현대 중국 문화학에 관한 논고 - 동아시아적 시각을 중심으로 -

전홍석(全洪奭) 한국양명학회 2021 陽明學 Vol.- No.60

본고는 ‘제2의 기계시대—4차 산업혁명기’ 세계문명의 상호 소통과 협력이라는 시대정신에 부응해 인류 보편적 ‘공감(empathy, 생명) 영역’에 접속하는 동아시아 문화학(Culturology) 확립이라는 역내 공동목표에 응답하기 위해 집필되었다. 그 이론모델은 아직 미개척 영역으로 남아 있는 20세기 초중반 중국 문화학 지형에서 모색해보고자 한다. 아울러 이 제반 문화사상을 집성해 학적 체계화할 것을 제안하고 이를 편의상 동아시아학(East Asian studies) 범주의 ‘현대 중국 문화학’이라 명명한다. 사실 ‘동아시아학—지역공동체’의 구성조건인 지역정체성은 미래를 향한 기획이자 이 미래를 조망하면서 과거로부터 성찰하는 지적 실험이다. 1930~40년대에 초기형, 생명주의형, 전반서화형, 중용형 등 중국 문화학의 생성ㆍ전개 지형은 현재적 동아시아학이 논의되는 매력적인 시기이다. 그리고 동아시아의 정체성 문제는 당시 서구 근대성과 대면한 중국 문화학자들의 공통된 물음이었다. 다만 이들에게 중심점은 중화中華지향의 전통성도, 서구 지향의 근대성도 아닌, 즉 창조주체에 의해 모색되는 ‘혁신적인 자기정체성(자아상)’에 있었다. 요컨대 서구 근대성에 대한 비판적 성찰과 창조주체로서의 문화(culture, 생명) 연구를 통해 도달한 중국 문화학자들의 문화학 구성은 4차 산업혁명기 문명사의 변곡점에 직면해서 생명공감이라는 미래대안으로서의 세계상 모색과 그에 기초한 소통적ㆍ연대적 동아시아 문화코드 창출에 유효한 지식자원이 될 것이다. This study was written to respond to the common objective of establishing East Asian culturology, which connects to the universal ‘empathy domain,’ by following the spirit of mutual communication and cooperation among world civilizations in the ‘Second Machine Age—Fourth Industrial Revolution Period’. The theoretical model is to be found in the types of Chinese culturology from the early and mid 20th century, which remain an unexplored area. Moreover, this study suggests to compile and systematize these cultural ideologies, naming them as ‘contemporary Chinese culturology’ in the category of East Asian studies. In fact, regional identity is a component of ‘East Asian studies—community’ that functions as a plan for the future and an intellectual experiment to overlook the future while contemplating on the past. The formation and development types of Chinese culturology in the 1930s and 40s, including the initial type, life type, overall westernization type, and moderation type, belong to an attractive time at which present East Asian studies are being discussed. The identity issue in East Asia were the common questions asked by Chinese culturologists who confronted Western modernity at the time. However, their focus was on ‘innovative self-identity (self-image)’ sought by the creative subject, not the Chinese traditionality or Western modernity. In short, the culturological composition of Chinese culturologists was reached through the critical introspection against Western modernity and the study of culture as creative subjects. It can be a useful knowledge resource for seeking the global image of life empathy as a future alternative and creating a communicative and solidary East Asian culture code while facing the inflection point in the history of civilization during the fourth industrial revolution age.

“노동절은 대오를 정비하고 투쟁을 결의하는 자리여야 한다!”

