CAJ | 학술논문

作为表达“父爱”的代表作，朱自清的散文《背影》自发表以来感动了数代中国人，成为中国现代文学的经典作品。但近年来有关《背影》应否退出中学语文教科书的热议却表明经典文本带来的“感动”并非一成不变。本文回到文本写作和阅读的历史语境，将“感动”作为一个问题，通过讨论《背影》之“感动”的历史性和建构性，进一步探讨经典文本写作和接受的复杂性。
작위표체“부애”적대표작，주자청적산문《배영》자발표이래감동료수대중국인，성위중국현대문학적경전작품。단근년래유관《배영》응부퇴출중학어문교과서적열의각표명경전문본대래적“감동”병비일성불변。본문회도문본사작화열독적역사어경，장“감동”작위일개문제，통과토론《배영》지“감동”적역사성화건구성，진일보탐토경전문본사작화접수적복잡성。
As a masterpiece expressing “paternal love”, Zhu Ziqing’s essay, The Sight of Father’s Back, has affected the Chinese people for generations ever since its publication, and become a classic in modern Chinese literature. But in recent years, a hotly debated issue of whether this essay should be removed from the Chinese textbooks for middle school students indicates that the emotional feeling arising from classic texts is not eternal. This article goes back to the historical context of textual writing and reading, taking“moving”as a question, and discusses the historical and contractive meaning of“moving”theme in the essay so that it goes a step further to explore the complexity in writing and comprehending such classic texts.