나도향과 반기독교

박헌호 ( Park Heon-ho ) 인하대학교 한국학연구소 2012 한국학연구 Vol.0 No.27

기독교는 한국 근대사에서 간과할 수 없는 종교이자 사상이다. 우리의 역사에서 기독교는 서구적 근대화를 상징하는 종교이자 서구 제국주의의 첨병이라는 두 얼굴을 지니고 있다. 그런데 3.1 운동 이후 서구열강이 보여준 태도는 식민지 조선인들을 실망시켰고 이후 반기독교적 흐름이 전면화된다. 나도향의 반기독교는 이러한 시대적 흐름과 일정한 거리를 유지한 채 자신의 종교체험 내부에서 생성됐다는 특징을 지닌다. 이는 카프에 의해 문학에서 반기독교 문제가 다루어지기 훨씬 전의 일이다. 그는 생의 일회성과 유한성에 대한 자각을 통해 기독교적 내세 중시를 거부하고 현세를 삶의 진정한 무대로 받아들였다. 그의 사유는 삶의 취소 내지는 회귀로서의 회개를 거부하는 불가역적 시간성을 내포하고 있으며, 거기에는 주체의 욕망과 선택에 대한 자기종결성을 강조하는 인생관이 잠재돼 있다. 신을 부정한 그가 선택한 윤리의 최종심급은 피조물로서의 동질감이자 공감의 윤리학이었다. 도향의 반기독교는 인간의 욕망과 현세적 삶을 긍정했지만, 윤리를 넘어서는 새로운 지평을 도모했던 것은 아니다. 윤리에 입각한 사랑을 신의 위치로 끌어올림으로써 도향의 낭만주의적 반기독교 인식은 자신의 급진성과 위태로움을 동시에 드러냈다. 이 글은 한국 근대문학사와 정신사에서 기독교와 낭만주의가 맺었던 관계를 추적하려는 목적의 일환으로 작성되었다. Christianity is a inevitable main point to examine Korean modern history. In Korea, Christianity was actively accepted as the spiritual base of the Western modernization, or was excluded as the Western imperialism. While preference of Christianity had been high in the early modern times, stream of anti-Christianity has spread fast since failure of 3·1 Movement led to disappointment of the West represented as Christianity. It is connected with anti-Christian thoughts appearing with the rise of KAPF' literature. Na do-hyang's literature interests because of showing anti-Christian thinking grown spontaneously, having no concern with the rise of socialism. He had gone to only Christian schools which had on a great effect on education and religion in the early modernization of Korea. While internalizing a Christian ethical system, he hoped the liberation of individual that the modern times promised. His anti-Christian thinking rises in a gap between the internalized Christian ethic and the hope of the liberation of individual, which symbolizes a conflict between sensibility liberation of the modern individual and enlightenment ethic system represented as Christianity. In the West, romantism literature shows a course from the refusal of religion to the return to it. In contrast with it, Na's romanticism pursues for liberation of sentiment and desire, then perceives a matter of colonial reality repressing individual in the end, which means his works approached colonial modernity. However, like religion and human, modern mental and modern literature, essential problems remain not interrogated. Therefore, relation of Christianity and history of the modern spirit in Korean still to be examine on the level of introduction.

