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논문검색은 역시 페이퍼서치


Russian Language and Literature

  • - 주제 : 어문학분야 > 노어노문
  • - 성격 : 학술지
  • - 간기: 계간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1229-1188
  • - 간행물명 변경 사항 :
수록 범위 : 65권 0호 (2019)
This paper aims to analyze Nikolai Gogol’s identity as ‘homo nomad’ and to study his life and aspirations shown in his fragment Rome. Gogol grew up in Ukraine and moved to Russia after graduating from gymnasium. He created novels set in Ukraine and built his reputation as an author in Russia. Therefore, there was a lot of controversy about his identity as an author. However, we don`t have to confine his identity to Russia or Ukraine. The controversy about Government Inspector disappointed Gogol, which made him leave Russia without any destination. Based on his walk of life, it is assumed that he had a deterritorialized and transnational identity. He spent a lot of time in Rome and called it home of the soul. He was impressed by the ambience of Rome which was different from that of civilized Europe. So he reflected the imagery of an ideal city in Rome. However, Gogol left Rome and continued wandering. He couldn't stay in one place because he had an identity as Homo Nomad. He kept wandering in pursuit of ideals and that’s why Rome remains unfinished.
This paper is devoted to study A.Galich-K.Isaev’s comedy-joke 『The Taimyr Is Calling You』: It’s comic structure of comedy is analyzed, and aspects of the Soviet reception are focused in relation to Soviet theater policy. This will reveal the aesthetic characters of the comedy and investigate changes of the evaluation and their causes. The overwhelming dominance of the comic situation is characteristic of the comedy 『The Taimyr Is Calling You』. The four central episodes that make up the plot of the comedy are all determined by comic situations. The intrigue(promise), combined with chance, motivates the origination of the misunderstanding, from which the comic situation is formed. Other comic situations are continuously created from a preceding situation. Such a plot of the comedy is consistent with the plot of the vaudeville: The comedy 『The Taimyr Is Calling You』 becomes a total comedy, which is aimed at laughter and amusement like vaudeville, where consecutive occurrence of comic situations is the structural principle of plot. The proportion of character comic is very low in 『The Taimyr Is Calling You』. There is no negative character in the comedy. The weaknesses of positive characters are exhausted as materials for comic situations, not character comic. Language comic is also very limited; it is the comic situation that determines the comic nature of the dialogue, not the language. The comedy 『The Taim yr Is Calling You』 was the most important comedy in the Soviet comedy controversy after World War II. The criticized element was the vaudeville technique used to create comic situations. Despite the Central Committee’s decision negatively affecting comedy‘ condition and the negative evaluation of official party ciriticism 『The Taimyr Is Calling You』 was still popular and recognized as a typical comedy of the light entertainment genre in the theatriclal circles of Soviet Union. In early 1948, the situation of light comedy changed convulsively with the campaign of Anti-Cosmolitanism: Communist Party and official criticism stigmatized Galich-Isaev’s comedy as globalism and formalism. Some critics insisted on eliminating 『The Taimyr Is Calling You』 from the Soviet Stage. Given the criticism of ‘the theory of conflictlessness’ in 1952, the situation for comedy is changed favorably, what led to the change of the aggressive criticism about 『The Taimyr Is Calling You』. Especially, the feature 「For the comedy(Za komediiu)」of the magazine 『Theater>』 in 1952 provided the moment of official acknowledgment of all comic genres.

도스토옙스키와 시각 시각 학습과 윤리의 문제

Visual cognition is the key to understanding Dostoevsky. In his texts, seeing is always intertwined with knowing. As he insisted in numerous critical essays, the most significant human organ for an artist is the eye, and the most crucial barometer for a genuine artwork is the proper act of seeing. The proper act of seeing for him has nothing to do with verisimilitude or photographic accuracy. Mimesis, whether a visual, or psychological, or linguistic, cannot be a goal of perception. What is important is how to see a human being as a human being with human eyes. Seeing can be an act of domination and exploitation. In order to see a fellow human being as a human being, we have to learn to make seeing an act of compassion. In short, for Dostoevsky seeing is not only a cognitive act, but an ethical act.

시간의 형상: 이오시프 브로드스키의 「나비」와 폐허의 시

This paper analyzes Iosif Brodsky’s poems dedicated to the ruins. These poems have common themes and structures and we can call it Iosif Brodsky’s ruin-text which can give some hints on poet's views on time and space. First, we define the meaning of Brodsky’s post-apocalyptic chronotop “after our era” and show that it can be an alternative time and space where the Soviet concept of linear time constructed on the sacred belief in the human progress is rejected. In the subsequent analysis of the series of poems that make up the ruin-text of Brodsky, we will show that the ruins are a self-sufficient space in which time and language are fully realized. Finally, analyzing the quintessential text of Brodsky’s time philosophy "Butterfly" in the intertextuality with Osip Mandelshtam’s poem on butterfly, we can show that the small marginal creature becomes the very entelechy of time a la Aristotle. Butterfly, oscillating between the form and material of time, realizes the factura of time, its substance, which is the ultimate goal of Brodsky’s poetry.