전홍만(全紅滿) 노동사회과학연구소 2007 정세와노동 Vol.- No.25

문화,비교철학 : 주쳰즈의 세계문화유형론에 관한 고찰 -세계문화 3원론을 중심으로

전홍석 ( Hong Seok Jeon ) 동양철학연구회 2015 東洋哲學硏究 Vol.81 No.-

21세기 ‘문명’이 현실상황을 진단하고 미래세계를 조망하는 본원적 기제와 학문적 탐구로 안착하기까지는 지난한 문명사적 투쟁이 자리한다. 유럽이 세계를 석권한 제국주의시대에 이르기까지 세계는 오직 하나의 세계문명이라는 단수로서의 기독교문명만이 존재했다. 그런 차원에서 문명비평가 슈펭글러와 토인비 등은 서구의 지배이념이었던 단일문명론에 맞서 문명의 복수적 의미를 인정하고 확대했다. 주쳰즈의 ‘세계문화유형론’은 이러한 지성사적 반향이라고 할 수 있다. 논구컨대 그의 ‘세계문화 3원론’은 문화학의 전체 생명선인 지식문화의 유형과 특질로부터 착상된것이다. 이를테면 종교문화, 철학문화, 과학문화가 그것이다. 먼저 이 이론체계는 헤겔의 문화지리학의 형이상학적 이해를 통해 고원문화는 ‘인도’로서 지리적 특성상 종교적 문화를, 평원문화는 ‘중국’으로서 지리적 특성상 철학적 문화를, 해양문화는 ‘서양’으로서 지리적 특성상 과학적 문화를 각각 형성한다. 이 지리적 3원론은 야스퍼스가 주창하는 기축정신을 체현한 역사민족의 문화패턴으로서 재차 인류역사시대의 문화구역, 즉 지식문화의 특질에 따른 세 영역의 문화단위로 확정된다. 주쳰즈는 여기에 더하여 량수밍의 ‘문화의 3방향설’과 막스 셸러의 ‘지식의 3형식’을 원용함으로써 자신의 ‘세계문화 3원론’의 현재적 정체성을 정형화한다. 문명의 다극화체제가 확실시되는 오늘날 주쳰즈가 구도한 세계문화유형론은 세계사 전체상을 조망하는 ‘다중심적 문명다원주의’의 중요한 모델이 될 수있다. 더군다나 현대 문명대안론을 주도한 헌팅턴의 이론이 다원주의의 옷을 걸친 서구문화쇼비니즘에 기초한다는 사실을 감안해볼 때 그의 ‘동아시아 문화유형론’이 갖는 다원주의적 현재성은 더욱 각별하다. There have been hard struggles for the 21C Culture to settle as an original mechanism and academic survey which diagnoses the current status and prospect the future world. Till the age of imperialism when the Europe ruled the world, there had been only a Christian civilization as the singular civilization in the world. Then O. Spengler and A. Toynbee, the critics on civilization, admitted and enlarged the meaning of plural civilizations against the theory of singular civilization that had been the ruling ideology in the Western world. The theory of world cultural typology of Zhu qianzhi can be a response to the history of this mentality. When discussing, his idea of three world cultures was conceived from the type and trait of knowledge culture, the whole lifeline of culturology. So to speak, there are religious culture, philosophical culture, and scientific culture in his idea. First, when metaphysically understanding this theoretical system through cultural geography of G. W. F. Hegel, the highlands culture is India as a religious culture, the plains culture is China as a philosophical culture, and the ocean culture is the Western world as a scientific culture, each in the view of geographic traits. This theory of three geographic cultures has a cultural pattern of historic people embodying the axial spirits, advocated by Karl Jaspers. It is also confirmed by cultural areas in the human history, that is to say, three areas of cultural unit according to the traits of knowledge culture. In addition, Zhu qianzhi standardizes its present identity in the theory of three world cultures by accepting three directions of cultures of Liang shuming and three types of knowledge of M. Scheler. These days where there is a clear plural civilization system, his idea of world cultural typology can be a significant model as a cultural pluralism with polycentrism to prospect the whole aspects in the world history. Furthermore, considering that the theory of Samuel P. Huntington, who led the theory of alternative modern civilization, is based on the chauvinism from the western culture covered with pluralism, it is more significant to review the Eastern Asia cultural typology as the pluralism in the present aspect.

