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KCI 후보
미하일 불가코프의 『거장과 마르가리타』: 풍자와 알레고리의 환상적 메타소설
Mikhail Bulgakov`s The Master and Margarita: Fantastic Metafiction of Satire and Allegory
장한 ( Han Jang )
세계문학비교연구 15권 201-236(36pages)
UCI I410-ECN-0102-2009-800-000382749

The fantasy has undoubtedly expanded the literary horizon. Based on the assumption that reality is not accessible to irrational phenomena, the fantastic emerges as an alternative or preferred narrative mode. Especially fantasy is connected with metamorphosis, unbelievable adventures, spatial transmutations, temporal dislocations, etc. The violation and transgression of the laws of nature in a literary work makes us to hesitate before the fantastic effect being generated. Soviet literature was very much dominated by the normative definitions of realism. Fantasy and the fantastic was frowned upon and, for the most part, relegated to science fiction and children`s literature. But slowly at first in the 1960s and then more rapidly in the 1970s, this situation began to change. One of the notable trends of Soviet Fantasy is a literary subversion of official cultural ideology. In this vein, Bulgakov`s The Master and Margarita occupies a privileged status among Russian fantastic literature. It reflects the purely Russian conditions of the twenties and thirties - the housing crisis, the state-controlled economy, the early years of terror under Stalin. Bulgakov ridiculed Soviet literary circles, government powers, Philistinism of human routine, using fantastic elements and satirical allegories in The Mater and Margarita. The level of satire in The Master and Margarita is so strong that it led to early readings of the novel as a roman a clef, "a novel in which actual persons and events are presented under the guise of fiction." MASSOLIT is a thinly veiled version of the Russian Association of Proletarian Writers(RAPP), the predecessor of the Writer`s Union, so despised by Bulgakov and his close associates; the Griboedov is the House of Writers on Herzen Street; Peregelgino is the writers` colony of Peredelkino outside Moscow; the critic Latunsky is Leopold Averbakh, who trashed Bulgakov`s Diaboliada when it appeared I print; the poet Bezdomny`s name is chosen to remind readers of other "proletarian" poets who wrote under similar pseudonym, such as Demyan Bednyi. The Jerusalem chapters are presented as being narrated by Woland, dreamed by Ivan, and by Margarita from a fragment of the Master`s novel. The Jerusalem story may be defined as a historical novel. Bulgakov alters the gospels not simply to make them appear historically credible, but also to challenge the very validity of these sacred writing. In conclusion, the fantastic features in The Master and Margarita has a certain utilitarian appeal in the Soviet context. For fantasy of Bulgakov offers novelty and appeals to literary imagination of Soviet literary backgrounds.

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