헤겔 주제 논문 : 헤겔의 반낭만주의적 낭만주의 ; 그의 체계에서 “낭만적인 것”의 변증법

권대중 ( Dae Jung Kwon ) 한국헤겔학회 2013 헤겔연구 Vol.0 No.33

이 논문은 ‘낭만적인 것’에 대한 헤겔의 입장변화들 중 제2의 전회를 중심으로 이 개념에 대한 정신철학적 이해를 심화시키는 데 목적이 있다. 청년기에 상당히 친낭만주의적 경향을 보였던 헤겔은 이후에는 오히려 이성의 절대성에 입각하여 반낭만주의적 입장으로 선회한다(제1의 전회). 그러나 체계가 완결되어 가는 과정에서 그는 ‘낭만적인 것’이라는 개념을 좀 더 심층적이고 포괄적인 의미로 이해하면서 낭만주의에 대한 우호적 입장과 적대적 입장을 모두 하나의 거대 범주 아래에 포섭한다. 그의 ‘낭만적인 것’은 구체적으로는 ‘기독교적인 것’과 거의 동의어로 사용된다. 그러나 ‘낭만적인 것’이 낭만주의와 반드시 일치하지 않고 그것을 포섭하는 상위개념이듯이, ‘기독교적인 것’ 역시 기독교라는 하나의 종교를 포함은 하지만 단순 등치될 수 없는 상위개념이다. 이는 이 두 개념이 근본적으로 ‘내향성’이라는 정신의 수행방식을 가리키기 때문이다. 이렇게 보다 근본학적인 상위개념으로 사용됨으로써 이 범주는 그것에 대한 헤겔의 일견 상치되는 듯 보이는 입장 표명을 하나의 일관된 원리의 적용으로 이해할 수 있게 해 준다. The purpose of this research is to provide a deeper and more appropriate interpretation of the Hegelian concept of ‘the romantic.’ The author focuses especially on Hegel`s new change of view, which might be called ‘the second turn’: Although he is familiar with romanticism in his youth period, the mature Hegel turns to anti-romanticism (the first turn), because he took the absoluteness of reason; But in the process of development of his system to the completion, he subsumes both romantic and anti-romantic standpoints under ‘the romantic’ as a macroscopic category and uses this concept in a wider and more profound sense. His concept of ‘the romantic’ can be used almost synonymously with ‘the christian.’ However, ‘the christian’ includes the christianity as a certain religion on the one hand, but may not be simply equalized with it on the other, just as ‘the romantic’ is a superordinate concept of romanticism and thus could not be identified with it, because these two concepts basically indicate the way of mental operation called ‘internalness’ (Innerlichkeit). Therefore we could say that the highest and ultimate fulfillment of the Hegelian romantic (and the Hegelian christian) could be found exclusively in the stage of (speculative) philosophy, but neither in the romanticism nor in the christianity, and in this sense he could be called an ‘anti-romantic romanticist.

장쯔핑 소설에서 나타나는 기독교 의식 ― 소설 <요단강의 물>과 ≪하느님의 자녀들≫을 중심으로

고아라 중국어문연구회 2019 中國語文論叢 Vol.0 No.92

Zhang Ziping (張資平, 1893~1959) is a popular writer who represents the Chinese literary world; accordingly, most of his novels are utilizing popular romance as a major plot. Here, one thing for us to note is that many of his works have religious colors, but over the past several years, we have not carefully examined the religious issues appearing in his works, since they have been veiled by these affection depictions. The Christian elements appearing in Zhang Ziping’s first short story of “The River Jordan” and his later work of God’s Children. Zhang Ziping’s perception on Christianity has shown the aspect as complicated as his lifelong. However, it is definitely true that he showed a high interest and completion degree as a Christian literature in comparison with contemporary authors. He has experienced Christianity by the influence from his father since childhood and been steadily establishing his perception on religion while studying abroad and even after returning home through the background of Christian life. His first short story of “The River Jordan”, which has been published since then, he shows a positive perception of Christianity. In particular, unlike “The River Jordan”, in his later work of God’s children, the strict voice of the author is embodied which plies in the corrupt reality of Christianity and the dark side of it. Moreover, Zhang Ziping developed the actions and events of characters against the Christian ethics in the religious aspect, more plainly exhibiting the desire and decadence of human beings revealed in it through the naturalistic creative method. However, as the God’s Children is overlapped with “The River Jordan” at the ending, we could find that his perception of religion is not consistent, through which we could examine how the author’s acceptance of Christianity is expressed in the age and personal conditions by showing the perception of ‘positive → negative → positive’. However, the reason why the author went back into God’s arms at the ending of the work could be said that it came from the ambivalent feelings about his father which was developed in the religious life that he could not rebel from his childhood or the longing for him later. In other words, the ambivalent feeling on his father caused the author’s internal conflicts on religion and complicated Christian consciousness. In addition, in this article, we interpreted it as the author needed Christianity to find the Absolute to depend on in the absence of his father and longed for devotion to God in order to wash away the guilt on his father later.

