자볼로쯔끼와 카니발 뒤집기

석영중(Seog Young Joong) 한국노어노문학회 2003 노어노문학 Vol.15 No.2

This Paper is intended to investigate the so-called 'carnivalistic' aspects of N. Zabolotskii's first book 〈Columns〉 which depicts Leningrad of NEP period. As critics have pointed out, 〈Columns〉 have several thematic elements of Bakhtinian carnival, such as the motifs of eating, drinking, and copulating. Moreover, parody, the Rabelaisian grotesque, metamorphosis, and profanation indeed make the poems in 〈Columns〉 look like 'carnivalized' texts. However, as the analysis of 《Red Bavaria》 shows, Zabolotskii turns the carnival inside out. While carnival always includes the pathos of shifts and changes, of death and renewal, of the sacred and the blasphemous, Zabolotskii's Leningrad is de-carnivalized by negating this ambivalent nature of carnival. Both the pub 'Red Bavaria' and the city Leningrad are ruled by almighty death, not the carnivalistic death fraught with new birth. The city dwellers' sensuality lacks the reproductive power of the earth and the body, and debasing of the sacred rituals becomes not the carnivalistic' parodia sacra', but its parody. Stagnant time, closed space, boredom, monotony, and perpetuation of a grotesque status quo-all these make Zabolotskii's world an anti-carnival. The distance between Bakhtinian carnival and Zabolotskii's anti-carnival can be explained by the latter's search for immortality. For Bakhtin, who believed" only religion truly gives human beings freedom and spirit," carnival and its redemptive operation show deep Orthodox christianity. But for Zabolotskii, traditional religion has lost its authority and he now tries to find out new God, new ways of salvation. De-carnivalization in 〈Columns〉 anticipates the new, non-Orthodox, scientific quest for immortality which the later 'meditative' poems realize through the triumph of human reason over death.

고골의 신학과 수사학 -『친구와의 서신 교환선』을 중심으로

석영중 ( Young Joong Seog ) 한국러시아문학회 2003 러시아어문학 연구논집 Vol.13 No.-

도스또예프스끼의 〈악령〉에 나타난 케노시스와 신화(神化)

석영중(Seog Young Joong) 한국슬라브유라시아학회 2002 슬라브학보 Vol.17 No.2

This article is intended to examine the religious message of Dostoevskii's 〈Devils〉 in terms of kenosis and deification. the two most important concepts of the Orthodox theology. Kenosis(Christ's self-effacement) and deification (Man's becoming of God) turn the human logic upside down, since they imply that the most holy can become the most debased and vice versa. In 〈Devils〉, this reversal of the human logic is modified as the logic of the narrative, according to which the sacred is desecrated and the desecrated is restored. First, Maria Lebiadkina's imaginative pregnancy and Maria Shatova's tragic childbirth desacrate the Immaculate Conception of Virgin Mary and the Birth of Christ. However, Lebiadkina's 'holy foolishness' reveals the mystery of the Mother of God by the divine emotion of 'umilenie'. Similarily, Shatova s childbirth. when interpreted in the code of faith, leads the Shatovs to the redemption. Second, Stavrogin empties out his ideas into the minds of his' disciples' and by doing so parodies the concept of kenosis. Further, his confession, lacking humiliation and repentance, misappropriates the sacrament of confession. But Tikhon, the holy father restores his sacrilege by acting his double and reaffirms the meaning of forgiveness and salvation. Third, Kirilov's theory of 'Man-God' is an obvious parody of deification. But his rediculous acts before the suicide redirect attention. Now what is parodied is not Christ, the God-man, but those who ridicule Him. For Dostoevskii. absolute faith is close to absolute disbelief, and even the worst nihilist can be redeemed unless he is 'lukewarm'. The affirmation of the divine truth through the blasphemous analogous to the concepts of kenosis and deification is a narrative strategy to reveal this religious philosopy of Dostoevskii.

도스또예프스끼의《죄와 벌》

석영중(Seog Young Joong) 한국노어노문학회 2004 노어노문학 Vol.16 No.2

In Crime and Punishment Dostoevskii employs two different kinds of sub-texts: newspapers and the Gospels. Newspapers define Raskol' nikov's storyline. He appropriates popular ideas printed in the papers of the day and follows the steps of the infamous criminals mediated by journalism. Imitating and plagiarizing others' ideas, words, and acts, he loses his own identity to the extent of complete self-effacement. His being turns into metaphorical non-being in the linguistically and epistemologically empty world of newspapers. The Gospels function to 'resurrect' 'Raskol' nilov from the self-imposed death. Marmeladov, Porfirii, and Sonia are in some sense trivialized characters but by introducing the' Good News' of the Gospels they de-trivialize the death-laden world of the novel and lead the hero to the path of the new life. Through Marmeladov's carnivalesque reenactment of Christ, Porfirii's mock-catechism, and Sonia's reading of 《the Raising of Lazarus》. Raskol' nikov experiences against his own will the miracle of the resurrection. The sudden, a-logical redemption of the unrepentant murderer represents Dostoevskii's radical understanding of the Gospels: no sinner is greater than the forgiving God. By raising his Raskol' nikov, Dostoevskii has emphatically responded to the words of Christ: I am the resurrection and the life(...) Believest thou this?"

