일제강점기 한국 작가들의 중국 현대문학 바라보기와 수용양상 -梁建植, 李東谷, 梁明을 중심으로-

李時活 대한중국학회 2009 중국학 Vol.33 No.-

This article attempts to excavate Korean literary works influenced by modern Chinese literature during the Japanese occupation of Korea, based on which it also analyzes the ways in which Korean writers and intellectuals received, perceived and transformed modern Chinese literature. Research findings in this article are to be summarized as follow. Firstly, writers such as Guangsoo Yi and Nanson Choi, who lived during the nascent period of modern Korean literature, approached China in the image of a looser and Japan in the image of an empire. Thus, they completely excluded Chinese literature from the world literature since the Japanese occupation of Korea. This was a dark side of modern Korean literature as a result of Korea’s marginality in the colonial age. Secondly, Baekhwa Yang is generally regarded a first writer that received modern Chinese literature; but most of his works and translations related to China were from Japan since he introduced them to Korea by translating Japanese. Consequently, the perspective that Yang applied in approaching Chinese literature was not his own but Japanese during the colonial age. Although Yang’s contribution to the translation of modern Chinese literature needs to be fairly appreciated, one may not arguably say that he was the first writer who received Chinese literature based on a proper understanding of the trajectory of China’s intellectual history. Thirdly, Dong-gog Yi and Myung Yang are the critics who for the first time accepted Chinese modern literature into Korea on their own perspective. This study has a considerable significance in excavating, introducing and analyzing the large amount of their works. Dong-gog Yi had deep interest in the value and spirit of the Chinese New Cultural Movement, and was the first critic in Korea who accepted the value and spirit of modern Chinese literature in its full measure. Myung Yang was pursued ceaselessly in what direction Korean should lead their lives under the rule of Japanese imperialism, and for the first time accepted and blended Chinese modern theory with Korean reality. This was consequential of their struggles to overcome the dual problem of particularity and universality that Korea confronted during the colonial period. Thus they approached Chinese culture and literature in terms of the world historical conjuncture of decolonization and yearnings for modernity. They did not follow the trajectory of the reception of modernity via Japan as many Korean intellectuals did but groped for a way to receive it via China.

근대성의 궤적 : 이육사의 중국문학 수용과 변용

이시활 동북아시아문화학회 2012 동북아 문화연구 Vol.1 No.30

Trajectory of Modernity: Yi Yooksa's Adoption and Transformation of Chinese Literature Lee, Si-Hwal This study briefly examines the trajectory of the Chinese modernity in Yi Yooksa's literary works in its adoption and transformation during the Japanese Colonial Occupation of Korea. In the first place, I look into the literary consciousness of Yooksa occupying a deity in the Korean literary circle like Lu Xun(魯迅) in China in the respect of modern ego. He was consciously trying to establish a brand new oriental cultural atmosphere in needs for the continuous relationships between the East and the West. He imagined and embodied the ways to breaking down the western modern crisis, authorizing more reliable humanistic modernity, and constructing a new nation-state through Chinese oriental tradition. Secondly, this study compares Yi Yooksa with Chinese writers such as Lu Xun, Guo Moruo(郭沫若), Gu Ding(古丁) and Xu Zhimo(徐志摩) with the methods of text-centered critique. Lu Xun was interested in the practical aspects of literature to induce people's enlightenment by negating Chinese tradition in order to accomplish modernity. On the contrary, Yi Yooksa was interested in construing a futuristic project for constructing a new modernity by overcoming colonial situations and the modern valorization of the tradition by partly preserving its value. He attempted not just to accept the Western modernity but to construct a new modernity by re-configurating the tradition. Yooksa trained dreams and passions towards future with a collection of poems, A Goddess(女神), by Guo Moruo in the early stage of the Chinese modern literature arguing changes of the way Chinese understand things in the world. Yooksa borrowed the poetic images as the ‘flowing tide in the sea,’ the ‘fire dog swallowing the sun (celestial dog)’ from Guo Moruo. Yooksa was practicing the solidarity and friendship with Guo Moruo, emphasizing the equipment of the developed modern ego. I also analyze the modernity in Yooksa's works by illuminating his literary activities translating and introducing Alleys(小港), a novel written by Gu Ding, a typical pro-Japanese writer. Yooksa differs from Gu Ding in the sense that he imagined the modern East through a balanced perspective without privileging the West. For Yooksa paid attention to Gu Ding not because of the latter's pro-Japanese orientation but because of the humanitarian sympathy and compassion in his critical description of Manchuria. It is roughly estimated that from the comparison of Yi Yooksa to Xu Zhimo, the former seems to be influenced significantly by the latter considering Yi translated many pieces of Xu's works among other modern poems. Yi could attract the humanitarian sympathy and compassion in Xu's poems. After all, Yi's literary orientation resembles Xu's in that he constructed an idiosyncratic world of poetry without subscribing for any literary factions while participating in resistant struggles to liberate his nation from Japan at the risk of his own life. However, Yi differs from Xu in that he applied his own world view to the Xu's poetry style. In conclusion, Yi Yooksa did not follow the trajectory of the reckless acceptance of modernity through Japan as many Korean intellectuals did, but groped for his own way to receive it through China.

