나르시스적 영웅상象의 해체 - 루쉰魯迅 소설을 중심으로 (Dismantling of Narcissistic Hero’s Shape: Focusing on Lu Xun’s Novel)

서지정보

· 발행기관 : 중국어문학연구회
· 수록지 정보 : 중국어문학논집 / 93호 / 177 ~ 199페이지
· 저자명 : 황정혜

초록

Since writing the work of <Power of the Satanic School Poem>(1907), Luxun had continually asked the question ‘Where is a warrior of inner world to rescue China?’ However in the work <Resurrecting Dead>(1935), the image of hero whom Luxun had longed for the hero’s emergence became mercilessly dismantled.
This study aimed to identify the reason why Luxun could not endure the hero’s image any longer from the hero-intellectual’s narcissistic shape, because such a hero is only an illusion not being existed, and even makes the hero abhor himself. Narcissus who was a shepard boy being appeared in the Greek Mythology got the punishment of ‘pathological self-love’ from Nemesis, the goddess of revenge due to his arrogance on his beautiful appearance. And Freud coined a new term of so-called ‘narcissism’ by conceptualizing the pathological self-love. Tracing back to the hero-intellectual’s genealogy being described by Luxun in his novels, it could easily find their ‘Narcissistic’ shapes. The shape of poet fully confident in the work <Power of the Satanic School Poem>, the shape of mad intellectual appealing the hope in the work <A Madman’s Diary>, and Ah Q fallen into the narcissistic ‘psychological winning way’ in the work <The True Story of Ah Q> are representative examples. But at the time of writing the works like Lv Weipu and Wei Lianshu, the intellectual-hero’s shape was not only narcissistic(自己愛) any longer. Such change in the intellectual-hero’s shape resembles the Luxun’s appearance who returned to ‘enlightenment and salvation’, that is, was absorbed in the narcissism due to the loss of alloerotism (object love) (對象愛) and finally reached the step of self-contempt beyond the self-pity.
In the work <Resurrecting Dead>, there was reflected Luxun’s awareness that the ‘enlightenment and salvation’ having been pursued by himself and the hero’s appearance to realize such hope were only a shadow in water, that is, the illusive self. In this work <Resurrecting Dead>, Luxun made Zhuangzi recall Samyeong daeshin(Death God) and order Samyeong daeshin to revive the skeleton/man. Although Zhuangzi asked the skeleton/man about the reason for his death, but the reason was not known and even Zhuangzi did not listen to the answer. Giving up to ask why the skeleton/man was dead, Zhuangzi tried to recall Samyeon daeshin in order to reach the skeleton/man to the death again, but Samyeong daeshin did not appear any longer. At the moment that the beautiful man in the water was himself, Narcissus drowned himself. That is, reaching to the death is caused from the realization of one’s own illusive image, and in this point, it is worthful to reconsider the fact that Samyeong daeshin left the skeleton/man alive. In the work <Resurrecting Dead>, Luxun completely dismantled the image of hero having been pursued by him by ridiculously describing Zhuangzi’s image representing a fallacious intellectual and by shaping the opposite intellectual’s image as the skeleton/man who was already dead, had no real entity, and could not return to this world eternally (could not be revived). However, contrary to Narcissus trying to overcome the discordance between his own shadow and his real entity through his own death, Luxun ordered the revived man to prove the value of his existence through his life again by leaving the hero alive but breaking the hero’s shadow. In that, the life and the death is one. And the <Resurrecting dead>, that is the ‘reviving story’, being arranged in the last section of the work <Old Tales Retold> can be said as the last hope gotten from the narcissistic hero’s clear self-awareness.

영어초록

Since writing the work of <Power of the Satanic School Poem>(1907), Luxun had continually asked the question ‘Where is a warrior of inner world to rescue China?’ However in the work <Resurrecting Dead>(1935), the image of hero whom Luxun had longed for the hero’s emergence became mercilessly dismantled.
This study aimed to identify the reason why Luxun could not endure the hero’s image any longer from the hero-intellectual’s narcissistic shape, because such a hero is only an illusion not being existed, and even makes the hero abhor himself. Narcissus who was a shepard boy being appeared in the Greek Mythology got the punishment of ‘pathological self-love’ from Nemesis, the goddess of revenge due to his arrogance on his beautiful appearance. And Freud coined a new term of so-called ‘narcissism’ by conceptualizing the pathological self-love. Tracing back to the hero-intellectual’s genealogy being described by Luxun in his novels, it could easily find their ‘Narcissistic’ shapes. The shape of poet fully confident in the work <Power of the Satanic School Poem>, the shape of mad intellectual appealing the hope in the work <A Madman’s Diary>, and Ah Q fallen into the narcissistic ‘psychological winning way’ in the work <The True Story of Ah Q> are representative examples. But at the time of writing the works like Lv Weipu and Wei Lianshu, the intellectual-hero’s shape was not only narcissistic(自己愛) any longer. Such change in the intellectual-hero’s shape resembles the Luxun’s appearance who returned to ‘enlightenment and salvation’, that is, was absorbed in the narcissism due to the loss of alloerotism (object love) (對象愛) and finally reached the step of self-contempt beyond the self-pity.
In the work <Resurrecting Dead>, there was reflected Luxun’s awareness that the ‘enlightenment and salvation’ having been pursued by himself and the hero’s appearance to realize such hope were only a shadow in water, that is, the illusive self. In this work <Resurrecting Dead>, Luxun made Zhuangzi recall Samyeong daeshin(Death God) and order Samyeong daeshin to revive the skeleton/man. Although Zhuangzi asked the skeleton/man about the reason for his death, but the reason was not known and even Zhuangzi did not listen to the answer. Giving up to ask why the skeleton/man was dead, Zhuangzi tried to recall Samyeon daeshin in order to reach the skeleton/man to the death again, but Samyeong daeshin did not appear any longer. At the moment that the beautiful man in the water was himself, Narcissus drowned himself. That is, reaching to the death is caused from the realization of one’s own illusive image, and in this point, it is worthful to reconsider the fact that Samyeong daeshin left the skeleton/man alive. In the work <Resurrecting Dead>, Luxun completely dismantled the image of hero having been pursued by him by ridiculously describing Zhuangzi’s image representing a fallacious intellectual and by shaping the opposite intellectual’s image as the skeleton/man who was already dead, had no real entity, and could not return to this world eternally (could not be revived). However, contrary to Narcissus trying to overcome the discordance between his own shadow and his real entity through his own death, Luxun ordered the revived man to prove the value of his existence through his life again by leaving the hero alive but breaking the hero’s shadow. In that, the life and the death is one. And the <Resurrecting dead>, that is the ‘reviving story’, being arranged in the last section of the work <Old Tales Retold> can be said as the last hope gotten from the narcissistic hero’s clear self-awareness.

참고자료

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