유고슬라비즘의 헤테로토피아

조준래(Cho Jun Rae) 한국슬라브유라시아학회 2017 슬라브학보 Vol.32 No.1

The aim of this paper is to analyze the principal aspects of so called ʺPost-Yugoslav Metafictionʺ on the base of the heterotopic images described in postmodern writings by major post-Yugoslavian writers, Vladimir Arsenijević’s The Hold, David Albahari’s Bait, Vladimir Tasić’s The Farewell Gift, Saša Stanišić’s How the Soldier Repairs the Gramophone? and Aleksandar Hemon’s The Question of Bruno, Nowhere Man, The Lazarus Project. Being in succession to the legacy of the literary sources of former Yugoslavia, post‐Yugoslav metafictions reveal the constant existential, paradoxical problems and ideological dilemmas in which todayʹs Western Balkans are seen to be entangled, while reappropriating those as their literary materials. The writers of post‐Yugoslav metafictions describe the real face of the national imaginary in that area, and analyze the multilayered structure of the existential absurdity with focus on tribal nationalism, premodern ethos, provincialism through the literary method of self-alienation. Secondly, I inquired into the dialogic connection between the former Yugoslav writers and post‐Yugoslav writers of the younger generation. Through this categorization of writers of different generations according to their literary tendencies, I think it is possible to propose the new version of Yugoslav literary history. Thirdly, the study of the heterotopic images of these new writings helps us see the significance of the so-called ʺwriting of disasterʺ as an element of postmodern artistic devices. This new, non-Balkan, irregular artistic structure needs to be examined considering the political implication of the fact that post-Yugoslav literary works seem to function as a kind of counter-narratives against the traditional narratives that have often been appropriated as means of nationalistic propaganda. Conclusionally, I tried to analyse the positive connotation of the heterotopic images embodied in the avangardistic aspects of post-Yugoslav metafictions which are concerned with both the representation of reality and writers’ self-representation. Through this analysis we can draw a definite meaning of the heterotopic images of Yugoslavism proposed by those younger writers as an alternative to current political dilemmas from the fact that post-Yugoslav metafictions critically deal with both the external responses to the current affairs in the Western Balkan countries and the internal attitudes among the civil societies of that region.