의상에 나타난 Perfect Gentlemen의 이미지 연구 : 19세기 영국을 중심으로

李宜貞,楊淑喜 복식문화학회 2000 服飾文化硏究 Vol.8 No.3

Black froak coat, white shirts, top hat and cane has been the symbol of gentlemen in 19th and early of 20th century. The pattern invented by Savile Row in London prevailed whole England. Such a patters has been the standard form for two hundred years all over the word, although it was replaced with a functionalism which developed in Italy and America at the end of 20th century. The clothes of gentlemen was developed by several factors; English people respect a tradition. The clothes was practical, since the weather in England was bad. The success of Industrial Revolution made England wealthy. Various special clothes in sports, fur example, riding, criket, golf and tennis also contribute the modern gentlemen clothes with advanced tailoring technique. The change of gentlemenship with social environment, from Regency dandy, Romantic gentlemen to Muscular Christianity, was studied. Idial gentlemenship and development its clothes which is now the standard of modem men's wear also studied.

기독교 신비주의의 두 흐름과 T. S. 엘리엇의 존 던에 대한 재평가

이홍섭 한국T.S.엘리엇학회 2011 T.S. 엘리엇 연구 Vol.21 No.1

In the 1926 Clark Lectures at Cambridge, T. S. Eliot redrew the map of metaphysical poetry in the Western literature by including not just the Metaphysical poets of the 17th century England but Lucretius, Dante, and Baudelaire among many others. In the Lectures, published posthumously in 1993 under the title of The Varieties of Metaphysical Poetry, Eliot also revaluated the metaphysical poems of Dante and Donne in terms of their socio-cultural, philosophical, and religious background. Especially, Christian mysticism was, Eliot insisted, one of the most important factors in understanding these great poets’ works accurately. According to Eliot’s somewhat idiosyncratic genealogy of Christian mysticism, it could be basically divided into two streams: ontological-classical and psychological- romantic. A fundamental tenet of ontological-classical mysticism is that God is transcendental and the vision of God can “only be attained by a process in which the analytic intellect took apart.” By contrast, God, for psychological-romantic mystics, is immanent and a human being has an innate capability to perceive and recognize God-head intuitively and to be united with it, whether momentarily or not. Ontological-classical mysticism, whose origin Eliot attributed to Aristotle’s metaphysics, was developed by such theologians as Richard of St. Victor and Thomas Aquinas, and culminated in Dante’s poetry aesthetically. Notably, for Eliot, Dante was not merely a religious poet faithful to his own mysticism but, far more importantly, the paradigmatic figure of what Eliot famously called “united sensibility.” Inextricably combined with Eliot’s enthusiastic support of both Dante’s mysticism and his poetic achievement is his radical revision of the aesthetics of united sensibility; in addition to union of thought and feeling, order, system, and harmony, as championed by classicism, toward which he increasingly inclined, become essential parts of united sensibility. In contrast to Dante, Donne, once eulogized as a representative poet of united sensibility by Eliot himself, was degraded into a precursor of “dissociation of sensibility.” Behind this dissociation, Eliot claimed. lay Donne’s embracement of psychological-romantic mysticism, originated from Plotinus and fully developed by Eckhardt, Ignatius, Theresa and St. John of the Cross. By reading closely Donne’s “The Extasie” and examining its dualistic view of soul and body, Eliot exemplified how the poet’s disintegrated sensibility is merged with his psychological mysticism.

연구논문 : 슐라이어마허의 설교의 특징

김승철 한국대학선교학회 2007 대학과 선교 Vol.13 No.-

Scholars have generally recognized Schleiermacher as a theologian or a philosopher. Yet, above mentioned, Schleiermacher understood himself not only as a theologian but also as a pastor, preacher and chaplain. Especially he thought that a chaplain was his divine calling. Its reason was that he considered himself as a “servant of the Word” who should preach at a church and an university because preaching to the public and students and teaching theology to students were equally important for him. According to Vries and Wintzer characteristics of Schleiermacher``s sermon are following: 1) to preach without manuscript, 2) to understand preaching as “explanation” but not as mission, 3) to accept the congregation as already believing in God. Firstly, there are some weaknesses and strengths of preaching without manuscript. The reason that he preached without manuscript was that he mostly cherished what God spoke every moment instantly and intuitively to him, which makes the Word alive and heart-melting. One of its weaknesses might be the lack of system in his sermons. Yet everyone cannot follow his way of preaching because preaching without manuscript requires more preparation and meditation. Secondly, he understood sermon as “explanation” because the Christianity that he experienced was the national religion, which did not allow individuals freedom of religion, so that he had no choice but to explain what the Prussian national Church required him to speak. Thus, his father tried to teach his son how to speak and how to preach in this circumstances. Thirdly, his presupposition that his congregation was already Christians reminded us that Prussians were Christians. He was against the Christian missions to non-Christians because Christianity as a national religion forced people to believe in God, which is against the spirit of the true Christianity. Most of all, Schleiermacher showed the importance of the chaplain position to preach the Word of God to the theologians who try to avoid the dual duties to teach theology and to preach the Word of God at seminaries and Christian universities.

