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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 : 67권 0호 (2019)
This study analyzes the laughter that appears in the novel “The Twelve Chairs” by Ilf and Petrov, that was created during the Soviet NEP era in 1927. To this end, the discussion began by recognizing that the novel was created based on a number of popular literary genres such as Picaresque novels, adventure-detective novels, and that the authors created original works by reinterpreting the aforementioned existing literary genres in the 1920s and 1930s Soviet space. The content of the novel of Ilf and Petrov seems very fairy tale and disbelief. However, the authors demonstrate the legality of fictional reality by portraying the time-space background, events and characters depicted in their works in a very specific and realistic way. This allowed us to see the development of fiction into realistic narrative art on the basis of the original from of Picaresque-adventure novels. We analyzed the novel with following key words such as the theme of ‘the wandering’, ‘the former people’, ‘the Soviet humans’, ‘Ostap Bender’, ‘the reversing and the disruption’. Through this, we have seen that, the laughter occurs in the gap between the realities created by the Soviet system and the fictional art world. In addition, we were able to see that, Ilf and Petrov, following the tradition of Gogol, created a light-hearted, southern Russia’s original laughter in a light atmosphere. Moreover the discourse on the correlation between the Gogol’s and Ilf, Petrov’s works will be continued.
The primary objective of this paper is to sketch the contours of snob based on a peculiar model of act. Through the modernization Russians became believe the human capability and the possibility of realization of hunan value. But we discovered that characters of Pushkin's Boris Godunov, which are based in the Time of Troubles, always live like a actor under the mask. It attempts to prove the fact that the theatricality of everyday behaviors of the russian aristocracy can be understood as the emergence of the Russian modern snob, who understands and practices the recognition struggle in a distorted way. The hypothesis of this paper is that Pushkin and Saltykob's characters resemble each other and jointly embody the snobbism. Along with this, on the other hand, the second objective of this paper is to find the snob, who has escaped romanticism and became a monster. In Shchedrin's work, we can find the typical snob like a doll. They simply accept the given values of this world, have only desire to possess. Saltykob's achievement is of help to rsconsider characteristics of 'Russian attitude' towards some crucial categories surrounding the concept of self, such as freedom and human being's will.
The first of Pushkin's Southern poems, A prisoner of the Caucasus is regarded as a controversial work that opened a new chapter in the history of Russian literature This poem, published in 1822, began the era of the Romantic poem in Russian literature by introducing the classic code and Byron’s elements of romanticism. This paper examines Pushkin's romantic poem A prisoner of the Caucasus from the perspective of "the birth of modern epic," "the plot that deviates from romanticism" and "the Mythical Image of Caucasus," and then looks at the epilogue that still evokes controversy and suspicion today as well as the Pushkin’s period. The epilogue, as in the body, deals with the Caucasus. But its ideology-oriented words differ markedly from the foregoing description. Poetics of the total and important constructive factor defining genres. Therefore, through the review of the epilogue, we can summarize and view the previous discussions on A prisoner of the Caucasus Such work will serve to reaffirm and review the literary and historical significance of the work as Russia's first romantic poem, and further redefine its status as a modern literature canon given to Pushkin's poem.
This paper aims to analyze the social satire in the comedies of Mikhail Mikhailovich Zoshchenko (Михаил Михайлович Зощенко, 1894-1958). Zoshchenko is one of the best-known satirists and humorists of modern Russian literature. He is well known for his bitingly satirical short stories, while his plays are relatively less known and less studied. Like in many of his short stories, in Zoshchenko’s plays, one important situation or a single goal motivates the entire plot structure. For example, in “Crime and Punishment,” Gorbushkin is summoned by the secret police and the rest of the characters, in their panic, strive to sell off all of his belongings before the inevitable confiscation. In “An Unfortunate Day,” a janitor steals from the cooperative where he works, which motivates other workers to steal. In “The Wedding,” the male protagonist is at his wedding and must find his bride, but he cannot remember her face because she is not wearing her hat and coat. In “The Roots of Capitalism,” a man and a woman suspect that the other person is trying to marry him or her for his or her living quarters. In his single-act plays from the 1930s and the early 1940s, while depicting the immoral, foolish and often absurd actions of his main characters, Zoshchenko subtly implies the problems of the Soviet society of his times. In “Crime and Punishment” the characters are all afraid of the unjust and tyrannical justice system; “An Unfortunate Day” implies the failure of the cooperative, while “The Wedding” suggests the failure of marriage as an institution; and “The Roots of Capitalism” clearly deals with the massive failure of the Soviet housing policy. With the imperfect and often harsh society in the backdrop, Zoshchenko’s characters turn out to be “small people” who are struggling to survive in a society that they themselves do not or cannot comprehend.