외재화된 현실 : 바흐찐의 사상적 진화 연구

조준래(Jun Rae Cho) 한국외국어대학교 러시아연구소 2001 슬라브연구 Vol.17 No.1

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유고슬라비즘의 헤테로토피아

조준래(Cho, Jun Rae) 한국노어노문학회 2017 노어노문학 Vol.29 No.1

구 유고연방 출신의 대표적인 여성작가 두브라프카 우그레시치는 본격적인 망명 생활을 시작한 후 발표한 세 편의 메타픽션에서, 민족문학의 협소한 테두리를 탈피하는 세계문학에 관한 자신의 구상을 실천하고 정치적 민족주의의 부당성과 민족문학의 변화에 대한 새로운 시대적 요청을 환기시켰다. 우그레시치의 이런 기획은 유고슬라비즘의 정신적 유산에 기원하는 동시에 유고슬라비즘의 이념을 오늘날의 새로운 문제적 맥락에서 확장한 것이다. 유고연방 붕괴 후 씌어진 작가의 세 작품에서 명시적으로 반복해서 등장하고 있는 ‘헤테로토피아’의 은유는 유고슬라비즘에 대한 회상과 아픔의 장소이며 ‘잃어버린 대의’를 각인시키는 ‘기억의 장소’로 표현되어 있다. 우그레시치의 세 작품에 묘사된 헤테로토피아는 그중 첫 작품에 등장했던 ‘박물관’의 이미지를 기본 모델로 하여 그것의 잇따른 변이형인 ‘강의실’과 ‘지하실’, ‘휴양지’의 이미지로 표현된다. 우그레시치의 실험적 형식과 파격의 소설은 민족주의 프로파간다의 주요 채널로 자주 도용돼 온 전통적 서사에 대한 대안담론, 정치적으로 우파 민족주의 담론에 대한 저항담론으로서의 정치적 의미를 지닌다. 우그레시치의 메타픽션은 유고연방 해체 후 유고 시민 사회에 대한 성찰과 평가이다. 또한 특정한 국민국가의 테두리에 제한되지 않는 세계 시민을 상상하고 가시화했다는 점을 공통적인 특징으로 한다. Dubravka Ugrešić, the most representative woman writer of (Ex) Yugoslavia strongly expressed the hope of ‘World Literature’ that transcends the narrow boundaries of national literatures in her three major metafictional novels, written and published during her exiles, The Museum of Unconditional Surrender, The Ministry of Pain, Baba Yaga Laid an Egg. By doing so she called attention to her own political stance against nationalistic ideas that have been proliferating throughout the post-Yugoslav western Balkan countries. Her literary project of that kind has origin in the cultural legacy of Yugoslavism and is also the literary elaboration of its idea in the context of today’s world literary scene. The metaphors of heterotopia have been consistently used in order to imprint both the memory of Ex-Yugoslavia and the pain of its disintegration on the readers’ minds. They also function as a simbolic landmark for so-called ‘Lost Causes’. The heterotopic images are described through the spatial tropes of museum, lecture room, basement and resort in the three major metafictional novels by Ugrešić. Besides visualizing cosmopolitan citizenship as an ideal role model for post-Yugoslav nations, her literary works bring to mind an alternative voice of interpretation of the history of Ex-Yugoslavia and a counter-narrative to the dominant nationalistic discourses in the post-Yugoslav western Balkan countries through their experimental, unusual forms of narrative. Her metafictional novels deserve to be valued as a detailed review and a post-feminist assessment of civil societies of the western Balkan countries.

‘언어창작의 미학(Эстетика словесного творчества)’과 문화철학

조준래(Cho, Jun Rae) 아시아·중동부유럽학회 2005 동유럽발칸학 Vol.7 No.1

It would be very interesting to note that M. M. Bakhtin as a famous russian philosopher expressed his own theory of verbal art as ‘aesthetics of verbal creation’, but not as ‘poetics’ or simply as ‘literary theory’. By having given that attribution, he intended to go forward to the new establishment of general philosophical aesthetics, keeping away from already established aesthetic, pseudo-scientific traditions, which attempt to reach genetic abstraction of literary phenomena. More concretely, Bakhtin's cultural, philosophical method, which was used in his criticism, aims to verify truthfulness and to correct fallacies of precedent aesthetic theories. We can see that in『Author and Hero in aesthetic activity』, which is suspected to have been written in the early 1920s, Bakhtin tries to point out most distinctive features of his theory in several respects, and at the same time, that he sets a high value on the researcher's ability to grasp the meaning of interrelation between author and hero. Besides, in that work Bakhtin gives several principal and general definitions concerning the correlation of author and hero as one of the coefficient moments in artistic wholeness. Those attempts keep recurring in subsequent chapters, in which are given very precious explanations of several deviations of the principle of the relation of author and hero. Finally, it should be noted that Bakhtin's ‘aesthetics of verbal creation’ would serve as a kind of matrix of his future aesthetic theories such as dialogism and carnival theory. 20세기의 러시아의 대표적인 철학자 바흐찐은 자신의 언어 예술 이론을 ‘문학’, 또는 ‘시학’이라고 지칭하지 않고, ‘언어창작의 미학’이라고 표현하고 있다. 이 언어창작의 미학에서 바흐찐은 기존의 미학적 사유를 수용하지 않으면서, 자신의 미학이론이 문학사의 사이비과학적인 발생학적 보편화를 버리고 일반적인 철학 미학으로 나아갈 것임을 분명히 밝히고 있다. 구체적으로 그의 방법론은 철학 미학을 지향하면서, 전통적인 미학적 방법론의 진실성과 타당성 을 검증하고, 오류가 발견될 때마다 수정해 나가는 그런 작업을 노정하고 있다. 1920년대의 초기저작 『미적 활동을 하는 저자와 주인공』전반에 걸쳐 그는 자신이 새로 정립하기 시작한 철학적 미학인 ‘언어 창작의 미학’이 기존의 일반미학과 어떤 점에서 차별되는가를 지적하면서, 그 주된 차이가 저자와 주인공간의 관계를 예술가가 얼마만큼 정확하게 파악하고 있는가하는 문제와 연관되어 있음을 밝혀내고 있다. 이에 해당 저작의 첫 장에서 바흐찐은 예술적 전체인 작품의 상관적인 계기들인 저자와 주인공에 대하여 원칙적이고 보편적인 정의를 내리고, 이후의 장들에서 그들의 원칙적인 상호 관계로부터 분화된 변이형들을 제시하고 있다. 아울러 이 ‘언어창작의 미학’의 추가적 중요성은, 그것이 대화주의 미학, 카니발 미학 등 바흐찐의 이후의 미학 체계를 탄생시키는 모반(matrix)으로 작용하면서 바흐찐의 사유 전체에 대한 이해에 본질적인 역할을 한다는 점에 있다.