C. G. 카루스의 『풍경화에 대한 아홉 개의 편지』와 지질학적 풍경

이화진 미술사학연구회 2018 美術史學報 Vol.- No.51

This study analyzes the landscape theory of Carl Gustav Carus, while revealing the significance of the new genre concept and landscape depiction techniques that he attempted through his landscape paintings. Carus’s Nine Letters on Landscape Painting (Neun Briefe über Landschaftsmalerei, Leipzig: Fleischer, 1831) is a theoretical text written in Dresden, the city in which German romanticist landscape painting appeared and died out again. It is regarded as an important primary text that conveys the painting doctrine of romanticism. In the text, Carus uses the neologism earth-lifepainting (Erdlebenbildkunst) to criticize landscape painting tradition and modern perspectives on nature. Based on the philosophy of Friedrich Wilhelm Joseph Schelling, Carus asserts the oneness of nature and human spirit. Carus’s interpretation of nature as the language of God also corresponds to the attitudes of Caspar David Friedrich and Philipp Otto Runge toward landscape painting; the latter two artists emphasized that painting nature conjured just as much as a sense of piety as the events of the Bible. Moreover, Carus, who introduced geology and physiognomy into his work, highlighted the fact that by chronicling the ages of Earth in visual form, landscape paintings effectively became historical paintings of nature. Above all, Carus’s theory of landscape painting is regarded as an aesthetic revolution, in opposition to the ancien régime in the visual arts. By elevating landscape painting, previously regarded as a low-class genre, into sophisticated religious and historical works, Carus challenged the dominant painting hierarchy in art academies of his time. If the French Revolution brought substantial life changes, Carus’s text emerged as a psychological revolution, criticizing the inherited visual culture of Germany, where the old political order survived. Carus’s landscape paintings, which developed principally in Dresden in the early 19th century, showed images of nature, humankind and God that offered to define the innovative character of German romanticism within a symbiosis of art and science. 본고는 카를 구스타프 카루스(Carl Gustav Carus)의 풍경 이론을 분석하면서 그의 풍경화가 시도한 새로운 장르 개념과 풍경 재현의 의미를 밝혀내었다. 그가 드레스덴에서 저술한 『풍경화에 대한 아홉 개의 편지 Neun Briefe über Landschaftsmalerei』(1831)는 독일 낭만주의 풍경화가 발생하고 소멸해간 도시에서 쓰인 동시대 이론서이자 낭만주의 회화강령을 전달하는 중요한 1차 문헌이다. 이 글에서 카루스는‘지구생명의 그림(Erdlebenbildkunst)’이라는 신조어를 통해 풍경화의 전통과 자연에 대한 근대적 시각을 비판하고, 셸링 철학을 바탕으로 자연과 인간 정신의 동일성을 주장했다. 또한 자연을 신의 언어로 해석한 카루스의 입장은 당시 카스파르 다비트 프리드리히(Caspar David Friedrich)와 필립 오토 룽에(Philipp Otto Runge)가 강조했던 풍경화의 역할, 즉 자연을 그리는 것이성경의 사건만큼 신앙심을 불러일으킨다는 태도와 일치한다. 나아가 지질학과 관상학을 도입한 카루스는 지구의 연대기를 가시화하는 풍경화가 자연의 역사화와 다르지 않음을 부각시켰다. 무엇보다 카루스의 풍경 이론은 시각예술의 구체제에 반발하는 미적 혁명으로 이해된다. 그는 저급한장르로 평가되어 온 풍경화를 고상한 종교화와 역사화로 상승시킴으로써 미술 아카데미를 지배하던 회화의 위계질서에 도전했다. 프랑스 혁명이 앙시앙 레짐(ancien régime)을 붕괴시키며 실제적인 삶의 변화를 가져왔다면, 정치적인 구제도가 유지되던 독일에서는 전승된 시각문화를 비판하는 정신적 변혁이등장한 것이다. 19세기 초 드레스덴을 중심으로 전개된 카루스의 풍경화는 미술과 과학의 결합 안에서독일 낭만주의 회화의 혁신성이 무엇인가에 답해줄 수 있는 자연, 인간 그리고 신의 모습을 담고 있었다

