문화대혁명에 대한 성찰적 글쓰기와 기억의 정치학 ― 『나 혼자만의 성경』의 사례를 중심으로

Abstract

With respect to the narrator of Yigerendeshengjing, Liu Zai-fu had ever explained that the rest was ‘you’ at this very moment and ‘he’ then and there, and ‘you’ and ‘he’ were ‘reality and memory’, and ‘survival and history’, and ‘consciousness and writing’ as ‘I’ was murdered by the cruel political reality in China. It was seen that the self was newly adjusted and transcended as ‘I’ was absent but present, and absent even if a first-person narrator was not present in Yigerendeshengjing. It could be explained that ‘I’ in existence who was absent like this and ‘I’, who kept a certain distance with ‘he’ and ‘you’ could be regarded as a reflective being. This study first drew characteristics of the reflective writing through comparison with injured writing, and theoretically reviewed the violence placed at the root of writing on the Cultural Revolution. Then, this study investigated the reflective writing and the politics of memory on the Cultural Revolution based on a case of Yigerendeshengjing. Gao Xingjian had recently said that literature should be a witness for human survival out of ideology, and an author could have his or her own way without restraints or obstacles only when he or she woke up to introspect himself or herself in the same manner after he or she saw various phases of life with his or her cold eyes as a status of an observer. This could be said as the perspective of reflection. However, it was not easy to remember the Cultural Revolution with this standard. ‘Cold eyes’, ‘introspection’, and ‘one’s own way’ were impossible because the existence of an observer was not accepted during the Cultural Revolution. It was not easy to testify ‘that time’ even after one had stood trials during ‘that time’ and survived. It was because human had an embodied mine so-called ‘trauma’. The process of remembering pain was also the process of remembering painfully―‘memory of pain’ and ‘pain of memory’. It seemed that recording human truth, and eager feeling and observation of individuals was to recreate pain of violence that was wanted to be forgotten, to face without being controlled, and then to pursue the truth without transshaping. This kind of work was too difficult for ordinary people to carry out. ‘Memory of pain’ and ‘pain of memory’ experienced during the Cultural Revolution could be seen in Yigerendeshengjing.