구(舊) 유고권 현대 문화와‘유고-노스탤지어’

조준래(Cho, Jun Rae) 한국노어노문학회 2014 노어노문학 Vol.26 No.3

현대 크로아티아 여성문학의 대표 작가인 슬라벤카 드라쿨리치와 두브라프카 우그레시치는 여성의 사회적 불평등에 대한 주장 등 협소한 페미니즘의 틀에 갇혀 있지 않고 ‘단독성’, ‘개인’의 이미지로 표현되는 여성 주체를 집단적, 권위주의적, 전체주의 사회에 저항하는 민주주의적 목소리의 메타포로 사용한다. 내전으로 인해 분열된 옛 유고슬라비아를 문학적으로 재구성하려는 드라쿨리치, 우그레시치의 ‘유고-노스탤지어’ 프로젝트는 단순히 공산주의 정치 아래의 구체제에 대한 동경이 아니라, 민족주의 호전론자들이 요구하는 민족주의적 분열을 비공식적인 연대와 우정의 감정으로 해체하려는 시도이다. 두 크로아티아 여성주의 작가들의 작품은 소재(유고연방의 해체와 유고 내전, 망명과 난민생활)와 크로노토프(강제수용소, 박물관, 망명지)의 선정에서도 민족주의 문학담론과는 뚜렷이 구별되는 특징을 지닌다. 이 두 여성주의 작가들의 작품은 발칸 지역 고유의 가부장문화에 대한 의도적 반발과, 권력과 위계의 전복에 대한 욕망의 은유로도 읽을 수 있다. 이들은 전통적으로 구 유고 사회에서 남성에 비해 열등한 지위에 놓여왔던 여성의 자리를 사회적 소수자(전쟁 범죄의 피해자, 망명자)와 동일시하고 젠더의 문제를 인종, 민족 등 정치적 문제와 접합하는 태도를 드러낸다. 이들이 표현하는 ‘유고-노스탤지어’ 담론을, 구 유고사회에 대한 단순한 향수로 환원할 수 없는 이유는 그것이 과거 역사와 현재의 사회적 상황 사이에 게재하는 존재론적 틈의 외현이기 때문이다. In their literary works two representative writers of contemporary Croatian feminist literature, Slavenka Drakuli? and Dubravka Ugre?i? have expressed feminine subject"s singularity and individuality as a metaphor of democratic voice of an opposition against all collective, authoritarian, totalitarian societies, not being limited to traditional feminist issues such as an elimination of social discrimination against women. Their so-called "Yugonostalgic project", an attempt to reconstruct the country of ex-Yugoslavia which was torn by severe civil war is not so much a yearning for the past times under communist rule as a struggle for dissolving the barriers between brother nations founded by nationalistic warmongers therein. Both those writers" literary works have distinguished characteristics from the nationalist literary discourse in motives (the experiences of the break-up of Yugoslavia and civil war, the life of exiles and refugees) as well as in chronotopes (the camp, museum, the place of exile), which allows readers to interpret their works as an expression of resistance to a patriarchal culture of the Western Balkans and desire of the subversion of the male-dominated hierarchy. These writers show us the definition of woman"s place through the literary figures of the minorities (victims of war crimes, exiles and refugees) and at the same time their own intention to articulate issues of gender in relation to political ones (i.e. ethnic, national). The "Yugonostalgic" discourse of these writers transcends the mere nostalgia for the ex-Yugoslav memories. It is a kind of epiphany of gap between the past history and the current condition of civil society.

