『古小說鉤沈』 硏究

Abstract

『古小說鉤沈』은 隋나라 이전에 散佚된 古小說 36편을 여러 類書를 참고하여 輯錄한 것으로, 중국현대문학의 아버지라 불리는 魯迅의 대표적인 古典 연구업적 중 하나이다. 그간의 魯迅연구는 魯迅의 근대사상과 문학작품을 연관시켜 탐구하는 경우와 魯迅의 古典 연구업적에 대해 탐구하는 경우의 兩分化 현상이 두드러졌다. 이에 제Ⅰ장 서론에서는 魯迅의 古典 연구업적이 문학작품의 창작과 어떠한 관련성을 가지는지에 대한 고찰이 매우 부진하다는 문제의식을 드러내고, 『古小說鉤沈』에 대해 散佚과 輯佚의 측면에서 각각 검토하여 그것이 魯迅의 문학작품과 어떤 관련성을 지니는지 고찰해볼 필요성이 있음을 밝혔다. 제Ⅱ장과 제Ⅲ장에서는 『古小說鉤沈』 텍스트에 대한 기본적인 검토를 수행하였다. 제Ⅱ장에서는 성립 및 배경과 구성상의 특징에 대해 고찰함으로써, 『古小說鉤沈』이 魯迅 死後에 출판되었지만 다량의 輯錄 편수와 完善을 추구한 體例로 현재까지 漢魏六朝시기 古小說연구에 지대한 영향을 끼치고 있다는 사실을 확인하였다. 제Ⅲ장에서는 『古小說鉤沈』 속 36편 각 작품들의 작자와 창작배경, 流傳상황 그리고 내용에 대해 검토하였다. 제Ⅳ장에서는 『古小說鉤沈』에 얽힌 이른바 ‘傳承의 政治學’에 대해 탐구하였는데, 이를 위해 散佚과 輯佚의 측면으로 나누어 각각의 의미화 작용에 대한 고찰을 시도하였다. 먼저 散佚의 측면에 대해 고찰하였는데, 여기서 논의된 내용들은 漢魏六朝 시기 古小說작품들이 이후의 중국문학에 끼치게 될 적지 않은 영향에도 불구하고 다수 散佚될 수밖에 없었던 이유를 설명해준다. 다음으로 輯佚의 측면에 대해 고찰하였는데, 이는 輯佚者인 魯迅에 대한 傳記的 검토와도 맞닿아 있다. 魯迅의 출신지역인 浙東과 魯迅과의 관련성, 魯迅에게 숨겨져 있던 傳統 ‘재맥락화’의 의도, 그리고 魯迅의 무의식의 영향에 대한 탐구를 통해, ‘뫼비우스의 띠’처럼 연결된 魯迅의 의식과 무의식의 작용이 『古小說鉤沈』 輯佚로 이어짐과 동시에 작품창작에까지 영향을 끼칠 수밖에 없었다는 사실을 확인하였다. 제Ⅴ장에서는 제Ⅳ장의 논의를 바탕으로 魯迅의 문학작품에 보이는 『古小說鉤沈』의 영향을 모티프와 문체적 측면에서 각각 검토하였다. 이는 다시 말해 魯迅의 무의식이 그의 문학작품에서 어떻게 드러나고 있는지 그 양상을 탐구한 것이라고 할 수 있다. 모티프적 측면에서는 그로테스크 이미지, 魏晉 名士의 風度, 에피소드 혹은 관념의 차용을 살펴보았고, 문체적 측면에서는 전통소설 묘사기법의 영향과 魏晉 名士 혹은 淸談家의 언행의 영향을 살펴보았다. 이러한 고찰을 통해 魯迅의 근대사상과 그 자신의 문학창작기법은 사실상 배치되는 점이 적지 않았다는 사실을 확인할 수 있었다. 제Ⅵ장 결론에서는 각 부분에서의 논의를 요약하고, 이것이 향후 魯迅연구와 관련해서 가지게 될 의의에 대해 성찰해보았다. 이 같은 탐구의 목적은 근대사상가·문학가로서의 魯迅과 古典 학자로서의 魯迅을 구분한 채 논의를 진행하는 경향이 짙었던 그간의 魯迅연구에서 벗어나, 魯迅 텍스트를 통합적 시각에서 바라보고 그것에서 드러나는 의식과 무의식의 모순·균열의 흔적을 조명하는 것에 있었다. 이러한 목적에서 출발한 本稿의 논의는 그간의 魯迅연구가 缺落해 온 부분에 대한 하나의 補論이 될 수 있을 것이며, 궁극적으로 魯迅 텍스트에 대한 다양한 해석의 시각을 정립하는 데에 일정한 역할을 할 수 있을 것으로 생각한다.;Guxiaoshuogouchen(古小說鉤沈) made by Lu Xun(魯迅) comprises his compilations of 36 Chinese ancient novels, which were scattered and disappeared before Sui(隋) Dynasty of ancient China, having referred various encyclopedic texts relevant to those works, and it is a representative and typical research work of Chinese classics conducted by Lu Xun. When reviewing the researches on Lu Xun conducted in the past, there was a conspicuous tendency of simple dichotomy by dividing it into the case of quest that pursued having connected Lu Xun’s modern thought with his literary works, and the case of quest that pursued for the Lu Xun’s achievements on the classics. In chapter Ⅰ, Introduction, I displayed the fact that very poor progress had made on investigation of what relationships there were between Lu Xun’s achievements on the classic literature and his creation of literary works. With regard to Guxiaoshuogouchen, having reviewed it closely from the aspect of scatter and disappearance and that of collections and textural emendations thereof respectively, I identified the necessity of investigation of what relations there were between the results of above review and Lu Xun’s literary works. In both chapter Ⅱ and Ⅲ, basic review on the text of Guxiaoshuogouchen was conducted. In chapter Ⅱ, by investigating its establishment and background, including the characteristics of its structure, it was confirmed that although Guxiaoshuogouchen was published after his death, it has had considerable influence on the researches on the ancient novels, especially in the imperial era of the early Chinese History; namely, Han-Wei(漢魏) and Liuchao(六朝), remaining with a great volume of texts that compiled and edited without faults under established rules and regulations up until the present day. In chapter Ⅲ, the