한국적 중국 담론의 가능성에 관하여— 2024년도 중국현대문학학회 라운드테이블 참관기

박민호 한국중국현대문학학회 2024 중국현대문학 Vol.- No.108

It is a well-known fact that the atmosphere of ‘hate-China’ rather than ‘anti-China’ is prevalent among the Korean public in recent years. In particular, as Chinese-related departments in Korean universities have disappeared or been merged with other adjacent departments in the near 3-4 years, the sense of crisis in Chinese academia is also increasing. Chinese studies are now rapidly falling into an example of ‘unpopular major’ that cannot be selected by subsequent generations of academics. This phenomenon has been very noticeable since Xi Jinping took power. Against this backdrop, the Winter Round Table of the Korean Society of Modern Chinese Literature held at the conference room of the Seoul Station Airport Railroad on February 16, 2024, was a meaningful place to review the process of our discourse on Chinese (humanities) for more than 30 years after Korea-China diplomatic relations (1992), review current major issues, and seek the direction of Chinese studies in an alternative sense. Under the theme of ‘How should we view China as a Chinese researcher in Korea?’, three presenters and discussants each gave presentations and discussions, and many other attendees expressed a variety of opinions. Through the various contents discussed on this day, this paper considered the limitations faced by Chinese (humanities) research in Korea from various angles. On the one hand, the phenomenon of our times called ‘hate-China’ is a response to China’s political non-democracy and violent patriotism, but on the other hand, it also reveals our own shabbiness and smallness. The inability to escape from the structure of fantasy-hate about oneself is our self-portrait in the phenomenon of ‘hate-China’. We are also ignorant of China, but also of others who exist outside of us. We are trapped only in our survival and interests, and lack the attitude to deeply understand the lives, institutions, and cultures of others outside us, and the attitude to truly sympathize with and comfort the pain and suffering of the world community. The new study of China will only be meaningful as an extension of the new ‘civilization theory’ that is formed around concerns about our problems. It must be constructed in a way that closely understands the trajectory of our history, but internalizes ‘Asian values’ that embrace diversity and heterogeneity by breaking away from historically formed feelings of resentment. Only when it is not exhausted as a passing intellectual fad, but is expressed as a capacity that changes our lives and constitutes our identity, will we be able to use it as a ‘standard’ and discuss our own ‘normative China’.

2014년 한국중국현대문학학회 국제학술대회 ― 천쓰허(陳思和) 기조강연 「四世同堂:21세기 이후의 4세대 작가에 대한 간략한 논의」를 중심으로

손주연 한국중국현대문학학회 2014 中國現代文學 Vol.0 No.71

2014년 10월 18일 춘천 강원대학교에서 열린 “최근 중국문학의 방향과 비평” 학술대회에서 기조 강연을 맡았던 천쓰허(陳思和) 교수의 강연을 정리한 글이다. 천교수의 기조 강연은 21세기 이후 중국 문단의 상황에 대한 진지한 고민 끝에 나온 결과물이었다. 천교수는 현재 중국 문단에서 활동하고 있는 작가들을 탄생한 시기를 기준으로 하여 50後, 60後, 70後, 80後의 네 세대로 나누어 살펴보았다. 천교수는 “어쨌든 작가는 개체인데 이러한 ‘세대’로 작가의 특징을 귀납시키는 방법은 모든 작가의 구체성을 포괄할 수 없고 작가의 개인성과 특수성을 말살시키는 결과를 낳기 쉽다.”고 하였다. 그럼에도 불구하고 여전히 이러한 세대 분류법에 의거하여 중국문단을 바라보면 현재 중국 작가들이 보여주고 있는 제현상을 보다 쉽게 이해할 수 있다는 것이 그의 주장이었다. 천교수는 그 근거로 프랑스 비평가 테느(Taine, Hippolyte)의 이론을 빌려왔는데 그 중에서도 테느가 예술의 발전을 ‘인종’(race), ‘환경’(milieu), ‘시기’(moment)의 영향으로 분석할 수 있다는 점에 주목했다. 이를 중국의 문단에 대입해 보면 작품과 시대적 관계에서 두 가지 시기가 부상하게 된다. 그 중 첫 번째 시기는 작가가 태어난 시기이고 두 번째는 작가가 작품 활동을 시작한 시기다. 천교수는 이 두 가지 시기의 ‘환경’(생활에서의 물질적 조건)과 ‘시기’(정신영역이 시대에 미치는 영향을 포함한 사회적 분위기)의 영향을 살펴봄으로써 4개 작가군의 특징을 비교해 보았다.

