신시기 초, 중국 청년 담론의 재고찰 — 1979년 금지된 시나리오를 중심으로
The Reconsideration of China’s Youth Discourse in the Early New Era: Focusing on Banned Scenarios in 1979
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This article considered the historical significance of the spiritual crisis and resistance of Chinese youth, focusing on three scenarios banned in 1979. Each of the three scenarios is Sha Yexin’s If I'm Real, Wang Jing’s In public documents and Li Kewei’s The Woman Thief. These scenarios belong to “Shanghenwenxue” that exposed the scars left by the Cultural Revolution and criticized social reality. Also, considering that most of the writers were rookies and young people who experienced the Cultural Revolution in person, the main character, who appeared as a “criminal” is a self-portrait of Chinese youth thrown into drastic political transformation, and symbolizes the struggle as a resisting subject. However, these works not only took the serious youth problem right after the Cultural Revolution, but also found its cause in the internal problems of the Communist Party's constitution, so they could not be accepted as mainstream literature. Based on the above critical thinking, through a comprehensive analysis of the generation gap in the script creation meeting, the critical reality perception and resistance in the work, and the intertextuality of social phenomena outside the literary arena, this article depicted the 1980 youth discourse landscape, which was led by young people although it ended incompletely.
Abstract
This article considered the historical significance of the spiritual crisis and resistance of Chinese youth, focusing on three scenarios banned in 1979. Each of the three scenarios is Sha Yexin’s If I'm Real, Wang Jing’s In public documents and Li Kewei’s The Woman Thief. These scenarios belong to “Shanghenwenxue” that exposed the scars left by the Cultural Revolution and criticized social reality. Also, considering that most of the writers were rookies and young people who experienced the Cultural Revolution in person, the main character, who appeared as a “criminal” is a self-portrait of Chinese youth thrown into drastic political transformation, and symbolizes the struggle as a resisting subject. However, these works not only took the serious youth problem right after the Cultural Revolution, but also found its cause in the internal problems of the Communist Party's constitution, so they could not be accepted as mainstream literature. Based on the above critical thinking, through a comprehensive analysis of the generation gap in the script creation meeting, the critical reality perception and resistance in the work, and the intertextuality of social phenomena outside the literary arena, this article depicted the 1980 youth discourse landscape, which was led by young people although it ended incompletely.
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