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논문검색은 역시 페이퍼서치

러시아어문학연구논집검색

Russian Language and Literature


  • - 주제 : 어문학분야 > 노어노문
  • - 성격 : 학술지
  • - 간기: 계간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1229-1188
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 36권 0호 (2011)
6,600
초록보기
The primary goal of this paper is to pursue the main idea of 『A Meek Creature』 of F. M. Dostoevsky through its structural peculiarity. Many critics have analyzed this work, focusing on the eminent structure of interior monologue with which the husband of a meek woman, who committed suicide just before, narrates his own psychology. But analyzing contents of this work only under this structural frame hinders us from concrete understanding of internal world of the meek woman who attains not only the trait of meekness but also of arrogance. In the of this work we can understand that Dostoevsky uses artistic variations which help to successfully forming the shape of the heroine of this work. From this we can understand that husband and wife of this work share the traits of meekness and arrogance. The exact meaning of meekness reveals itself on the changed shape of young wife of part two of this work and in the scene when she commits suicide with an icon in her hand. This represents symbolically that she has taken her own life with the spirit of unity with her husband who oppressed her with his own philosophy of silentness which is based on his hatred against the world. Such a silent death of meekness which takes the fault of her husband for herself represents the right essence of meekness which Dostoevsky wanted to cultivate in the chaotic russian society of that time.
초록보기
In article attempt of the comparative analysis of two products of the Soviet literature is undertaken: ≪Master and Margarita≫ by M. A. Bulgakov and ≪Burdened by harm, or Forty years later≫ by brothers А. and B. N. Strugatskie. Bulgakov`s novel has influenced the novel Strugatsky that has been noted by criticism. We analyze short the scientific literature devoted to a religious problematics in the novel of Bulgakov. We believe that Bulgakov in ≪Master and Margarita≫ appears as the artist-Christian who has expressed the Orthodox sight at the world in product both which has enclosed of Leo Tolstoi and atheistic understanding of Christianity in Voland`s lips, that is Satan. It is possible to agree with opinion of critics that ≪Burdened harm≫ had been created under influence ≪Master and Margarita≫. However Strugatskies have apprehended only external, subject, an outline of history of adventures of evil spirit in Moscow. At the analysis of the maintenance of their novel we see that product is in essence godless and even blasphemous. This fact can find following explanations: Strugatskies were atheists, children of their time with its scornful relation to religion in general and with its materialism; they have been torn off about the orthodox roots, they weren`t familiar even with bases of Orthodoxy and because of rigid censorship in the USSR had no possibility with them to get acquainted. Thus, it is absolutely incorrect to do on the basis of the novel conclusions about Satanism of its authors. They are only children of the materialistic century. To prove the thoughts set forth above, we represent in our article the careful textual analysis of all parallels found out by us between considered novels in their relation to Orthodoxy. We analyze composite structure of both novels; a parity of images of Voland and the Demiurge; an image of the Christin both novels; interpretation of Evangelical events in both texts. In our opinion, it is possible to draw a conclusion that product Strugatskies was influenced by only external outline Bulgakov`s novel, but not Christian implied sense, in it put. It is possible to explain it, it appears, not only a difference in outlook of writers, but also that formation Strugatskies as persons for the objective reasons(censorship) was made in a separation from Christian traditions of our country and had, besides, for the same reason no possibility, having read Bulgakov`s novel, to familiarize and with the Gospel. The education theme became the main theme of product of fantasts. In our opinion, it is necessary for remembering at the analysis of the novel by Strugatskies.

문학 : 톨스토이와 “삶-크로노토프”

