조시마 장로의 형상에 나타난 정교 이콘화 특성의 연구

허선화 한국노어노문학회 2003 한국노어노문학회 학술대회 발표집 Vol.2003 No.9

도스토옙스키 창작을 통해 본 거부와 수용의 문제

허선화,최동규 한국노어노문학회 2013 노어노문학 Vol.25 No.4

이 논문은 도스토옙스키의 세 작품『지하생활자의 수기』,『미성년』,「온순한 여인」의 주인공들의 심리적 특성을 거부와 수용이라는 관점을 통해 고찰하고 있다. 수용과 거부에 대한 심리학적 이론이 분석에 유용한 도구로 활용되고 있다. 이 세 작품의 주인공들은 모두 고아 혹은 사생아로서 부모의 부재를 거부로 인식하는 공통점을 가진다. 그들이 가장 고통스러운 거부를 경험하는 곳은 그들을 조롱하고 비웃는 학교의 또래 집단 내에서이다. 어린 시절의 거부의 경험은 거부에 대한 민감성을 키워 그들로 하여금 인간관계와 사회로부터 스스로를 철회시키고, 각각 그들의 지하, 이상, 계획 속으로 숨어들도록 내적으로 추동한다. 주인공들이 지닌 낮은 자아상, 부정적인 감정들 또한 그들이 공유하는 거부의 경험이 빚어낸 심리적 특성들이다. 거부를 많이 당한 사람일수록 타인의 수용을 더 갈구하게 마련인데, 세 주인공들 역시 마찬가지다. 그러나 굳어진 그들의 부적응적인 성격적 특성 때문에 수용을 추구하는 그들의 행동은 도리어 타인의 거부를 불러일으키고 그 결과 거부의 악순환이 반복된다. 지하생활자와「온순한 여인」의 주인공은 리자와 아내로부터 이해와 사랑을 받지만, 그들의 수용에 긍정적으로 반응하지 못하고, 결국 그들을 거부함으로써 고립되고 단절된 그들의 심리적 감옥에서 탈출하는 데 실패한다. 오로지 『미성년』의 주인공 아르카지만은 그를 거부했던 아버지 베르실로프로부터 아들로 수용되고 베르실로프를 이해하고 있는 모습 그대로 수용함으로써 거부의 악순환에서 벗어나는 데 성공한다. 그것은 아르카지에게 부모를 대신하여 온정으로 그를 양육한 대리 양육자와 비록 그를 양육하지는 않았지만 그를 온전히 사랑한 어머니에 대한 기억이 있었기에 가능하다. 이 세 작품은 어린 시절의 거부 혹은 수용의 경험이 한 인간의 삶에 얼마나 결정적인 영향을 미치는지를 다각도로 조명해 주고 있다. The aim of this article is to examine the psychological characteristics of the heroes of F. M. Dostoevsky"s works, The Notes from the Underground, The Adolescent and A Gentle Creature in the aspect of acceptance and rejection. The heroes of these works are orphans and an illegitimate child, who recognize themselves as being rejected by their parents. They experience the severest rejection among their peers in school. The experience of rejection in their childhood nourishes hypersensitivity to rejection. As a result, they withdraw themselves from relationships with others and society into their underground ideas and plans. They share in a common low self-esteem and negative feelings as well. These three heroes desperately seek acceptance from others, but due to their fixed psychological schema the underground man and the hero of The Gentle Creature do not succeed in escaping from the vicious circle of rejection. Only Arkady, the hero of The Adolescent, is accepted by his father Versilov as a son and Arkady also accepts Versilov as he is despite his obvious defects. The reminiscence of a man who raised him with affection and his mother who loved him wholeheartedly makes it possible. It is demonstrated very effectively in these works that the experience of acceptance or rejection in one"s childhood plays a definite and vital role in his/her whole life.

