상흔문학에 대한 재논의 - 〈반주임〉, 〈상흔〉을 중심으로

Abstract

In this paper, I identify the heterogeneity of the ‘scar literature’ that has been understood in a schematic and unified sense through ‘Class Tutor’ (1977) and ‘scar’ (1978). In other words, this study focuses on the meaning of aporia of ‘scar literature’ in represent the ‘Cultural Revolution’. Through the analysis of the two works in the text, I could confirm the following. Firstly, Liu Xin-Wu’s Class Tutor, which is acknowledged as a signal flare of ‘scar literature’, reveals a new-enlightenment viewpoint based on elitism in the position of middle school teacher Zhang Jun-shi, concerns about cultural awareness and wrong value of proletarian. On the other hand, Lu Xin-Hua’s scars shows a different color from Class Tutor by not portraying the elitist position, but portraying the lower and the proletariat figures in a good and friendly manner. Moreover, the anticipation of the Hua Guo-Feng system expressed by the main character Wang Xiao-Hua at the end of the scars is still a political stance of author Lu Xin-Hua who reveals his attitude toward Mao Zedong’s popularist ideology despite his criticism of the ‘Gang of Four’. This paper finds that the reason why this heterogeneity between Class Tutor and scar has been concealed for a long time by the homogeneity of ‘scars’ is in the official ideology of the Chinese Communist Party after the reform and opening which totally denies the meaning of the Cultural Revolution. The heterogeneity in the ‘scar literature’ was erased and the ‘scar’ of the cultural revolution, which they had in common, was highlighted, resulting in the negative emotions of the Cultural Revolution and the strengthening of the legitimacy of reform and opening will be. I believe that it is necessary to more specifically illuminate the heterogeneity of ‘scar literature’ as part of our work to look at the possibility and impossibility of the Cultural Revolution in a balanced way today.