• 비교문화연구
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• 제50권
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• pp.283-311
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• 2018

이 글은 백여 점의 스케치로 남은 푸슈킨의 자화상을 연구 대상으로 삼는다. 푸슈킨은 평생에 걸쳐 다양한 모습으로 변장한 다채로운 자화상을 그렸다. 푸슈킨 외에도 많은 작가들이 자화상을 그렸으나 그 수량과 유명세로 볼 때 시인의 것을 뛰어넘는 자화상을 찾기란 어렵다. 이 점에 주목하며 본문에서는 우선 19세기 낭만주의 시기 만개한 회화 장르로서의 자화상 전통에 의거하여 시인의 자화상이 차지하는 위치를 점검한다. 이어서 푸슈킨의 자화상이 거의 다 측면상 구도를 사용하고 있다는 점에 초점을 맞추어 그 배경 및 의미를 추적한다. 끝으로, 푸슈킨 자화상에 담긴 철학적 함의를 규명하기 위하여 렘브란트의 자화상과 몽테뉴의 "수상록"을 동시에 펼쳐 읽는다.

• 비교문화연구
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• 제45권
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• pp.167-194
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• 2016

사상가이자 작가인 В.В. 로자노프는 러시아 문학에 대한 수많은 글을 쓴 문학 비평가이기도 하다. 로자노프의 가장 유명한 문학 비평은 도스토옙스키에 대한 비평인 "도스토옙스키의 대심문관에 대한 전설"로, 베르쟈예프는 도스토옙스키에 대한 수많은 비평들 중 로자노프의 비평을 최고로 평가하였다. 도스토옙스키가 인간적으로, 그리고 예술적으로 로자노프의 애정과 칭송을 받은 작가라면 고골은 로자노프로부터 가장 많은 비판을 받은 작가들 중 하나였다. 본고는 고골에 대한 로자노프의 문학 비평 분석을 1차 목표로 한다. 이때 우리의 분석에는 시간상 고골의 앞뒤에 있는 두 명의 위대한 작가들 - 푸시킨과 도스토옙스키 - 에 대한 로자노프의 비평 역시 포함되는데, 왜냐하면 로자노프는 이 두 작가들과의 비교를 통해 고골 창작의 특수성을 규명하려 시도하기 때문이다. 분석을 이렇게 확장할 때 본 논문의 2차 목표가 자연스럽게 도출된다. 즉 고골을 중심으로 한 로자노프 비평분석을 토대로 우리는 러시아 문학에 대한 '문학 비평가' 로자노프의 전반적인 견해 및 태도를 추측할 수 있고, 나아가 로자노프의 문학 비평이 후대의 문학 비평에 끼친 영향을 알 수 있을 것이다.

• 인문언어
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• 제8집
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• pp.291-313
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• 2006

Previously, studies concerning the Russian dialects have been mainly focused on northern, central, and southern dialects limited to western Russia of Ural Mountains. On the contrary, the Siberian and Far-eastern dialects have been completely disregarded to the main stream of the Russian dialectology. As a result of a poll concerning this idea, the majority has answered that there is no dialect in Siberian and Far-east regions. Though the reasons for the outcome of the poll could vary, it could not be simply accepted that there is no dialect in such vast regions. Thus, a survey has took place to examine the existence of dialects in the regions of Siberia and Far-east. The first phase of the survey inquired the residents of the regions including Siberia and Far-east to respond to questions regarding 83 vocabularies on wedding in contrast to the regions covering western Ural and Moscow. The 23 informants were residents of the concerned regions who have come to visit Pushkin National Institute of Russian Language and, others, Korea. The questionnaires used in this survey were partly obtained from the questionnaires originated by the Language Institute of St. Petersburg National University. Although the limited range of regions and a small number of respondents who partook in this survey could raise some issues on the table, it is relevant to understand that this study would open up the path for the development of studies concerning regional dialects in the future.

• 비교문화연구
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• 제23권
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• pp.7-32
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• 2011

In this article, we tried to introduce a little-known work of M.A. Bulgakov "Snowstorm" and provide some various clues for reading this short story. This study is focused on "snowstorm-plot", grasping the structure and the theme of the present work. To this end, in the Chapter II we tired to seek for the meanings of Bulgakov's "snowstorm" based on intertextuality shown from the works by those writers such as Pushkin, Gogol and Tolstoy. In this short story "snowstorm" is presented not only as a natural phenomenon but as a "participant" which provides young doctor-narrator with short time break and let him go to a dying bride, and at last place him on the crossroads of life and death. Indeed "snowstorm" plays a role of the framed structure of Bulgakov's text. In the Chapter III we observed the creative expression of Bulgakov's work which is comprised of overlappings with dream and reality. In other words, in the short story "Snowstorm" the outside and the inside story of frame are described as a dream of the one same night. We can guess that the Shermetievo story is a kind of dream of young doctor who fell asleep in Tuesday night, asking himself "how many patients will come tomorrow?". By the way the Shermetievo story unfolds as an incident which is happened on Wednesday. In this way in Bulgakov's "Snowstorm" it is hard to draw clear lines of demarcation between dream and reality. Therefore existential themes like these "Life and Death", "Professional calling and personal conscience", "The great nature and the week human being" are resonated with original structure "Dream in Dream".

• 비교문화연구
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• 제29권
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• pp.257-285
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• 2012

The theme of Caucasus in Russian literature stemmed from A. Pushkin's The Prisoner of the Caucasus (1820) became expended when it reached to writer Bestuzhev-Marlinsky. The writer's magnum opus, Allamat-Bek (1832), was based on a real historical event. Being proponent to the side of Russian ideology, this work strongly presents that the primary task the Russian Imperialist government paused in this region at the time was civilization of the Caucasus through diplomatic and humanistic ways. There are three main protagonists in this work, but Berkhovsky and Sultan Akhmet-Khan are the characters who stand for the contradictory views toward the "war between Russia- Caucasus." While the former, Berkhovsky, thinks that the conflict between the two parties might be solved by means of communication and cooperation, the latter, on the other hand, is opposed to any of peaceful completion of this war. Allamat-Bek, the main hero of this work, however, passes away, going back and forth between loyalty and renegation. The author goes on to describe that Berkhovsky considers the Caucasus as Eden, the land of fruits, unlike Russia which appears as the land of labor. Yet, for Berkhovsky the Caucasus is presented as the land which needs enlightenment. This is the transformation of the so-called typical Western Orientalism. Bestuzhev-Marlinsky does not take side of either evil or good between the Russian Orthodoxy and the Islam, that is the conflict between the two opponent parties. The writer, instead, argues that this is just difference between the familiar and the strange, that is, the svoi and the chuzhoi. What is the very picture the writer wants to show the reader, then, is that it is petty and sad to see the unavoidable violent progress which happened and experienced by the indigenous people during the civilization of the Caucasus by the Russian Imperialist government.