중국 신민주주의 문화제도의 건설과 변용 ― 건국 전후를 중심으로

Abstract

The period around 1949 in China was more than just a change of government, and it was a crucial period when the country dreamed and prepared to build a new country that was completely different from the existing one. Naturally, the Communist Party of China was also required to implement policies and practices on a completely different level from its campaign against the former ruling People's Party government. The justification and vision of the so-called “New Democratic State” construction advocated by the Communist Party of China had to win sympathy and support from the entire Chinese people now, and also establish a new institutional mechanism to make such a vision a reality. This paper tries to pay attention to the cultural construction process that the Communist Party of China promoted in the course of these new national construction, especially the construction process of the cultural system. Under the ideology of “New Democracy Culture,” the cultural construction in the early days of New China features 1) the construction of a united government-style cultural administration system in which the Communist Party of China participates together with a wide range of cultural and arts figures; 2) the construction of a local cultural administration organization based on local resources and characteristics; and 3) the establishment of a so-called “party-state” system through the Party propaganda department to realize guidance and control of all cultural administration organizations. And the construction of these systems proceeded very quickly without much resistance. This new democratic cultural system in the form of the united government was maintained for several years before the establishment of a new administrative system for the State Council with the enactment of the Constitution of the People's Republic of China in 1954. In practice, however, the party's control over administrative agencies, and the central control over the provinces, have been institutionalized since the early days of cultural construction. Such institutional structures, which are forced to restrict the active participation of a wide range of cultural and artistic figures and their specialized capacity, have since continued to the present without fundamentally changing despite drastic changes in state policies, such as the transition to the construction stage of the socialist country or the drive for reform and openness policies.