연탄 직화구이의 유해대기오염물질 및 입자상물질 배출특성 연구

허선화,김종현,조명란,홍지형,강대일 한국도시환경학회 2016 한국도시환경학회지 Vol.16 No.2

정교회의 예술 이해에 관한 소고

허선화 한국러시아문학회 2000 러시아어문학 연구논집 Vol.8 No.-

도스토옙스키와 체홉: 병리적 불안을 중심으로

허선화 한국노어노문학회 2022 노어노문학 Vol.34 No.3

This article is an attempt to diagnose pathological anxiety described in the works of F. M. Dostoevsky and A. P. Chekhov. It aims to expose the similarities and the differences in two writers’ views on the problem of anxiety. The works to be analyzed are “A weak heart”, The Double, “The death of a clerk”, “The man in a case” and “The sixth ward”. The heroes of these works suffer from anxiety because of three main causes. They are anxious about losing their place in society, particularly in their work. Not knowing their real self, they feel uneasy about losing their ideal or obligatory self. Finally, they are harassed by anxiety about outer reality that is composed of the physical world and others’ eyes. They sense very acutely the potential danger in the outer reality. Vasha, Goliadkin, Cherviakov, Berikov and Gromov suffer from vague, unfounded, pathological anxiety and even persecution mania, and eventually go to mental hospitals or die abruptly. Dostoevsky does not decide clearly whether their anxiety is caused by a social hierarchy which is too rigid, or individual traits. Chekhov seems to focus more on abnormal psychology of every individual. While Dostoevsky arouses readers’ sympathy for those who are victimized by their own anxiety, Chekhov keeps his distance from them. However, both of them share their perception that anxiety is a fatal power which can completely break down a person, if it is not dealt with properly. 이 논문은 도스토옙스키와 체홉의 작품들에 나타난 병리적 불안의 원인과 양상을 살펴보고, 불안을 다루는 두 작가의 시각에 드러나는 유사점과 차이점을 규명하고자 하는 시도이다. 분석 대상이 되는 작품들은「약한 마음」,『분신』,「관리의 죽음」,「상자 속의 인간」,「6호 병동」이다. 소설 속에서 인물들이 병리적 불안에 시달리는 원인은 크게 셋으로 구분된다. 관료 세계를 비롯한 사회, 직장 내에서 자리의 상실로 인한 불안, 실제 자기를 포장해 온 거짓된 이상적 자기와 의무적 자기를 잃을지도 모른다는 불안, 그리고 위험으로 인식되는 물리적 세계와 타인의 시선으로 구성된 외부현실에 대한 불안이 그것이다. 소설의 주인공 바샤, 골랴드킨, 체르뱌코프, 베리코프, 그로모프는 이런 원인 때문에 막연하고 비합리적인 불안에 시달리다 박해 망상 증상까지 보여 결국 정신병원으로 가거나 갑작스럽게 죽음을 맞이한다. 그들의 불안이 위계질서가 지나치게 엄격하고 개인의 정체성이 불안정한 사회질서로 인한 것인지, 인물의 개인적 특성으로 인한 것인지 도스토옙스키는 분명히 결정하지 못한다. 반면, 체홉은 개인의 비정상적인 심리 자체에 주목한다. 도스토옙스키는 불안의 희생물이 되는 인물에 대해 연민을 불러일으키고, 체홉은 냉정한 거리를 유지하는 차이를 보이기도 한다. 그러나 본질적으로 불안을 바라보는 두 작가의 인식에는 별다른 차이가 없다. 그들은 모두 불안이 인간의 삶을 방해하는 큰 문제이며, 적절히 다루지 못할 때 인간을 완전히 붕괴시킬 수도 있는 강력한 파괴력을 가졌다는 인식을 공유한다. 두 작가는 묘사와 형상화를 통해 진단에 도움을 줄 뿐, 처방을 제시하지는 않는다.

