1920년대 중국 신문학 창작 공백 가능성 고찰 ― 이론과 작품 사이의 간극을 중심으로

Abstract

In the realm of Chinese Modern and Contemporary literature history, early 1920’s New Literature theory and its writings, related works immediate after theory took effect, were generally depicted as successful literary product. This paper reveals the main reason of these phenomena as compulsory ‘theorization’ which was practiced from the birth of Chinese New Literature-May Fourth Literature-Modern Literature till now. Practically, in the 1920’s it clearly existed some of statements about the literary circles and writings of New Literature has different context with the present literature historical description. It highly caused by the Moderate Improvement character, confronting that of Literature Revolution, which was immanent in New Literature theory. This property turned up in the 1920’s literature, can be identified at the Hu Shi(胡適)’s theory of New Literature, especially in the consciousness of “National Literature(國語文學) without National Language(國語)”. From this, it happened to be absent that the work highly applied to turn up its theory. Although it was the minority views, as the evidence of suggesting “Discourse of the crisis in New-Literature”, at the same time the critical awareness of this problem was actually found. For appropriate example, Liu YongHeng(陸永恒)’s Introduction to New Literature(中國新文學概論) published in 1932, one year prior to Wang Zhefu(王哲甫)’s The History of Chinese New-Literature Movement (中國新文學運動史), contended his opinion on the homochronous crisis in 1920’s literature.