폐명의 단편소설 연구 : 영원한 이상과 꿈의 추구 The Pursuit of Everlasting an Ideal and a Vision

이시활 영남중국어문학회 1998 중국어문학 Vol.32 No.1

拙稿透過廢名的四篇短篇小說一$lt;淙衣母$gt;·$lt;竹林的故事$gt;·$lt;桃國$gt;·$lt;菱落$gt;的分析, 觀察了廢名文學獨有的特色. 廢名把感性重於理性之上, 從天人合一的卿村生活中去探索人類的價値以及永긍的夢和理想. 他的作品是一種過去經驗的記錄, 就他而言, 過去的世界旣是去探究人類晋遍價値秩序的探索的空間, 也是種理想和休息的空間. $lt;淙衣母$gt;和$lt;竹林的故事$gt;通過在過去回憶中存在的周遭人物的悲劇形象的望造, 加深了哀愁的情調. 大自然和童心的世界扮演着呈豊現人物性格的象徵物的角色, 凸顯其抒情性. $lt;桃圍$gt;和$lt;菱蕩$gt;將被視作'詩的敍事'的抒情小說的諸般特色, 透過獨特的文體, 現代化的技巧, 象徵和意象, 創作意識和主題意識等, 在形式與內容諸方面明顯地體現出來, 竝由此呈現出人類與大自然合而爲一的平淡幽靜的美學. 這些廢名的作品相對地弱化了故事的情節性, 但展現出如水墨晝般的故事, 將敍述者的認知星現爲象徵或醫喩, 由而加增了其抒情味兒, 之所以有這種現象的主要原因在於: 作者不把其重點放在一般小說所重視的故事情節和人物的塑造, 而放在追求夢和理想的作者心理內面的精神世界; 也是因爲作者的認知來源像抒情詩和繒晝般的, 不在其時間性, 而在其空間性. 因此, 廢名作品如抒情詩般直接傾訴於讀者的感性, 將讀者引入感動和思考的空間.

절대자유를 향한 끝없는 욕망의 시학

이시활 영남대학교 중국연구센터 2004 중국과 중국학 Vol.2 No.2

일제강점기 한국 작가들의 중국 현대문학 바라보기와 수용양상

李時活 대한중국학회 2009 중국학 Vol.33 No.-

This article attempts to excavate Korean literary works influenced by modern Chinese literature during the Japanese occupation of Korea, based on which it also analyzes the ways in which Korean writers and intellectuals received, perceived and transformed modern Chinese literature. Research findings in this article are to be summarized as follow. Firstly, writers such as Guangsoo Yi and Nanson Choi, who lived during the nascent period of modern Korean literature, approached China in the image of a looser and Japan in the image of an empire. Thus, they completely excluded Chinese literature from the world literature since the Japanese occupation of Korea. This was a dark side of modern Korean literature as a result of Korea’s marginality in the colonial age. Secondly, Baekhwa Yang is generally regarded a first writer that received modern Chinese literature; but most of his works and translations related to China were from Japan since he introduced them to Korea by translating Japanese. Consequently, the perspective that Yang applied in approaching Chinese literature was not his own but Japanese during the colonial age. Although Yang’s contribution to the translation of modern Chinese literature needs to be fairly appreciated, one may not arguably say that he was the first writer who received Chinese literature based on a proper understanding of the trajectory of China’s intellectual history. Thirdly, Dong-gog Yi and Myung Yang are the critics who for the first time accepted Chinese modern literature into Korea on their own perspective. This study has a considerable significance in excavating, introducing and analyzing the large amount of their works. Dong-gog Yi had deep interest in the value and spirit of the Chinese New Cultural Movement, and was the first critic in Korea who accepted the value and spirit of modern Chinese literature in its full measure. Myung Yang was pursued ceaselessly in what direction Korean should lead their lives under the rule of Japanese imperialism, and for the first time accepted and blended Chinese modern theory with Korean reality. This was consequential of their struggles to overcome the dual problem of particularity and universality that Korea confronted during the colonial period. Thus they approached Chinese culture and literature in terms of the world historical conjuncture of decolonization and yearnings for modernity. They did not follow the trajectory of the reception of modernity via Japan as many Korean intellectuals did but groped for a way to receive it via China.