‘소년감성(少年情懷)’에서 ‘중년위기(中年危機)’까지 ― 20세기 중국문학 연구의 한 가지 시각

진사화,김혜주 한국중국현대문학학회 2013 中國現代文學 Vol.0 No.67

사람들이 문학의 방향을 주시하고 있는 오늘날, 우리는 중국의 두 가지 ‘신세기’문학을 비교할 필요가 있다. 하나는 20세기 초의 문학을 가리키고, 다른 하나는 근 8년이 지난 21세기 문학을 가리킨다. 100년을 사이에 둔 이 두 ‘신세기’ 문학 간에는 어떠한 내재적 관계가 있을까? 이두 ‘세기 초’ 문학을 연결하는 한 세기 동안 과연 어떠한 문학 발전의형태를 겪어왔을까? 이에 대해 필자는 ‘소년감성’과 ‘중년위기’라는 두 가지 매우 문학화 된 시각을 제공하여 삶과 가장 근접한 시각에서 이 100년의 중국문학 변화 가운데 몇 가지 특징을 탐구해 보고자 한다.(복단대학교 박사과정 김혜주 역)

중국 근현대문학사 담론과 타자화의 정치학

임춘성 한국중국현대문학학회 2009 中國現代文學 Vol.0 No.48

The signifier of Chinese modern literature have slided incessantly, for example, ‘new literature(新文學)’, ‘xiandai(現代) literature-dangdai(當代) literature’, ‘20th century literature(二十世紀文學)’, ‘xiandangdai literature(現當代文學)’, ‘two-wings literature(雙翼文學)’ etc. This study presently fixed the signifier as the ‘Chinese modern literature’(‘geunhyundae moonhak’ in Korean, ‘xiandangdaiwenxue’ in Chinese) and investigated the discourse about the history of Chinese modern literature which have started after May forth movement. After May forth movement, it designated ‘new literature’ by itself, which was contrasted with ‘old literature’(舊文學), after new China, called it ‘xiandai literature(現代文學)’ and ‘dangdai literature(當代文學)’. In the ‘new era’, there was new discourse which was called as the discourse of ‘20th century literature(二十世紀中國文學)’, it criticized the trisection of jindai(近代)―xiandai(現代)―dangdai(當代), and widened the belt of consensus. At the beginning of the 21th century, ‘two-wings literature’ discourse was presented. It embraced the popular literature(通俗文學), that had been eliminated by new literature after May forth movement. This study conducted a follow-up survey about the fluid transition of the discourse about the history of Chinese modern literature and investigated ‘the politics of othernization’ which was embedded in the inner part.

방법으로서의 ‘냉전 아시아―들’-“냉전 아시아의 탄생: 신 중국과 한국 전쟁” 국제 학술대회 참관기

김정수 한국중국현대문학학회 2013 中國現代文學 Vol.0 No.64

1. 대회명칭: “냉전 아시아의 탄생: 신중국과 한국 전쟁”(冷戰亞洲的誕生: 新中國與韓國戰爭)2. 일 시: 2013.3.8.(금)~3.9.(토)3. 장 소: 성공회대학교 미가엘관4. 주 관: 성공회대학교 동아시아연구소/한국중국현대문학학회5. 후 원: 한국연구재단/성공회대학교

臺灣解嚴前後小說文本裏的後現代呈現 ― 以戰後第三代文學家的文本爲主的硏究

李 淑 娟 한국중국현대문학학회 2005 中國現代文學 Vol.0 No.34

The article studied Taiwan fiction after the mid‐1980s. I argue that Taiwan fiction since the mid‐1980s has been characterized by postmodern writing style, this papers aims to study why the postmodern writing became vogue, while the relevance of this theoretical concepts applied to post‐martial law Taiwanese fiction. The articulation of dissident views during the Nativist Literary Debate paved the way for more intense struggles toward democratization in the early 1980s, some writers found the limitations of realism writing, furthermore Taiwan society have became changed under the circumstances, ‘beyond realism’ is in demand, while the Postmodern writing strategies fit well into the de‐mystification agenda of skeptical fiction. Beside, the media’s promotion does a good influence on the prevalence of postmodernism. I analysis the postwar third‐generations Writer’s fiction during this period, these fiction stands out in this aspects as well. Especially in ‘self‐reflexive’, ‘anti‐grand narrative’ and ‘living situation of modern‐day’.

跨國流動的華文文學 ― 台灣文學場域裡的?在台馬華文學?

