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Russian Language and Literature

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수록정보
수록범위 : 1권0호(1995)~79권0호(2022) |수록논문 수 : 1,001
러시아어문학연구논집
79권0호(2022년 11월) 수록논문
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KCI등재

저자 : 박미정

발행기관 : 한국러시아문학회 간행물 : 러시아어문학연구논집 79권 0호 발행 연도 : 2022 페이지 : pp. 7-30 (24 pages)

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This study aims to find the meaning of matter(body) put on a body and soul dichotomy and analyze how matter(body) is revealed in literary works by Nikolai Gogol. Furthermore, it is intended to shed light on distinctiveness of physical world meant by Gogol and consider its role in his works. Gogol is one of the representative writers of the Natural School in Russian literature. Gogol paid particular attention to surroundings, nature, and physical world, so matter(body) is manifesting itself free from conventional dichotomy.
Even though Carriage is not well-known compared to the other works of Gogol, it shows fully enough the traits of physical world he created. Matter is not just the subject depicted in this work but a living thing that keeps in tune with the protagonist. Among other things, the carriage has a deep impact on the protagonist digging deep into the psyche of him as well as becomes a target of criticism sharing a common destiny with him. Matter in Carriage is not subject to the protagonist. Matter changes depending on situation and perception, influencing the mental process of the protagonist. Thus, matter in Carriage is revealing a unfettered hierarchy of matter and spirit through its relationship with the protagonist.

KCI등재

저자 : 손재은

발행기관 : 한국러시아문학회 간행물 : 러시아어문학연구논집 79권 0호 발행 연도 : 2022 페이지 : pp. 31-53 (23 pages)

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This article examines the symbolism of clothes illustrated in < Notes from the House of the Dead > by focusing on the dressing and undressing of the characters. Each character's attitude toward clothing reveals his inner truth and the essential aspects of the relationship between the characters. Clothing demonstrate that humans are physical being, but on the other hand, the way a person deals with clothing also suggests that humans are spiritual beings, beyond physicality.
Humans as physical beings are emphasized in parts where dressing and undressing are forced upon prisoners. The prison uniforms, shackles, and markings forcibly worn on the body are objects that visualize the physical bondage of the prisoners, inflicting sensory pain and limiting each prisoner from escaping from his own recognition as 'only a prisoner'. In the public bathhouse scene, where they take off their clothes, a group of prisoners appear to be overwhelmed by their 'physicality'.
Voluntary dressing and undressing occurs when prisoners perceive themselves as spiritual beings. The coexistence of physicality and spirituality is observed in the act of taking off Mikhailov's clothes and hanging a cross on Mikhailov's deathbed. The function of clothes as a symbol of spirituality is further strengthened in Alei's and Sushilov's act of making and trimming of clothes. The stage curtain appears as a symbolic object exemplifying that the characters' special attitude toward clothing is not due to personal characteristics but, instead, represents one aspect of being a human.

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This study examines the “exaggerated aestheticization” regarding the Soviet era observed in the works of conceptualist poets such as Timur Kibirov, Dmitry Prigov, Lev Rubinstein, and so on. By summoning the “mythical history” surrounding them, that is, the “created history” and the “processed history” beyond the actual history, it performs the function of a pseudo-nostalgic narrative about the absent utopia. At this time, attention should be paid to the fact that the Soviet myth, as a kind of childhood sign used by these conceptualist poets, is contrived and distorted as the false sign produced by socialist realism.
The pseudo-nostalgic narrative strategy used by conceptual artists who spent their childhood in the Stalin era is the foundation for the “non-existence” of what is viewed as “probable” and the exposure of its “absence.” On the other hand, conceptualist poets often expose a dual perspective on the narrative object and its implications by using the poetics of quotation along with this pseudo-nostalgic narrative strategy. This tendency is especially noticeable in the poems of Timur Kibirov and Dmitry Prigov.
Kibirov adopts a method of exposing the absent utopia through the juxtaposition between the historical past and the pseudo-nostalgic narrative of the absent past constructed based on “made-up memories.” In addition, in Kibirov's works, objects depicted in a more beautified or exaggerated form different from their actual appearance are often placed together with quotations from various literary works. At this time, the quotation inserted in a completely different context from the meaning of the original text becomes an excellent strategic tool to reveal the untruth and falsehood of the subject of description.
Conversely, Prigov satirizes the unproductiveness and ritualized daily life of Soviet society by producing and repeating numerous variations of the original sources, borrowing mainly standardized government agency document forms and public documents as original texts. Furthermore, the poetics of quotation in Prigov's work do not aim at directly targeting and exposing any particular situation in the past. Rather, it parodies the “empty signs” of Soviet society by using specific language or borrowing standardized text forms that dominated Soviet society.
For this reason, the poetics of quotation, which conceptual poets enjoy using, do not work at all for readers who lack reading and understanding of the original text that appears in an inflected form in the quotation. This characteristic expands to the problem of the author and the reader as a second author; it serves as another reference point to classify the works of conceptual artists as the beginning of Russian postmodernism or its affiliated works.
Therefore, this study pays special attention to the pseudo-nostalgic narrative strategy and poetics of quotation, which are commonly found in the creations of T. Kibirov and D. Prigov, the conceptual poets representing modern Russian literature, and how these are embodied in the creations of the two poets. We also analyze the history artificially processed in the Soviet era in the works of these poets and the method of representation of “absent utopia.” Furthermore, we examine the way these poets parody the “empty” symbols of Soviet society by borrowing various literary works and forms of documents from government agencies.

