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Russian Language and Literature

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수록범위 : 1권0호(1995)~75권0호(2021) |수록논문 수 : 962
러시아어문학연구논집
75권0호(2021년 11월) 수록논문
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1테피(Тэффи) 단막극의 창작과 의미 희곡집 『여덟 편의 소품』(Восемь миниатюр, 1913)을 중심으로

저자 : 강수경

발행기관 : 한국러시아문학회 간행물 : 러시아어문학연구논집 75권 0호 발행 연도 : 2021 페이지 : pp. 7-31 (25 pages)

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This study tried to analyze the originality and meaning of Teffi's plays from a cultural history perspective, focusing on the one-act plays included in Teffi's playbook 『Eight Pieces』(1913). To this end, we focused on the characteristics of the Russian cabaret and miniature theater stage in the early 20th century, when her works were performed, the literary trend at the time when the work was created, and her connection with the magazine Satiricon, with which she was majorly collaborating.
The reason for this is that Teffi was active in experimenting with new theatrical plays of the time, and took part in the opening performance of the first miniature theater in Russia, < Bent Mirror >, opened in Petersburg in 1908. In addition, Teffi is a major writer for the magazine Satiricon, and has consistently contributed articles, and this is because she shares the tendency of "lyrical satire", which is the main characteristic of Satiricon writers' creations.
In this paper, we could find out that the Teffi's one-act plays showed absurdity, and lies in the most ordinary and everyday situations of people. In addition, we could see that comedy and tragedy, ridicule and sympathy are skillfully combined in her work, and that she talks about the problems of human relationships and communication through ordinary people's daily lives. And finally, it was confirmed that these scenes could be successfully performed on the stage of a miniature theater, with the Teffi's satire and humor drawn lightly.

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2도스토옙스키의 「온순한 여자」와 자살의 문제 : 서술자 분석을 중심으로

저자 : 이선영

발행기관 : 한국러시아문학회 간행물 : 러시아어문학연구논집 75권 0호 발행 연도 : 2021 페이지 : pp. 33-56 (24 pages)

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This article aims to scrutinize Dostoevsky's thought on the problem of suicide, examining the 'meekness' of the heroine in The Meek One by analyzing its narrator.
It is the author's main narrative strategy that the novel has the husband of victim as a narrator. The narrator pretends to repent his past mistreatment of heroine, partly admitting his fault or positing himself as a victim. Furthermore, through responses and excuses to the reader-judge, he keeps denying his own faults. Nevertheless, his deft speech bespeaks that he is the one who caused the suicide of 'the meek one.' Therefore, the narrator never accepts the opinions attributing heroine's death to him. His speech is soliloquy in which debate is hidden, in other words 'double speech.'
It is noteworthy that his speech style resembles his way of being, isolation. The narrator's solitary life, however, stems from his desire to communicate. Having been continually ignored by others, he prefers isolation to disgrace. Only person with whom he can control the relationship is the heroine. The husband dominates and abuses his wife, in the meanwhile longs her sincere love. As this distorted emotion deepened, her endurance runs up to the last. After facing the heroine's corpse, an opportunity to ruminate his past is given to the narrator. His regeneration depends on whether he accepts external speech and being. What is significant to the suicide of the heroine is that it remains as the starting point. In short, her acceptance of inevitable death and its possibility of causing his regeneration demonstrates the meekness of the suicide. Likewise, The Meek One shows multiple aspects of the author's position on the problem of suicide.

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3미하일 바흐친과 웨인 부스 : '일차적 작가'와 '내포 작가' 개념 비교 연구

저자 : 전미라

발행기관 : 한국러시아문학회 간행물 : 러시아어문학연구논집 75권 0호 발행 연도 : 2021 페이지 : pp. 57-80 (24 pages)

