Jeonbok Ko

最近, 在中國山寨成了一個流行的詞匯, 也成爲一種新的文化風潮, 引起了中國人之廣範的關注｡ 山寨一開始指的是模倣品牌手機等電子産品的産品｡ 中國的一些評論家認爲它不是盜版和抄襲, 而是在模倣和照搬中刻意地凸顯它和它所模倣的對象的差異性｡ 一般中國人的觀念也跟這樣的看法差不多｡ 本文從這樣的槪念分析了山寨文化之意識形態的效用性｡ 山寨是主流消費文化的延伸和模倣的同時又是對它的反叛和嘲笑, 究其根源, 山寨文化其實是一部分以年輕人爲主的社會公衆對於消費主義的潮流和時尙的矛盾心態的體現｡消費社會對身體的物質性打造可謂變本加厲, 它以經遠遠超越了身體出於本能所需要的限度, 後工業時代, 身體似乎獲得了前所未有的款待, 成了消費主體. 也因爲身體的這種消費屬性, 身體越來越成爲政治物, 它的自然屬性被自己的消費行爲改寫甚至被消滅. 消費是高居於這個時代每一事物之上的原則, 它將這個時代所能見到的一切, 都納入自己的版圖, 身體也不例外. 棉棉､ 九丹､ 衛蕙等所謂新人類作家的寫作象徵身體所處的困境｡ 衛蕙小說≪上海寶貝≫中的主人公追求各種明牌化粧品和服裝, 身體是消費的精靈, 需要不斷打造､

魯迅的短篇小說＜傷逝＞, 寫的是“五四”時代知識分子的愛情悲劇。小說的副標題爲“涓生的手記”, 這就是說, 故事由涓生來敍述的。作者的意圖是從涓生的懺悔和悲哀來提出問題的。 所以在閱讀這篇小說的時候, 容易接受涓生的觀念。以涓生的視角爲接受視角, 會自覺不自覺地受涓生的影響, 站在涓生的一邊, 把涓生的一些議論, 作爲正確的結論。但是這樣的結論不是魯迅意圖的, 只是我們已認定接受的近代文學敍事所産生出來的結論。讀者容易眩惑於近代文學敍事所産生的意識形態, 這不是自己選擇的, 而是被强迫的, 這樣的面貌跟東洋社會的近代化過程一樣。 本文通過＜傷逝＞的分析來, 指出了魯迅對於啓蒙的思考、啓蒙者的不完全性、啓蒙的暴力性、近代文學敍事典型的告白之意識形態。＜傷逝＞中的涓生和子君的愛情悲劇無疑是時代和社會環境所産生的, 內蘊着作家魯迅的理性思考。當時代和社會迷信於啓蒙者時, 魯迅塑造涓生這一啓蒙者形象來, 進行了對於啓蒙和啓蒙者的反省和批判。這種反省和批判, 在別的中國近代戀愛小說裏不是容易找到的, 就此而言, 魯迅是眞正的具有理性精神的啓蒙者。

This article is written to explain Lu Xun's thought of darkness. The mood of darkness is spread in Lu Xun's whole literary works. Lu Xun's literary works give readers a bleak, deep and rigid aesthetic feeling from the whole, all resulting from the darkness. So, We may have an opinion that the mood of darkness is fundamental in Lu Xun's works. The darkness complex was embodied in the indetermination and dark mentality of the characters, the cold and dark environment, the tragic of narrative tone

閻連科是當代中國小說界最重要的作家之一。他出身河南西部伏牛山區的農村。他從小就崇拜三樣東西:一、成市; 二、權力;三、生命, 卽健康, 或說力量。寫作是作家對生活體驗的表達方式。作家體驗生活的方式多種多樣, 其中重要的一種爲缺失性體驗。閻連科的寫作也是那樣, 從自身的經驗寫出來的。他之作品的主要題材是農民和軍人, 他不僅要讓他的農民和軍人血肉化, 還更要情欲化。在後革命、後社會主義時代, 他有意重返歷史現場, 審視那巨大的傷痛所在-無論那傷痛的本源是時空的斷裂, 肉身的苦難, 還是死亡的永劫回歸。該文用巴他以的哲學分析≪爲人民服務≫的意義。革命必須以暴力和破壞爲手段, 它提供了一個場域, 使得被禁忌所驅逐的暴力及其與理性對立的特質在此被顚覆。暴力不再是理性的對立面, 反而是革命邏輯裏的一環。革命的高潮可以來自紀律與死亡的折磨, 也可以來自慾望與性愛的解放。身體或痛苦或狂喜的震顫成爲最不可恃的分界。本文以這樣的觀點分析≪爲人民服務≫的性愛特徵和文學功能。