KCI등재

저자 : 이경완

발행기관 : 한국러시아문학회 간행물 : 러시아어문학연구논집 79권 0호 발행 연도 : 2022 페이지 : pp. 91-122 (32 pages)

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This paper aims to compare F. Dostoevsky's Writer's Diary and T.S. Eliot's Christianity and Culture from my evangelical viewpoint, focusing on the relationship between church and state in regard to the politicization of church, ethnocentric messianism, Christian social ethics, and war.
Dostoevsky in his socio-political journal sets forth the ideology of soilness (Pochvennichestvo) based on Russian messianism in a straightforward tone of feuilleton style, advocating pan-slavism against the Western Powers, while lamenting the moral deterioration of Russian people (narod). He idealizes wars waged by the Russian Empire as 'holy wars,' betraying his hidden expectations that wars could awaken his people from spiritual and moral depravity. However, his polemic reviews in it should be juxtaposed with his serious Christian political opinions in his idea novels, presented mainly through his self-ironic doubles in polyphonic structures.
On the other hand, T.S. Eliot in his self-reflective politico-philosophical essays argues that the Christian state should suit a Christian society inspired by a minority of committed Christians' communities. In addition, he anticipates Europeans' spiritual awakening and the restoration of European Christianity through the ordeal of World War II. His Europeanism prevents him form appreciating Dostoevsky's Christianity properly, rather intensifying his prejudicial identification of Russia as 'chaotic Asia.' This evangelical analysis has the meaning of taking one further step for the return to religion in the humanities and the renaissance of political theology.

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This article studies on the context of the intertextuality of the image of Lady Macbeth around Leskov's novel Lady Macbeth of Mtsensk District. The intertexual interpretation of Lady Macbeth produces the portrait of the era concerning the woman problem which has been raised as one of the most critical issues of the society in the periods of new changes.
The image of Lady Macbeth who has burned up as the incarnation of human desire and has fallen from the pang of conscience, from the novel Lady Macbeth of Mtsensk District (1864) of Nikolai Leskov, through the opera Lady Macbeth of Mtsensk District (1930) of Dmitri Shostakovich to the film Lady Macbeth (2017) of William Oldroyd, has been transformed in the new images of the women which were deeply saturated by the Weltanschauung of their eras.
In the Leskov's novel Lady Macbeth of Mtsensk District the emancipated sexuality and the free desire of Katerina Izmailova who represented the most oppressed social class, women in Russia of the 1860s, imply the awakening of the consciousness of the liberated people breaking the social oppression and moving forward to the liberation and the freedom. The opera Lady Macbeth of Mtsensk District of Shostakovich has changed Katerina from the portrait of the people who were destructively powerful but benighted into the portrait of the awakened modern woman of the 20th century. In the film Lady Macbeth (2017) the portrait of Lady Macbeth painted from the heroine Catherine projects the frustrating reality of the women suffering from the threat of the lie about the end of feminism in the era of the post-feminism.
The portrait of each Lady Macbeth who has struggled for her own identity under the violence and oppression of her society shows the shape of the conflict between the social absurdities and the individual desire for the freedom in her era. In this respect interesting is the genealogy of all these Lady Macbeths who have been described by Leskov, Shostakovich and Oldroyd.