노스탤지어와 문학 서사

조준래(Jun Rae Cho) 한국슬라브유라시아학회 2015 슬라브학보 Vol.30 No.1

This paper examines the specificities in theme, content, literary form and style of two types of nostalgic discourses, i.e. restorative nostalgia and reflective nostalgia in contemporary ex-Yugoslav literary prose writings. In chapter two of this paper was analysed the structure of the nationalist discourses expressed in the works of major contemporary serbian writers(Dobrica ?osi?, Vuk Dra?kovi?, Milorad Pavi?). And chapter three consists of examinations of postnationalist discourses in young post-Yugoslav slovene, croatian, bosnian writers. As the experimental literary works, those post-Yugoslav writings reveal historical self-consciousness and self-reflectivity through their innovative, heterogeneous forms. This group of writings of new generation represents the alternative possibilities that are opposed to the culture of aggressive masculinity, militant patriotism, national myths in ex-Yugoslav nationalism. The ex-Yugoslav motifs that make readers reminisce about the socialist past in the works of post-Yugoslav young writers symbolize the zeal for the resurrection of the transnationalist, cosmopolitan Yugoslav experiences. Also, proposing the ideal close to "Lost Cause", this reflective nostalgia project of post-Yugoslav young writers functions as a kind of an evidence of the present difficult circumstances, in which are situated the civil societies of national republics of disintegrated ex-Yugoslavia.

크로노토프 분석을 통한 구(舊) 유고권(세르비아, 크로아티아, 슬로베니아, 보스니아) 모더니즘 소설의 원심력과 구심력 연구

조준래(Cho Jun Rae) 한국노어노문학회 2011 노어노문학 Vol.23 No.2

크로노토프와 주제의 측면에서 구 유고권 사실주의 문학의 유산을 계승하면서도, 그것과 현격히 대비되는 구 유고권 모더니즘 문학의 특정은 지역 전통문화와 전통사회의 가치관에 대한 재해석이다. 모더니즘 소설가들은 작품 속에서 지역 특유의 토속적 관습과 커뮤니케이션 방식을 표면화한다는 점에서는 사실주의 작가들과 연계성을 지니지만(구심성), 사회현상의 표층 아래 있는 심층적 차원을 담론 화한다는 점에서 탈사실주의적 특징(원심성)을 노출한다. 이런 원심성이 가장 극명하게 표출되는 지점이 전통사회의 하위주체, 특히 여성에 대한 심리주의적 문학담론이다. 예술적 스타일의 다양성에도 불구하고 구 유고권 모더니즘 작가들의 공통점은, 근대초기에 새로이 대두된 전통사회의 위기와 균열을 가족 담론과 여성 담론을 통해서 공론화하고 있다는 점이다. 따라서 사실주의 문학에서 쓰였던 통일한 크로노토프 모티프가 모더니즘 문학에서는 다른 의미의 크로노토프 모티프로 변형되며, 그 대표적인 예가 구 유고권 모더니즘 작가들의 여성담론과 가족담론에서 부정적인 크로노토프 모티프로 기능하는 전통적인 가부장적 공간인 ‘집(ku?a)’이다. The major point of difference between ex-Yugoslav realist prose and its modernist counterpart consists in the latter’s reconsideration of the local traditional culture and social valuation therein in the western Balkan. While the ex-Yugoslav modernists show nearly similar characteristics with their former prose writers in the fact that both of them embodied local folkloric habits and its peculiar manners of communication between men and women, they reveal the great distinction from realist writers through making disclosed the depth level of their traditional societies, in which until then have been hidden such problems as the low position of women in society and inter-familial violence against women. Despite the diversities of the artistic styles, the common characteristics among the ex-Yugoslav modernist prose writers are to be found in their ideological approach to the cultural crisis and rupture in the new century of modernity by means of family dicourse, feminine discourse, and literary psychologism. In this context this paper analyses the chronotope motif of ‘ku?a’ that is same in shape but different in implication and that functions as important narrative symbol with the negative and positive senses both in realist and modernist proses in ex-Yugoslav literature.

