20세기 후기 중국 공상과학소설 속 비극성에 관한 고찰

Abstract

Comparing Chinese science fiction in the 1980s and 1990s, it should be said that works in the 1980s were at a clear opposite point to the 1990s trend of work, which was exposed to the active trend of reform and opening up. This is because if Chinese science fiction empirically shows futility in the 1980s, socialist ideals, and Confucian traditional values disappear and pluralistic values begin to emerge in the 1990s. Therefore, the 1990s can be regarded as the starting point for announcing the new literary trend of Chinese science fiction. Nevertheless, since modern times, Chinese science fiction has not easily escaped the shadow of the perception that it is a means of enlightenment for the transfer of scientific knowledge. However, because the story of criticizing the country or system is still taboo amid the ever-increasing censorship and control of the Internet in China, and that many Chinese science fictions originate from the Internet, it is not enough to simply lead to a political position. In short, since the 1980s, Chinese science fiction has outlined various aspects amid the inevitable influence on public cultural factors. However, despite international interest in Chinese science fiction, related research in China is mainly focused on late Qing China works, and considering the works themselves, it is understood that Western academia has been actively conducting research. Then, if we have to overcome the difficulties faced by the Chinese science fiction community, which is in self-conflict today, and seek the development of Chinese science fiction, where should the discussion begin? The researcher believes that an integrated analysis should precede the interrelationship between Hong Kong and neighboring Taiwan, considering the nature of today's literature and China's special cultural and social background that crosses boundaries. This process can be a useful way to reflect on the literary location and meaning of Chinese science fiction and to grasp the limitations and significance revealed in Chinese science fiction. It has been pointed out as a regret that the works of Taiwanese and Hong Kong artists cannot be found in numerous Chinese science fiction books published on the Chinese continent so far, and the public comparative review of the three regional works appearing in different cultural backgrounds is of great significance in many aspects. First of all, this discussion aims to derive awareness of the ideological framework of nature and myths in these works and analyze how the artist tried to resolve the corresponding ecological relationship between humans and nature. This is no different from exploring the intrinsic way of thinking of the Chinese.