KCI등재

저자 : 길윤미

발행기관 : 한국러시아문학회 간행물 : 러시아어문학연구논집 79권 0호 발행 연도 : 2022 페이지 : pp. 163-188 (26 pages)

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Trediakovsky is known as a translator and poet, but he is also a linguistic theorist who has written numerous articles on the problems of the language situation in Russia and the improvement of Russian. However, his linguistic theory contains quite different contents and directions from time to time. This paper attempts to trace the changes of his linguistic theory in the early and late period of his activities and to analyze the way in which theoretical changes are reflected in the text.
Theoretical changes stand out in three aspects. First, the evaluation of the specificity of the language situation in Russia and the idea of improving the Russian literary language, second, the change of the concept of 'usage', which occupies an important position in his linguistic theory, and third, a view of the correlation between Russian and Church Slavonic.
Trediakovsky used texts as a kind of language laboratory to apply his theory, and his writings reflect these theoretical changes well. Based on his own writings and remarks, this study examines the aspects of the theoretical changes reflected in actual language use, focusing on specific examples.

KCI등재

저자 : 백경희

발행기관 : 한국러시아문학회 간행물 : 러시아어문학연구논집 79권 0호 발행 연도 : 2022 페이지 : pp. 189-214 (26 pages)

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В данном исследовании рассматривается семантическая структура союза РАЗ и его прагматические импликации, отражаемые неязыковыми факторами, а семантическая, прагматическая и коммуникативная стороны союза РАЗ сравниваются с другими союзами Если и Поскольку, выполняющими сходные семантические функции. Уникальная семантическая структура предложения с союзом РАЗ исследована путем сопоставления его с синонимическими союзами других и семантических связей. Союз РАЗ рассматривался как причинный союз с нюансами условия, который определен как промежуточным союзом причины и условия. Модальность придаточного предложения с РАЗ определяет сферу отрицания и статус утверждения главного предложения, которое совмещается, функционируя как модус действительности, известный говорящему и слушающему как <данное сообщение> и прагматическая <пресуппозиция>. Анализированы конструкции с союзом РАЗ в риторических употреблениях, логические семантические связи между главнымыми и придаточными.
Если условный союз ЕСЛИ ориентируется на ситуацию, которая имеет место в действительности и одновременно ситуацию гипотетического нереального (антифактического, потенциального), то консрукция с союзом РАЗ употребляется в высказывании фактических ситуации “прагматическая пресуппозиция”, отражает отношение говорящего к предложенной пропозиции(Q), может передавать иллокутивное значение. Кроме того, семантическая структура союза РАЗ как и другие каузативные союзы, например, потому что, имеет место в действительности, и выражает семантические связи логического следствия, а в отличие от каузативных союзом, конструкция с союзом РАЗ выражает модальное отношение говорящего к пропозиции между Р и Q и выполняет коммуникативные и прагматические функции. Конструкция с союзом РАЗ имеет следующие семантические структура: (1) Раз¹ Q, Р = Говорящий считает, что в ситуации Q, которая имеет место, совершенно естественно то, что имеет место ситуация Р. (2) Раз² Q, Р = Говорящий считает, что в ситуации Q, которая имеет место, совершенно естестенно то, что говорящий делает высказывание Р. Обращается внимание конструкция с союзом РАЗ тем, что она выполняет иллокутивную функцию смысловой связи того, что совершенно что произнесение Р в ситуации Q с точки зрения говорящего. В конструкции с союзом РАЗ семантическое соотношение между Q и P выражает коммуникативную <автономность>, т. е. выражает отдельные ситуации, независимые друг от друга (в отличие от придаточных союзов причины, логической обусловленности и т. п). Коммуникативная <автономность> союза РАЗ может компенсировать относительную слабость логической связи в отличии от других каузативных союзов причинно-следственных отношений. Конструкция с союзом РАЗ отражает субъективную точку зрения и мнение говорящего, тем самым осуществляется риторическую функцию, апеллирующую к убеждению слушателя. Обращается внимание для следующего исследования о статусе союзов, что причинный союз ПОТОМУ ЧТО классифицируется как ДКС(дескритивные союзы), а ПОСКОЛЬКУ И ТАК КАК как РТС(риторические союзы), и последние имеют синонимичные интерпретации с союзом РАЗ. Так же условный союз ЕСЛИ разделяется на “Условыный ЕСЛИ-1”, который принадлежит к ДКС, а “данное положение дел ЕСЛИ-2” к РТС. Таким образом, уникальная семантическая структура конструкции с союзом РАЗ в первую очередь учитывает отдельные коммуникативные ситуации и культурные контексты, а также убеждения говорящего и слушателя. Итак, в семантической структуре конструкции с союзом РАЗ функционируют различные комплексные элементы, выражаемые прагматическими и культурно-коммуникативными факторами, тем самым отражает лингво-культурные мировозрения языковой личности данного общества.