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Данная статья посвящена изучению соотношения понятий «первичный автор» у М.М. Бахтина и «имплицитный автор» у У. Бута. При изучении этих двух понятий не трудно заметить, что «Первичный автор» Бахтина корреспондирует с нарратологической категорией «имплицитного автора». Чтобы рассматривать отношение бахтинского понятия «первичный автор» к понятию «имплицитный автор», прежде всего, необходимо подчеркнуть развитие категории «авторство» и его разновидностей в представлении Бахтина. В представлении русскго ученго понятие отдельные категории «авторства» можно условно разделить на три типа литературного авторства: 1) биографический автор (автор-человек), 2) «первичный автор» (автор-творец), 3) «вторичный автор»(повествователь). Теория автора у Бахтина характеризуется тем, что «первичный автор», являющийся творцом изображённого мира, отграничен не только от автора как биографического лица, но и от «вторичного автора» как носителя повествовательной речи.
Данные характеристики бахтинского понятия также играют важную роль в определени и понятия «имплицитный автор» у Бута. Бут отметил, что «имплицитный автор» как вторая личность, возникающая в результате творческой деятельности, всегда не совпадает с автором как биографическим лицом. И также «Имплицитный автор» может выступать в качестве авторской инстанции без голоса. При определении понятия «имплицитный автор» обнаруживается эстетическая дистанция между «имплицитным автором» и «нарратором».
В итоге соотношения между двумя понятиями «первичный автор» и «имплицитный автор» можно рассматривать в двух аспектах: 1) они проявляются в целом произведении. 2) они как создающие занимают промежуточное место между реальным автором и нарратором.

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4푸슈킨의 「고류히노 마을의 역사」 연구 : 벨킨 형상과 서술의 두 차원을 중심으로

저자 : 정지윤

발행기관 : 한국러시아문학회 간행물 : 러시아어문학연구논집 75권 0호 발행 연도 : 2021 페이지 : pp. 81-103 (23 pages)

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В статье рассматривается образ Белкина как автора истории своего имения. Особое внимание уделяется двум планам повествования: от лица Белкина и Пушкина (или его двойника).
Белкин не только подражает сложившимся формам повествования других авторов, но и имитирует настроения и чувства автора, написавшего историю римской империи. Стиль Белкина отличается "несообразностью" и "неуместным использованием языка других авторов".
В Истории села Горюхина серьезный тон Белкина сочетается с юмором Пушкина. За текстом Белкина спрятан двойник поэта. Серьезность, преувеличение тривиального до государственного масштаба, фатовство сомнительной эрудиции принадлежат Белкину. А ирония, контекст, подтекст, намек на современность ― двойнику Пушкина. Мы считаем, что сочетание двух типов повествования создаёт юмористический эффект и даёт основание для истолкования "Истории", где соединяются комическое и серьезное, как пародии на произведения других писателей.
Думается, что Белкин - это собирательный образ писателя "второго ряда" пушкинского времени. Тем не менее Белкин ― не отрицательный персонаж, а любимец его создателя и читателей. Образ Белкина восходит к образу летописца Пимена в трагедии Борис Годунов. Белкин не обладает бесстрастной мудростью и проницательностью, как древний летописец, но в нем есть наивность, трогательная кротость и детская невинность. Подобно тому, как Пимен точно описывает события отечественной истории, Белкин всерьёз пишет историю своего имения.
Таким образом, как и многие персонажи Пушкина, образ Белкина сложный и неоднозначный. С одной стороны, Белкин - непроницательный, неопытный сочинитель. С другой стороны, своими человеческими качествами он напоминает пушкинского летописца Пимена. Иначе говоря, Белкин парадоксален. Поэтика парадокса, характерная для поэтики Пушкина, проявилась и в создании образа Белкина.

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5러시아 의고주의와 레미조프의 신화시학 : 「태양을 따라」에 재현된 동슬라브 신화와 민속

저자 : 조규연

발행기관 : 한국러시아문학회 간행물 : 러시아어문학연구논집 75권 0호 발행 연도 : 2021 페이지 : pp. 105-133 (29 pages)

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Archaism was a representative trend that defined the novelty and innovation of Russian modernism in the early 20th century. Many modernist writers tried to understand the essence of Russianness through the prism of ancient culture, to reinterpret the East Slavic mythology and folk culture through the collection and analysis of folklore materials, and to create real folk art that combines with the lives of Russians. Influenced by V. Ivanov's Mythopoetic Symbolism, Remizov is a representative Russian modernist writer who is associated with all areas related to ancient Russia, such as Russian medieval studies, folklore, ancient literature, and religion. In particular, his collection of tales, Posolon', is evaluated as a work that is like a symbol of Slavic archaism, which is different from the Greek mythology-centered mythopoetic Symbolism. Therefore, in this paper, I look at the transition of the myth-poetics in the early 20th century through the Russian archaism and the Symbolist theories of myth-creation, examine the reproduction aspects of the East Slavic mythology and meaning of Remizov's myth-poetics, focusing on 'the sun' as the dominant mythological motif in his Posolon'.