연구논문 : 주쳰즈 문화학의 현대 반전사상적 의미 -반군수자본주의문화론을 중심으로-

전홍석 ( Hong Seok Jeon ) 한국동서철학회 2014 동서철학연구 Vol.72 No.-

본고는 20세기 전반 주쳰즈朱謙之의 ‘문화학’에 내포된 평화사회학으로서의 ‘전후戰後문화 ? 반군수자본주의문화론’을 호명하여 현 인류문명의 죽음과 공멸의 표징인 ‘전쟁의 자본화’ 현상에 항거하고 경종을 울리기 위해 기획되었다. 주쳰즈의 반전사상은 현대문명의 저층에 깔려 있는 경제의 군사화라는 자본주의적 근대성의 극단적인 폐해를 적시해주는 저항의 항변이다. 그것이 전통유가사상과 접맥된 동아시아적 반전문화론이라는 점에서 더욱 의미심장하다. 그에게 문화학은 크게 지식적 문화유형학인 ‘문화철학’과 사회적 문화유형학인 ‘문화사회학’으로 양분된다. ‘전후문화론’은 총체적 문화학 구조 속에 있지만 구체적으로는 후자인 평화사회학적 의미와 접맥된다. 이 평화사상은 문화학의 최종 지향점인 동서생명주의가 융합된 이상세계의 실현체라고 할 수 있다. 특히 유교생명주의 차원에서 교육의 문화가치인 ‘사랑(愛)’과 예술의 문화가치인 ‘아름다움(美)’의 교직이 창조해낸 ‘대동세계’로 수렴된다. 이 숭고한 문화사회는 사회문화학상 경제시대에서 교육시대로, 지식문화학상 과학시대에서 예술시대로의 전환이라는 지난한 문화학적 사유의 지형 속에서 도달된다. 즉 침략단계인 경제와 과학이 물질적 문화형식이자 필연세계라고 한다면 문화단계인 교육과 예술은 생명적 문화형식이자 자유세계계인 것이다. 요컨대 본 연구는 주쳰즈의 문화학에 있어 지식문화학과의 유기적 관계 속에서 사회문화학에 내장된 반전사상을 현재화하는 데 있다. 그것은 결국 문화학적 진리정신에서 안출된 현재적 의미의 ‘반군수자본주의문화론’에서 정점을 이룬다. 이 평화문화학은 그가 전통사상의 현대화를 토대로 세계문명을 조망한 동아시아의 보기 드문 문화사상가라는 점에서 더욱 주목된다. The purpose of this study was to warn and protest to the phenomenon of ``capitalizing the war``, a sign of death and co-destruction of the human civilization, by addressing ``post-war culture: the cultural theory of anti-military capitalism`` that is implied in Zhu Qianzhi`s ``culturology`` of the first half of the 20th century as peace sociology. Zhu Qianzhi`s anti-war ideology was referred to resist the severely harmful consequences of modern capitalism of the militarization of economy, which has been underlain in modern civilization. As it is the anti-war cultural theory of East Asia that is connected to traditional confucian ideology, it has a profound significance. Zhu Qianzhi classified culturology largely into two culture types as ``cultural philosophy``, and ``cultural sociology`` in the view of knowledge and society each. While ``post-war cultural theory`` is addressed in the whole structure of culturology, specifically it is connected to the meaning of the latter term, peace sociology. This peace ideology can be explained as a realized ideal world built on integration of Eastern and Western vitalism and this is the final aim of the culturology. Especially, it reaches ``cosmopolitan world`` created by the combination of ``love``, the cultural value of education, and ``beauty``, the cultural value of art, when seen in the view of confucian vitalism. This noble cultural society comes from challenging task of cultural reflection which enables the converted thinking from the age of economy to that of education and from science to art in the view of social culture and knowledge culture each. In other words, when the invasion stage of economy and science is a physical culture type and the inevitable world, the cultural stage of education and art is a vital culture type and the free world. In short, this study has the aim to realize the anti-war ideology implied in social culturology that organically exists with knowledge culturology in Zhu Qianzhi`s culturology. At last, it reaches its peak at the ``cultural theory of anti-military capitalism``, in the term of modern view, by contriving from cultural truth. This peace culturology is highly noticeable as he is one of few cultural theorists in East Asia who prospected the world civilization on the base of modernization of traditional ideology.