브이곳스끼의 예술심리학에서 카타르시스의 개념

조준래(Cho Jun-rae) 한국슬라브유라시아학회 2006 슬라브학보 Vol.21 No.1

This paper aims to analyze the concept of catharsis which is to be considered as one of the most important ways to understand the core of artistic psychology by a Russian psychologist and aesthetic ian Lev Semenovich Vygotsky(1896-1934), the works of whom have been esteemed as predecessors of major Russian literary theories (including narratology and semiotics). It is a pity that there have been not very much attempts to study his major work, which is devoted to the study of psychological mechanisms produced by an artistic work. But without the making of a thorough study of his aesthetic thoughts, we always have to reach an incomplete understanding of his other later theories about education and linguistic philosophy. The subject of his theory of artistic psychology can be summarized as followings: the conceptualization of mechanisms of an art work through the psychological terms, and the analysis of the recipient's mind in relation to an art work, and the function of the structure of an artistic text as an stimulus to the recipient's emotion, and finally, the analysis of the concept of catharsis as the core of so called 'aestho-psychology', which attempts to synthesize methods of aesthetics, sociology, psychology. It is not difficult to find in Vygotsky's writings the great influence of his precedent and contemporary theorists and schools including Russian formalists, and reflexologists, and other psychologists. It is very natural that those philosophical influences comprise the context of Vygotsky's writings. But his scientific endeavor cannot be reduced to the repetition of the preceding researches. Indeed, it is possible to find that he get over them in his thoughts, and moreover, that he launches his new scientific ideas. Therefore, this paper examines thoroughly in each chapter several main points of Vygotsky's theory of aesthetic psychology(the meaning of three major aesthetic categories of form, content and catharsis, the mechanism of an artistic text, and such psychological terms as reaction, the principle of emotion, an aesthetic reaction, theories of fable, novella, tragedy), and at the same time, the trace of influence from other adjacent theories in his writings.

수소 연료전지 파워팩 열관리 시스템(수냉식)의 1D 시뮬레이션 모델 구축

조준래(Cho jun rae),김은수(Kim eun su),최동현(Choi dong hyun),강지훈(Gang ji hun) 한국자동차공학회 2023 한국자동차공학회 부문종합 학술대회 Vol.2023 No.5

「주인공 없는 서사시」에 나타난 예술적 책임의 문제

조준래(Cho Jun-rae) 한국외국어대학교 외국문학연구소 2005 외국문학연구 Vol.- No.20

This paper aims to analyse one of the most complicated works of Twentieth century's Russian literature, Poem without a Hero written by Anna Akhmatova, the representative poetess of soviet era. Hitherto, many studies devoted to Poems without a Hero have centered exclusively on outer layers of the work, such as the formal novice and intertextuality of many different cultural codes. But it is a pity that those endeavors has not contributed much to the understanding of the ultimate message, which lies behind the formal devices, but at the same time, which the author intends to convey through them. Actually, we cannot but agree to the opinion that it is not easy for us to find behind the labyrinth of complicated structure that some traditional motives and themes comprise the core of Poem without a Hero, that is, the discipline of poetic justice or the theme of artistic answerability. The factors that comprise those problems are to be found in fluidity of author's position and role, in the different styles that he uses, in the various citations, reminiscences, and allusions, which lead us readers to the deeper layers of cultural context. But the theme of artistic answerability is not an end in itself. Rather, it functions as the important key to the enigmatic structure of the work because it is connected with the most essential problems of hero's presence in the work along with the author-poet's personal psychology, and her distinctive historical view, the elements of which can be seen in the other Acmeist poets(Mandelstam, Gumilev). And finally, the theme of artistic answerability helps understanding the duality of the work, which possesses ‘createdness’ and ‘spontaneousness’ at the same time. We can conclude that the dual hypostasis of this poem is the result of the author's own humble submission to the chorus, that is, obeying to the others' voices(the metonymy of the Russian people, the so-called ‘Russkij narod’).