중국 근대 매체와 유맹(流氓) ― ≪申報≫와 ≪點石齋畵報≫를 통해 본 淸末 上海 유맹의 개념과 존재 양상

Abstract

The object of this article is to reconstruct discourse of ‘the Liumang(流氓:vagrants)’ in The Dianshizhai huabao(點石齋畵報) and Shenbao(申報). For this essay, I examined some social groups related with young men which analyzed from different points of view. They have existed in the concession region including migration(流民), scion(遊民), street girl(流妓), vagrant(流氓), and young vagrant(小流氓). Through the difference of discourses in these social groups towards the Modern China, we can make some suppositions about position and status within the division regime, and about representation and views held by Shenbao and Dianshizhai huabao. First, this paper examines how modern Chinese media exclude the migration who became increasingly visible in mainstream society. Migration are treated collectively as the inner Others regardless of where they are from, because the meaning of Others is shaped from the settlement. Second, the scion who made into figure of playboy, is related to desire and consumption of the modern city culture. Third, the street girl in the Pictorial are conditioned and arranged by the representation of punishment. Fourth, The Yong Liumang is designated for the possibility of reform that was uneducated yet. An inquiry into the discourse about the Liumang that divided from various discourse on the focus of modern media would be an process of historical moment that call the Liumang. As the code of negativity, the Liumang became the media word used in popular, which is formulated the Image in a new way. And It would be a process of pursuit modernity that is performed by a discourse on young men.