중일(中日) 근대문예론의 형성과 그 이동(異同)에 관한 소고(小考)

A study on the formation and its similarities and differences of modern Chinese and Japanese literary theory: Focusing on Wang Guowei’s literary discourse and Tsubouchi Shoyo’s literary theory

본 논문은 ‘중국 근대문예론 구축을 위한 일련의 논의들’이라는 연구의 첫 주제로, 중일(中日) 양국의 근대문예론이 어떠한 문학 내외적 환경 속에서 형성되고, 제각기 담아낸 담론들은 어떠한 양상을 보이며, 또 그것을 담아낸 방식에는 어떠한 층차를 보이는가를 고찰한 것이다. 이에 중일 양국의 근대문예 담론의 장 마련을 위한 구심점으로서 그 고찰 대상을 왕궈웨이(王國維) 문론과 쓰보우치 쇼요(坪內逍遙)의 문예론으로 설정하였다. 먼저, 쓰보우치 쇼요와 왕궈웨이 문예론이 저마다 어떠한 문학 내외적 환경 안에서 각자의 문예론을 구축하게 되는지 검토하였다. 이어서 이를 토대로 근대문예론으로서의 쓰보우치 쇼요와 왕궈웨이 이들 2인의 구체적인 문론 기조(基調) 검토와 더불어 중일 근대문예 담론의 주요 논지들을 병론함으로써 상호 문예론 간의 이동(異同)에 관해 고찰하였다. 글을 맺으며 중국근대문예론의 서막으로서 왕궈웨이 문예론이 갖는 의의에 대해 조명하였다.

This paper attempts to compare the literary theory of Tsubouchi Shoyo(坪內逍遙), which was developed from the 'arts-the arts' examined throughout Wang Guowei's(王國維) literary theory, and Wang Guei's literary theory, which was established as the early modern Japanese literary theory. As Tsubouchi Shoyo's first statement, 'Novels are art(美術)' in 『Shosetsu Shinzui(小說神髓)』 opened the chapter of modern Japanese literary theory, this paper aims to explore Wang Guowei's literary theories in relation to the formation of modern literary theory in China. Therefore, in the case of the formation of Japanese modern art theory, Tsubouchi Shoyo's use of Western literary theory and logic in his own way within the magnetic field of pragmatic thought and literary dance theory that spread throughout Japanese society in the 1880s, while building a literary theory that incorporated the discourse of the Japanese art world at the time, was used as a guide to examine the formation of Chinese modern art theory and Wang Guowei's literary theory treatise. This was further utilized to examine the shifts in the theses that were common to their literary theories. In fact, the formation environment of Sino-Japanese modern literary theory was different in terms of its reception and paragraph situation according to the way the two countries experienced modern East Asia, but there are also similar points. It is also true that Wang Guowei's and Tsubouchi Shoyo's views and arguments on the literary arts developed in very different ways after they published their literary theory works and related papers, depending on their respective life trajectories and the circumstances of their respective countries. Nevertheless, neither Tsubouchi Shoyo nor Wang Guowei built a separate literary theory that completely excluded the dominant discourse in the academic and literary circles of their time. Rather, Wang Guowei, who studied a wide range of disciplines, including mathematics and natural sciences, could be said to have been more attuned to and thought about the axioms of modern China's time and built his literary theories in response to them.