胡集書會의 歷史와 特徵 - 古代 流浪藝人 說唱大會의 活化石을 찾아서

전홍철 한국중국언어문화연구회 2016 한중언어문화연구 Vol.- No.40

Huji Storyteller Festival(胡集书会) is the living fossil of Chinese folk speak-sing literature. Huji Storyteller Festival begins on Lunar New Year 12. Huji Storyteller Festival is the contest storyteller. I’ve visited Hujizhen(胡集镇) to study Huji Storyteller Festival in 2012 and 2014. Chinese Traditional speak-sing performances are now increasingly disappearing. Chinese Traditional speak-sing performances of Huji Storyteller Festival have a close relationship with Korea traditional ‘Pansori(板聲)’. Huji Storyteller Festival of Shandong Province and Majie Storyteller Festival of Henan Province are the largest Folk Music festival in China. Traditional Artists participating in the festival are many wandering storytellers in Shandong Province, and also storytellers from other places. Huji Storyteller Festival are have a close relationship with Chinese folk speak-sing literature. It can reveal the secrets of Chinese Acient Drama through a study of Huji Storyteller Festival. There are similar speak-sing performances around the world. Above all, in order to uncover the origin of Pansori it must study on Huji Storyteller Festival. This article is written based on a field survey in Shandong Province.

청소년 자살 관련 현황 및 위험요인

전홍진,배주미,우종민 대한의사협회 2013 대한의사협회지 Vol.56 No.2

Youth suicide is like the tip of an iceberg; while many adolescents have died from suicide,many more adolescents have been harmed by suicide attempts and self-injury. Suicide influences not only the victims, but also their family members, friends, teachers, and neighbors. Witnesses can suffer from posttraumatic stress disorder. Suicide is the second leading cause of death among adolescents worldwide and the first cause of death among Korean adolescents. The number of suicides in Korea, especially among high school students and female students, is rapidly increasing when compared with Western countries. Suicide accounted for 28.2% of deaths among Korean adolescents in 2010. There were 4.44% and 18.97% of adolescents who had attempted suicide and had experienced suicidal ideation in their lifetime, which shows that many adolescents have a potential risk for suicide. Previous studies in Western countries have revealed that risk factors for adolescent suicide consist of three categories: sociodemographic factors (male and low socioeconomic and educational status), mental health factors (depression and drug abuse), and individual negative life events and family diversity (family history of suicidal behavior, parental death, and child abuse). In conclusion, suicide is common and rapidly increasing in Korean adolescents. However, the risk factors of suicide and suicide behaviors in Korean adolescents are yet to be determined. A well-designed nationwide survey is needed to investigate the prevalence and risk factors of suicide behaviors and mental disorders among Korean adolescents.

敦煌说唱文學作品中《插入诗歌》的机能

전홍철 한국중국언어문화연구회 2010 한중언어문화연구 Vol.- No.22

Looking at the internal evidences of speak-and sing text manuscripts that have been discovered in Dunhuang, it appears as the simulated text or meta-text that came into existence out of the evolution process of traditional folklore into the literature texts. In other words, Dunhuang speak-and sing literature scrolls were documents that left for the ancient audience with specific purpose to show the role playing of that time. In present times, the exact reason why those scrolls were hidden inside the Dunhuang Mogao cave is totally unknown. Those scrolls could have been written for different purposes. They could have been documented according to the tradition that considered making copies of Buddhist scriptures as a merit and virtue, or to serve as a copy of performance to be sometimes sold for money to those audience who didn’t have chance to view that performance. No matter what reasons could be, there is no doubt that left documents of Dunhuang speak-and sing literature manuscripts are the role playing described in the text form. For example in Bian-wen that represents Dunhang speak-and sing texts, a play is performed in court, Buddhist temple, public market and other places of China in dramatic form by a professional actor standing before a huge picture, speaking and pointing at different parts of that picture or unrolling a small scroll picture and performing with song, musical instruments, volubility and gestures. Therefore there are several genre features identified in Bian-wen:poetry (singing statement), novel (narration), drama (performance presentation). All these styles are liberally put together and formed the ‘mixed genre’ or the ‘integrated art’. An inserted poetry in the middle of speak-and sing literature text goes over the simple supporting function and plays very original role. Here is the reason why we should pay attention to the inserted poetry’s function in order to explain performance principles of the speak-and sing literature. There is a need to constantly keep in mind the interrelation between speaking ( ) and singing ( ) to deeply examine the essential character of functions of the inserted poetry in speak-and sing literature. If we take a closer look at functions of the inserted poetry in Dunhuang speak-and sing text, we will find that it is made-up with four types: 1) academic(didactic) statement(narrative), 2) lyrical statement(narrative), 3)descriptive statement (narrative), 4) dramatic statement (narrative).