The purpose of this study is to investigate the words of low degree such as ‘čut’, edva’ and to determine the semantic, grammatical, pragmatic characteristics of these words. The words of low degree can be defined as function of lowering the degree about some component in a sentence. Degree word ‘čut’, edva’ have semantic property of indefinite quantification, relative and absolute comparison, marginal quantification, psychological estimation. These words has expanded its meaning and function in the actual discourse and can play a role of grammatical marker. ‘Čut’, edva’ can be used as conjunction which means immediate shift of two events, and form the complex sentence. A combination of ‘čut’, edva’ and negative particle ‘ne’ functions as marker of proximative aspectuality. In this case ‘čut’ ne, edva ne’ have the meaning of counterfactuality and are interpreted as ‘on the verge of ~ing’. On the discourse level, degree word can reveal speaker’s subjective viewpoint about probability of proposition. A combination of ‘edva’ and negative particle ‘ne’ can be used as discourse marker of doubt. On the contrary to this, ‘čut’ li ne, edva li ne’ are used to express the evaluation of speaker’s confidence about proposition or high gradability. In this way, words of low degree have the characteristics of flexibility and variability and show empathic and persuasive effect.

소비에트 표기체 제정 역사 고찰

After the October Revolution, the Soviet Union created a theory of creating letters for people who did not have scripts, and the task of applying this theory to the actuality emerged. As a result of this activity, the number of languages that have obtained the scripts exceeds the number of scripts created throughout Europe. At that time, most of the people of the Soviet republics spoke only mother tongue, and it had only oral form. In the shortest time, a scripts system for the Soviet people's mother tongue was to be created to approach and educate a large number of people to the achievements of international science and culture. At that time, Russians, Ukrainians, Georgians, and Armenians had developed and had a script system that fit their language. The languages of Tatars, Kazakhs, Kyrgyzs, Uzbeks, Turkmen, Tajiks and Azerbaizans had not well suited to Turkic languages, based on Arabic characters reflecting Semitic characteristics. For some minorities such as the Yakuts and the Chubashians, the Cyrillic-based notation had already been established before the revolution, but about 50 peoples, especially all northern peoples, had no scripts. As we see above, not only peoples who did not have not scripts before the revolution, but also scripts for all ethnic groups of the Soviet Union, which had previously been based on Latin, Arab or Jewish scripts, were created to access and educated large numbers of people within the shortest time to the achievements of world science and culture. The principle of markings for the people without the Soviet Union was to represent the unique notes of the ethnic languages by considering the unique phonetic components of the ethnic language as much as possible while observing the unity required for the Soviet ethnic characters, approaching the actual literary language and actually creating supplementary letters.
This paper has selected 179 adverb vocabulary words from Macedonian and Bulgarian. In the introduction, the purpose and method of the study were described and its meaning was revealed. At the beginning of the main article, I studied and described the characteristics of Korean-based adverbs and the characteristics of Macedonian and Bulgarian adverbs. Macedonian adverbs, representing a total of 179 places, times, methods, and degrees, were compared with corresponding Bulgarian forms. Of these, 37 adverbs were completely different between the two languages, accounting for about 20%. The forms of adverb of the two languages were completely identical, which was lower in number than the other completely. A total of 110 examples of consonant and vowel variations occurred when the prefix or suffix was added to the adverbs. It can be concluded that 142 forms (about 80%) can be classified into very similar forms by adding 32 completely identical forms to 110 similar applications. This fact means that although the two languages exist as independent languages in the present sense, their linguistic similarities are very high in the form of adverbs. Even if the form is completely different, the similarities between the two languages are higher because the examples of Turkish and other Balkan language influences are very limited (баш, сабаjле, etc.) and mostly they have Slavic origins. In conclusion, the Macedonian and Bulgarian adverbs representing the place, time, method, and degree are very similar in terms of their morphology.
