Boys as an open generation: A Poetics of conflict and salvation in the ≪Brothers Karamazov≫

백준현 ( Joon Hyeon Baik ) 상명대학교 어문학연구소 2005 語文學硏究 Vol.18 No.-

In the ≪Brothers Karamazov≫ the conflicts between father and son have in themselves the possibility of acquiring the power of getting the future salvation, because in those we see not only the conflicting elements, but also the non-avoidable similarities of the mentality and culture of two generations. That is, the future salvation is possible when the next generation is aware of his inheritance from the formal generation, and try to harmonize the two different culture and reduce them into the power of progress. In this novel Dostoevsky suggests the concrete way of salvation through the image of future generation, that is, the boys in this novel. It seemed to Dostoevsky that children are possessed of the capability to view the world not from the eye of reason, but from the eye of sense and intuition. Through such a capability man could recognize the being of God and furthermore could restore the broken and lost relation with God. In this respect, the important things with the children theme are the fact that man should remember his young days, when his relation with father was maintained, without regard to any earthly conditions. Dostoevsky urges that only with such a mind man could be aware the value of father-and-son relation, and on the same logic, could avoid temptation of becoming man-god, who judges God`s world from his limited reason. In this way, Dostoevsky expresses in great detail his long-time pursued idea about salvation. The peculiar element of this novel is that the theme of salvation is being developed on the background of generation conflict and children theme. This means, that Dostoevsky, having realized the difficulty of solving the problems of the era only on the ideological plan, began to notice the problems of real life, which can be compared to the relation between God and man. In this process he realized that the conflict between father and son, as a typical phenomenon of mental degradation of his time, coincide on the daily plan with the continuos getting away relation between God and man on the metaphysical plan.

도스토예프스키의 「보보크」 -자기 복제의 알레고리와 자기 성찰의 시학

백준현 ( Joon Hyeon Baik ) 한국러시아문학회 2012 러시아어문학 연구논집 Vol.39 No.-

The main goal of this paper is to examine thematic structure of 「Bobok」which is mainly treated as a grotesque story of F. M. Dostoevsky, and thus to reveal the hidden meaning of ``bobok`` which is also the title of this story. This story is narrated by a writer who by chance encounters the dialogues of the dead who are buried in the graves but are still alive in their consciousness. In this story Dostoevsky develops the idea of self-reproduction or self-conviction which represent the way of utterance of the dead who maintains snobbery on earth, and self-reflection which represents Dostoevsky`s sincere attitude for admitting and revealing his own problems as a writer. Way of utterance of self-reproduction is also the main trait of L. K. Panjutin who as a militant journalist put severe and even personal blames on Dostoevsky and his works. Harm of self-reproduction in the dead`s world was addressed in the form of allegory to Panjutin and militant literary circles of that time. Meanwhile his narration of self-reflection which was showed in his self-image narrator reveals his thinking about sincere writer`s bearings who should be prepared to accept even the ideas of whom he disdains. Bobok, which has been usually treated as a nonsense word, is in fact a trait of life of the dead who has the possibility of regeneration. It also symbolizes the possibility of rebirth of the narrator who realizes his bearings as a writer which is not yet extinguished in his mind like bobok. So, this story should not be left in the field of grotesqueness and the literary meaning of ``bobok`` should be rightly understood.