도스토예프스키와 신경신학

석영중(Seog, Young Joong) 한국슬라브유라시아학회 2013 슬라브학보 Vol.28 No.4

This paper is intended to explore Dostoevsky"s life and work from a viewpoint of Neurotheology. Neurotheology is a relatively new discipline that seeks to interpret human religiosity in terms of neuroscience. The neurotheologists argue that religious experience is a result of workings of the neurons. Some of them even insist that they found the so-called "God-spot" in the brain. The area identified as the "God-spot" is temporal lobe. Since the patients suffering from temporal lobe epilepsy are reported going through various religious and mystical experiences, the area in temporal lobe is identified as "God-spot." Applied to Dostoevsky(whose epileptic seizures are well documented), this argument relates his deep spirituality to disorder in temporal lobe. Dostoevsky in his last novel Brothers of Karamazov, as if to anticipate today"s neurotheological arguments, explores the possibility and danger of brain reductionism in future society. According to him, if everything including God is reduced to human brain, there will appear completely new human kind, for whom "everything is permitted." If neurotheology seeks to integrate neuroscience and theology into a new discipline and contribute to better understanding of human being, it seems that it has to take into consideration what Dostoevsky apprehends in his novel.

도스또예프스끼의 『백치』와 강생

석영중(Seog Young Joong) 한국슬라브유라시아학회 2006 슬라브학보 Vol.21 No.1

For Dostoevskii, as he often declares publicly, "what saves the world is neither Christ's morality nor his teachings, but the belief in the fact that the Word became Flesh." His faith in the Logos incarnate is organic to his poetics. The Orthodox doctrine of Incarnation, expressed in Calchedonian formula by "two natures, divine and human, joined together, without confusion, without separation" prevails in his novels, especially in The Idiot, whose hero is "prince Christ". Applied to the hero, however, the Calchedonian formula presents a deep dilemma: how to incorporate the unity of divinity and humanity, the metaphysical and the real, prototype and image, into a fictional figure of the prince. Any attempt at incorporating the two ontologically different realms in the topology of a novel must end in failure, since a novelist must follow neither the path of a hagiographer, who underlines the divinity of Christ, nor the path of the secular historian, like E. Renan, who accepts only the humanity in Christ As many scholars have already argued, Myshkin is a failure as a character, because "he does not have sufficient corporeality." However, Dostoevskii, by endowing his hero with special faculty of sight and thus making him see into the invisible in the visible reality, enables the reader to reach an understanding of the mystery of Incarnation. All the pictures, real or imaginary, in the novel-the landscape of Uri, the photographic portrait of Nastasiia Filippovna, the face of the convict before execution, the picture of Christ in Nastasiia's imagination, Holbein's Dead Christ-contain the co-presence of transcendence and immanence and in that sense they are paradigms of an icon. Only Myshkin sees, reads, and interprets the true meaning of the icon in these pictures with his 'penetrative' eyes and by doing that he transforms the impossibility of an imitatio Christi into the possibility of novelization of Incarnation.

오블로모프의 맛없는 음식

석영중 ( Young Joong Seog ) 한국러시아문학회 2010 러시아어문학 연구논집 Vol.35 No.-

This paper is focused on the meaning and function of food in Goncharov`s novel Oblomov. First, the most conspicuous feature of food in the novel is tastelessness. There are numerous lists of all kinds of Russian and Western dishes, but never a mention of taste. This makes the hero Oblomov not a gourmet. He is simply addicted to food. The second feature of food is that it transcends any ideological interpretation. Oblomov consumes both sumptuous Russian country dishes and imported western delicacies. What is at issue here is not nationality of the dish. Food as such is extremely important, because it functions as a firewall to protect him from the terrible reality. Oblomov`s life, protected by food and sleep, is equivalent to death in that it never moves forward. Oblomov`s vegetative life simply approaches, slowly and steadily, to death with the help of huge amount of tasteless food he relishes everyday. What the author conveys here is not the cursed malady of Oblomovism nor the gastronomic slavophilism, but a total eclipse of human mind. The inertia and apathy of Oblomov may be a replica of his creator`s mental status.

