항전시기 상하이 여성 영웅 서사— ≪이향군(李香君)≫, ≪명말유한(明末遺恨)≫을 중심으로

Abstract

In this article, we analyzed the most frequent narratives of Shanghai’s historical plays during the Isolated Island Period, about Li XiangJun, Regret about end of the Ming dynasty among heroine narratives. In the early period of the Isolated Island period, Shanghai had a relatively clear division between the commercial theater industry, which was mainly performed by modern translation of traditional drama-based feminine melodrama, and the popular drama, which advocated Western modern dramas. Modern theater has rarely narrowed its distance from the audience amid the perception that it is a difficult play unlike traditional Chinese theater format. However, after the anti-Japanese war began in 1937, the Spoken drama community turned to the national narrative in accordance with the rapidly changing situation from enlightenment to salvation, and it was the heroine epic that was chosen to capture both propaganda and popularity. However, the heroine’s narrative during the anti-Japanese war period is problematic in that “women” turn out to be a deposed sign, as was the case with “new women” during the May 4 period. Women are transformed into ethnic allergies through the process of sexual replacement of strong aggressors and their invaded homeland. As we have seen in this paper, women are represented as noblemen (Li XiangJun) or traditional warriors (Ge NenNiang), meaning that they were presented as a clear image of pure and pure Chinese men, or the “Imagined Communities” of Chinese essence, against the invasion of immigrants.