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정중석 ( Jung Joong-seck ) 한국중국현대문학학회 2016 中國現代文學 Vol.0 No.78
This paper studied the narration feature of Su-Tong’s novel from the viewpoint of comparing standard narration. Su-Tong fulfilled his own destruction desire and overturn desire in a novel writing, which exposed the subaltern narration, female narration and history narration. In subaltern narration, this paper proved that subaltern was not good, virtuous, honest but crooked, wicked by examining the WuLong of Rice, ChenMao of House of Poppy, delinquent boys of Area of North City, KeYuan of How Can Snake Fly. This paper not only compared them with XiangZi of LaoShe’s novel Camel XiangZi as the standard narration of subaltern but also compared them with Liu ZhenYun’s Days like Chicken Feathers regarding a gloomy future of subaltern. In female narration, this paper not only proved that woman was voluptuous, jealous, vicious, vain by examining the XiaoE of Cosmetics, JinLan of Area of North City but also proved that woman was the existence who relied on man by examining the SongLian of Wives and Concubines, Xian of Lady Life, XiaoE of Cosmetics. Proved that the female image of negative personality was originated from the resistance of Confucian tradition female image such as tenderness, beauty, goodness, maternal affection by examining Tang Dynasty novel Yingying’s Biography. Proved that the female image of reliance existence was originated from the resistance of independent female image in Socialism literature by examining the YangMo’s Song of Youth. In history narration, this paper proved that individual got out of the flow of history by examining the SongLian of Wives and Concubines, XiaoE of Cosmetics, Ms. Jiang of Escape of 1934, ChenMao and Liu ChenCao of House of Poppy, Analects of Confucius of My Emperor Life. Proved that Su-Tong’s history narration was somewhat different from other new-history novel by examining the MoYan’s Red Sorghum, which made the subject of history replace majority with minority. Proved that Su-Tong’s history narration was originated from the resistance of standard history narration in which individual not only coincided exactly with the flow of history but also realized historical value, such as LuXun’s A Madman’s Diary, Medicine and LaoShe’s Camel XiangZi. These aesthetic features of Su-Tong’s novel narration had been accomplished by resisting the standard narration. The existing standard narration was a kind of authority discourse. It could be said that Su-Tong has accomplished his own aesthetic discourse resisting the authority discourse. There were three main field in which he defied the authority discourse. The first was a subaltern narration. The second was a female narration. The third was a history narration.
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정중석 ( Jung Joong-seck ) 한국중문학회 2018 中國文學硏究 Vol.0 No.72
본고는 비페이위 《마사지사》의 장애인서사 특징을 저층서사가 아닌 장애인서사의 맥락에서 고찰하였다. 중국 신시기 장애인서사는 스톄성을 대표로 하는 첫 단계, 모옌·옌롄커·둥시·자핑와·츠쯔졘을 대표로 하는 두 번째 단계로 구분할 수 있다. 이러한 흐름에서 비페이위 《마사지사》는 새로운 세 번째 단계의 장애인서사를 창출해 내었다. 그의 장애인서사는, 기존의 서사가 장애인을 사회 저층으로 설정하고 장애인의 고난을 서사의 중심에 둔 것과 달리, 장애인의 존엄과 자존을 서술의 중심에 두었으며, 기존 서사가 일반인과 장애인을 대척점에 두고, 악하고 억압하는 일반인―착하고 소외당하는 장애인의 프레임을 적용한 것과 달리, 일반인과 장애인의 경계를 해체하였다. 이러한 해체는 장애인을 일반인과 동일한 꿈·이상·행복을 추구하는 인물, 선악이 혼재된 인물로 형상화하는 것으로 나타났다. 그리고 그의 장애인서사는 장애인을 하나의 서사장치로 삼아, 일반인들에게 근원적인 질문을 던지고 있다. 根據不是底層敍事而是殘疾敍事, 本論文硏究畢飛宇《推拿》的殘疾敍事的特點。中國新時期小說的殘疾敍事可以劃分爲兩個階段。第一階段是以史鐵生爲代表的殘疾敍事,第二階段是以莫言、閻連科、東西、賈平凹、遲子建爲代表的殘疾敍事。不過畢飛宇《推拿》創造出第三階段的新殘疾敍事來了。 傳統殘疾敍事經常把殘疾人放在現實生活的社會底層,以殘疾人的苦難經歷作爲小說敍事的中心。而且傳統殘疾敍事常常將健全人放在殘疾人的對立面,套用了惡毒而野蠻擄掠的健全人―善良而被排擠的殘疾人的框架。不過畢飛宇的殘疾敍事和傳統殘疾敍事不一樣。他的殘疾敍事以殘疾人的尊嚴和自尊作爲小說敍事的中心。他的殘疾敍事解構了健全人和殘疾人的境界綫。這樣的解構表現爲不但殘疾人跟健全人一樣地追求夢想、理想和幸福,而且殘疾人是善惡共存的人物。再加上,畢飛宇以殘疾人作爲一種敍事裝置,給健全人提出深奧、哲學性的問題。 第一,《推拿》敍述了殘疾人的尊嚴:故事的空間設定爲推拿中心。都紅放棄鋼琴而學推拿。都紅拒絶接受捐款而偸偸地離開推拿中心。王大夫給弟弟匯款了一大筆禮金。錢的功能是維護殘疾人的尊嚴的。 第二,《推拿》解構了健全人和殘疾人的境界綫:由於王大夫和沙復明的夢想是推拿中心的老板,因此爲了實現自己的夢想他們下功夫。金嫣爲了爭取愛情積極行動。小孔對錢吝嗇。王大夫把對弟弟的厭惡轉移到愛情,另一面投資股票失敗後,把錢都賠進去了,另一面跟流氓地痞一樣地自殘。沙復明跟張宗琪的糾紛表現爲追求自己的利益的形象。羊肉分餐事件露出盲人的多疑性格。 第三,《推拿》給健全人提出深奧、哲學性的問題: 都紅托寓美的提問。小馬托寓時間的提問。
