「조씨고아」의 유럽적 변형을 통해 본 18세기 유럽인들의 중국인식 고찰 (The 18th century European transformations of Chinese drama, the Orphan of China in particular)

서지정보

· 발행기관 : 한국세계문화사학회
· 수록지 정보 : 세계 역사와 문화 연구 / 27호 / 121 ~ 158페이지
· 저자명 : 정성화

초록

The Orphan of China was first introduced in Europe in 1731 by French Jesuit missionary Premiere. Shortly after, writers such as Hatchett, Metastasio, Voltaire, and Murphy started to introduce similar theatrical work based on Premiere's translation. This paper seeks to analyze individual and societal agendas the writers and their works pursued through intended and unintended fabrication of China in their works. Writers of the remakes of the Orphan of China around 18th century merely used the original story to instill foreign element to their play rather than intentionally introducing the Chinese culture to the Europeans. Not one writer of the remake attempted to reproduce the original version of the Chinese play. What was more important to the Europeans was not the adaptation of the Chinese play, but the ability to steer the storyline using the original theme. The Orphan of China was reinvented in many different ways: by Hatchett to criticize England’s prime minister Robert Walpole, by Murphy and various other writers for commercial reasons. The Orphan of China received particular interest in England in the 18th century due to the nostalgia for the Tudor age and intellectual rivalry between the English and French philosophers. Furthermore, the Orphan of China was reborn as the Hero of China in Vienna to emphasize the absolute authority of the Habsburg Empire by Metastasio. The court of Sweden and Prussia also took similar approach and used the Hero of China to emphasize the royal power of their own courts. In France, the Orphan of China was reborn by Voltaire to his ideas of enlightenment. In addition, this paper seeks to observe how China was perceived by the Europeans and how such perceptions evolved through various deviations of the play, the Orphan of China. The 18th century marks a period when the Europeans developed radically changing perspective towards the Chinese. The positive perceptions formed by Chinese Jesuit priests following the age of discovery, started to be rapidly criticized. The progression of deviation of the original play and adaptation in the European community show how this initial positive images regarding China radically changed and spread in Europe in the 18th century. (Myongji University)

영어초록

The Orphan of China was first introduced in Europe in 1731 by French Jesuit missionary Premiere. Shortly after, writers such as Hatchett, Metastasio, Voltaire, and Murphy started to introduce similar theatrical work based on Premiere's translation. This paper seeks to analyze individual and societal agendas the writers and their works pursued through intended and unintended fabrication of China in their works. Writers of the remakes of the Orphan of China around 18th century merely used the original story to instill foreign element to their play rather than intentionally introducing the Chinese culture to the Europeans. Not one writer of the remake attempted to reproduce the original version of the Chinese play. What was more important to the Europeans was not the adaptation of the Chinese play, but the ability to steer the storyline using the original theme. The Orphan of China was reinvented in many different ways: by Hatchett to criticize England’s prime minister Robert Walpole, by Murphy and various other writers for commercial reasons. The Orphan of China received particular interest in England in the 18th century due to the nostalgia for the Tudor age and intellectual rivalry between the English and French philosophers. Furthermore, the Orphan of China was reborn as the Hero of China in Vienna to emphasize the absolute authority of the Habsburg Empire by Metastasio. The court of Sweden and Prussia also took similar approach and used the Hero of China to emphasize the royal power of their own courts. In France, the Orphan of China was reborn by Voltaire to his ideas of enlightenment. In addition, this paper seeks to observe how China was perceived by the Europeans and how such perceptions evolved through various deviations of the play, the Orphan of China. The 18th century marks a period when the Europeans developed radically changing perspective towards the Chinese. The positive perceptions formed by Chinese Jesuit priests following the age of discovery, started to be rapidly criticized. The progression of deviation of the original play and adaptation in the European community show how this initial positive images regarding China radically changed and spread in Europe in the 18th century. (Myongji University)

참고자료

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