글로버메뉴 바로가기 본문 바로가기 하단메뉴 바로가기

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 : 68권 0호 (2020)
6,800
초록보기
С 1960-х годов началась новая тенденция советской массовой литературы. Требовалась перемена в массовой литературе сталинского периода. В то время "В мире фантастики и приключения", которая с 1959-ого года публиковалась, возглавила золотой век советской массовой литературы с разновидными жанрами и произведениями оригинальных писателей. В третьем выпуске серии "В мире фантастики и приключения" публиковалась повесть "Кто украл Пуннакана" советского корейца Романа Кима. На наш взгляд, она имеет важное значение в истории советской массовой литературы. Данная статья посвящена анализу содержательных и формальных свойств и характеристики жанровой приметы этой повести. В данном произведении отсутствуют жанровые законы шпионского детектива и содержание не сводится к четкой теме. Несмотря на то, что в повести нет жертвы, преступника и события, формальные приемы поджанра детектива(крутой, шпионский, криминальный и т.д.) усиливают напряженность читателей. Оригинальность этой повести заключается в том, что подразумевается реакция на монолитную идеологизацию общества через двойную бинарность. Сопротивляющаяся природа массовой культуры выращивалась в сознании советских масс 60-х гг. Другое свойство "Кто украл Пуннакана" - обилие интертекстуальных предметов, которые позволяют советской массе встречатсья с западной массвой культурой. Имея в виду эти художественные свойства, мы хотели определять эту повесть метапрозой, которая разыскивает новую путь советской массовой литературы.
초록보기
The purpose of this paper is to examine critically the debate on the concept of satire among 18th-century Russian satirical journals, mainly Vsyakaya Vsyachina and Truten’. To this end, we will examine the nature and role of the satire of the 18th century Russia and analyze two separate concepts of satire of those journals. In particular, we will focus on the social role of satire and the aesthetic mechanism of satire in journals. In conclusion, the satire of those times was a melting pot of genre and social systems, and they contributed to the development of prose in the 1770-80s.
초록보기
Период с конца XIV до начала XV веков был новой эрой, когда после Куликовской битвы русские резко обрели свое национальное самосознание и двинулись к рождению нового централизованного государства, Московской Руси. В научной среде давно принято связать ряд черт в культурном искусстве этого времени с его историческим обстоятельством. И литературное наследие Епифания Премудрого и его стиль «плетение словес» признали типичными явлениями, представляющими характеристики этого периода, и считали, что возникновению этих явлений способствовали влияния от зарубежных культур - например, Второе южнославянское влияние, Евфимиевская реформа и исихазм. Но наш тшательный анализ над текстом Жития Сергия Радонежского показывает, что литературный мир Епифания Премудрого и его стиль связаны с литературной традицией Киевской Руси, особенно с творчеством Кирилла Туровского. Но это не означает, что Епифаний, заимствовав из канонических книг, механически сочинял свои тексты. Он свободно обращался к литературной традиции и его тексты полны авторским самосознанием.

바실리 그로스만의 창작과 홀로코스트의 기억

윤영순
6,500
초록보기
This paper studies how Vasily Grossman's memories of Holocaust-related experiences influenced his works and in what way they were portrayed. In particular, it provides a comparative analysis of how artistically Grossman's novel 'Life and Fate’ reproduces testimonies and letters recorded in a documentary source book, ‘Black Book’ co-edited by Grossman and Erenburg. It is noted that through artistic writing Grossman attempted to overcome his tragedy, that is, the loss of his mother. Grossman did not confine an unheard-of tragedy to history and journalism. He sought to consider the possibility of Narrative which gives ‘eternal life’ to people who endured a tragic life. Through Grossman's works, this paper examines the role of artistic writing as a means of overcoming tragic experiences and its potential for healing. In addition, it observes that his attempt to describe the tragedy of the Holocaust in his works through ‘Narrative of verisimilitude’ serves to heal trauma in both individuals and human beings and aim for reflection on the future.

도스토예프스키의 「역겨운 일화」에 나타난 휴머니즘

조혜경
5,900
초록보기
Dostoevsky asks us to think about what humanism really is by satire of humanism insisted by the characters in the short story A Nasty Tale. In other words, Dostoevsky uncovers the falsehood of humanism insisted by liberals in the 1860s. This paper analyzes the humanism asserted by the characters in the novel in this context, and ultimately seeks to clarify the issues of humanism that Dostoevsky considered. In his short story, Dostoevsky satirized the empty claims and shamelessness of the land and liberated humanist, revealing the hatred, antipathy and disgust of the Russian people against the upper classes, bureaucrats and nobles. In the 1860s, liberals not only understood the people abstractly, but also accepted love for them as a theory of humanism. What they lacked is the practice of humanism based on love and brotherhood. Whether or not the practice of humanism guarantees the overall reform of society is another matter. Humanism is not about slogans for reform, but reforms for human values and happiness. That is a reform for humanism.
6,900
초록보기
It is agreed by most researchers that the absence of a clear record or a comprehensive system of pre-9th century East Slavic mythology, which can only be found in old and folk tales. Nevertheless, the research to restore the Eastern Slavans’ mythology and the world of their primitive imagination through oral and folktales has continued steadily. What is clear is that the oral texts, folk tales, and myths written by the East Slavans in their literal form have already been transformed from their original form in the Christian world order. The mythical femininity, which was important in the maternal order of the ancient East Slavans, changed from a male hero-centered narrative in the historical world. One of the most transformed symbols in the Logos-centered history was the image of a serpent/dragon associated with creative femininity. In the mythical world of East Slavans on the Black Sea influenced by the Scythian civilization, the serpent/dragon figure, symbolizing cosmic time and directly linked to the image of femininity and water, was also represented as a sacred being in the sky. However, the serpent/dragon shape has changed in a confrontation to highlight the heroism of the father-hero in the Christian order and is stuck with the image of a giant and powerful monster that is increasingly hard to defeat to highlight the hero’s greatness. This paper analyzed how the dragon figure in the East Slavic mythology is transformed to create a new current myth in the Russian fantasy film He is a Dragon, one of the highest-grossing Russian films abroad in 2016, declared the “Year of Russian Cinema.” In this film, the story of dragon and dragon is remarkably different from the image of dragon as a source of evil in East Slavic myths and folktales written since the adoption of Christianity as the state religion. In addition, in this film, ‘Dragon-Fire-Male’ is transformed into a new dimension that combines death and violence into a harmonious life, where the crucial role is the shape of ‘Bride-Water-Femininity’, a source of creative natural power in the ancient East Slavic worldview.
1