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The Dual Phenomenon of Confucian Culture in Korea and China - the Death and Resurrection of Confucius

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The Dual Phenomenon of Confucian Culture in Korea and China - the Death and Resurrection of Confucius International Journal of Advanced Smart Convergence Vol.8 No.1 204-213 (2019) http://dx.doi.org/10.7236/IJASC.2019.8.1.204 IJASC 19-1-25 The Dual Phenomenon of Confucian Culture in Korea and China - The Death and Resurrection of Confucius YoungHwan Park Department of Chinese language & literature, Dongguk University, Seoul, Korea [email protected] Abstract Perhaps nothing more vividly illustrates the many different ways in which traditions can be interpreted than a study of the life of Confucius in modern times. In China and Korea, Confucian values and culture are dismissed and scorned during some periods and held up as facilitators of cultural prosperity in others. This changing perception of and attitude toward the Confucian tradition in modern society embodies the long life of the Confucian tradition and its continually evolving trajectory, as well as its versatility within shifting sociopolitical milieux spanning distance and time. In this paper, I investigate the (re)emergence of Confucius in modern Korea and China with a comparative and critical gaze. I demonstrate how different modern interpretations of Confucius, both negative and positive, in these two countries bring new life to the Confucian tradition within their own complex social realities. By focusing on the recent revival of Confucius in China—Anti-tradition of Korean dramas, the Restoration of Confucian Culture in China and Korean Wave, the modernity of China in Confucius are examined, and finally, in terms of the means of realization of the Chinese dream—I illuminate how the image of Confucius serves the (re-)invention of contemporary China, with her pervasive desire to romanticize and materialize China’s past as well as her future. Keywords: Death of confucius, Resurrection of confucius, Korean wave, China, Korea 1. Introduction Around 1997, Looking back and reflecting on the native traditional (Confucian) culture which Korea had always been proud of also started from this period. However, after 1997, the so-called Korean Wave of the unprecedented pop culture fever started being made in Korea. Around 2005, Korean dramas and K-Pop fever were popular in East Asia and Korea started inculcating the image of pop culture suzerain in every country of the whole world, not only in East Asia. Now Confucian fever along with Confucianists’ restoration thoughts have covered the Chinese continent. In fact, the turning-point is the year 2006. During the period of the wave blew by Only if Confucius Dies out, the Country will Survive in Korea, on the contrary, in China the movement of surviving Confucius occurred. The fever of Yu Dan’s Spiritual Profits from Analects which Manuscript Received: Mar. 7, 2019 / Revised: Mar. 10, 2019 / Accepted: Mar. 15, 2019 Corresponding Author: [email protected] Tel: +82-2-2260-3836, Fax: +82-2-2275-8710 Department of Chinese language & literature, Dongguk University, Seoul, Korea International Journal of Advanced Smart Convergence Vol.8 No.1 204-213 (2019) 205 recreated the history of Chinese publishing circles in 2006 is just the hero. Chinese government that had confirmed popular sentiment promulgated the policy to protect the traditional festivals like the Mid-Autumn Festival, the Dragon Boat Festival and the Qingming, etc. From 2008, Chinese government designated these days holidays and devoted itself to the restoration of the traditional culture. The representative scholars of China, Tang Yijie, Chen Lai, Jin Yaoji，and head of state Xi Jinping are seeking the modernity in China from Confucianism and Confucius. “Marx-Leninism, Maoism + Confucius ideology" is the driving force of modern China.In other words, we can see that Confucianism is at the center of the national governing ideology and is used as a means to fulfill the Chinese drea. 2. Anti-tradition of Korean dramas In 1997, Korea , which had earned the title of One of Four Asian Dragons, was confronted with the crisis of Sovereign default. The so-called IMF Era had come. This affair was a piece of very shocking history that made Koreans lose their dignity. Looking back and reflecting on the native traditional (Confucian) culture which Korea had always been proud of also started from this period. Two years later, a very interesting book appeared in Korea where Cheng-Zhu school was more treasured than in China. The book’s title is Only if Confucius Dies out, the Country will Survive (1999). This book brought up the fundamental criticism that Confucius and Confucian culture which had dominated Orientalism was for establishments, and caused a great sensation in Korean society which was driven out by IMF bankruptcy. Around this period, the so-called Korean Wave of the unprecedented pop culture fever started being made in Korea. Around 2005, Korean dramas and K-Pop fever were popular in East Asia and Korea started inculcating the image of pop culture suzerain in every country of the whole world, not only in East Asia. I have claimed that there is a very close relationship between the internal factors of the Korean Wave and the flow of social politics of Korea. Breaking the constraints of censorship and deliberations carried out by government routinely; matured publishers and media; and an environment of freedom of thought after democratization all served to maximize the creativity of writers and directors. We have to pay attention to the starting point of the “Korean culture wave” receiving attention in East Asia. The period from the end of the 1990s to the mid-2000s.