Mikhail Glinka, who had a profound influence on Russian nationalist music, created two forms of Russian classical opera. The first form is the first work of Glinka as a history-hero opera, the first opera of the Americas, "Ivan Susanin". The mythology-fairytale opera form, which Glinka's opera "Ruslan and Ludmila" left the first footsteps, is the second form of Russian classical opera. Dargomyzhsky's(Alexander Sergeyevich) opera "Rusalka" is not only a work linking the above-mentioned fairy-opera forms, but also a "life style psychology opera" which was first attempted in Russian music history. Dargomyzhsky's opera "Rusalka" is based on the Luisalka, the spirit of water delivered from the Slavic mythology, and the poems of Pushkin created on the basis of it. However, the script of this opera is written directly, and Dargomyzhsky's opera "Rusalka" is shaped in opera in deformed shape without replicating the spirit of mythical water perfectly. In Slavic mythology, the common denominator of the form of the subordinate"Rusalka" refers to the dead soul of a woman found in forests, near lakes or rivers, and has suffered from unfortunate events by alive life power, absurd society or bad men Or an innocent woman who has been betrayed by love, can not go to hell after the suicide and tempt men to death. However, the shape of "Rusalka" appearing in Dargomyzhsky opera "Rusalka" is different from that of Rusalka in the Slavic mythology (there are similarities and differences). These specificities are listed below: First, the different and the Dargomyzhsky's opera "Rusalka" i reveals all the mysteries, universality and folkness which are in the story of the Rusalka 's spirit in myth. Second, “Rusalka” in the East Slavic mythology is the existence of both good and evil forms. In the Dargomisshu opera opera "Rusalka", Rusalka is an evil spirit, a vengeful incarnation who takes a prince into the water and kills him with the evil water spirit. Third, "Rusalka" in Slavic mythology is a young virgin who has fallen into the water because of her tragic love. However, Natasha, a female actor of Dargomyzhsky's opera "Rusalka", is a person who drowns while pregnant. Fourth, "Rusalka" in the East Slavic mythology is 'an ominous being who dances.' The "Rusalka" come out of the water and wait for the night on cannabis or birch branches, and when the moon comes up, many people gather together to dance. Fifth, "Rusalka" in the East Slavic mythology tempts men to death without help of the person who had a family relationship before becoming a spirit. When I compare this with the contents of the East Slavic mythology, it is transformed from the myth to the help of Rusalka from the Birch, and from the opera to the father of Natasha. Fifth, "Rusalka" in the East Slavic mythology is a virgin, but in Dargomyzhsky's opera“Rusalka”, Rusalka is an evil spirits of revenge with a daughter.
This article examines the changing process of ‘Kazakhstan New Wave’ films from the late 1980s to the 1990s. In this paper, in particular, the author tried to analyze the aesthetic and general characteristics of the changes in the image of the main character of Kazakhstan cinema. The article identifies the motives and ways of transforming the screen hero, reveals the relationship between the image of the hero and the artistic and aesthetic nature of the Kazakh feature film from the late 1980s to the late 1990s, analyzes the films of the “Kazakh new wave”, starting from the manifesto film of this direction - films of Rashid Nugmanov's 《The Needle》(1988), art-house films by Serik Aprymov, Darezhan Omirbaev and others. The heroes of the ‘Kazakh new wave’ are overwhelmingly not hero-fighters who defend their rights to a worthy life, they are limp creatures meekly floating along the course of life. Their condition psychologically accurately reflects the shock state of millions of people after the sudden collapse of the Soviet Union, the collapse of the economy, and the debunking of the usual Soviet ideology. The heroes of the ‘Kazakh new wave’ are outsiders, they are characterless heroes, included in the reality, meekly floating along the course of the river of time, previously losing the match with harsh reality and resigned to their plight. Obviously, in the future, Kazakhstan national cinema, developing within the strict framework of producer cinema, focusing on the mass audience, will nevertheless master the folklore traditions in cinema so as not to lose the image of an ethnic hero.

러시아 문학 교양강좌 운영 사례 연구

Past knowledge-centered education evaluated how faithfully remembered what we have learned so far, and measured that we had achieved the goal of the class through a general assessment such as a final exam. Students in these classes and assessments are placed in a passive position and cannot develop creativity or self-led learning skills. The author's "Understanding Russian Literature" as a Liberal Arts course, which started with a reflection on past knowledge-centric education, is intended for students who have little prior knowledge of Russian and Russian literature, and unilaterally conveys knowledge of Russian literature It was not set as the goal. Rather, he encouraged the students to read a literary work and then express it by forming their own ideas, focusing on the subject matter and awareness of the problem. As a way to do this, I tried to run WAC classes. As is clear from the case study of this subject management, compared to the traditional lecture-centered education, there is much more education for students to participate in classes written in writing to improve student participation, satisfaction, and writing skills. Because writing is a major part of the class in this subject, knowing that when class management is connected to class evaluation, students participate in writing activities at a meaningful level. Writing and reading education when writing evaluations and feedback are given and connected with routine evaluations, despite the difficulties of personal feedback of teachers, concomitantly using methods such as peer evaluation was able to continue to be actively connected until the end of the fiscal year. The writing cooperated class management of the process evaluation method had a positive effect on the student attendance management. However, the elaboration of rubrics used in this course remains as an issue, and subsequent studies are necessary on issues such as effectiveness of peer review and the direction of improvement. If supplemented in subsequent studies, it can be used as a general course for foreign literature management as a liberal arts course.
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