CAJ | 학술논문

作为海外汉学界颇负盛名的中国明清文学研究者，韩南早在20世纪80年代，便推出了彰显个人理论基色的“东方微观型”著作《创造李渔》。本文以此为中心，重点探讨了韩南书写体系中“喜剧”概念的功能性所指，以及“创造”李渔所施行的具体策略：文学中“性文本”的模式化提炼，“倒置”作为文学现象认识装置的使用，基于“叙述者”“赞助人”等角色框架的观察和演绎，以及“跨文体”文论观的实践。事实上，积极引入西方理论批评话语并有意择取李渔这一中国文人形象作为书写个案的韩南，正代表了海外汉学界观看东方的典型机制：以特定理论/视角作为切口，方能超越时空/文化隔阂而获得创造性发现，其恰可用韩南受李渔小说启发而关注的“望远镜”及其原理作为行为隐喻。韩南更具前瞻性的是，他已将形象学范畴中的李渔提升至方法论层面，进而作为自己文学研究的镜像加以参照，这使得韩南与李渔呈现出平等互动的对话姿态。
작위해외한학계파부성명적중국명청문학연구자，한남조재20세기80년대，편추출료창현개인이론기색적“동방미관형”저작《창조리어》。본문이차위중심，중점탐토료한남서사체계중“희극”개념적공능성소지，이급“창조”리어소시행적구체책략：문학중“성문본”적모식화제련，“도치”작위문학현상인식장치적사용，기우“서술자”“찬조인”등각색광가적관찰화연역，이급“과문체”문론관적실천。사실상，적겁인입서방이론비평화어병유의택취리어저일중국문인형상작위서사개안적한남，정대표료해외한학계관간동방적전형궤제：이특정이론/시각작위절구，방능초월시공/문화격애이획득창조성발현，기흡가용한남수리어소설계발이관주적“망원경”급기원리작위행위은유。한남경구전첨성적시，타이장형상학범주중적리어제승지방법론층면，진이작위자기문학연구적경상가이삼조，저사득한남여리어정현출평등호동적대화자태。
As a renowned scholar in the field of sinology overseas of literature in the Ming and Qing dynasties, Patrick Hanan, as early as the 1980s, published his book, The Invention of Li Yu, an‘Oriental micro-type’of a book that demonstrates his own theory. Based on that, this article explores the functional signified in the concept of‘comedy’in Hanan’s writin g system, his‘invention’of the concrete strategies executed by Li Yu, the patterned purification of‘sexual texts’in literature, the use of‘inversion’as a vehicle for the cognizance of literary phenomena, the observation and deduction based on such character frames as‘the narrator’and‘sponsor’and the practice of the theoretical view of‘trans-genre’. In fact, Hanan’s is the typical mechanism through which the Orient is viewed in the world of sinology as he has deliberately chosen Li Yu, a Chinese man of letters, as his case to write about and has actively introduced the critical discourse of Western theory. It is only by using a specific theory or perspective as an incision for entry that time, space and cultural differences can be transcended with possible discoveries. Here, the‘telescope’, that inspired Hanan with Li Yu’s fiction and that concerned him, and its principle serve as a behavioral metaphor. What makes Hanan more a forward thinker than otherwise is the fact that he has lifted Li Yu out of phenomenology to the level of methodology and, further, is using him as a mirror image in his literary research for reference, creating an equal and interactive posture of dialogue between Hanan and Li Yu.