(1998-2006) was the starting point of the Korean Wave and also the time that Korean democracy was by and large perfected. In particular, when the country’s management was under the control of the IMF bailout system, South Koreans began to reflect seriously on tradition in society at large. Due to this, they began to discuss, for the first time, the many evils of their culture, especially the negative effects of a Confucian-based culture.For example, there was deep reflection on the ideas of societal ranking; ideas related to the pursuit of standardization, and unfair, opaque social paternalism; and development supremacy that considers the economy as the supreme.In other words, during this period, although there was a manifestation, confrontation and social conflicts, regardless of politics, business, broadcasting, journalism, or academia, the IMF crisis continued due to national bankruptcy. However it also set the direction of flow to progress and openness, through an unprecedented social reflection on the tradition of development supremacy and a closed social structure by discussing the issues and creating social consensus. Therefore many of the Korean Dramas of this period were different, and clearly reflected values of anti- traditional, anti-Confucian, women-centric, and diversity of thought, which are characteristics of the flow of an era. The phenomenon to note is that most of the Korean Dramas loved in China are these types of dramas. Most of the contents were challenging the existing order and the older generation. In addition, there appeared a lot of dramas with women as a protagonist. In other words, this phenomenon can be said to be 206 The Dual Phenomenon of Confucian Culture in Korea and China anti-male, anti-traditional thought, and women-centered. The women-centered dramas started to get more attention also in China.The most famous series of women-centered dramas are the following: <The Mermaid Girl> (2003, No.5), <DaeJangGeum> (2004, No.2), <Be Strong Geum-soon> (2005, No.3), <My Name is Kim Sam-soon> (2005, No.15), <The Sweet Eighteen> (2004, No.11), <My Love Patzzi> (2002, No.16), <Delightful Girl Choon-Hyang> (2005, No.18). Besides, there were Films that led to significant grossing in China, Japan and Taiwan like <My Sassy Girl” (2001) and the series of <My Wife is a Gangster> with women as protagonists.It is necessary to note changes in sitcoms, too. <The Soonppoong Clinic>(1998-2000) and <High Kick without hesitation>(2007) were very popular in China. They were also typically anti- tradition and anti-male, with the existing responsible strong patriarchal character gone and instead projected as a fool and narrow-minded irresponsible image of the patriarchal system. Especially, in <High Kick without hesitation>, the character of the grandfather who runs away after being caught watching porn destroys brutally the naïve image of patriarchal stereotypes in previous dramas, literally the essence of anti- traditional contents. The idea of Gang Boss, Teacher, and Father as one in <My Wife is a Gangster> clearly manifests the elements of anti-tradition. In this way, by the middle of 2000, the Korean dramas that led the Korean Wave in China usually contained the anti-traditional message against the conservative tradition of Korean Society: anti-male, anti-Confucian, women-centered, focusing on criticism of the existing order. 3. The Restoration of Confucian Culture in China and Korean Wave There is a program called <Baijia-Jiangtan> aired in China CCTV channel 10. The program, which began in July 2001, did not get much response from viewers in the early days. Since 2004, the interest of viewers has begun to increase, and the lecture of Professor Yu Dan's Lunyuxinde(论语心得), broadcasted on the National Holiday Day on October 1, 2006, became popular. In November of the same year, Lunyuxinde was released as a book, and it became a super-size best seller that sold over 4 million copies despite its characteristic as one of the classics. This was a milestone of the Chinese retro frenzy. Of course, Yu Dan became the most talked-about celebrity in China in 2007. This Confucian-centric retro frenzy in China around 2005 can been seen to have had a direct relationship with the popularity of the Korean dramas aired in the early and mid-2000s and ‘the dispute concerning Dano’ between Korea and Chine during the years 2004 and 2005.
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