KCI등재

저자 : 임수영

발행기관 : 한국러시아문학회 간행물 : 러시아어문학연구논집 79권 0호 발행 연도 : 2022 페이지 : pp. 215-241 (27 pages)

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Данная статья посвящена проблеме семантического расширения русского пространственного предлога над, прототипическим понятием которого является «локализуемый объект X занимает позицию выше ориентира Y и при этом не находится с ним в контакте».
С точки зрения когнитивной лингвистики метафорическое расширение пространственного значения предлога над можно разделить в основном на пять типов разновидностей: преобладание, воздействие, эмоциональное отношение, ментальное действие и возвышение.
При расширении пространственного значения предлога над функционируют такие концептуальные метафоры, как 'больше ― выше, меньше ― ниже', 'сильнее ― выше, слабее ― ниже', 'лучшее ― выше, хуже ― ниже'.
Пространственное прототип предлога и концептуальные метафоры представляют собой основу, которая определяет сферу и границы расширения значения предлога.

KCI등재

저자 : 김주연

발행기관 : 한국러시아문학회 간행물 : 러시아어문학연구논집 79권 0호 발행 연도 : 2022 페이지 : pp. 243-264 (22 pages)

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Andrei Moguchi is a representative director who has consistently pursued avant-garde plays in Petersburg, the sacred place of classical art. Starting directing from street plays, he founded Formalny theater, a representative underground theater company, in 1990 and made a name for unconventional experimental plays and image plays, and he also visited Korea with < School of Fools > in 2005 and < Between Dogs and Wolves > in 2006.
Since 2013, Moguchi has been the artistic director of Petersburg's historic Bolshoi Drama Theater(BDT), leading a new era of theaters. This study focused on his director's aesthetics in recent works from BDT. For this study, three representative works directed by Andrei Moguchi were selected, Byrifayev's < Drunken People >, Ostrovsky's < The Thunderstorm > and Yuri Olesha's < Three Fats >. Each of these three works is considered Moguchi's greatest success during the BDT period, winning the best theater award in Russia, and at the same time, they are the works that most clearly show his recent directing aesthetics of collision.
The collision and musicality in each work are revealed in different ways, < Drunken People > uses a montage technique created by the collision of text and Indian film images. In < The Thunderstorm >, the stage that advocates Russian folk crafts and the Japanese Kabuki style collide. And in < Three Fats >, Moguchi's directing aesthetics are revealed through the clash of images of revolution and circus and symphony composition.
In terms of the research method, the researcher first specifically analyzed the collision of images revealed in the three performances and their aesthetic effects, and secondly, focused on the musicality and musical structure revealed in all three works.

KCI등재

저자 : 조규연

발행기관 : 한국러시아문학회 간행물 : 러시아어문학연구논집 79권 0호 발행 연도 : 2022 페이지 : pp. 265-295 (31 pages)

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In this paper, I look at the process of formation and development of Russian contemporary art in the post-Soviet period, and examine the changes in Russian contemporary art at the turn of the century and its meaning by focusing on Moscow Actionism in the 1990s and non-spectacular art in the 2000s.
Arts of the 2000s, held at The State Tretyakov Gallery in 2018, comprehensively presented various aspects of Russian contemporary art in which the artistic remnants of the avant-garde and the new trends of the West mixed. Despite the new themes and forms, Russian art in the early 21st century can be defined as a transformation and overcoming of the Moscow Actionism that led the 1990s. Kulik differed from his 90s performance as well as the conventional painting with his three-dimensional formative method, but his < Tennis Player > is also an extension of his 90s method, which expressed his awareness of social problems with the subject of the body. Osmolovsky's non-spectacular art differentiate from Duchamp's ready-made as well as his own performance in the 1990s by choosing the most natural, everyday objects as art materials. The common characteristics of these works contain political and social meanings, and all of the new forms and themes were experiments for effective communication with the audience and their active participation.

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