin of the Chinese people. In other words, the combination between a mythology centered on the Han and a northern minority mythology recreates the story about the ancestry and origin of the Chinese people within the cultural industry market of capital and consumption by means of the mainstream ideology. This may be summarized into the two issues of how the mainstream ideology involving the integration and recreation of the Chinese people and its origin can be reproduced and why the Chinese Civilization must be combined with the genes of the sea, specifically, the blue civilization. Past memories for integration and unity are excavated in mythology and legend, and this is carried out under the mainstream ideology aimed at a broad rising of expansion and acceleration propelled by the Chinese government. In this study, the film Big Fish and Begonia examines the context of a mainstream discourse(Chinese Dream) which newly imagines a future Chinese system as well as the strengthening of a sinocentrism that supports it. Currently the Xi Jinping administration is focusing on the formation of a unified national identity beyond the ‘creation of a homogeneous Chinese nation’. This is related to the complicated aspects of conflict that are appearing as the increasingly extreme and frequent independence movements by some minorities in China are combined with various issues like compensation and the economy in accordance with land development and regional development. The Chinese government, thus, is putting out various unprecedented policies both politically and culturally as an attempt at unifying, through the political unit of ‘China’, the various cultural units consisting of blood ties and tribes within China. This is deeply related to the ideology of the Chinese government, specifically the viewpoint of a developmentalism(Chinese Dream) aimed at becoming a world power and the long-held crisis awareness in China that internal chaos threatens the survival of the nation and furthermore is deeply related to outside invasion. Big Fish and Begonia is newly creating a common emotion and memory by summoning and recreating tradition and a national origin through the media space of imagination namely animation. The combination of the Han’s mythology and the Manchu’s minority legend can be interpreted as the addition of the cultural marine elements necessary for pursuing globalization and developmentalism to the civilization of the continent. This can be referred to as a more in-depth and fundamental mobilization for creating a common cultural gene through the self-esteem and identity of the Chinese tradition.

중국의 포스트 80세대의 ‘청춘 회고’와 공공담론으로서의 ‘중국몽’

고윤실 한국중국현대문학학회 2015 中國現代文學 Vol.0 No.72

Nowadays the phenomenon of the post-80 generation's reflectionof youth is remarkable in the cultural area of Chinese society. Alot of movies of which topic is ‘youth' have poured out and Chinahas been overflowing with discourses on young people's ‘youth'. Unlikely the fact that the theme of youth and memoriesencompasses the entire generation in South Korea and prevailsthroughout the country, Chinese youth consumption of popularculture is compressed into a phenomenon in the post-80 generation. The youth of the post-80generation is an extension of current, orrather by turning the current to the past, works as mechanisms inreal life and that arouse nothingness, frustration and helplessnessin reality. This prevailing phenomenon due to the structure offeeling, that is to say deep feelings of helplessness andhopelessness of the post-80 generation, is the reflection of thereality and self-pity. Prior to the challenge of globalization and regional development in China, China is seeking out new Hegemony to replace theUnited States. China is currently promoting neo-liberal reforms ofthe Chinese style. At the end of 2012, ‘China Dream' newlyemerged as powerful nation's and people's dreams towards a newera. ‘China Dream' also newly emerged from the frustration of theyoung generation and labor resistance accumulated for a long time. In this paper, through the two films, ‘So young' and ‘AmericanDreams in China', the following two things would be considered;First, how is ‘China Dream' revealed in the phenomenon of thepost-80 generation's reflection of youth and public discourses in thearea of Chinese popular culture? Second, how dose it affects thegeneration?Reflection of youth, which is revealed in the films related toyouth, is awareness of reality and self-pity of young people. ‘ChinaDream' is the discourse about fierce survival and competitive life ofthe post-80 generation, who is main force of China's economicpower, and can be said it is the discourse about the politicalagreement given to the various signs.