도스토예프스키의 「어린 영우」: 첫사랑의 초월과 자아의 발견

백준현 ( Joon Hyeon Baik ) 한국러시아문학회 2013 러시아어문학 연구논집 Vol.42 No.-

「The Little Hero」 was written in 1849 when F. M. Dostoevsky was set in a prison of Petropavlovsky fortress prison. It was written in a new and uncharacteristic style to Dostoevsky and deals with a reminiscence of an adult narrator about his childhood first-love. Based on a first-love theme, this story nevertheless deals with it from other point of view. The main goal of Dostoevsky was not to describe the love theme, but to reveal how the 11-year old boy, the protagonist of this story, develops himself, faced with events connected with women, one of whom is m-me M whom he admires, and the other is blonde lady who torments him. In this process, traditional and romantic first-love story is reversed, and the boy becomes consoled by the blonde lady and was disappointed at the changed image of m-me M which he never expected. But he doesn``t lose faith in m-me M till the time they part with each other, and thus achieves his own mental growth. To realize such a realistic mental growth of an adolescent which cannot be fully achieved in a traditional romantic way of story-telling, Dostoevsky revised this story in 1860, removing the former preface of romantic tone and thus intensifying the voice of the boy. This work can also be treated as a story, oriented to self-reflection and self-discovery of Dostoevsky himself who didn``t lose hope and tried to find his real self in a prison. The image of boy of this story in many respects reminds the adolescent Dostoevsky of 1830-s. Dostoevsky wanted to revive his own adolescent self as a positive model for a new life with optimism and hope, not bounded in a prison.

