‘Root-Finding novels’ generally tend to explore traditional cultures in the remote areas or mountainous regions of China and reflect them into their current lives. At that time, ‘Root-Finding novels’ were searches for atypical culture against typical or normativey culture, which increased interest i...
‘Root-Finding novels’ generally tend to explore traditional cultures in the remote areas or mountainous regions of China and reflect them into their current lives. At that time, ‘Root-Finding novels’ were searches for atypical culture against typical or normativey culture, which increased interest in the marginal culture that had not been noticed. Although the atypical culture of this period was not recognized as the one named Intangible Heritage, it can be seen as a search for intangible heritage in that it seeks a living traditional culture.
One of China’s leading ‘Root-Finding novelists’ is Han Shaogong. He used the background of the novel, Sangcho, the backwater of Honam in China to embody the history, philosophy, faith, customs, and language of the people in that region. The setting of his novel, Sangcho, is a barren and secluded mountain village in Honam. The cultural environment of the mountain villages presupposes isolation. This isolation acts as a condition for local people to maintain and sustain their mythical lives. Currently, the mythical life reflected in their lives is a characteristic of living traditional culture emphasized by UN Intangible Cultural Heritage. Therefore, ‘Root-Finding novels’ are in line with the intent of the UNESCO’s 2003 Convention of Intangible Cultural Heritage.
However, China's policy on intangible heritage has recently been in conflict with these values. The designation and policy direction of the state-led intangible heritage does do not seem to consider much of the actual cultural beare’s position. If China wants to restore the value of intangible heritage in its true sense, it should pay attention to the way past ‘Root-Finding novels’ understand the whole life shape of people they want to find. In this sense, finding and discussing the prototype of intangible heritage in ‘Root-Finding novels’ suggests the direction of intangible heritage that China should move forward.
Therefore, in the second chapter of this paper, how ‘Root-Finding novels’ work as intangible heritage and what the current discourse on intangible cultural heritage in China suggests were investigated. It is also to look back on whether the ongoing designation of intangible heritage in China and the way the measures are taken are appropriate. In the third chapter, how a mythical world view is emboided in peoples’ lives of Sangcho area and what its meaning is in the examples in the novel were studied. Specifically, it is to examine how the animism which arose from Creation myth, the Bango myth in Han Shaogong novels, Daddy, Daddy, Daddy, and Woman, Woman, Woman," is practiced in the real life of people of Sangcho. Also, in terms of practice, the examples of Magyo Dictionary were applied. In the fourth chapter, how the mythical life and the practice seen in the third chapter are related to the current intangible heritage was examined. Furthermore, what this implies as intangible heritage was explored. It is the work of confirming that the traditional culture and the characteristic of intangible heritage we understand are created in the rhythm of a long history and unbroken life and expressed in those who practice it.
Therefore, the living space of people in the Magyo who symbolizes Sangcho and the image of people who live in it become the working mechanism of the actual intangible heritage. Unlike most of previous studies discussed only the items designated as intangible heritage, the author chose a novel to suggest a way of understanding intangible heritage from a more macroscopic perspective. Such a project could be meaningful in that the novel is read anew in relation to the spirit of intangible heritage. In other words, in a passive way, this offers a new perspective on reading novels and can reevaluate the literature of the past. On the active side, this is that the spirit of the intangible heritage in the novel can be explained to the extent that the current designation of the intangible heritage falls short. It is also believed that this attempt to serve as a bridge between the past and present, tradition and modern culture by reading intangible heritage from more works by other authors. It is also believed that this paper's attempt can be not only a seed to read intangible heritage from more works of other authors, but also can play a role as a bridge between past and present, tradition and modern culture.
‘Root-Finding novels’ generally tend to explore traditional cultures in the remote areas or mountainous regions of China and reflect them into their current lives. At that time, ‘Root-Finding novels’ were searches for atypical culture against typical or normativey culture, which increased interest in the marginal culture that had not been noticed. Although the atypical culture of this period was not recognized as the one named Intangible Heritage, it can be seen as a search for intangible heritage in that it seeks a living traditional culture.
One of China’s leading ‘Root-Finding novelists’ is Han Shaogong. He used the background of the novel, Sangcho, the backwater of Honam in China to embody the history, philosophy, faith, customs, and language of the people in that region. The setting of his novel, Sangcho, is a barren and secluded mountain village in Honam. The cultural environment of the mountain villages presupposes isolation. This isolation acts as a condition for local people to maintain and sustain their mythical lives. Currently, the mythical life reflected in their lives is a characteristic of living traditional culture emphasized by UN Intangible Cultural Heritage. Therefore, ‘Root-Finding novels’ are in line with the intent of the UNESCO’s 2003 Convention of Intangible Cultural Heritage.
However, China's policy on intangible heritage has recently been in conflict with these values. The designation and policy direction of the state-led intangible heritage does do not seem to consider much of the actual cultural beare’s position. If China wants to restore the value of intangible heritage in its true sense, it should pay attention to the way past ‘Root-Finding novels’ understand the whole life shape of people they want to find. In this sense, finding and discussing the prototype of intangible heritage in ‘Root-Finding novels’ suggests the direction of intangible heritage that China should move forward.
Therefore, in the second chapter of this paper, how ‘Root-Finding novels’ work as intangible heritage and what the current discourse on intangible cultural heritage in China suggests were investigated. It is also to look back on whether the ongoing designation of intangible heritage in China and the way the measures are taken are appropriate. In the third chapter, how a mythical world view is emboided in peoples’ lives of Sangcho area and what its meaning is in the examples in the novel were studied. Specifically, it is to examine how the animism which arose from Creation myth, the Bango myth in Han Shaogong novels, Daddy, Daddy, Daddy, and Woman, Woman, Woman," is practiced in the real life of people of Sangcho. Also, in terms of practice, the examples of Magyo Dictionary were applied. In the fourth chapter, how the mythical life and the practice seen in the third chapter are related to the current intangible heritage was examined. Furthermore, what this implies as intangible heritage was explored. It is the work of confirming that the traditional culture and the characteristic of intangible heritage we understand are created in the rhythm of a long history and unbroken life and expressed in those who practice it.
Therefore, the living space of people in the Magyo who symbolizes Sangcho and the image of people who live in it become the working mechanism of the actual intangible heritage. Unlike most of previous studies discussed only the items designated as intangible heritage, the author chose a novel to suggest a way of understanding intangible heritage from a more macroscopic perspective. Such a project could be meaningful in that the novel is read anew in relation to the spirit of intangible heritage. In other words, in a passive way, this offers a new perspective on reading novels and can reevaluate the literature of the past. On the active side, this is that the spirit of the intangible heritage in the novel can be explained to the extent that the current designation of the intangible heritage falls short. It is also believed that this attempt to serve as a bridge between the past and present, tradition and modern culture by reading intangible heritage from more works by other authors. It is also believed that this paper's attempt can be not only a seed to read intangible heritage from more works of other authors, but also can play a role as a bridge between past and present, tradition and modern culture.
주제어
#'Root-Finding novels' 'Intangible heritage culture' Han Shaogong Sangcho culture Creation myth Working Mechanism
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