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6러시아어에서 부정의 영향권 연구 : 부정어의 위치와 부정 영향권의 상관관계를 중심으로

저자 : 길윤미

발행기관 : 한국러시아문학회 간행물 : 러시아어문학연구논집 75권 0호 발행 연도 : 2021 페이지 : pp. 135-159 (25 pages)

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The correlation between the syntactic position of negative particle and the scope of negation in Russian is more complex than expected. This paper proposes rheme-negation and theme-negation as a classification of negation which can reveal this correlation more effectively. This classification is a method that considers the communicational structure of negative sentences, and is advantageous in grasping their actual meaning.
This study examines the displaced negation as a representative case of the theme-negation. Displaced negation in Russian has unique prosodic characteristics as a theme-negation, and there is a rheme-negation that is semantically similar to this. We investigate in two aspects the reasons why displaced negation is used, despite the fact that rheme-negation exists. First, it is related to the universal linguistic phenomenon in many languages of the world and second, it is necessary to consider the unique discourse function that stands out in Russian displaced negation.
Another case of theme-negation is the causative construction. We classify the two types of personal construction among the causative constructions and present the various differences of the two types systematically and analytically.
The cases of theme-negation show that the correlation between syntactic position of negative particle and scope of negation in Russian is never simple, and furthermore, it confirms that scope of negation is a issue that should be considered integrally in terms of semantics, pragmatics, and discourse functions.

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7Исследование смысловых качеств русской частицы бы

저자 : Ким Наён

발행기관 : 한국러시아문학회 간행물 : 러시아어문학연구논집 75권 0호 발행 연도 : 2021 페이지 : pp. 161-180 (20 pages)

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In this study, in addition to technical significance, the meaning implied by the russian particle бы would be considered from a pragmatic point of view. The category of meaning represented by the particle would be the subjunctive situation. And the subjunctive situation is largely divided into the subjunctive and the surreal mood, meanwhile, the particle could represent both subcategories. The subjunctive mood included the meaning of assumption, condition and desire, and irreality describes an event or action that did not occur in reality. As a result of consideration, through the examples of the particle бы, we could express the meaning of desire and assumption, and in the case of a conditional value, it turned out that it implies a conditional value with uncertainty, and not a direct conditional value. On the other hand, it was confirmed that an indirect expression would be possible using a particle. It seems that this has possible consequences, provided that the particle could represent a subjunctive situation. In addition, it was confirmed that several implication values can be represented simultaneously. In this regard, we considered that the particle бы could mean both the value of the conditional and assumptive, and the value of the indirect expression. Thus, it was proved that the meaning indicated by the particle could express the implication value in accordance with the subjunctive situation and the semantic qualities of its subcategory, representing the subjunctive mood.

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8Grammatica Russica(1696)에 관한 시론적 고찰 : 러시아어 문법서의 시원

저자 : 한지형

발행기관 : 한국러시아문학회 간행물 : 러시아어문학연구논집 75권 0호 발행 연도 : 2021 페이지 : pp. 181-205 (25 pages)

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Grammatica Russica is a book on Russian grammar written in Latin by Heinrich Wilhelm Ludolf in 1696 after his visit to Russia from 1692 to 1694. Although it was regarded as the foremost textbook on Russian grammar, Grammatica Russica had been undervalued for its importance in the Russian academia. Furthermore, Korean academia had been even more uninterested in Grammatica Russica, compared to how Russian academia viewed it. Any references of Grammatica Russica were merely indirect references within the overall flow of the study on Russian language or brief introductions.
Therefore, this paper intends to reevaluate the significance of Ludolf's Grammatica Russica as a subject of this research. And to examine its importance in the history of Russian language, this paper intends to explore the changes of Russian discourse of Grammatica Russica. By tracking and outlining the overall discourse that continues today, this paper and the author intend to create a foundation to evaluate research conducted thus far and outline a future direction for following research.

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