헤테로토피아와 고향유토피아 ― 김사량과 루쉰, 이창동과 지아장커의 작품을 중심으로

이시활 대한중국학회 2022 중국학 Vol.78 No.-

The goal of this study is to examine the specific examples of the “hometown” image, “heterotopia” and “hometown utopia” which has frequently been expressed as an epic strategic mechanism in modern films and novels of Korean and Chinese writers, such as Lee Chang-dong and Jia Zhang-ke, and in the works of writers such as Kim Sa-ryang and Lu Xun. This study, particularly, pays attention to the features of so-called oriental modernity by carefully examining the process of the hometown images and narratives being converted into the place or space of utopia, namely heterotopia, and thus being sublimated into a hometown utopia ritual that guarantees the future. The term heterotopia is an unrealistic space without a real place, but unlike utopia, it is actually a realized utopia space that exists in real life and performs its function. In art, heterotopia can be transformed into an artistic device that connects the unreasonable real world with the ideal world of the future. Kim Sa-ryang and Lu Xun's heterotopia and hometown utopia are criticizing reality and leading the future by idealizing the past by combining spatial perceptions of “here” and “there” with temporal perceptions of “past, present, and future”. The films of Lee Chang-dong and Jia Zhangke seem to be admiration for the ideal of heterogeneous consciousness realized through memories of their hometown, which disappeared psychologically after the corruption of their hometown in the process of modernization between Korea and China. It was analyzed as a flowing heterotopia. Therefore, hometown utopia has an active meaning of criticizing and reflecting on various phenomena that occurred in the process of modernization and reflecting on the crisis brought about by Western modernization.

근대 초기 한중일 번역문학의 상호텍스트성 -한중일 『십오소년표류기』의 번역을 중심으로

이시활 대한중국학회 2023 중국학 Vol.82 No.-

This study aims to investigate the three language versions of French Jules Verne(1828-1905)’s Two Years’ Vacation(Deuxans de vacances, 1888) in early Asian modern era, which are Japanese Fifteen Boys(1896) by Morita Shiken, Chinese Fifteen Little Heroes(1902) by Liang Qichao, and Korean Fifteen Little Heroes by Min Jun-ho(1912). In this research, I look at what is pursued in the translation process through the translation methods and intentions of translators under the different cultural environment of Korea, China, and Japan, and explores the context and situation in which intervention, subversion, transformation, and distortion occurs. Finally I partially examine the process of changing styles of newly constructed national languages of each country with the identity of modern nation state. The Korean version by Min Jun-ho provides the novelty of the story to Korean readers who are not accustomed to adventure stories through translation, rather than simply for the purpose of translating Western novels. Liang Qichao’s Fifteen Little Heroes was translated as a form of a serial novel which is familiar with Chinese readers. In this Chinese version, the narrator set as a storyteller is not only involved in the content of the story and the form of the sentences, but also intervenes in the narrative of the novel to constantly interpret and explain the story. This is for Liang Qichao’s Fifteen Little Heroes’ taking precedence over the political purpose of creating a “citizen” for enlightenment and reformation that awakened the Chinese and made them a new people. Morita Shiken hopes for a new Japanese modern language by using defamiliarization as a translation strategy, trying to preserve the language and culture of the English text as a source language. It can be said, after the process, that the Japanese sentences equipped with the unity of speech and writing in Japan as a nation state has been completed.