연구논문 : 근대 독일 계몽주의의 중국 유학적 기초와 그 문화철학의 의미 -볼프의 중국 형상: 저항의 은유와 오독-

전홍석 ( Hong Seok Jeon ) 한국동서철학회 2012 동서철학연구 Vol.64 No.-

이 연구는 21세기 세계 문명의 화합과 공존이라는 시대정신에 부응하여 과거 서구의 문명강권주의 논리를 정당화해온 부정적 의미의 오리엔탈리즘을 희석시키고 다원적이고 다층적인 개념으로 재조정하기 위해 기획된 것이다. 그 대안으로 상대적으로 간과되어온 ‘긍정적 함의``를 활성화시켜 4분적 층위의 오리엔탈리즘 범주를 제시하는 한편, 이 추상적인 이론이 동서 철학 교류사 연구를 통해서 어떻게 구체화될 수 있는지를 문명 내부의 담론 측면에서 독일 계몽주의 철학자 볼프의 ‘중국 형상``을 모델로 검증해 보았다. 또한 글의 구성은 수용자의 능동적 관점을 적극 반영한다는 차원에서 간-문명적 타자상을 음각하는 유럽의 문화 인자, 즉 ‘신앙 대 이성``이라는 헤게모니적 역학 관계 속에서 다각적으로 이루어졌다. 이 제반 연구 과정 속에서 결국 서구가 신학 체계로 응집된 보수적 종교 사회를 청산하고 근대 시민 사회로 진입하는 데 유학 인문주의가 중요한 추동력이 되었다는 역사 사실을 확인할 수 있다. 18세기 볼프의 계몽 의식 속에 담지된 신앙에 대한 이성의 문화 투쟁은 유럽의 근대적 문화 이행을 위한 중국 인문주의의 원조라는 문화철학적 의미를 갖는다. 그것은 18세기 신본 신앙에 기초한 신학 보수적 경건주의의 ‘억압적 타자상``과 대비되는 인본 이성에 기초한 계몽 진보적 볼프주의의 ‘저항적 타자상``으로서 자문명 비판과 혁신을 위한 고도의 오독이 빚어낸 간-문명적 저항의 은유라고 할 수 있다. The purpose of this study is to mitigate the Orientalism with negative meaning that has justified the past logic of Western civilization authoritarianism and readjust it in a plural and multi-level concept in accordance with the spirit of the age of reconciliation and coexistence of 2lC World cultures. As an alternative, it suggests Orientalism category with quarter levels by activating ``positive implication`` that has been relatively overlooked and also identifies this abstract theory by ``Chinese shape`` of Christian Wolff, the German enlightenment philosopher, with the discourse on internal culture to concrete it through the research on East-West philosophy exchange history. In addition the constitution was made with various aspects in hegemonic dynamics of ``re1igion versus reason``, the cultural factors of Europe engraving cross-cultura1 others` image with the view to reflect positively acceptor`s active standpoint. In this process with various approaches it can be verified that Confucian humanism was the important impetus for the Europe to enter the modern civil society closing the conservative religious society cohered with theological system. The cultural strife of reason against religion included in Wolff`s awareness of enlightenment in 18C has the meaning of cultural philosophy in the view that it is the originator of Chinese humanism for European modern culture. It can be referred to as a metaphor of cross-cultural resistance resulting from significant misreading of criticism and innovation of self-based civilization as ``resistant others` image`` of Wolff`s school with progressive enlightenment based on the human reason in contrast to ``suppressive others` image`` of pietism with conservative theology based on God-centered religion in 18C.

