글로버메뉴 바로가기 본문 바로가기 하단메뉴 바로가기

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 : 71권 0호 (2020)

푸쉬킨의 희곡 『보리스 고두노프』 연구

Boris Godunov was completed by A.Puschkin just before Decembrist Revolt In 1825. Puschkin refused the three unity of the classical tragedy or romantic tragedy. Therefore we cant find not only unity of time and place, but also unity of action in Boris Godunov. Puschkin would create entirely new tragedy. In the process of writing the tragedy the great Russian poet thought of the free imagination and poetic of W.Shakespeare. Puschkin called Shakespeare my father. He would create the original Russian tragedy according to Russian conventions and history by overcoming the french classicism. Contemporary critics and writers didn’t accept Boris Godunov. Rarely the tragedy was enthusiastically greeted by small part of intellectuals, for example P.Vjazemskij. Czar Nikolaj and the critic F.Bulgarin cynically criticized the tragedy. The critical attitude to Boris Godunov continued long time. After the October Revolution in the 20th century the tragedy of Puschkin was performed on the theatre stage. My paper study many problems: Puschkin’s Dramaturgy, three unity, composition of tragedy. My next study is the relationship of Puschkin and Shakespeare, Boris Godunov and the epic theatre of B. Brecht.

「게트만」에 나타난 카자크-전사의 운명과 문학적 형상

“Hetman” written by Nicolai Gogol in the early 1830s is an unfinished work. In addition, it is doubtful that four texts comprising the work are interrelated. However, this work was initially conceived as a historical novel from his days of Gymnasium when he showed great interest in history, and includes a variety of features displayed in his other works. Although it has some drawbacks, it is still worth studying considering its literary value. As the title “Hetman” itself implies, the figures of Hetman and Cossack-warriors surrounding him are clearly displayed. Cossack-warriors represent the figure of knights fighting for freedom and religion, which is different from that of Catholic ones. They are not based on knight’s pledge and position, nor do they regard morality and moderation as a virtue. They enjoy binge drinking and feasts and display a unique trait of Little Russian chivalry, which lacks a strong attachment to life. Furthermore, Gogol created Cossack-warriors as a special character by adding mythical imagination to Cossack-warriors embodied on the basis of Little Russian foundation. Through “Hetman”, the writer tried to show his interest in history, practiced a literary task, and suggested new directions in historical novels which combine history with mythology.

Н.고골의 소설 「성탄전야」의 웃음 연구

In “Christmas Eve” the fantasy of the space and the playful description of the narrator which are combined with the cheerful atmosphere of Christmas Eve prepare favorable conditions for laughter. Character comic is created from the contradiction between the nature of the character and his appearance. Bakula, a positive character, is the moral standard of the novel, but his personality and behavior do not cause laughter. On the other hand, other characters with contradictions and weaknesses are subject to character comic. Solokha’s personality is not the subject of laughter, while her flirt with sexton becomes the material of obscene joke. While laughter based on the contradiction between the nature and the appearance of the character can be an attack on the negative side of the character, laughter in “Christmas Eve” rather contributes to the affirmation of the negative: The devil and other negative characters are not expelled but recognized by the community. The situation comic comes from a comic situation in which the devil and three men are trapped in a sack; from it the new comic situations come out in succession. Verbal comic occurs through sudden and unexpected changes in speech. The narrator of the story interrupts unexpectedly the flow of the narrative by inserting personal opinions or the villagers' debate over Bacula's way of death turns into that over the sexton's love affair. In addition, the Ukrainian people’s incorrect Russian speaking and dialect become materials of verbal comic.