요한 크리스티안 클라우센 달의 구름 그리기와 기상학

이화진(Lee, Hwajin) 서양미술사학회 2020 서양미술사학회논문집 Vol.53 No.-

노르웨이 베르겐 출신의 요한 크리스티안 클라우센 달은 독일의 피렌체라고 불리는 드레스덴에서 활동한 낭만주의 풍경화가다. 그는 미술 아카데미 교육이 강조한 소묘 중심의 훈련에 반발하고, 남부 이탈리아의 외광 아래에서 빠른 붓질과 유동적인 색채를 허락하는 풍경 습작을 제작했다. 특히 하늘과 구름을 독립적으로 다룬 달의 유채 습작은 기상학자 루크 하워드의 구름 변형에 관한 연구와 맞물리면서 자연과학적 관심을 반영한 듯 보이지만, 영국의 풍경화가 존 컨스터블과 달리 기상 조건을 기록하지 않는다. 오히려 다양한 색채와 역동적인 붓 자국은 달의 목적이 구름 형태가 아니라 흘러가는 구름의 한 순간을 포착하는 데 있다고 말한다. 더욱이 달의 구름 표현은 습작과 최종 작품 간의 형식적 경계를 모호하게 만들면서 작품의 완결성에 대한 전통적 기준을 약화시킨다. 또한 달은 화가의 작업 재료로만 여겨지던 습작을 완성작과 동등하게 평가하고 있었다. 나아가 대기의 가변적인 속성을 현재화하는 달의 풍경화는 원근법을 벗어나 색으로 가득 찬 평면이 되면서 인상주의 회화의 형식적 단초를 보여준다. 무엇보다도 구름이 어느 순간 나타났다가 갑자기 사라져버리는 과정 중의 것이라고 말하는 달의 화면은 독일 낭만주의의 글쓰기 방식인 단문을 상기시킨다. 상실된 과거의 형태와 완성될 미래의 변형을 암시하는 구름의 파편화된 현재는 시간의 흐름 속에서 발생과 성장, 소멸하는 자연의 삶을 내포한다. 드레스덴에서 달의 구름 그리기는 자연이 끊임없이 변화하는 유기적 생명체임을 알리는 하늘의 풍경화였던 것이다. Johan Christian Clausen Dahl, from Bergen, Norway, was a romantic landscape painter who worked in Dresden. He opposed the drawing training emphasized by the fine arts academy and produced outdoor studies that allowed for rapid brush strokes with fluid colors under the daylight of southern Italy. Dahl’s oil studies seem to reflect his natural scientific interest in cloud modification as studied by meteorologist Luke Howard, but unlike British painter John Constable, Dahl did not record weather conditions. Rather, the various colors and his dynamic brush strokes indicate that Dahl’s purpose was a capturing of the instantaneous flowing of clouds. Dahl’s cloud expression weakened the criteria for the completeness of the work. Dahl also evaluated that the finished work and the study had equal artistic value and his landscape paintings show an impressionistic beginning with fields of colors. Dahl’s canvas, which shows clouds in the process of appearing and then suddenly disappearing, is reminiscent of German Romanticism’s short writing form. The presence of clouds, dynamic with wisping past lost forms and future variations to be completed, implies a natural life in the course of time. Dahl’s cloud creations were landscape paintings of sky, which depict nature as an ever-changing organic creature.

