이 글은 차오원쉬엔 소설 가운데 문혁이 전면적인 배경으로 등장하고, 여러 사건을 추동하는 계기가 되는 《紅瓦黑瓦》, 《靑銅葵花》, 《細米》에 나타난 전유방식과 문혁을 기술하는 작가의 ’주관적 의지’를 살펴본다.
그의 작품이 품고 있는 서정적 언어, 고난을 극복하는 아이들의 자세, 타인을 향한 배려 등의 모습은 문혁이라는 거대한 고난 속에서도 아이들은 성장했고 서로에 대한 온정과 연민의 감정이 있었다는 사실을 현시한다. 아동소설의 본보기이자 성장소설의 문법 안에서 이와 같은 서술은 소설 구조를 내면화하고 독자대중의 수용도를 높인다. 그러나 다른 한편으로 사건으로서의 문혁, 곧 폭력과 죽음, 상처와 고통, 무질서와 황당함 대신 이상화, 낭만화된 별종의 기억으로 문혁을 바라봄으로써 ‘문학으로서의 문혁’으로 전유된다. 문혁에 대한 기억을 통제함으로써 인식의 예봉을 벼를 수 있었고, 문제화시키는 시선은 더욱 첨예화되었음에도 그의 소설은 문학 속에 문혁을 놓은 채 자신의 ‘아이들이 읽기에 적합한 내용을 쓴다’는 창작 기조를 설파하는 모양새를 만든다.
전유는 자기 혼자만 사용하기 위해 무언가를 차지한다는 사전적 의미를 가지지만, 예술적 차원에서는 원래 있는 규율을 폐기하고 언어와 글쓰기를 변용하는 것으로 습관적이고 일상화된 맥락에서 벗어나 자기 것을 소유한다는 의미로 확장된다. 문혁에 관한 작가의 전유가 그의 문학관과 긴밀히 연결되어 있음에 주목할 때, 그의 작품은 역사와 정치를 약화시키고 경전화된 작가의 명성과 창작 기조아래 ‘문학으로서의 문혁’으로 전유된다.
The purpose this paper is looking at the way Cultural Revolution appropriation method and limitation by featuring Cultural Revolution as the background of Cao Wenxuan's Red tile Black tile, Bronze Sunflower, Simy. The lyrical words, the attitude of children overcoming hardships, and consideration for others have grown up in the midst of the great hardship of work, and the fact that the children showed compassion and compassion for each other. These descriptions are an example of children's novels and in the grammar of growth novels, internalization novel structures and increase reader acceptance. On the other hand, the ‘Cultural Revolution as an event’, instead of violence and murder, hurt and suffering, disorder and embarrassment, was reduced to the ‘Cultural Revolution as a literature’ by looking at it with the memories of a romantic freak. By controlling too much of the memory of the Cultural Revolution, we were able to raise awareness, while the view that matters to the Cultural Revolution became more acute, his novel emphasizes his own original ideas that his children write suitable material while locking up the Cultural Revolution in literature. The appropriation has a dictionary definition of taking up something for its own use, but on an artistic level, it is habitual and routine to change language and writing from the perspective of abandonment to the concept of rules. When it comes to the fact that only the author's appropriation of the Cultural Revolution is tightly linked to his literature, his work does not break away from the established author's reputation and creative keynote, excluding history and politics.
The purpose this paper is looking at the way Cultural Revolution appropriation method and limitation by featuring Cultural Revolution as the background of Cao Wenxuan's Red tile Black tile, Bronze Sunflower, Simy. The lyrical words, the attitude of children overcoming hardships, and consideration for others have grown up in the midst of the great hardship of work, and the fact that the children showed compassion and compassion for each other. These descriptions are an example of children's novels and in the grammar of growth novels, internalization novel structures and increase reader acceptance. On the other hand, the ‘Cultural Revolution as an event’, instead of violence and murder, hurt and suffering, disorder and embarrassment, was reduced to the ‘Cultural Revolution as a literature’ by looking at it with the memories of a romantic freak. By controlling too much of the memory of the Cultural Revolution, we were able to raise awareness, while the view that matters to the Cultural Revolution became more acute, his novel emphasizes his own original ideas that his children write suitable material while locking up the Cultural Revolution in literature. The appropriation has a dictionary definition of taking up something for its own use, but on an artistic level, it is habitual and routine to change language and writing from the perspective of abandonment to the concept of rules. When it comes to the fact that only the author's appropriation of the Cultural Revolution is tightly linked to his literature, his work does not break away from the established author's reputation and creative keynote, excluding history and politics.