authors, background of writings, situation of spreading and circulation, and the contents of each of 36 stories compiled in Guxiaoshuogouchen were closely examined. In chapter Ⅳ, so-called ‘Handed-Down Politics’, entangled with the text of Guxiaoshuogouchen was investigated. To do this, the process of signification mode each was examined, having divided it into the aspect of scatter and disappearance and that of collections and textural emendations. First, I investigated the aspect of scatter and disappearance. The details discussed in this chapter tell the reasons why many of literally works in the era of Han-Wei and Liuchao must have had to be scattered and disappeared in spite of not a little influences on the further Chinese literature. Next, I examined it from the aspect of collections and textural emendations, and this is related to biographical review on Lu Xun who is the collector as well as the emendator of the text. I also confirmed the fact that the action of the consciousness and the unconsciousness of Lu Xun that linked like ‘Möbius Strip’ had been connected to the collections and textural emendations of ancient Chinese novels, and that, at the same time, the influence on the creation of his literary works according to such consciousness and unconsciousness actions was beyond his choice and control, by means of investigating the eastern region of Zejiang Province(浙東) where Lu Xun came from, its relations to Lu Xun, and the intention of ‘recontextualizing’ hidden in him, as well as Lu Xun’s tendency of unconsciousness. In chapterⅤ, I closely reviewed the influence of Guxiaoshuogouchen that was shown in Lu Xun’s literary works based on the discussions in chapter Ⅳ from the perspective of motif and literary style thereof respectively. In other words, it can be said that this was a quest of how the mode of Lu Xun’s unconsciousness had been exhibited in his literary works. In the aspect of motif, I investigated grotesque image, the appearance and attitude of mingshi(名士) lived in the period of Wei-Jin(魏晉), borrow of episode and idea. In the aspect of literary style, I examined the influence of description techniques of traditional novel on his literary work, and also the word and deed of the mingshi or Qingtanjia(淸談家) in the period of Wei-Jin. Through these investigations, we could have confirmed the fact that there was not a few number of occasions when Lu Xun’s modern thought had run counter to the techniques of creation of his literary works. In chapter Ⅵ, conclusions, I summarized the discussions in each chapter, and introspected the significances it might have further in connection with the research on Lu Xun. The purpose of such quests was to look at the text of Lu Xun from a comprehensive perspective, and also to illuminate the traces of inconsistency and cracks of consciousness and unconsciousness that revealed, getting rid of the way of researches on Lu Xun in the past that displayed a strong tendency of conducting discussions having divided Lu Xun into two different identities, i.e. Lu Xun as a modern thinker and literary man, and, at the same time, as a classic literature scholar. I believe that discussions in this thesis that started with such purposes will be a measure to complement the parts that had been dropped or missed in the process of researches on Lu Xun, and also that this study will be able to take a definite role in establishing a way of looking in order for diversified interpretation of Lu Xun’s text.