윤동주 시에 내재된 기독교 세계관의 낭만주의적 성격

박성준 ( Park Seung-jun ) 한국문학연구학회 2018 현대문학의 연구 Vol.0 No.64

윤동주 시에 나타난 기독교적 특징은 ‘저항성’만큼이나 주요한 논제다. 그의 생애를 고찰하는 데 토대가 되었을 뿐만 아니라 시를 해명하는데 있어서도 줄곧 보충적 자료로 활용되어 왔다. 그러나 기존 연구들의 방향성은 시학과 종교학(기독교)을 서로 매개로 두면서, 비교 연구적 고찰만을 되풀이해 온 측면이 없지 않다. 당대 수용된 기독교는 단순히 종교적 사상에만 국한되었던 것이 아니다. ‘서구 정신사를 배운다는 지식적 측면’(김윤식)에서 기독교 정신은 교양과 근대성이 내포되어 있던 근대정신의 보고(寶庫)였다는 점을 간과할 수는 없다. 이에 본고는 윤동주가 경험했던 서구 근대 사상으로서의 기독교와 그 안에 내포된 낭만주의를 해명하는 과정을 통해, 윤동주의 시의 시적 성숙을 고찰한다. 특히 「病院」이 창작된 1940년을 기점으로 윤동주의 시적 성취가 ‘부끄러움의 시학’으로 특정화된 것을 문제로 삼아, 이후 시편들 속에서 ‘낭만성’이 어떠한 방식으로 호출되는지 고찰한다. 아울러 본고는 거시적으로는 저항시인의 시편들 속에서 저항성의 그늘에 가려 주로 연구되지 않았던 ‘낭만성의 문제’를 재검토하는 데 그 의의가 있다. The Christian feature of Yoon Dong-ju 's poem is as important as ‘resistance’. The Christian features of his poetry have not only served as a basis for studying his life, but have also been used as supplementary materials in explaining his poetry. However, the direction of the existing researches has only reinterpreted comparative researches that mediate between poetry and religious studies(Christianity). Christianity accepted in the present day was not limited to religious thought. It can not be overlooked that the Christian spirit was a treasure of the modern spirit, which contained refinement and modernity, in the ‘knowledge-based aspect of learning Western spiritualism’ (Kim Yun-sik). This study examines the poetic maturity of Yoon Dong-ju 's poetry through the process of clarifying Christianity as a Western modern thought that Yoon Dong-ju experienced and the romanticism contained in it. Especially, in 1940, when the “hospital” was created, Yoon Dong-ju 's poetic achievement was identified as the “shame of poetry”, and then the romanticism is called in his poetry. In addition, this study is meaningful in reviewing the ‘romanticism problem’ that was not studied mainly by covering the shade of resistance.

원한의 격정과 화해로의 도정― 현대 중국문학의 기독교 서사

백영길 고려대학교 중국학연구소 2020 中國學論叢 Vol.0 No.68

In order to properly understand the core forces behind which modern Chinese literature has developed, It needs a full critical reflection on China’s “passive modernization” process aimed at social and historical modernization in the West. What is required here is that the work of reexamination of modern Chinese literary history, which is based on the Christian spirit as the root value of Western culture, and one of its keywords is the concept of “Ressentiment” raised by Nietzsche. In particular, the main task of this paper is to look at the overcoming of the ressentiment sought in modern Chinese literature and the journey toward reconciliation for Christian love and salvation, focusing on the content of the ressentiment that relates to the “religious – metaphysical despair” in modern values raised by Max Scheler. In this regard, if we analyze the meaning of the crucifixion of Jesus described in Lu Xun魯迅’s Revenge(2), according to the question of “fundamental religious character” in Nietzsche’s Anti-Christ and the image of Jesus, their interface can be called the “Pathos of Ressentiment”. And It may be an important research task to revaluate the aesthetic attempt of the denial and transcendence of ressentiment feeling, the consciousness of opposition to ethnic enmity, and the artistic imagination toward Christian love through decadent aesthetic consciousness of Zhou Zuoren周作人’s literature in the 1920s. The conflict of national identity embodied in Lao She老舍’s literature of the 1930s and the meaning of death toward religious eternal life of Christianity are also important achievements of the journey toward overcoming ressentiment and reconciliation in modern Chinese literature. In addition, the theory of realism based on the spirit of “Passion” raised by Hu Feng 胡風 and the romantic tendency to pursue the “will to power” of the “Zhanguo ce 戰國策” group in the 1940s could be evaluated as a result of literature that embodies overcoming ressentiment and power aesthetics in the medium of Lu Xun’s spirit of passion and Nietzsche’s “Übermensch” image, and liiterary discourse and creativity that show the interface between realism and romanticism unique to the war period. The discourse and creation centered on such ressentiment in modern Chinese literature are also being developed in the post-New China literature between the Chinese continent and Taiwan, and the most important content is the “ressentiment of Nationality”, which worked through the fusion structure of Marxism and Chinese cultural nationalism, and the contemporary Chinese literature shows the path of reconciliation to embody sacred love beyond such political ideologies and class hatred.