플라토노프의 전쟁 산문 연구

This paper aims to analyse war prose featuring one important genre in Platonov's creation and study his perception of war and peace, enemy and friend, life and death, and words and ideologies. Platonov worked as war correspondent during World War II and recorded his war experience as most writers of the time did. The war in itself was a tragic event but it served as a new instrument of creation, which ironically brought the most productive period of writing to the author. During and after the war, war was described as victory and tragedy in the Soviet Union. At that time, tragedy was not intrinsic one where no one could be a winner, but rather it was related to a noble sacrifice for the sake of a glorious victory. Therefore, Soviet war literature is eventually regarded as ideological expansion of socialist realism in a monologue. Platonov's war prose, however, is essentially distinguished from this universal idea. He talks about love, intrinsic tragedy of war, human beings, and peace rather than hatred, victory, heros, and war respectively. What can be found in Platonov's war prose is deep pain and despair, and exit-less tragedy. Furthermore, what is the most interesting thing about Platonov's war prose is his profound exploration of the essence of Fascism and Totalitarianism. He thought the essence of Fascism could be revealed by the fact that human lose their own language and adopt the language of the ruler. Generally in Platonov's work language loss boils down to the loss of humanity. This position on relationship between language and ideology can be found in his work written in the late 20s, such as The Foundation Pit and Chevengur. As shown in The Foundation Pit, people who repeated the language of Utopia, namely heat of the state, like a parrot eventually faced a tragic death, in which the writer predicted a bleak future of Utopia. And now Platonov observes a similar phenomenon out of Fascism which caused one of the most tragic wars in the 20th century.

레르몬토프의 서사시 <견습수도사>의 주인공 형상 연구

“The Novice” which is picked as one of the masterpiece poem written in his later years by M.Yu.Lermontov together with “Demon”, is considered as one of the last romantic poetry that 19th century Russian literature yielded. At the same time, it is regarded that the poem embodies the poetics and attitude toward life of the mature poet by breaking the shell of Romanticism. This poem was completed in 1839, but the initial ideation goes all the way back to 1831. The idea of writing an essay of a young monk had evolved for several years to the protagonist of “The Novice”, and thus, the importance of the protagonist is very significant in the composition and poetics of the work. The most noticeable part in “The Novice” is the fact that the passionate confession of the protagonist-narrator and the figure formed through it firmly serves as the pivot in the composition of the poem, dominating and governing all the components in the work. So-called “hero-centric” tendency which is found in overall romantic works is especially prominent from Lermontov. “The Novice” shows an extreme case of this. Considering the points mentioned above, this paper mull over the composition of “The Novice” focusing on the figure of the protagonist. The main objectives of the paper are clarifying compositional significance of each part of the text and reviewing the personality and mental state of the hero that can be observed in each part.
The suffering of the ridiculous man in Dostoevsky's novel “The Dream of a Ridiculous Man” is significant in terms of other ethics. The protagonist's exterior of the suffering of others caused guilt-induced suffering. The pain was caused by shame and anger at himself. Moral sense may be strange to the protagonist who is unfamiliar with feelings. However, in the dream, the protagonist faces greater pain, feeling guilty as a source of moral corruption after committing suicide by shooting with a chest. However, the pain is not a pain to be avoided anymore, it is a cross-like pain to bear on its own, and comes from solidarity and responsibility for others. The character of the pain did not change, but the protagonist's attitude toward the pain changed. The main reason for the protagonist's attitude change is the act of seeing and enlightening. In a dream, the protagonist looks at himself by facing the other person he has turned away, realizing the truth, and recalling a girl he met in reality. The protagonist ‘seeing’ provides a perspective of reflection and insight. Before dreaming, the protagonist tried not to look and ignore the other's request, but to see the people and himself properly in the dream, reduce his responsibility for the fall, solidarity, and the need for atonement, and the girl he turned away after waking up. In search of 'seeing', they take a gesture of response to the other.
Основная цель данной работы ― анализ загадочного образа героини, который занимает цетральное место в системе персонажей романа А. Платонова Счастливая Москва. Сложность анализа образа героини возникает из его многопланнсти. В образе героини соединены конкретно-историческе факты, разные мифические мотивы и символы. Во-первых, героиня Москва как человек новой формации символизирует молодое поколение, которое родилось после революции. В романе А. Платонов после Котлована снова возвращается к теме <<будущее и судьба 1-ого поколения социалистической революции>>. Но этот историческй образ и общественнй портрет Москвы переломляется, когда он соединяет в себе разные сиволические планы. Образ Москвы связан с разными природными стихиями: огонь, воздух и дерево. Особенно, как отмечает Друбек-Майер, Москва моделирует Софию как мировую душу. В образе Москвы обнаруживаются не только такие внешные черты Софии, как огневидные крылья, лицо огненного цвета, но и такие внутренные своиства как женственность и плодотворность и центр мира. Финал романа трагичен, посколько героиня Москва ― это одновременно символ социалистической утопии. Платонов ставит под сомнение будущее социализма и возможнось постижения утопии, изображая героиню Москву в <<темном>> и гротескном образе.
This article is devoted to the problems of women's prose and the originality of the language and stylistic device in the works of V. Tokareva. Women's prose is represented by women, whose author, heroine, and tells about women's fate and women's psychology from the point of view of women. The specifics of women's prose include intertextuality, aphorism, essayism and journalism of style, etc. The specifics of women's prose and its reflection in V.Tokareva's prose are considered. The study examines the author's linguistic and style-forming means, such as parceling and reminiscence and metaphor, asserting the continuation of Chekhov's artistic tradition. Victoria Tokareva's works have a wide range of problems: she writes about people's attitudes towards truth and lies, about love and a sense of duty. Problems such as relationships between representatives of different generations, family, the meaning of life, terrible living conditions in Russia and the desire to leave for another are also raised. country. Tokareva's characters, changing in accordance with the time, have the same grievances, the same sadness and the same hope for happiness. The pursuit of happiness is like the foundation of their relationship to the world. On this basis, the semantic field of understanding “happiness” is analyzed in comparison with the understanding of “love” and “life.” In this way, Tokareva's concept of "happiness" is investigated, reflecting the author's worldview, and it is realized by the peculiarities of the author's individual writing style.

