如何治理腐败是关系到中国社会向后发展的重要课题，因此起始于九十 年代中期至今方兴未艾的反腐小说创作热潮是值得我们加以关注的文化现象。 反腐小说从多个角度生动地展示了当代中国的社会现实，研究反腐小说 不仅能够获取官方新闻和学术论文中所没有的信息，还能预测中国社会的发 展变化。然而韩国学界对于中国反腐小说创作潮流这一重要文化现象的介绍 或研究现在尚处于空白状态。 作为研究中国反腐小说的敲门砖，本论文主要从以下几个方面对反腐小 说进行初步的考察。 第一，考察中国反腐小说的兴盛原因。通过分析反腐小说形成潮流的原 因，进一步凸显了反腐败小说的文学社会学价值。首先，本论文对中国社会 的腐败现象做了宏观性观照，从中发现中国政府之所以对腐败问题给予高度 重视，是因为中国当代的腐败现象呈现出类似于近代封建王朝末期的特征。 即当代的腐败是历史的反复，如果不能彻底地治理腐败，中国共产党政权同 样会走向灭亡。由于中国政府对腐败问题的高度重视，反腐小说的创作受到 主流意识形态的关注和支持并形成创作热潮。 第二，通过主要作家的代表作品解析反腐小说的主题内容和创作意义。 分析结果表明反腐败小说的创作并非迎合主流意识形态的短期文化现象。反腐 败小说的创作不仅是对"五四"批判现实主义精神的继承，也是当代知识分子试 图恢复长期被主流意识排斥的参与社会和批判社会等社会功能的具体表现。

劉心武是一位深受中國傳統文化影響的積極入世的作家, 他的文學活動的基本特征是關心社會, 關心時代, 關心現實, 這使得他的作品帶有較爲明顯的社會批判功能. 劉心武作品中那種難以撼動的對于現實社會的關注, 有時表現爲發現問題, 揭示問題, 幷試圖解決問題 : 有時表現爲正視社會痼疾, 觸及病痛. 在劉心武的意識層面中, 寫作是一種文化領域的批判, 警醒人世的目的的. 對國民性的批判也劉心武後期作品中的一項重要內容. 和其他新時期崛起的中靑年作家一樣, 劉心武是隨着一場政治事件被喚醒, 幷在這重大的歷史變動中, 滿懷理想, 衝上文壇的. 他們對未來的美好憧憬使他們産生對社會堅定的拯救意識. 文學便是他們手裏最好的救世工具. 所以, 在劉心武早期的創作中, 作家總是以啓蒙者的身分出現, 傾注給人們的是‘社會性關懷’. 他充滿理想地呼喚人們覺醒. 后來劉心武從人生, 人性的角度注目于衆多人物的不同命運, 展示他們的內心世界, 挖掘人性根源的時候, 在多主題變奏中, 他發現了一個大主題‘國民性’. 首先, 通過表現市民意識來達到對國民性的批判和揭露的. 在≪鐘鼓樓≫中, 由于市民缺如基本的文化素質, 這種市民意識便成了封建糟粕在都市繁衍生息的載體. 在現代文學史上, 老舍就以表現和批判市民意識而著稱于世. 老舍從關注中下層城市勞動者的命運出發, 通過對市民階層衆多人物形象的生動塑造和對市民生活畵面的逼眞描繪,深刻揭示了舊社會時期城市勞動者倍受岐視而苟且偸生的 悲劇性過程, 達到了對民族生活中帶有普遍性的精神病態的批判. 總之, 在劉心武小說里, 深刻的思想把握, 來源于對人物豊富歷史人性內容的開掘, 從而强化了作品的社會批判功能. 他的作品, 之所以能給讀者提供可供思索和想像的廣闊空間, 也得力于這種厚重的思想層面的支撑.

역사소설은 지나간 과거를 작가의 상상력으로 재구성한 것이다. 그러나 이러한 상상은 작가가 처한 당대의 현실과 동떨어진 것이 아니며 작가가 처한 사회의 정치문화 콘텍스트, 그리고 작가의 아이덴티티, 역사정보의 장악 정도, 주관적 상상력의 다소 등 주객관적조건의 제약을 받게 마련이다. 본 논문은 우리민족의 이민을 다룬 소설들 중에서 안수길, 리근전, 최홍일이라는 서로 다른 국적과 이념을 가진 창작주체가 각이한 년대에 창작한 <북간도>, <고난의 년대>, <눈물젖은 두만강>을 비교하면서 이들이 어떤 관점에서 역사를 파악하고 그것을 재구성하고 형상화 했는지를 살펴보았다. 이 작품들은 모두 민족의 정체성 문제를 다루고 있지만 안수길의 <북간도>는 민족주의라는 이념하에서 민족의 국토 회복과 주권회복이라는 어마어마한 주제를 다루고 있고, 리근전의 <고난의 년대>는 계급투쟁이라는 이념하에서 조선이주민의 ‘간도 뿌리내리기’와 ‘중국소수민족으로 되기’라는 주제를 다루고 있으며 최홍일의 <눈물젖은 두만강>은 이주민의 생활사라는 이념의 세속화를 주제로 다루고 있다.

