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“We still need critics” - A Study on one side of Mao Dun's Literary History

  • The Journal of Study on Language and Culture of Korea and China
  • Abbr : JSLCKC
  • 2021, (61), pp.287-308
  • DOI : 10.16874/jslckc.2021..61.012
  • Publisher : Korean Society of Study on Chinese Languge and Culture
  • Research Area : Humanities > Chinese Language and Literature
  • Received : July 10, 2021
  • Accepted : August 20, 2021
  • Published : August 31, 2021

Choi, Young-Ho 1

1한밭대학교

Accredited

ABSTRACT

Mao Dun’s literary practice was a complex state of "criticism," "creation," and "controversy." If a graph needs to be made, 'criticism' should be between 'creation' and 'argument'. If we further investigate Mao Dun's literary practice in connection with the construction and application of the theory, we may be able to draw such a conclusion: "theoretical travel". In fact, "theory" and "travel" have a genetic meaning intertwined in etymology. The earliest theoretical concept is the primitive commentary and prototype image of travel. The word theory comes from the Greek word theoria, meaning “perspective” and “view”. The verb root of theoriia is theoreein, and the original meaning is “watch” and “observation”. In ancient Greece, “theory” originally referred to travel and observation activities; the specific behavior was that the city-state sent a special person to another A city-state to observes religious celebration rituals. The original image refers to leaving and returning in space, emphasizing the distance and transformation caused by differences in different spaces.” Therefore, Mao Dun’s literary practice: professional critic → writer → writer critic. In a certain sense, it can also be regarded as the "leaving home and returning" of a "travel". It is difficult to avoid “accidents” and the subsequent “tests” accompanied by “travel”. Especially in the 1920~1930s when waves of “controversy” emerged from time to time, this special “situation” had a significant impact on Mao Dun’s entire “theoretical travel”.

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