장웨란(張悅然)의『고치(繭)』를 통해 본 문혁 경험과 기억의 윤리

Abstract

The main study is “The Cocoon” (2016) by Zhang Yueran(張悅然) is a novel in which the role of memory is important in that the generation that did not directly experience the Cultural Revolution portrays it. In addition to this, by setting the composition of ‘the perpetrator and the victim’s descendants’ of crimes that occurred during the Cultural Revolution, it creates a rare composition that even draws out the ethical problem of memory. The work develops the story around Cheng Shouyi (程守義), who became a vegetable when a nail was driven through her head during the most intense period of the Cultural Revolution, while tracing the lives of three families involved in the incident over three generations. The severe destructiveness and continuity of this crime progresses in an unexpected direction and directs the lives of future generations beyond those involved in the incident. 『Cocoon』 is a narrator in the 80s who did not directly experience the Cultural Revolution, Li Jiaqi (李佳栖). ) and Chenggong (程恭), he talks about the historical reality of the Cultural Revolution, which deeply intervened in his life, and restores his grandfather and father's generation in a way of memory. The work shows the generational difference in opinions about where the crime, symbolized by the 'Nail Incident' that occurred during the Cultural Revolution, originated, how it is remembered, and what it converges to. Among them, there are the first generation who seals their sins in silence, the second generation who cannot escape from the swamp of sin, and the third generation, who are the heirs of the memory of the Cultural Revolution and are trapped in the maze of perpetrators and victims and have difficulty making ethical judgments. The work stays in the mind of each person who resists the attempt to unify memories, and measures the depth of their unique pain. Their different experiences and memories drive different ethical attitudes. This article examines the intergenerational recognition and reconstruction method of memories of the Cultural Revolution experience shown in Kochi, and examines the aspects of ethical attitudes accordingly. The fact that memories can be selected and varied according to the current situation and demand of the memory person is the basis for examining the method and reason for making memories present. This article investigates this while paying attention to the fact that the work focuses on the process of occurrence, expansion, and transmission of crime without specifying the culprit.