This study was intended to outline the characteristics of the food culture in the area of Kyungsangnamdo and its modernization by interpretation and analysis of the novel Toji, which was set in Hadong, Jinjoo in the area of Kyungsangnamdo in the early 20th century. The characteristics of the Kyungsangnamdo area's native dish during the Japanese ruling era in the latter half of the Choson dynasty are as follows. In the first part of the novel, which spans from 1897 to 1908, vegetable and grain food development can be seen in the area of Hadong, the interior plains of Kyungsangnamdo, where there is a typical farming village in the mountains. The second part of the novel, which spans from 1911 through 1917, includes some mentions of the properties of Kyungsangnamdo area's native dishes through the lens of emigrated Koreans living on Gando island. Gando island is in China, and is where Seohee, the heroine, escapes from her homeland and remains for a period of years. There is a unique type of seafood in the Gando area using fresh marine products, exactly the same as in the Kyungsangnamdo area. The third part of the novel spans 1919 through 1929, after Seohee returns to her own country and regains her house. There is a noticeable description of food culture in the area of Jinjoo in Kyungsangnamdo through the description of Seohee focusing on the education of her children. The well-described features of Jinjoo are boiled rice with soup of beef leg bones and Jinjoo bibimbob, with vegetables and a variety of foods using cod. Cod are caught in large quantities in Kyunjgsangnamdo, and cities in the area grow to medium size as the area became traffic-based. The fourth part of the novel spans from 1929 through 1938, and includes very detailed descriptions of characters and background locations. Salted fish combined with the wild ingredients of Mt. Jiri feature prominently in the Kyungsangnamdo's area descriptions. The fifth part spans from 1940 through 1945, and as the Japanese colonization era ends, the foods described in Kyungsangnamdo seem to develop the usage of soybean paste. With abundant fish and shellfish Kyungsangnamdo, the dishes that evolve to use soybean paste include mussel soybean paste soup, picked bean leaves in soybean paste, chaitgook - cold soup from soybean paste, and seolchigook used with seaweed and sea laver.

This study was intended to examine the continuance and transformation of food culture during the enlightenment and Japanese ruling era by analyzing the novel of "Toji". In the novel "Toji", the chaotic political and economic situation is reflected, along with the peoples' hard lives in the latter era of the Choson Dynasty. After the full-fledged invasion of China by the Japanese, the shift to a wartime posture was accompanied by an increased need for food. This led to a rationing and delivery system for rice in the late 1930s. While it was hard for people to obtain even brewer's grains and bean-curd dregs, food distribution officers were well off. Another distinctive feature of the food culture during the enlightenment and Japanese ruling era was that foreign food and recipes were introduced naturally to Korea through the influx of various foreigners. The industry of Choson was held by Japanese monopolistic capital, as a result, Choson had equal to the role as a spending site and was only gradually left destitute. In the Japanese ruling era, there were new type of business including such as patisserie of the types of civilization in the town, and those tempted Korean people. However, the Japanese and pro-Japan collaborators dominated commercial business. Being urbanization through the modernization, it was became patronized fast food in the populous downtown, and the change of industry structure and life style greatly influenced into our food culture. Acceptance the convenient Japanese style fast food such as Udong, pickled radish made was actively accepted with a longing for the advancement civilization. After the enlightenment, many Japanese exchange students went to Tokyo to get advanced civilization and provided urban mood according to their consumption of bread, coffee, Western food, which were considered a part of the elite culture.

This article is the valuation analysis of the New Narration Styles of Chinese Novels of the new-era（1970’s~1990’s). Narrative Style is the starting point of analysis perspective of novels as well as of expression. In addition to summarized formal system of Narrative Styles, to explain the value of them is also an important part of the analysis. The valuation of these narration styles is mainly reflected in changes. By studying and describing the changes, this article concludes the new approach from the overall series analysis.There are three main points:1, describing the new style contents of induction and their causes;2,reflecting the general characteristics in the structure of the narrative styles;3,describing the substance and significance of the new narration styles.

