역사적 假晶과 역사적 中間物
Historical Pseudomorphosis and Historical Intermediate
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Even though a culture wishes to modernize itself, its traditional cultural forms remain strong in the process of the modernization and cause distortions in the understanding and representation of the new experiences. Historical pseudomorphosis is a concept that explains this ongoing influence of the traditional form in the process of incorporating the new, modern culture. Historical pseudomorphosis is an apt conceptual tool to explain the predominance of the traditional Chinese cultural form in the process of Chinese modernization during 19th century. However, can historical pseudomorphosis also be applied to the context of post-May Fourth Movement whose slogan was anti-tradition? Present paper aims to answer to this question by comparing the concept of historical pseudomorphosis with Lu Xun’s “historical intermediate.” By analyzing Lu Xun’s “historical intermediate,” this article will ultimately argue that Lu Xun redefines the tradition not as an anti-modern weight of the past but as the cultural resource that the Chinese have to confront and recreate for their own modernization.
Abstract
Even though a culture wishes to modernize itself, its traditional cultural forms remain strong in the process of the modernization and cause distortions in the understanding and representation of the new experiences. Historical pseudomorphosis is a concept that explains this ongoing influence of the traditional form in the process of incorporating the new, modern culture. Historical pseudomorphosis is an apt conceptual tool to explain the predominance of the traditional Chinese cultural form in the process of Chinese modernization during 19th century. However, can historical pseudomorphosis also be applied to the context of post-May Fourth Movement whose slogan was anti-tradition? Present paper aims to answer to this question by comparing the concept of historical pseudomorphosis with Lu Xun’s “historical intermediate.” By analyzing Lu Xun’s “historical intermediate,” this article will ultimately argue that Lu Xun redefines the tradition not as an anti-modern weight of the past but as the cultural resource that the Chinese have to confront and recreate for their own modernization.
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