이중반응체계에 대하여

전홍석 한국수학교육학회 1981 수학교육 Vol.19 No.2

명말 예수회의 론고바르디 노선에 관한 논고

전홍석(Hong Seok Jeon) 한국가톨릭신학학회 2018 가톨릭신학 Vol.0 No.32

예수회의 ‘역명ㆍ전례논쟁’은 야유耶儒대화에 있어 ‘문화적응’과 ‘복음보수’ 사이의 간극이 불러온 결과물이다. 마태오 리치가 ‘문화적응’에 치중해 ‘신중론적 간접선교’를 전개했다면 예수회 ‘평민선교노선’의 개척자 니콜라스 론고바르디는 ‘복음보수’에 치중해 ‘낙관론적 직접선교’를 실행했다. 그런데 이 양자의 선교노선이 모두 중국 광둥(廣東)지역 사오저우(韶州)에서의 선교경험을 배경으로 숙성되었다는 사실은 특기할 만하다. 무엇보다도 론고바르디에게 사오저우의 ‘민간선교’ 경험은 이후 사대부 포교에 주력했던 예수회 리치노선을 평민계층으로 전환하는 중요한 정신적 자원이 되었다. 또한 리치와 다른 방향의 유교관 형성에도 일정한 영향을 미쳤다. 반리치적 사고는 그가 베이징(北京)에서 총회장직을 수행하기 이전부터 지방의 민간선교에서 대면한, 곧 유교지식인 교도들의 사변적인 ‘이성화된 신앙’과의 괴리감에서 자극되었다. 더 정확히 말해서 사오저우에서 시행한 영성신학적 평민선교체험은 봉교사인奉敎士人들에게 순수복음의 영적 순결성을 요구하게 된 것이다. 아울러 그 연장선상에서 개진된 역명ㆍ전례보수노선, 그리고 직접적인 평민(민간)귀화운동은 ‘예수회 비적응정책’의 대표적인 실례들이다. 본 논고에서는 아직 미개척 영역으로 남겨진 예수회 신학보수주의의 실체와 이 유파가 태동ㆍ전개되는 과정을 초기 론고바르디노선, 즉 ‘사오저우의 평민영성선교’를 중심으로 재현해보았다. Names of translationㆍRites Controversy of Society of Jesus is caused by a gap between ‘cultural adaptation’ and ‘conservative gospel’ in dialogue between Christianity and confucianism. While Matteo Ricci(利瑪竇, 1552~1610) developed prudent indirect missionary work focusing on ‘cultural adaptation’, Nicolas Longobardi(龍華民, 1556~1654), pioneer of ‘line of gospel of common people’ in Society of Jesus implemented optimistic direct missionary work focusing on ‘conservative gospel’. The fact that missionary work lines of Matteo Ricci and Nicolas Longobardi became mature based on experience of missionary work in ShaoZhou, Guangdong, China deserves special mention. Above all, to Longobardi experience of ‘missionary work’ in ShaoZhou served as important spiritual resources that led Ricci’s line to focus on common people. In addition, experience of ‘missionary work’ in ShaoZhou had an influence on formation of view of Confucianism which was different from that of Ricci. Anti Ricci thinking was stimulated from a sense of gap between him and speculative ‘rationalized’ faith of Confucians which he faced during missionary work in province before he served as moderator in Beijing. To put it more accurately, experience of missionary work for common people in terms of spiritual theology which was implemented in ShaoZhou required a Confucian believing in God to have spiritual purity of pure gospel. Names of translation, conservative rites line and direct common people indigenization movement which were set forth in an extension of experience of missionary work are representative examples of ‘non-adaptation policy of Society of Jesus’. This paper represented a process which conservative theology of Society of Jesus which is still left as unexplored area began and developed centering on early Longobardi line, namely ‘missionary work for spirituality of common people in ShaoZhou’.