바흐친의 카니발 이론으로 분석한 柳永 詞의 특징

Abstract

Although there was a clear distinction between elegance and vulgarity in the field of culture and literature in the premodern society of China, we can sometimes encounter some literary works beyond this distinction. For example, Liu yong’s ci’ poetry provide us with their basic interchange model. We think the reason why former researchers didn’t put emphasis on this problem is that they had no theoretical foundation about cultural interchanges. Russian literary critic Mikhail Bakhtin had established “Carnivalesque” and derived carnival and the carnivalization of literature from the reign of the “Serio-comical” with the examples of Socratic dialogues and Menippean satire. Within the Socratic dialogue carnival affects all people into the behavior and rituals in to the carnivalistic life, as in every individual is affected by carnival, meaning everyone is a constant participant of carnival. Now that Bakhtin had given us a hint to solve the problem, we can explain the characteristics of Liu yong’s ci’ poetry from the view of cultural interchange. Bakhtin’s theory guided us to go to the answers to three problems: First, we could assure there was double-sideness of formal or informal culture; and we could clear up the cause why Liu Yong went another way at a long distance from the majority of Northern Song Dynasty’s literati; finally, we could have good knowledge of Liu Yong’s popularity at that time. As a result, we could arrive at conclusion that Liu Yong’s ci’ poetry showed two remarkable characteristics analogous to carnival: emotional release and revolutionary order.