『죄와 벌』의 공간 구조

백준현 ( Joon Hyeon Baik ) 한국외국어대학교 외국학종합연구센터 러시아연구소 2004 슬라브연구 Vol.20 No.2

도스토예프스키의 『영원한 남편』에 나타난 상보적 의식의 테마

백준현(Baik Joon Hyeon) 한국노어노문학회 2009 노어노문학 Vol.21 No.4

본 논문의 주요 목표는 불륜(不倫)이라는 통속적 소재를 통해 인간 내면의식의 문제를 파헤쳐 보고자 했던 도스토예프스키(Ф. М. Достоевский)의 『영원한 남편(Вечныймуж)』의 궁극적 주제를 연구하는 것이다. 아내에 의해 배신당한 한 남성과 그녀의 정부였던 다른 남성 간의 갈등을 주요 구조로 하고 있는 이 작품은 상대적으로 별다른 주목을 받아오지 못했던 것이 사실이다. 이러한 현상의 근저에는, 불륜의 테마를 정면으로 다룬다는 특이성에도 불구하고 그것을 다루는 과정에서 두 남성 인물 간의 갈등을 넘어서는 더 심오한 주제 의식이 나타나지 않는다는 일반적 시각이 자리 잡고 있다. 그러나 이러한 일반적 시각에는 불륜이라는 표층 주제에 가로막혀 이 작품이 가지는 심층적인 예술적 완성도를 간과해 버리는 문제점이 있다. 이 작품의 완성도는 높은 평가를 받아온 외면적 형식과 아울러 ‘불륜과 관련된 갈등’을 단지 통속적 소재로서가 아니라, 인간의식 세계의 복잡한 상호 작용을 설명할 수 있는 틀로 훌륭하게 형상화한 것에서도 나타난다. 이 작품의 두 남성 인물들의 복잡한 심리 세계에는 『지하생활자의 수기(Запискииз подполья)』에서 출발한 도스토예프스키 인간 의식에 대한 관심이 그대로 담겨 있으며 그러한 모순적 내면세계가 어떠한 과정을 통해 상보적(相補的) 의식으로 재형성되는 지가 본 논문을 통해 필자가 궁극적으로 규명해 내고자 하는 목표이다. 이 작품의 두 남자 주인공인 뜨루소쓰키(Трусоцкий)와 벨차니노프(Вельчанинов)가 빚어내는 갈등은 단순히 불륜을 사이에 둔 통속적 갈등이 아니라 왜곡된 의식세계를 가진 그들의 모습에서 더 큰 원인을 찾아볼 수 있다. 모순적 내면세계를 가진 두 남성이 자기가면을 쓴 상태에서 빚어내는 상황들은 그들을 더욱 상극적인 위치에 놓이게 만들고 이로 인해 그들의 화해는 일견 요원한 것처럼 보인다. 그러나 도스토예프스키는 두 남성의 병적인 내면세계와 그로 인한 그들 간의 갈등을 그것을 극복하는 상호 이해의 장으로까지 연결시킴으로써 『지하생활자의 수기』에서 그려졌던 인간 내면의 문제를 좀 더 진지하게 접근해 보는 데 성공한다. 병적인 내면세계를 지녔던 두 남성이 상보적 인식과 상호 이해의 장으로 들어오는 과정에서 가장 중요한 역할을 하는 딸 리자의 모습은 까쩨리나가 보였던 부정적인 여성상을 단숨에 극복하는 힘을 가지고 있다. 불륜의 씨앗이었던 그녀가 오히려 두 아버지 남성을 구원하게 되는 구조에서 우리는 불륜 주제가 작품의 깊이를 떨어뜨린다는 피상적 시각을 거부할 수 있는 본질적인 근거를 찾을 수 있다. 이 작품에서 도스토예프스키가 통속적 주제인 ‘불륜으로 인한 갈등’을 상정했던 것은 인간이 처한 가장 비속한 상황 속에서도 왜곡된 정신의 극복과 그것을 통한 상호 화합이 가능한가를 묻고자 했던 그의 진솔한 태도에서 비롯되었다고 할 수 있다. The main goal of this paper is to pursue the main idea of 『The Eternal Husband』 by F. M. Dostoevsky which is based on the conflicts between two man characters having adultery affair. Many critics have focused on this work on the problem of what had been called ‘failured work’ which is, they consider, provoked in relation to the bulgar theme of adultery. But a close reading of this work reveals to us many elements of artistic and well-balanced inner structure. Distorted psychology which is one of the main theme of this work can be already found in 『Notes from underground』 which was written five years earlier than this work. The shape of ‘underground man' who struggles to maintain his own human dignity with contradictory attitudes to others is reflected in the two man characters of this work, Trusotsky and Vel'chaninov. Having distorted and contradictory self-consciousness in common, such a psychological problem makes their conflicts even more incompatible. But in comparison with 『Notes from underground』, we see in this work far more elements of overcoming the personal psychological problems. Going through the process of accumulated conflicts, they gradually realized their own inner problems through complementary consciousness and thus slowly approached to the stage of mutual understanding. Death of Liza, who is in herself the daughter of the adultress Katerina, plays an important role for the mutual understanding of her two fathers. The ultimate message which Dostoevsky wanted to express with the shape of conflicts between two man characters was that the mutual and complementary understanding between men is possible only through the overcoming of the personal distorted or contradictory psychology which can be truly found in any human situations, like in the conflicts related with adultery. In the shape of finding possibility of complementary consciousness through incompatible conflicts, we should realize not the literary paradox but a keen insight of Dostoevsky into human nature.