張 錦 忠 한국중국현대문학학회 2005 中國現代文學 Vol.0 No.34

This paper provides a critical account of the development of Mahua literature in Taiwan since the 1960’s. As a diasporic literature, MLiT [Mahua (Chinese Malaysian) literature in Taiwan] exemplifies the mobility and transnationality of new or emergent Chinese literatures in the Pacific Rim. In the 1960’s and 1970’s, Mahua poets in Taiwan joined forces with local Modernist poets to actualize their “Chinese imagination,” claiming their stay in the island a cultural return. From the late 1980’s onwards, a younger generation of Mahua writers have emerged in Taiwan literary scene. Travelling to Taiwan for further study in higher education, they have instead established themselves by winning prominent literary prizes and hence forming a community of MLiT. However, while Taiwan serves as a flexible and resourceful literary environment for the transnational or diasporic or expatriate producers of literatures in Chinese, the position of MLiT is quite ambiguous. On the one hand, critics of Taiwanese literature complain that writers of MLiT tend to write more about the world that they have left than the place that they live at the moment. On the other hand they are accused, by Malaysian critics of Mahua literature, of misrepresenting their equatorial homeland. Such a (dis)position of the writers of MLiT provokes reflections on the transnationality of contemporary Taiwanese literature and new Chinese literatures at large.

‘文心’과 ‘通變’― 錢鍾書 초기 중국고전문학 비평 연구

한지연 한국중국현대문학학회 2019 中國現代文學 Vol.0 No.88

This paper focused on two key words, namely literary mind and general change, tried to discuss Qian Zhongshu’ early literary criticism from two parts: the view of Classical Chinese and the critique of Chinese Classical Literature. First of all, Qian Zhongshu concentrated on research poetly mind and literary mind to the common humanity in his literary researches, it is reflected in the literature across the ages and in all countries of the world. More specifically, the poetly mind means poetic inspiration, it is in the realm of subjectivity, while the literary mind means that it is the workings of the human mind. In other words, it reaches forward to the criticism for the subject of the creation and the critical subject. In addition to literary mind, Qian Zhongshu inherited the tradition of Chinese literature, including traditional literature type, tradition of the history of Spanish literature. At the same time, he used dialectical thinking and tried to discuss the possibility of criticism. According to this point, I think that two key words will be useful to study Qian Zhongshu’s early literary criticism. Because it provide much more information about Qian Zhongshu’s the view of Classical Chinese and the critique of Chinese Classical Literature. Furthermore, it can help us to understand Qian Zhongshu’s passion for Chinese classical literature as well as his academic interest in Western literature, philosophy, psychology, and rhetoric, etc. I think it is provided new methodology and insight into Qian Zhongshu’s Qian’s literary criticism.

민국시기 문명론의 맥락에서 본 지방자치론

이보고 한국중국현대문학학회 2012 中國現代文學 Vol.0 No.63

This study is focused on political transformations which are caused by the fall of Qing dynasty in 1911. After the collapse of an effete old empire, there are some changes in the interpretation of civilization which is considered as meta discourse in the modern east asian knowledge network. The different in the interpretations on the concept of civilization that gives an impulsion to cause to dispute about the reform of political system in Early Republican China. Based on comparative analysis of modern Japan and early Republican China's thoughts on civilization, this paper explains that modern chinese local self government and it's logic is derived from the theory of cultural harmony in early twenty century. This paper accepts that the theories of civilization in modern Japan and early Republican China have many similarities. Besides in these theories of cultural harmony include the bifurcation between the 60 中國現代文學 第63號centralizing system and the decentralization system in debates on Republican China's political system. In the Early Republican China,there are acrimonious disputes about system of nation states in the public space. After the First World War, that theories of cultural harmony were combined with the decentralization system and it's logic on controversies about the rebuilding of chinese political system. This paper concentrates on analyzing of the mutuality between the theories of cultural harmony and the decentralization system in the public space on 1910's.

‘徵候’로서의 張承志 읽기

성근제 한국중국현대문학학회 2010 중국현대문학 Vol.0 No.52

In this thesis, the writer tries new comprehension of works of Zhang Chengzhi(張承志)who influenced contemporary Chines literary circles with such works as The Black Steed(‘黑駿馬'), History of the Soul(‘心靈史’). He is Hui(回) Chinese and grew up in Beijing. He went to Tsinghua university middle school and was said to coin the word ‘Red Guard'. He was sent down to Mongolia and lived as a ‘educated youth'(知靑). But after the Cultural Revolution, his behavior and writing were distinctively different from any other writer. He was a promising young writer and scholar, but after he came to contact with a muslim sect called Jahrinya(哲合忍耶), he became a muslim and left literary and academic circles and became a professional prose writer. His transformation was not just change of occupation and genre but it could be interpreted as civilizational conversion because it was related to radical questioning about history, society and civilization of China which was triggered by discovery of lowest class minority groups. One thing in his argument that merits attention is that his fierce criticism about Chinese history and intellectual community ultimately restored the status of Hui in the history of civilization of China. In today's situation where political unrest in ethnic minority regions becomes a serious issue, it is unknown what Zhang Chengzhi's fundamental questions about the nature of Chines civilization result in, but his questions deserve to be called a significant symptom that is related to the future of new China which is half a century old.