In this study, we attempted to elucidate the cultural characteristics of Korean food based on a traditional understanding on the Korean novel. To achieve this, food characteristics related to 'rites of passage' were analyzed in the representative Korean literary work "Hon-bool", which describes the life of a first-son's wife every three generations in the going to ruin but historic 'Lee's family of Maean district' family and the life of the common 'Geomeong-gul' people who lived with farming on the Lee's land at Namwon of Junbook province in the 1930~1940s, during the Japanese Colonial rule. Every nation possesses rites of passage at important points in life, such as at birth, age of majority, wedding and death. Korean culture, in particular, has several memorial rites relating to birth, death and passage into the afterlife in which special foods are prepared. In this manner, ceremonial foods represent the Korean peoples' traditional vision of the universe and life. The book "Hon-bool" describes these traditions. Especially, the book describes the table-settings related to the main character's childbirth, first birthday, wedding and death. Therefore "Hon-bool" represents a living history of Korean traditional food and the work of storytelling through the traditional understanding is expected that perform an important role in making of cultural contents of Korean foods.

Chengqing’s novel is unique in that she depicts and meditates on the latent state of human existence, if compared with other contemporary female novelists. To be more exact, she penetrates into the mental world of human beings with her outstanding depiction of the present existential reality. She dramatizes their dreams and desires yet meanwhile exposes the absurd and fantastic nature of them. She, on the one hand, grants her characters the right to dream to their heart’s content, and smashes their dreams silently but resolutely on the other. Furthermore, her various writing techniques, including the clever and diverse narrative perspectives, the echoing of characters, and the reverse but open endings, not only strengthen and highlight the themes, but also reinforce the charm of the novels.

上世纪90年代，以消费主义为号召，又开始以对旧上海的想像为基础，构划关于上海过去的与未来的全球化图景. 90年代以来形成的新意识形态中有一个声音是对旧上海的感怀和咏叹. 这种怀旧热下产生的文学多以三四十年代十里洋场为背景，呈现了单一化的上海，就是摩登奢华的上海. 这种叙述模式略去上海社会主义时期的历史经验，以相似的经济模式及文化形态为准构筑起上海的‘前世今生’(三四十年代的上海和九十年代的上海)，企图给出一个有着某种历史的整体感的上海. 在此背景下，90年代以后王安忆的上海书写具有了特别的意义. 她把被流行意识形态所排斥在外的社会主义时期的日常生活、上海的边缘地区、粗砺的劳工世界等重新规划入上海书写中. 本文试图通过解读《长恨歌》和《富萍》等小说来把握王安忆所塑造的上海的主体形象，来把握上海本身的复杂性和丰富性. 《长恨歌》中王琦瑶形象所承担的另一层文化含义在于，王琦瑶等人的生活表现了与当时时代主流完全不同的都市民间生活方式. 在《富萍》这篇小说中，王安忆开始反思对上海的理解与呈现. 她选用了一个外来的底层富萍作为观察者来体验上海，观察上海. 这部小说中体现了王安忆此时的价值倾向: 单纯、朴素、健康的日常生活样式才能代表上海. 本文将以自《长恨歌》和《富萍》中的女主人公形象及其变迁为线索，探讨王安忆刻画了怎样不同的城市代言人，通过这些代言人又呈现了怎样的上海形象，作者对上海的认识又发生了一个怎样的变化，在此基础上揭示出王安忆九十年代中后期以来上海书写所蕴含的精神诉求.

The purpose of this article is to research how women - especially housewives and housemaids - are described in relation to domestic/caring labor in Hong Kong fictions after 1997, and to estimate in which state the Hong Kong fictions are located on this matter regarding the gender equality problem. Although there has been improvement to the domestic gender equality in Hong Kong, it still is mostly the housewives who take full responsibility on domestic labor. The image of women as those dedicated to domestic labor is still being repetitively reproduced in Hong Kong fictions too. Moreover housewives are often narrated as unreasonable, irrational, unproductive beings, those who have no other choices but to do house chores and depend on their husbands. Furthermore, to housemaids (‘菲傭’) as social agent of domestic labor, the injustice of reification on women is done in the fiction as well as in the real world. Even the relationship of controlling and being controlled is built between housewives and housemaids of the same gender. Hong Kong fictions do not yet give enough attention to the significance of domestic/caring labor, which women still are entirely responsible to, on the issue of gender equality. Nonetheless, it is clear that Hong Kong fictions are showing the possibility of improvement on this matter.