韓中 현대문학에 나타난 고향의식 비교

이시활 중국어문학회 2003 중국어문학 Vol.41 No.-

韓中 현대문학에 나타난 고향의식 비교 : 현진건과 魯迅, 정지용과 戴望舒를 중심으로

李時活 영남중국어문학회 2003 중국어문학 Vol.0 No.41

這篇文章以玄鎭健的短篇小說<故鄕>和魯迅的短篇小說<故鄕>, 鄭芝溶的詩<鄕愁>, <故鄕>以及?望舒的<樂園鳥>, <對於天的壞鄕病>爲對象, 比較考察了韓中現代文學所反映的故鄕意識. 韓國現代文學的開端和日帝對韓殖民地的開始大略一致. 所以在韓國現代文學中故鄕的失落感以及對國土淪喪後的感情同樣地體現在作品中. 因爲是在日帝統治下被迫喪失故鄕, 所以玄鎭健所描寫的故鄕客觀地反映出了那段歷史現實, 他的故鄕意識可以說是對民族意識的反映. 鄭芝溶有意識地追求表現現代, 但因爲受到社會矛盾和人性的異化以及殖民統治下的韓國現實的限制, 使得他還産生了與此矛盾的對封建農村共同體强烈懷念的感情. 在封建農村共同體不存在的那段現實裏, 他不斷探索和故鄕相同的某種空間, 所以, 他的故鄕意識可以說是流浪意識. 與此相反, 中國現代文學的開端和以科學和民主爲思想旗幟的所謂五四的反封建個性解放時期大略一致. 所以魯迅的故鄕象徵的침睡在封建迷夢中的整個中華民族的生存空間. 他期待的是一個象徵象徵水平秩序的現代現實, 這和那些尙침睡在垂直秩序的故鄕人類?然不同, 他在訣別故鄕時也沒有留下一點失落和遺憾, 反而感到愉悅. 所以魯迅的"故鄕"隱含着對現代自我的證明, 他的故鄕意識是對現代意識的反映. ?望舒也是在不斷地探索故鄕, 但他知道在現實中幷不存在. 把故鄕象徵爲天的?望舒所說的"歸鄕"意味着回歸到原型世界. 他的"原型"指的就是能安居樂業的故鄕, 美麗富饒的故鄕. 這種對回歸原型空間的回歸意識體現在他故鄕題材的作品裏, 是失去國家, 民族的現代韓國和國家, 民族奄存的現代中國的社會現實的不同導致的結果. 也算是韓中現代文學開端時期的一個差異.

근대적 대중의 호출과 문화적 모더니티

이시활(李時活) 동북아시아문화학회 2014 동북아 문화연구 Vol.1 No.38

The Young Companion(Liangyou) Pictorial, one of the leading visual media was founded Feb. 1926 and suspended Oct. 1945. During that period(The period of the Republic of China), which is known for the turbulent era of the crossroad of traditional and modern times, and also that of tension and conflict between orientalism and occidentalism in Chines history, it issued total 174 volumes(172 periodicals and 2 special features), and performed its tasks excellently in the history of Chinese pictorial before the period of the Republic of China was founded. In the years of 1920’s to 1940’s, The Young Companion(Liangyou) Pictorial in Shanghai recorded the city’s modern metropolitan images and presented those to its readers. And Moreover, it also introduced the modern life ideas, led the fashions of them, and framed the modern images as well. This research explores, by the analysis of the magazine, not only the aspects of the birth of modern mass, the detection of it, and its mass-calling-out-modes, but also the discoveries of new daily life style spontaneously representing desires and senses of the mass. And this paper, on these findings, goes further to examine the historical significance of substantial structural change and cultural modernity in modern Chinese literature. The results of this study can be summarized as followings. 1. First, The Young Companion(Liangyou) is a kind of the result of shaping and expanding of modern self that the modern visual-centered perspective created. So, In Chinese modern and present times, new values have been expanded and reproduced by the influence of mass media. That is to say, the birth of modern mass progressed side by side with the growth of consumption-cultural media, and scope of mass also expanded by constant calling out mass who were consuming modern era under the colossal effects of that consumption-cultural media. 2. Second, this research considers how the mass, through reading The Young Companion (Liangyou) Pictorial, discovered what modern daily life and the aspects of it should be. The Young Companion(Liangyou) uses mass-calling-out strategies effectively by stimulating the ideal of the daily life of modern cities and imagination of it. 3. Third, The Young Companion(Liangyou) Pictorial, under the project of seeking for the new modern life, adopted mass-calling-out-modes to involve the conscious readers and to attract the mass. This research looks into how its mass-calling-out modes are performed, by mainly focussing on its viewpoint of offering the modern knowledge, its cover models, and its advertisements. In this regards, this study analyzes its mass-calling-out modes as two different ones ― conscious mass-calling-out mode and unconscious mass-calling-out mode. 4. Fourth, this paper examines that the mass-calling-out modes of The Young Companion(Liangyou) approaches the mass through its narrative discourses and strategies adjusted at the level of the reading mass. The Young Companion(Liangyou) involved and called out readers and the mass by means of the conscious approach toward a new life, that is, modern daily life. 5. Finally, through the cultural prism of the discovery of modern mass and its daily life, this study tries to read poetically the various characteristics of cultural modernity from the viewpoint of mass life history.