중국 혁명문학 연구의 정동적 전환 — 丁玲 󰡔太陽照在桑乾河上󰡕 연구를 중심으로

Abstract

One of the most significant recent developments in the study of Chinese revolutionary literature is the emergence of what has come to be termed the affective turn. Within affect studies, literature and art produced in the liberated areas are increasingly reinterpreted not merely as vehicles of ideological expression, but as sites where affective politics were actively enacted and symbolically represented. These works are understood as spaces in which political discipline, social emotions, and individual desires intersect, giving rise to a layered and heterogeneous affective landscape. This shift in perspective has brought to the fore subtle emotional textures long obscured by overt revolutionary discourse—such as anxiety, anger, hesitation, and silence—experienced by diverse subjects. Affect thus functions as a critical analytic framework that complements, complicates, or in some cases displaces earlier paradigms centered on revolutionary abstraction and ideological coherence. Moreover, affect-oriented approaches foreground a range of issues previously marginalized in revolutionary literary studies, including the affective remolding of cultural workers, affective modes operating within rural grassroots society, affective identification embedded in revolutionary landscapes, and the plurality of affective dispositions and relational configurations among creative subjects. Focusing on recent scholarship on Ding Ling’s novel The Sun Shines over the Sanggan River (Taiyang zhao zai Sanggan he shang), this article examines the contours, methodological implications, and critical significance of the affective turn in contemporary Chinese revolutionary literary studies.