이강은
6,400
초록보기

Literature : Tolstoy`s Leaving Yasnaya Polyana as the spiritual Liberation

( Jin Xan 3e )
5,600
초록보기
1910년 10월 28일 새벽, 레프 톨스토이의 가출은 러시아와 세계를 뒤흔든 대사건이었다. 그 후, 톨스토이의 가출을 둘러싸고 많은 신화와 전설이 생겨났다. 톨스토이는 왜 야스나야 폴랴나의 둥지를 버리고 열차에 몸을 실었는가? 그동안 톨스토이의 가출은 저작권에 관한 유언장을 둘러싼 톨스토이주의자인 체르트코프와 소피야 안드레예브나와의 갈등, 아내와 자식들과의 불화 등 주로 가족적인 비극의 틀 속에서 다소 선정적으로 다루어졌다. 이와는 반대로 톨스토이주의자들은 톨스토이의 가출을 민중을 향한 사랑, 인류와 전 세계를 향한 사랑의 실천이자 민중과 함께 한 삶의 완성으로 받아들였다. 그러나 톨스토이의 행동은 가족적인 비극의 결과이자 인류를 향한 사랑일 뿐만 아니라 그의 전 생애 및 창작과정과 긴밀히 연관되어 있고, 그의 복잡한 세계관의 발전, 동시대와의 갈등과 불화의 유기적인 결과이기도 하다. 따라서 톨스토이의 가출의 원인을 규명하기 위해서는 그의 창작, 특히 일기와 편지, 그의 아내와 톨스토이주의자들을 비롯한 주변사람들의 편지와 회상기, 그의 가출에 대한 수많은 증언들과 기록들을 참고해야 한다. 본고에서는 톨스토이의 가출과 연관된 그의 정신활동 및 삶과 창작의 주요 계기들, 그리고 그의 가출에 대한 다양한 관점과 해석들에 기초하여 다음과 같은 결론을 얻을 수 있었다. 1) 정신적 해방으로서의 톨스토이의 가출은 서로 뒤엉키고 모순된 다양한 원인들(톨스토이의 세계관의 발전, 가족과의 갈등과 불화, 동시대 사회와의 대립과 갈등, 유언장 문제, 체르트코프와의 관계, 육체적 및 심리적 상태 등)의 복합적인 결과이다. 2) 톨스토이의 가출의 원인에는 그의 세계관적, 종교적, 가족적, 개인적, 실존적 측면이 뒤섞여있다. 3) 톨스토이의 가출은 가진 것을 모두 버리고 집과 가족을 떠나는 러시아와 동양(특히 불교)의 전통과 관련되어 있다.

문학 : 체홉의 “팜므 파탈(Femme Fatale)” 캐릭터 연구

정명자
6,400
초록보기
Femme Fatale is one of historic images existing from the biblical days and mythological ages in the ancient times. Femme Fatale means the attractive women driving a man toward destruction. Femme Fatale fever was the periodical trend hitting the literary and art world in Europe in the 19th century. It was the image of women as the dreadful existence as well as attractive one which was generated along with the tide of feminist movement clamoring for freedom and liberation of women and social and ideological change since the Industrial Revolution at that time. Such Femme Fatale fever in the art world in Europe directly had impact on Russia. Checkhov also published a series of fictions on Femme Fatale. His Femme Fatale fictions include「In Autumn (Оceнью)」(1883),「Morass (Tина)」(1886),「Wife (Cупpуга)」(1895),「Ariadna (Apиaднa)」(1895) and「My Life (Moя Жизнь)」(1896). Five fictions above have the same motif, “Femme Fatale.” This study analyzed the common features of heroines with Femme Fatale characteristics in those fictions. 1) All of them are beautiful. 2) They have negative characteristics including exceptional ability for hypocrisy, trickiness, lying, fickleness and seduction. 3) Egoistic life`s attitude ― They think they are always right and are lack of ethics. 4) Absence of love ― They never love men. However, they pretend to love them according to their needs. 5) Incarnation of desire ― They pursue the life faithful to basic instincts including sexual desire, earthly desire, prodigal habits and gluttony. How do the male counterparts of those heroines act in the fictions? All of their counterparts are weak, immature and victim-like characters. Such characteristics are required, because the heroines can easily dominate and use their counterparts to satisfy their desires. Chekhov always tried to be objective and positive on women. He had good understanding on the unfair conditions on women at that time and thought such unfair conditions would be gradually relieved by education. With good understanding on the women, Chekhov didn`t overlook on Femme Fatale characters in various kinds of female characters in the fictions. His five fictions examined in this study will be the literary achievement related to those Femme Fatale characters.

문학 : 톨스토이와 도스토예프스키: 인간 고통의 두 양상

조유선
6,600
초록보기
Since the ancient times most of the great arts was born from suffering. When the great artists are faced with suffering, they continue to show one reaction rather than being buried in it. Through their creation they overcome the suffering in order to immortalize their personal beliefs. The creative passion of the great artists which comes out in extreme suffering helps them to develop a strong will, and through it the message of salvation of mankind is implemented. The study approaches the subject of Tolstoy and Dostoevsky in terms of ``creativity and suffering`` of the great artists. These two writers, despite the difference in their views of the world and the creative styles, bore their cross of the suffering and agony which is too much for one human. At that point their suffering could be a strong source of their creative, transcendental strength. In this study we compare the two characters Levin (Tolstoy`s 『Anna Karenina』) and Raskolnikov (Dostoevsky`s 『Crime and Punishment』) as a ethical subject, and examine their aspects of suffering and its meaning by which were confronted the two artists in the turning points of their lives. Prior to this we deal with the philosophical discourse of Kant and Levinas around the phenomenon of suffering and its ethical implication, as on the issue of human suffering there are close connections between the two writers and philosophers.
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