《까라마조프가의 형제들》에 나타난 “아이들” 테마와 구원의 관계

백준현(Baik Joon-Hyeon) 한국노어노문학회 1998 노어노문학 Vol.10 No.2

『우스운 인간의 꿈』

백준현(Baik Joon Hyeon) 한국노어노문학회 2008 노어노문학 Vol.20 No.4

도스토예프스키의 『우스운 인간의 꿈(Сон смешного человека)』은 꿈이라는 환상적 요소와 ‘우스운 인간’ 이라는 주인공의 독특한 형상이 결합된 작품이다. 이 작품에 대해 지금까지 논란이 되고 있는 것은 도스토예프스키가 이러한 문학적 장치들을 통해 최종적으로 말하고자 했던 바는 무엇인가에 관한 문제였다. 이에 대한 일반적인 견해는, 이 작품은 주인공의 유아론적(唯我論的) 환상에 대한 패러디라는 것이며 그러한 환상이 만들어낸 유토피아의 붕괴가 이 점을 분명히 말해 준다는 것이었다. 그러나 도스토예프스키가 이 작품에서 꿈이라는 환상적 기제를 유토피아의 실현 불가능성 혹은 주인공의 비현실적 기질을 강조하기 위해 사용하고 있지 않음은 자세한 텍스트 분석을 통해 드러난다. 이 작품에서 꿈은 오히려 주인공의 고립. 단절된 모습 속에 잠재해 있던 인간적 속성을 일깨우고 그것을 통해 그로 하여금 보다 폭넓은 시야로 유토피아의 모습을 분석해 볼 수 있는 가능성을 제공한다. 도스토예프스키의 실제 경험에 토대를 두어 그의 여러 문학 작품에 차용된 ‘황금시대의’ 비전은 이 작품의 유토피아 형상과 밀접하게 관련된다. 잃어버렸던 지상에서의 삶의 의미를 꿈속의 유토피아로 향하는 과정을 통해 회복한 주인공은 이러한 유토피아의 모습에 황홀해하면서도 한편으로는 그것의 문제점을 드러내어 주는 총체적 서술을 한다. 유토피아의 모습과 그것의 붕괴 과정에 대한 꿈 전, 후반부의 서술 방식 차이를 면밀히 분석해 보면 그가 단순히 꿈속의 환상에 도취되어 있는 것은 아님이 드러난다. 이러한 사실은 고통을 투쟁적 요소로 파악하는 붕괴된 유토피아의 사람들과 그것을 자신의 영혼을 정화하는 과정으로 받아들이는 주인공의 태도 차이가 극명하게 드러나는 ‘십자가형’의 모티브에서 더욱 분명해진다. 도스토예프스키가 주인공을 통해 전달하고자 했던 궁극적 메시지는 이렇듯 고통을 능동적으로 수용하고 그것을 통해 정화된 시각으로 세계와 타인들에 대한 본능적 신뢰를 회복하는 모습이었다. 또한 이것은 타인을 자신처럼 사랑하는 것이 이상 속의 유토피아의 문제점을 극복하고 그것을 지상에 구현하는 최소이자 최대의 방식이 될 수 있다는 주인공의 초이성적(超理性的) 깨달음의 요체이기도 한 것이었다. 진리의 겸허한 구현자로서 타인들의 비웃음까지도 포용하는 주인공의 최종적 모습은 러시아 문화 속의 유로지브이의 특성과 깊이 관련되어 있다. 이렇듯, 도스토예스키가 우인을 통해 보여 주고자 했던 것은 이상(理想) 세계로서의 유토피아의 허상을 극복하여 그것을 지상에 구현한 모습이었으므로, 합리와 이성에 근거한 논리적 사고가 아니라 꿈이라는 환상적 방식과 주인공의 열광적인 언어 스타일로 전달될 수밖에 없는 성질의 것이었다. 따라서 이러한 특성을 주인공의 유아론적 기질에 대한 패러디로 취급하는 기존의 비평적 시각에는 상당한 수정이 가해져야 할 것이다. The main goal of this paper is to pursue the main idea of 『The Dream of a Ridiculous Man』 of F. M. Dostoevsky which was expressed with a combination of fantastic dream and a peculiar type of main character, that is, a ridiculous man. Many critics has focused about this work on the problem of frail image of utopia of this work which, they consider, was created by a expansive delusion of ridiculous man. Thus, they are tended to consider this work as a parody forwarded to the shape of ridiculous man whose identity, they consider, is based on the elements of solipsism. But the close reading of this work reveals us many elements of realistic motivation which cannot be interpreted from the point of parody. Fantastic path of main character to the dream, much contrary to the general opinions, gives him the chance of restoring his humanistic mind which he lost on the earth. On the basis of recovered identity, he is not only enraptured over the shape of utopia which he encounters in the dream, but also shows analytical narrative with which he distinguishes himself from some blind images of that utopia. This is clearly expressed on the differency of attitudes toward pain between him and the people of utopia. Ridiculous man, who, to the contrary of the people of utopia, receives torturing as a process toward the purification of his own soul, thus finds possibility of overcoming the problems of frail elements of ideal utopia. The ultimate message which Dostoevsky wanted to express with the shape of ridiculous man was the possibility of recovering the ability of love to the people right close to oneself which ridiculous man recognizes after dream. Ridiculous man, who receives scorn and ridicule of other people with humility, thus changes his identity to that of holy fool of russian culture who endeavored to realize salvation on the earth. The super-rational character of idea of realizing ideal utopia on the earth with the tool of fundamental love to others cannot be easily understood from the point of rationalism. If we recognize that such a misunderstanding often evokes improper tendency of considering this work as a parody, such a critical attitude should be surely overcame for the right understanding of the theme of this work.