공감의 두 양상: 『백치』와 『부활』을 중심으로

The purpose of this paper is to compare the empathy of Dostoevsky 's novel 『Idiot』 and Tolstoy' s novel 『Resurrection』. The empathy can be seen not only in the emotional dimension, but also in the cognitive and the will dimension. Myshkin was emotional, lacking reflection and moral standards. He sympathized with almost all characters, but his empathy could not stop heroine's death. On the other hand, the empathy of Nekhliudov and Katiusha is not limited to the relationship of two people and it is gradually expanded by sympathy with others. His empathy develops with compassion and love for others through reflection on oneself. Thus, while the empathy of Myshkin is a passive level of empathy, Nekhliudov’s empathy is an active level of empathy.
This article tries to analyze the language of youth, as a subculture in modern Russian language. Their aсtive processes are discussed on the example of Irina Denezhkinа's stories, which are conducted in comparison with classical literature. Just to trace how these processes of modern Russian language are manifested in the language of prose of the young modern writer Irina Denezhkinа. The peculiarity of Irina Denezhkinа’s writing style is embodied in her story “Give me” precisely, because the writer herself reflects the colloquial language and slanguage of the youth directly in the process of its development. It should also be noted that this is mainly the language of youth, teenagers and schoolchildren, whose speeches also represent the desire of young people’s self-expression, identity and sharpness of vivid expressions.

러시아 캐릭터 산업 현황과 과제

This paper examines the development process, status and characteristics of the growing Russian character industry And the future challenges of the Russian character industry. The Russian character industry, which has the 13th largest character market in the world, is expected to make a breakthrough in the next three years (2019-2021) with the following positive environment: 1. Reorganization as the center of online consumption 2. Changes in the tendency of Russian consumers who actively consume educational contents 3. System improvement and active policy of the Russian government 4. Improvement of cultural needs of Russian people. Characters have a strong influence on other cultural contents, such as drama, movie game animation, dramas and musicals, and are vigorously remodeled. In other words, characters are a source of diverse entertainment and gaming industries. And it is easy to find common points of contact with individual cultural contents, so that it can be extended to cartoon, drama, movie, advertisement, etc., and thus various modified contents can be supplied. So in the advertising and copyright business, characters are the most basic necessities of the multi-media, multi-channel and OSMU (One Source Multi-Use) era. The 'character industry', a high-value-added industry that maximizes the benefits of creating such characters, is a very important cultural product. At present, the Russian character industry is in the process of establishing environmental factors that enable stable and sustainable growth compared with the past. It is very likely that Russia's role and position in the world character market will expand if the following five improvements are effective and productive. (1. Creation of characters that all generations can sympathize, 2. Creation and expansion of digital characters, 3. Activation of public character creation, 4. Activation of overseas markets, 5. Government active support) In this case, the Russian character industry will lead the world character market.

러시아와 벨라루스 국가통합 가능성 분석과 전망

2019 marks the 20th anniversary of the Russia-Belarus Union State Agreement. So far the integration of the both countries has been limited to practical areas such as customs control and trade, and the governments and peoples of both countries have not shown much interest in full-fledged national integration which could be called genuine confederation. Since late 2018, however, signs of a step-forward integration have appeared, and after the Putin-Lukashenko summit in Sochi on February 15th, serious speculations on full-fledged national integration have gained ground. In this paper, stimulating factors for the full-fledged integration of both countries and factors which work as barriers hindering the integration are analyzed. As stimulating factors, we can suggest high-level expectation of the Russian people after the annexation of Crimea, comparatively low opportunity cost, a breakthrough of current dead-lock domestic situation of Russia, territorial compensation for the hand-over of some of Kurile islands to Japan, leverage for the annexation of additional Ukrainian territory, and, as the most important factor, Putin's political step after the end of the fourth presidential term in 2024. As barriers to the full-fledged integration we can suggest additional economic burden for Russia, Belarus people's public opinion against the integration with Russia, security fear owing to the direct confrontation between NATO and Russia, and, finally, political and economic compensation for Lukashenko. In overall estimation, stimulating factors appear to be salient than barriers to integration. If a genuine confederation of Russia-Belarus is realized in the near future, security concerns of European countries, especially Poland, Baltic states and Scandinavian countries, are greatly increased and, at the same time, Eurasian geopolitics will be changed in a fundamental way. Russia's integration with Belarus will not necessarily bring about the expansion of Russia's power and national interests, when we consider the result of the annexation of Crimea. When we speculate on the possibility of Russia-Belarus confederation, Putin's next political step is an important factor on the short-term perspective, but geopolitical change and its consequency are much more important factors, which should be taken account of for the future of Russia and Belarus.