러시아어 동사의 논항 실현에서 피영향성 분석

This study analyzed arguments of Russian verbs and established the measurement criteria. When affectedness is a measurable property, the most important concept is specificity. This specificity can be explained in terms of three criteria: telicity, accompanying change, and ‘What happened to X is Y.’ From the respect of aspect, if the verb has the meaning of closing, the argument can be evaluated as highly affected. In addition, it is an important criterion whether the argument has actually changed due to the influence of the verb. Finally, ‘What happened to X is Y’ can be used to grasp that the argument of the verb has changed as the case progresses and has reached a state of outcome. In this study, in order to analyze the affectedness of Russian verbs, verbs in the form of '-еть' were analyzed. The semantic structure between verbs and arguments was analyzed and classified according to quantized change, non-quantized change, potential change, and non-specific change. Added criteria for the Russian '-еть' verb. First, the argument x was divided into xani and x-ani according to the presence of animacy. In addition, it was revealed that it is necessary to include sentence components having limited meanings such as quantity expressions in the syntactic dimension. Finally, since the universally existing agent is not specified in the sentence, it was revealed that there is a need to reflect these characteristics.

북캅카스 아드게이어 정체성 연구

This article aims to research how Adyg language(Circassian language) and its users, who were one language, came to this day by considering them as separate languages and ethnicities, and what status Adyghe language actually holds in the Republic of Adygea, and what the language situation of the Republic of Adygea is. The Circassians(Adygs) of the Caucasus, which has a long history, have changed their ethnic names to the present Adygea, Kabarda, and Cherkess as they have been forced to move to Turkey due to religious and ethnic oppression or have been dispersed into national relocation policies during the Soviet period since the merger of the Caucasus region into the Russian Empire in the early 19th century. It is divided into Cherkess and defined as the language of the three republics, but it is not given any status in other residential areas. In this study, I knew the names Adygea and Adyghe language resulted from the artificial border setting of the Soviet Union and the national dispersion caused by forced migration. In particular, the Republic of Adygea is a enclave republic in the Russian-speaking region of Krasnodar, the Adygeans do not occupy a majority and are less than half of Russians, and the various types of Russian fairy tale policies are concentrated.
1 2 >