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발터 벤야민의 순수언어 -장아이링의 『황금족쇄』를 중심으로
정중석 ( Joong Seck Jung ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2015 世界文學比較硏究 Vol.53 No.-
장아이링(張愛玲)은 1940년대 중국의 대표적인 해파(海派) 여류작가이다. 그녀의 대표작『황금족쇄(金鎖記)』의 중한번역을 본고는 발터 벤야민(W. Benjamin)의 번역이론으로 분석하였다. 벤야민의 번역이론을 적용한 이유로는 기존 번역이론이 직역. 의역, 이화법. 귀화법, 이국화·자국화 등으로 이분법화 되어있는 반면, 벤야민의 번역이론은 이러한 범주를 벗어나고있기 때문이었다. 발터 벤야민의 번역이론을 적용하기 위해, 우선 그의 번역이론의 핵심이라 할 수 있는 ‘순수언어’를 고찰하였다. 벤야민의 번역이론인 『번역자의 과제』에서 순수언어의 의미를 살펴보았으며, 그것이 상당히 난해하고 관념적이었기 때문에 국내 논저들에서 순수언어의 정의가 다양하게 나타나고 있음을 고찰하였다. 순수언어를 구체적으로 추론하기 위해 다시『언어일반과 인간의 언어에 대하여』트락타트(Traktat)를 살펴보았고 여기서 사물의 언어,인간의 언어를 고찰하면서 벤야민의 언어이론을 소쉬르의 언어학과 비교도 해보았다. 그리고 결론적으로 순수언어를 사물의 언어로 추론하고 정의하였다. 실제 『황금족쇄』의 번역고찰에 들어가면서 소설 전체에 나타난 사물의 언어로 ``달``을 상정하였고 이것을 순수언어로 간주하였다. 달이 왜 순수언어가 되는가에 대해서는, 소설 속에서달이 어느 한 부분에만 나타나는 것이 아니라 소설 전체에 포진되어 있다는 점, 각 인물의심리를 대변한다는 점, 미래에 대한 예시, 정조, 상황과 분위기를 조성한다는 점, 또 이야기의 시작과 종결을 의미한다는 점을 근거로 들었다. 번역문 고찰에서는 우선 해당 문장에서 달이 함축하고 있는 의미를 살펴보고, 달이 소스(Source)텍스트에서 타깃(Target)텍스트로의 전이과정에서, 혹은 출발언어와 도착언어 사이에서 어떻게 확장되는가를 고찰하였다. This paper mainly had studied the translation theory of W. Benjamin making use of Korean translation of Zhang Ai-ling``s novel『The Golden Cangue』. Walter Benjamin was a German critic and philosopher widely known as 『The Work of Art in the Age of Mechanical Reproduction』. Among his literary theory, 『The Task of the Translato r』 is a representative article on the translation theory. His translation theory had opposed the pre-existing translation concept such as the transmission and restoration of meaning. This paper has selected the “pure language” of main concept in the translation theory of W. Benjamin as the analysis category. In order to define the notion of pure language, writer researched the article of 『The Task of the Translator』 and domestic journal paper related to it. However the notion of pure language was very vague and ideological, so writer researched the article of 『About General Language and Human Language』again. This paper not only researched the thing language and human language but also compared the language theory of W. Benjamin with the linguistics of F. Saussure there. In conclusion, the pure language was inferred and defined as thing language. In the translation study of 『The Golden Cangue』, the thing language of the whole novel was presupposed as ‘Moon’ and it was regarded as pure language. The reason why moon could be the pure language was that this word was not the tool of meaning transmission but the perfect word containing mental essence in the pre-period of the “corruption of Adam’s language spirit”. In addition, the word of moon implied the intension of the whole novel, which corresponded with the definition of pure language, “the totality of language”. Researching the Korean translation of 『The Golden Cangue』, writer explained the implication meaning of moon in that sentence at first. And then analyzed how the word of moon was extended into the other words in the source text and target text. Consequently the word of moon was creating afresh in the Korean translation again. If we assume that the dictionary definition of word is the pre-existing form, most translation examined was creating a new form destroying the pre-existing form.
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