왜곡된 동심원의 비극

백준현(Baik Joon Hyeon) 한국노어노문학회 2003 노어노문학 Vol.15 No.2

The main goal of this paper is to examine the theme of 《The Possessed》of F. M. Dostoevsky on the basis of its structural unity. The unique structure of this long novel can be viewed as concentric circles on which the main character. Stavrogin, has a distorted influencing power on the rest characters of this novel. The ideological centrifugal forces, which Kirillov, Shatov and Pyotr have developed from Stavrogin, make problems for themselves. because Stavrogin has no balancing centripetal force which can control and guide them. That is, Stavrogin, who has already given his former ideologies up and resumes an attitude of indifference to life, has no sound centripetal force which they can expect from them. Such a structure of distorted concentric circles can also be applied to nearly all the relations between Stavrogin and the rest of the characters. The reason on which they feel mysterious attractions from Stavrogin is that they can recklessly and impulsively be attracted to any influence from outer world. without having their own fundamental view of life. Stavrogin, who sought ideologies which can only satisfy his own pride, is himself a symbol of such a world, where there is no truthful attitude to beliefs. Dostoevsky fulfills the unified structure of distorted concentric circles of this novel by the use of disoriented narrator and various kinds of techniques and symbolization. On the last pages of this novel we can see the image of Russia itself as a remedy which can cure the hollow spiritual state of people who lost the reliable centripetal force. The spiritual freedom of men. to which Russia and its god give fundamental importance, is regarded by Dostoevsky as a reliable centripetal force, because that supplies men at the same time with sound centrifugal force and thus enables them to get much more dynamic and truthful ideologies than the european rationality which represses the truth of men.