도스토예프스키의 『죽음의 집의 기록』에 나타난 원형운동과 선형운동

석영중(Seog, Young Joong) 한국슬라브유라시아학회 2014 슬라브학보 Vol.29 No.3

Dostoevsky"s autobiographical prison novel Notes from the House of the Dead is a story about the process of the narrator-hero Goryanchikov"s (who is the alter ego of the author) attaining physical, psychological and spiritual freedom. In a sense it is a personal "Salvation History" of the narrator. To make the narrator"s spiritual liberation tangible, Dostoevsky has structured the text on the axis of two movements: the circular movement and the linear movement. The circular movement is the one that gives the most of the prisoners the illusion of the freedom. Consumption of alcohol, consumption of money, gambling, and prison breaking belong to the circular movement in that they fail to secure the freedom, not the sense of freedom. Even the most positive act in the prison, that is, the theatricals provide freedom only temporarily. On the contrary, the narrator, by going through a linear movement from the depth of the hell of hatred to the final glorious moment of freedom, illuminates the Christian teleology. The illogical change in the narrator"s status(from a political prisoner to a wife murderer) and psychology turn out a narrative strategy to proclaim the narrator"s salvation.

톨스토이와 ‘다이어트의 윤리’

석영중(Seog Young Joong) 한국노어노문학회 2009 노어노문학 Vol.21 No.4

톨스토이의 에세이 「첫걸음」은 원래 하워드 윌리엄스가 쓴 채식주의 고전 『다이어트의 윤리』의 러시아어 번역본 서문으로 기획되었다. 그러나 번역이 차일피일 미루어지자 톨스토이는 그 서문을 독립적인 에세이로 출간했다. 그동안 「첫걸음」은 두 가지 방향에서 해석되어 왔다. 첫째는 『다이어트의 윤리』와 같은 맥락, 즉 휴머니즘과 동물보호에 입각한 채식주의 옹호라는 맥락이고, 둘째는 정욕과 직결되는 육식의 폐해라고 하는 맥락이다. 그러나 이 에세이에서 톨스토이가 주장하는 바는 육식과 채식의 문제보다 훨씬 포괄적인 윤리의 문제로 연장된다. 「첫걸음」은 단순히 무엇을 먹을 것인가의 문제가 아닌, 어떻게 먹을 것인가. 그리고 더 나아가 어떻게 살것인가의 문제를 제기 하며 그렇기 때문에 그것은 도덕론과 필연적으로 연관된다. 또 바로 이 점에서 「첫걸음」은 1897년의 저술 『예술이란 무엇인가』를 예견한다. 『예술이란 무엇인가』 역시 어떤 예술이 좋은 예술인가에 관해 말하고 있는 듯 하지만 실제로는 어떻게 살것인가에 대한 논의로 마무리되기 때문이다. 톨스토이에게는 음식도, 예술도 모두 음식 그 자체나 예술 그 자체로서가 아닌, 그가 추구하는 궁극의 윤리를 전달하기 위한 코드로 작용한다. This article is focused on the meaning of Tolstoi's essay “The First Step”, which has been read as a vegetarianism guidebook. It was originally planned as a preface to a Russian translation of Howard Williams's vegetarianism classic The Ethics of Diet. Scholars have interpreted the meaning of “The First Step” from two different angles. First, some believe that Tolstoi advocates vegetarianism like Williams on the basis of humanitarianism and animal rights. Others believe that vegetarianism for Tolstoi reflects his asceticism in which lust and flesh-eating are two different sides of the same evil. However, as this article shows, what is at issue in the essay is not ‘what to eat(vegetable or meat)’, but ‘how to eat’ and by analogy ‘how to live’. In this sense “The First step” anticipates the infamous What is art? Here again what is at issue is not ‘what is good art’ but ‘how to lead a good life’. For Tolstoi both food and art function as a code to send the author's ultimate message on ethics.

도스토예프스키의 물리학과 아인슈타인의 형이상학

석영중(Seog, Young Joong) 한국슬라브유라시아학회 2012 슬라브학보 Vol.27 No.4

It is well known that Einstein was fascinated by Dostoevsky, especially his last novel Brothers of Karamazov. He wrote to Heinrich Zangger in March 1920, “I am reading Dostoevsky(Brothers of Karamazov). It is the most wonderful thing that has ever fallen into my hands.” He wrote again in April, “I am in rapture about the Brothers Karamazov. It is the most wonderful book I have ever put my hands on.” Einstein’s fascination with Dostoevsky has been a source of inspiration for many scholars and specialists who are interested in the possibility of interrelations of literature and science. This paper is intended to examine the possible links between the great novelist and the great physicist focusing on the concept of reality as it is manifested in Brothers of Karamazov and Einstein’s metaphysical writings. The problem of reality is one of the main things Einstein was deeply interested in since he has announced the theory of Relativity. Reality, as it is stated in a number of Einstein’s later philosophical and metaphysical writings including “Physics and Reality,” is beyond human perception. According to him, to say that only things one can observe exist is scientifically false. Things which are impenetrable to us really exist, manifesting themselves as the highest wisdom. He summarizes this idea of reality as “the most beautiful thing we can experience is the mysterious.” Alesha and Zosima in Brothers of Karamazov prefigures Einstein’s concept of the mysterious. Unlike Ivan, Fyodor, and Ivan’s Devil, who measure reality according to the law of Newtonian physics, they experience reality as mystery. In mystery, time and eternity, man and God, this world and ‘the other world’ eventually meet.