역사를 서술하는 또 하나의 방식 - 『루판옌스(陸犯焉識)』의 서사적 특징을 중심으로
Another Way to Narrate History: Focus on Narrative Characteristics of The Prisoner Lu Yanshi
1
조회
0
다운로드
3
인용
0
참고문헌
키워드
초록
Yan Geling as a Chinese-American writer is known as a person who has formed her peculiar work world while describing personal destiny set in the Chinese history. Among her works, The Prisoner Lu Yahnshi which was published in 2011 was evaluated to keenly discern Chinese politics, history, and life of individuals and human nature downtrodden in the flows and resisted to them, through the trajectory of life of intellectuals which penetrates the history of the present and that time of China. Especially, in the materials and images of the characters of the work, in that genealogical connectivity with shanghenwenxue which has been continued after the finish of “the Cultural Revolution” and also reappearance of “individual” subjects as bearers of Chinese enlightenment discourse in the 1980s are reminded, the work is noticeable. In this paper, exposited discussion on the text was examined, and discrimination which The Prisoner Lu Yanshi has in the context of forming the shanghenwenxue and “individual” subjects was considered. If existing shanghen narratives are based on the essential viewpoint that irrational and abnormal history in conflict of history and individuals recovers the original image through the recovery of personalities, relations of history and individuals are seen more complexly in The Prisoner Lu Yanshi. In other words, the termination of political incidents is not intactly connected with the recovery of human nature, but relations of history and individuals are worried in the exploration of long history and human existence. Also, while Chinese literary experiments (Avant-garde novels and modernism novels) in the 1980s stuck to existence problems with time and space eliminated, the main character of The Prisoner Lu Yanshi entirely shows the Chinse history of the present and that time through his life stories. Like this, Yan Geling showed another narrative way surpassing existing narratives. However, in that the time and space of The Prisoner Lu Yanshi remain as physical backgrounds without breathing with the world view of the writer, additionally, from the problem that the background and characters in the work acquire meaning as vivid live history, it seems that there are still limits.
Abstract
Yan Geling as a Chinese-American writer is known as a person who has formed her peculiar work world while describing personal destiny set in the Chinese history. Among her works, The Prisoner Lu Yahnshi which was published in 2011 was evaluated to keenly discern Chinese politics, history, and life of individuals and human nature downtrodden in the flows and resisted to them, through the trajectory of life of intellectuals which penetrates the history of the present and that time of China. Especially, in the materials and images of the characters of the work, in that genealogical connectivity with shanghenwenxue which has been continued after the finish of “the Cultural Revolution” and also reappearance of “individual” subjects as bearers of Chinese enlightenment discourse in the 1980s are reminded, the work is noticeable. In this paper, exposited discussion on the text was examined, and discrimination which The Prisoner Lu Yanshi has in the context of forming the shanghenwenxue and “individual” subjects was considered. If existing shanghen narratives are based on the essential viewpoint that irrational and abnormal history in conflict of history and individuals recovers the original image through the recovery of personalities, relations of history and individuals are seen more complexly in The Prisoner Lu Yanshi. In other words, the termination of political incidents is not intactly connected with the recovery of human nature, but relations of history and individuals are worried in the exploration of long history and human existence. Also, while Chinese literary experiments (Avant-garde novels and modernism novels) in the 1980s stuck to existence problems with time and space eliminated, the main character of The Prisoner Lu Yanshi entirely shows the Chinse history of the present and that time through his life stories. Like this, Yan Geling showed another narrative way surpassing existing narratives. However, in that the time and space of The Prisoner Lu Yanshi remain as physical backgrounds without breathing with the world view of the writer, additionally, from the problem that the background and characters in the work acquire meaning as vivid live history, it seems that there are still limits.
참고문헌 (12)
- 옌거링, "나의 할아버지가 탈옥한 이야기" (2015), 오일북스
- 이욱연, "포스트 사회주의 시대의 중국문화" (2009), 서강대학교 출판부
- 미셸 푸코, "감시와 처벌 ― 감옥의 역사" (1994), 나남출판
- 李澤厚, "中國現代思想史論" (2003), 天津社會科學院出版社
- 김진공, "현대 중국의 傷痕文學의 성격에 대한 재검토", 중국현대문학, (47), pp.97~114 (2008), 한국중국현대문학학회
- 本刊評論員, "爲文藝正名 ― 駁“文藝是階級鬥爭的工具”說", 上海文學, (4) (1979)
- 黃子平, "關於“偽現代派”及其批評", 北京文學, (2) (1988)
- 汪暉, "無邊的寫作 ― 『我能否相信自己: 余華隨筆選』序", 當代作家評論, (3) (1999)
- 李陀, "慢說“純文學” ― 李陀訪談錄", 上海文學, (3) (2001)
- 戴錦華, "歷史、記憶與再現的政治", 藝術廣場, (2) (2012)
- 龔自強, "後傷痕”書寫的複雜性 ― 論歷史與人性深度交織的“陸犯焉識", 當代作家評論, (2) (2013)
- 宋文壇, "在“宏大”與“細小”之間 ― 解讀“陸犯焉識”的歷史敘事問題", 渤海大學學報⋅哲學社會科學版, (3) (2015)