도스토예프스키의 『Скверный анекдот』 : ‘일화(逸話)를 통한 풍자’의 시학

백준현(Baik Joon Hyeon) 한국노어노문학회 2010 노어노문학 Vol.22 No.4

도스토예프스키의 『혐오스러운 일화(Скверный анекдот)』는 1861년 대개혁의 전야를 시간적 배경으로 하여, 개혁의 주체였으며 자신을 자유주의자라고 칭하는 한고위관리가 말단 부하직원의 결혼식 축하연에 참가해 벌이는 엽기적인 해프닝을 그리고 있다. 이 작품은 그동안 비교적 높은 평가를 받아 오지 못했는데 그 중요한 이유는 ‘일화(逸話, анекдот)’의 형식으로 형상화된 작품의 내용성이 여타 작품들에 비해 떨어진다는 일반적인 선입견 때문이었다. 그러나 이 작품의 본질은 바로 이러한 일화가 가지는 특수성을 파악할 때만이 충분히 이해될 수 있다. ‘실존인물의 숨겨진 속성을 밝혀주는 알려지지 않은 짧은 이야기’라는 일화의 원래 정체성이 풍자를 주목적으로 하는 창작 일화 개념이 되면서 이 작품은 당대의 사상가들에 대한 도스토예프스키의 비판 의식을 성공적으로 문학화할 수 있는 훌륭한 매개체가 되었다. 즉 도스토예프스키는 일반적인 폭로나 풍자 문학, 혹은 논설문이 가져올 수 있는 경직성을 극복하기 위해 ‘일화’라는 형식을 통해 당대의 자유주의 개혁가들과 좌파 지식인들을 비롯한 다양한 인간 군상들의 문제점들을 웃음 속에 풍자하고 있는 것이다. 그 결과로 이 작품은 논문이 가지는 논리성을 초월하여 짧은 문학적 공간에 더 극적인 방식으로 당대의 일면을 그려내는 효과를 달성했다. 이 점은 개혁의 주체이자 작품의 주인공인 프랄린스키(Пралинский)의 인도주의 사상의 취약성이 일화의 형식을 통해 극명하게 드러나는 것을 볼 때 알 수 있다. 그의 사이비 인도주의는 축하연에서의 해프닝을 통해 그 거짓 외피가 벗겨지고 자기중심적 사상과 권위주의적 태도로 물들어 있음이 폭로된다. 가난하고 불쌍한 하급관리와 인텔리 좌파 지식인 역시 이러한 해프닝 속에서 스스로 자신의 본 모습을 폭로해 버리는 우를 범한다. 이러한 사실들을 통해 알 수 있는 것은 당시의 자유주의자들이나 급진 좌파 지식인들의 ‘공허한 이론’에 대해 품었던 도스토예프스키의 비판 의식이다. 그는 이 작품에서 당대 사상들의 문제점을 추상적 관념이나 외적 형식의 차원이 아니라 조그마한 현실의 순간들을 통해서도 성공적으로 풍자해내었던 것이다. The main goal of this paper is to pursue the poetics of satire of 『A Nasty Anecdote』 of F. M. Dostoevsky. Many critics have regarded this story as a work for fun and a too plain expression of his political and ideological credo, and thus undervalued this work so far as a ‘failed work’. Short length of story which is compared with the ideological weights of his other works of that time and too short writing plan were also the causes of making a low estimate of this work. But the literary value and the peculiar elements of this work are closely related with the genre of this story, ‘anecdote’. Close reading of this work reveals to us many elements of artistic and well-balanced inner structure based on the poetics of anecdote the essence of which is amusement through keen satire. Pralinsky, main character of this work, represents one of high-ranking bureaucrats of the time of Great Reforms of 1861 whose shallow human qualities are concealed under their social and ideological ideas. The deceitfulness of his humanism is uncovered with his anecdote in a wedding party where he joins to show off his humanism and generosity. In this happening Dostoevsky discloses shallow human nature not only of Pralinsky but also of other social strata from low-ranking official to radical lefty intellectual in their own anecdotes in the party. With such a structural peculiarity of satire on the basis of anecdote Dostoevsky succeeds in clearly condensing various ideological problems of that time in a short literary space which could not be achieved through the forms of ordinary novel or article.

Tolstoy`s philosophy of history in ≪War and Peace≫

백준현 ( Joon Hyeon Baik ) 상명대학교 어문학연구소 2006 語文學硏究 Vol.19 No.-

In this paper I propose several ways of understanding ≪War and Peace≫ as a novel on history. As Tolstoy himself acknowledged, this novel is based on the war of 1812 between Napoleon and Russia which changed the "lives and fates" of many Russian people very abruptly. The main concern of L. N. Tolstoy in this novel was how to express the relations between historical events and people who are situated in the center of those events. In order to understand the process of history, Tolstoy points out in his novel, one must start non with the deeds of supposed great men, but with the integration of infinitely large numbers of actions of innumerable people, often fortuitous or independent of their own will, what he calls the ``diferential of history.`` In his conviction that man lives consciously for himself, but is an unconscious instrument in attaining the historical, universal aims of history, Tolstoy deflates the historical reputations of celebrated figures, such as Napoleon and Aleksander I. A deed done, Tolstoy contends, is irrevocable, and its results, coinciding in time with the actions of millions of people, assumes a historic importance. In his intuitive wisdom he realizes that all is controlled by an inexorable historical determinism that renders him obedient to tha natural law which presides over the lives of human beings no less than all the processes of nature itself.