The purpose of this paper is to examine the pattern of establishing a modern subject through Natsume Soseki, a intellectual of late modern country, and Lu Xun, a intellectual of premodern country. To this end, this paper discusses the aspects of Soseki’s ‘Self-Hood(自己本位)’ and Lu Xun’s ‘Nalaizhuyi(拿來主義)’. The Soseki’s ‘Self-Hood’ is not a selfish individualism but a ‘moral individualism’, and The Lu Xun’s ‘Nalaizhuyi’ emphasizes subjective activeness in the acceptance of foreign cultures. Through

The East Asian discourse that has influenced Korean intellectual circles since the mid-1990s has significantly impacted Lu Xun studies in Korea. The result of expanding the scope of Lu Xun studies to include East Asian discourses is research achievements that can be summarized as comparative studies with Korean authors and an illumination of the elements of Lu Xun-style modernity. Since the mid-1990s, domestic Lu Xun studies conducted within the framework of East Asian discourse have emphasized

This article is focused on drawing nature of Wild Grass(Ye Cao). Ye Cao is always considered hard to understand and interpret. Sometimes It is regarded as philosophical text that tell about the essence of human being and the world. The artistic beauty of Ye Cao reflects not only on its profound thought, but also on its drawing nature. In Ye Cao, the ambiguity of the character's creation, the subject of the artistic symbol and hazy background and peculiar dream constitute the artistic conception.

The purpose of this paper is to explore the aesthetic value of Lu Xun's concept of satire. Lu Xun refers to satire as “a record of facts.” In the Chinese literary tradition, satire has a rhetorical value that enables communication between the top and the bottom. On the other hand, satire in the Western literary concept can be said to be a kind of rhetoric stemming from the difference between reality and ideal. Since satire deals with people's attitudes toward people, things, events, realities, l

The purpose of this paper is to examine various aspects of the modern city of Shanghai through Mao Dun's masterpiece,≪子夜 ZiYe≫. The story of the struggle between the capitalist class, the clash between the capitalist class and the working class, the direct and indirect clash between the middle class and the lower class, the efforts and frustrations of migrants to successfully integrate into urban society, the leisurely life of the upper class, the hardships of the lower class, and the identity-l

This paper examines the meaning of Lu Xun's print movement from the viewpoint of the times and morality. Lu Xun's literature tried to raise the spiritual level of the Chinese and Chinese culture by exposing the ills of the times. Lu Xun's passion for printmaking is the same. Printmaking was a popular art form at the time and attracted the attention of young and progressive artists. Lu Xun introduced a variety of Western print art for the technological and artistic growth of young artists, while

This paper explores the relationship between mainstream political ideology in China and popular culture with the subject of ≪地久天長, So Long, My Son≫ directed by Wangxiaoshuai(王小帥). China’s traditional ruling ideology, represented by ‘grand unification(大一統)’, has a long history and is still functioning today. In particular, it plays a role in packaging the Chinese integration and historical errors along with the economic rise of China. In addition, the media function of popular culture, which is b

As can be seen from Lai He's life, which coincided with the period of Japanese colonial rule, the new literature for him was bound to take on the mission of the times: to promote Taiwanese self-awareness and the search for a new society. As with most colonizer-colonized relationships, Taiwanese society was subjected to various modernization efforts by the colonial power, Japan, to facilitate its takeover. The modernization led by the Japanese colonial rulers first defined themselves by the stand

The purpose of this paper is to examine the ontological aspects of Lu Xun through Guduzhe(孤獨者). Guduzhe describes the fateful solitude faced by an individual through the main character, Weiliansu(魏連殳), who has the will of social reform, and the narrator ‘I’, who invented the solitude that is the essence of life. It also describes the existential aspects of individuals who endure solitude like fate. As a result, the analysis of the work Guduzhe goes beyond the interpretation of the work to the in