고형연료제품 사용시설의 유해대기오염물질 배출특성

허선화,장기원,강대일,임승영,김대곤 한국대기환경학회 2017 한국대기환경학회 학술대회논문집 Vol.2017 No.11

톨스토이와 기독교 성·결혼 담론 - 「크로이체르 소나타」와 「악마」를 중심으로 -

허선화 한국슬라브․유라시아학회 2018 슬라브학보 Vol.33 No.4

The aim of this article is to compare the ideas of L. N. Tolstoy and the christian discourses on sexuality and marriage, focusing on “Kreutzer Sonata” and “The Devil”. After writing The Confession, Tolstoy expressed his negative and critical views on sexuality and marriage in a series of later works. He reinterpreted the teachings of the Gospels on sexuality and marriage in his own way and embodied his ideas in the words and behaviors of the heroes. In “Kreutzer Sonata” the hero Pozdnyshev sees marriage only as a legal institution, conceived to satisfy man’s sexual desires. He describes sexual desires as bad ones, for they hinder the realization of human ideals. The denial of sexual desires naturally leads to the denial of marriage. Dreaming of the complete annihilation of sexuality, he denies even the birth of children and the preservation of mankind. He insists that every human being has to pursue the ideal state, that is, virginity and chastity. Pozdnyshev’s ideas partially coincide with those of St. Augustin. St. Augustin considers sexual desires as necessary only to give birth to a child, therefore, they are to be restrained. He praises celibacy as being much better than marriage. However, he affirms marriage as God’s blessing. Especially the birth of children is tremendously important, for it reproduces humans who are to be saved. Tolstoy’s ideas, reflected in this novel, are nihilistic ones, eventually denying life. They differ from the christian discourses on sexuality and marriage which affirm and make a great account of life. In “The Devil”, using the words of the Gospel of Matthew as an epigraph, Tolstoy inquires deeply into the problem of adultery. In the Gospel of Matthew Jesus defines looking at women with lust as adultery. Generally it is accepted that men are inclined to be tempted sexually through the eyes. In this novel the hero Evgenii chases women with his eyes and starts to commit adultery in his heart. He has sexual intercourse with Stepanida before his marriage and quits the relations after marrying Liza. But meeting her again by chance, he is harassed by sexual temptation. He loses control of himself, looking at her continuously and fancying her sexually. He thinks it is Stepanida that tempts him and calls her the devil. He suffers from shame and guilt and ends his life by suicide. In this novel the theme of adultery or chastity in marriage is based on the Gospel text. Nevertheless, Tolstoy finally rejects the christian solution, repentance and forgiveness. Just as dealing with other problems, Tolstoy introduces christian discourses into his ideas on the problem of sexuality and marriage, but he departs from them in the end.

도스또예프스끼 창작에 나타난 미 인식의 문제 : 정교 미학과 연관하여

허선화 ( Sun Wha Huh ) 한국문학과종교학회 2006 문학과종교 Vol.11 No.2

고형연료제품 사용시설에 따른 다환방향족탄화수소 (PAHs)의 배출특성 및 유해성 평가

허선화(Sun-Hwa Heo),임승영(Seung-Young Lim),강대일(Dae-Il Kang),전기준(Ki-Joon Jeon),장기원(Kee-Won Jang) 한국대기환경학회 2017 한국대기환경학회지 Vol.33 No.4

도스또예프스끼 후기 소설 속의 수도원 공간

허선화(Huh Sun-Wha) 한국슬라브유라시아학회 2009 슬라브학보 Vol.24 No.2

This article aims at examining the kinship of the characteristics of the monastery spaces in the late novels of F. M. Dostoevsky and historical Russian monasticism. In those novels the semantics of a monastery space undergo a kind of evolution. From Crime and Punishment to The Devils monastery space is depicted somewhat negatively. A monastery is understood as a place of seclusion, where one may hide his own crime or flee from the blame or challenge of society. A monastery represents the space which is cut off from this world and fulfills only negative or passive functions. In The Devils is embodied for the first time the true nature of a monastery, as embracing the world with love and influencing it in a positive way thanks to the presence of Tikhon in the monastery. In The Adolescence a wilderness, an equivalent for a monastery, is also a place, totally cut off from the world. But this time seclusion is not itself an end, but rather an optimal condition for retreating from temptation and the chaos of this world, and seeking only God. In The Brothers Karamazov monastery space is closely connected with the Orthodox Church tradition and fully discloses its true nature. The monastery in this novel is modelled after Optina Pustin', which Dostoevsky himself visited and studied about. The most important characteristics common to both the monasteries is the presence of an elder, whom the common people love and revere ardently. Thanks to the presence of an elder who is venerated by the people as a saint, the monastery turns into a space which brings the world into itself, comforting and healing those souls who are exhausted and hurt by the world. Even though the monastery is a place, distinguished from the world in essence, it copies the world in some way; for example, jealousy and conflict in the monastery as only exposed openly after Zosima's death. It turns out that the physical space of a monastery itself does not guarantee any kind of holiness. Nevertheless, living in a community under the supervision of a spiritual leader, monks can more easily purify themselves from sins through confession and the Sacraments, Monastery has purifying power not only for those monks living in it but also for the world outside its walls. The power flows from prayer, practiced in silence and seclusion for the salvation of the world. The hero of the novel, Alesha, embodies the dynamic relationship between the monastery and the world. The monastery space, recognized by him as light by contrast with the world-darkness, loses its distinctive characteristics after Zosima's death. According to Zosima's order, he leaves the monastery to live in the world as a monk, realizing that the world is God's creation waiting in expectation of transformation, He is called to communicate with the world and to serve it, creating in his soul monastery-like space and thereby keeping himself from the influence of the world. He represents the so called "inner monks", personifying one aspect of the modem monastery movement.