IP 고장극(古裝劇)의 유행 현상에 관한 일고찰

고윤실 한국중국현대문학학회 2020 中國現代文學 Vol.0 No.93

In China, a vast number of dramas are produced each year, and costume drama featuring ancient history and events takes up one-fifth of them. Except for orthodox historical dramas that create the stories of historical events and figures based on historical records, so-called classical dramas are accounting for the majority as they take subject matters from internet fictions. This finds its material in the genre novel along with an explosive growth of internet novels after 2005. The reason for looking at the change to the popular costume drama genre adapted from an internet novel comes with typical characteristics. The characteristics involve a possible analysis of how the seizure of capital and the rearrangement of desire are structured within the link - taking place here - associated with a new social relationship created by fans, readers and authors and the industry. IP (Intellectual Property) has set firmly in as the critical mechanism across the cultural industry. Under the circumstance, this study looks into how the passion for a participation and desire for a creation make their transition to intangible resources of cultural items as they have been seized by a new form of media so-called the Internet and the method of capital called the non-material labor. The study also examines how directions and longings of internet readers as to the grand narrative during this process are replaced with a desire to consume a short story. Xuanhuan(Fantasy) drama gaining popularity draws a special attention during this process, where it is likely to be produced in large quantities while going through changes to a variety of genres based on web fictions. The genre fiction on internet fiction sites is the outcomes of database-style consumption by its own definition and demonstrates a sub-cultural development process. The phenomenon of cross media storytelling of the original work repeated by the industrial structure is a flood of overly simulacre. Thus, high fan loyalty and preferences regarding this can be referred to as a desire for simulacrum itself. Xuanhuan drama creates a political sense so-called a virtual homogeneous ‘Zhonehua’ with a focus on the classical type which adopts a Chinese style whose political, historical contexts have been removed. A combination of elements extracted form all sorts of database on Huaxia culture forms a hybrid, vague cultural identity. This develops cultural sentiments, such as integrating multi-factorial characteristics inside Chinese society into a single vague origin. The flow of industries demonstrates the arrangement of desire created by the utility of capital, effects of official disclosure and the public affect.

당대 중국의 관방 담론과 민간 정서가 만들어내는 미디어 지형 엿보기 - 드라마 「위장자(僞裝者)」와 「랑야방(琅琊榜)」을 중심으로

고윤실 한국중국현대문학학회 2016 中國現代文學 Vol.0 No.79

Chinese dramas are manufactured and produced from a framework of official policy and institution, and this media is placed within a system located inside the magnetic field of mainstream ideology. However, dramas cannot disregard civil sentiment and its contents if they want to include an ideology that maintains the Chinese system, and, simultaneously, they cannot disregard mainstream ideology if they intend to express civil sentiment and its contents. Chinese mainstream dramas needed to adopt more flexible and entertaining elements by breaking away from existing stereotyped matter in order to widely publicize and spread party ideology and official policy. Only in this way could broadcasting stations secure viewers and investors be guaranteed large profits. The secularization of mainstream dramas is a result of collaboration between official ideology and the market. During this process, following various policies and changing situations, mainstream dramas have recently earned the popularity of the masses by the narrative of double agents which makes use of intricate developments, subplots, crises, and twists, with a focus on ‘espionage’. The present study shows, through two dramas, how media within the system promotes the ‘public interests’ of ratings and profit-making through ‘double agents’ and the ‘tactics of the weak’ in an arena of ideology which includes the official and the civil. Furthermore, Chinese dramas reveal how official ideology, market capital, writers and the desires of viewers collude, check, cooperate, and oppose each other within the space of drama to form a contemporary media landscape.

Differences in accuracy of height, weight, and body mass index between self-reported and measured using the 2018 Korea Community Health Survey data

고윤실,최선혜,원지수,이연경,김동현,이선규 한국역학회 2022 Epidemiology and Health Vol.44 No.-

OBJECTIVES: This study aimed to determine an effective survey method for the accurate calculation of obesity prevalence by comparing the self-reported and measured height, weight, and body mass index (BMI) using the 2018 Korea Community Healthy Survey (CHS) data. METHODS: Raw data from the 2018 CHS were used to analyze the differences, correlation, and agreement between self-reported and measured height, weight, and BMI. RESULTS: The self-reported height was over-reported than the measured height (0.59 cm greater for men and 0.71 cm greater for women), while the self-reported weight was under-reported than the measured weight (0.55 kg less for men and 0.67 kg less for women). Subsequently, the self-reported BMI was under-estimated (0.35 kg/m2 lower for men and 0.49 kg/m2 lower for women) compared with the measured BMI. The kappa statistic and agreement between measured and self-reported values per BMI category (underweight, normal, overweight, and obesity) were 0.82 and 79.6%, respectively. CONCLUSIONS: The prevalence of obesity should be calculated using the measured values provided in the CHS in order to promote local health projects based on accurate evidence.

이 계절의 책

고윤실 한국중국현대문학학회 2018 中國現代文學 Vol.0 No.84

중국 드라마의 생산메커니즘과 주선률 드라마

고윤실 대한중국학회 2018 대한중국학회 학술대회 발표집 Vol.2018 No.1