중국 고전, 신문화장에 어떻게 소환 되는가
Chinese Classics, How to Be Summoned in New Cultural Filed?
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This paper explores the psychological attitude of Lu Xun for Chinese classics, which competed favorably in the Chinese cultural scene before and after the May Fourth Movement by considering the project of the “must-read for the youth(靑年必讀書)” of Jingbaofukan(京報副刊) in 1925 as a starting point of the discussion. The various aspirations of transformation, which had been underway since the early 20th century changed under the competition of a wide range of cultural projects, “various dreams(夢)”, which surrounded the introspection and revival of Chinese culture at a time around the March Fourth Movement. From the academia's “reorganization of national heritage(國故整理)” and the classics of the publishing market to the cultural construction of the Nationalist Party of China and “respect for Confucius(尊孔)”, in the Chinese cultural scene, the dreams and awakening has repeated and so has the formation and breakdown of collective belief. In this cultural scene, Lu Xun searches for how to deal with and read classics while facing them constantly under the silence with keeping distance rather than taking an uplifting or cynical attitude toward the national cultural revival. In addition, he looks into whether it is possible to meet the real, the “real life” through Chinese classics. Just like the research done by a mad man in Lu Xun's “A Madman's Diary”, Lu Xun executes pa-sang(破像), which introspects and breaks the order of the symbolic system of Chinese culture and ponders the problems of real life during this process, away from usual reading of classics. Moreover, he contemplates a new agent who reads and faces the sufferings of others with sensitive senses as one who can face Chinese classics while rejecting the relationship between China's ethics and convention and scriptures, the groundwork for filial piety and fidelity.
Abstract
This paper explores the psychological attitude of Lu Xun for Chinese classics, which competed favorably in the Chinese cultural scene before and after the May Fourth Movement by considering the project of the “must-read for the youth(靑年必讀書)” of Jingbaofukan(京報副刊) in 1925 as a starting point of the discussion. The various aspirations of transformation, which had been underway since the early 20th century changed under the competition of a wide range of cultural projects, “various dreams(夢)”, which surrounded the introspection and revival of Chinese culture at a time around the March Fourth Movement. From the academia's “reorganization of national heritage(國故整理)” and the classics of the publishing market to the cultural construction of the Nationalist Party of China and “respect for Confucius(尊孔)”, in the Chinese cultural scene, the dreams and awakening has repeated and so has the formation and breakdown of collective belief. In this cultural scene, Lu Xun searches for how to deal with and read classics while facing them constantly under the silence with keeping distance rather than taking an uplifting or cynical attitude toward the national cultural revival. In addition, he looks into whether it is possible to meet the real, the “real life” through Chinese classics. Just like the research done by a mad man in Lu Xun's “A Madman's Diary”, Lu Xun executes pa-sang(破像), which introspects and breaks the order of the symbolic system of Chinese culture and ponders the problems of real life during this process, away from usual reading of classics. Moreover, he contemplates a new agent who reads and faces the sufferings of others with sensitive senses as one who can face Chinese classics while rejecting the relationship between China's ethics and convention and scriptures, the groundwork for filial piety and fidelity.
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- "東方雜誌", ~
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