『우리 시대의 영웅』과 『지하로부터의 수기』 간의 상호텍스트성 연구: 페초린의 패러디로서 지하인

홍대화 ( Daehwa Hong ) 한국외국어대학교 러시아연구소 2015 슬라브연구 Vol.31 No.4

본 논문은 『우리 시대의 영웅』의 패러디의 관점에서 『지하로부터의 수기』를 분석하고 있다. 우선 『지하로부터의 수기』는 작품 전체의 각주에서 작품의 허구성을 확인하고 시대의 주인공을 제시하고자 하는 목적을 밝히고 있으며, 새로운 이야기로 넘어가기 직전에 주인공들의 고백의 진실성을 독자들에게 인식시키기 위해 루소의 『고백록』을 언급하고 있다는 점에서 『우리 시대의 영웅』을 패러디한다. 지하인은 ‘악인’과 ‘미신’의 코드, 낭만주의적 우월감과 소외의식, 부정과 회 의의 모티브, 낭만주의적 갈등 등을 계승하고 지배와 복종의 관계로서의 우정과 사랑에 대한 이해, 여인의 마음을 얻기 위한 연극적 언행, 그 연극이 한계에 도달했을 때 터뜨리는 통곡 등에서 페초린적 모습을 보여준다. 다만 지하인은 페초린이 지닌 낭만주의적 아우라를 지니지 않는다. 그는 철저히 사회적으로 짓밟힌 약자로서 포프리신과 아카키 아카키예비치, 제부쉬킨의 후예이 기도 하기 때문이다. 페초린이 타인의 삶을 심판하는 망나니의 역할을 한다면, 지하인은 그의 삶의 현주소를 적나라하게 폭로하는 자신의 망나니 하인 아폴론의 멸시를 감내하며 살아야 한다.지하인은 20대 때 자신의 것으로 내면화한 낭만주의적 세계관과 주인공의 형상을 모방하여 회의와 의심, 부정, 우월감과 소외를 겪으면서 그것을 자신의 지하 세계로 가지고 들어가 악의를 품고 세상에 대한 전의를 불태운다. 그는 모든 아름답고 고원한 이상의 관점에서 주변세계를 거부하고 조롱하며 자신의 변덕스런 의지를 실천하다가 추악한 행동을 하는 데 빠져들고 거기서 쾌감을 느낀다. 목적 없는 비이성적 욕구에 따른 자신의 행동을 보면서 그는 인간은 유익과 이성, 과학적 법칙에 대한 깨달음에 따라 계몽될 수 있는 존재가 아니라, 어리석은 변덕과 독단적인 자유의지대로 살기를 선택하는 배은망덕한 존재라고 강변한다. 지하인은 1860년대에 대두된 합리적이기주의를 반박하기 위한 논변을 자신이 모방하고 실천한 낭만주의, 그 중에서도 레르몬토프의 악마적인 낭만주의로부터 끌어오고 있다. 지하인은 낭만주의이든, 새로운 사조인 계몽적 합리주의이든 모든 것이 책으로부터 온 것이며, 모두가 책을 모방하면서 살려고 하기에 삶으로부터 유리되어 있다고 비판한다. 도스토옙스키는 레르몬토프가 발견한 동시대 귀족 인텔리의 문제점, ‘고독, 소외, 권태, 사랑을 받기만 하려는 자기중심적 욕망, 타인에 대한 지배욕구, 짓밟고 파괴하는 데서 느끼는 쾌감, 끊임없는 의심과 부정, 자기비하가 담긴 자기성찰, 지루함을 이기기 위한 방편으로 삶을 문학처럼 창작해내려는 ‘연극성’ 등을 인공적인 근대 도시 페테르부르크를 살아가는 ‘현대인’의 문제점으로 파악하고, 그 현대인에게 사회적 약자로서의 환경을 부여함으로써 뒤집어진 영웅(анти-герой)의 일그러진 ‘의식’과 ‘자의식’을 파헤치고 있다. 이 페초린적 낭만주의적 형상은 이후 도스토옙스키에게서 다양하게 변주된다. 스비드리가일로프, 스타브로긴, 로고진, 드미트리 카라마조프로 이어지는 선과 악 사이에서 갈등하는 인물들이 그 후신들인데, 이들은 지하인과 마찬가지로 그리스도와의 만남이 필요한 ‘악인’들이다. 그뿐 아니라 지하인은 ‘비범인의 사상’을 주창하고 그 이념에 의거해 살아가는 이념의 주인공들, 라스콜리니코프, 표트르 베르호벤스키, 이반 카라마조프, 입폴리트, 키릴로프 등의 전신이기도 하다. 그 이유는 지하인 자신도자신이 습득한 낭만주의 세계관에 매몰되어 그 이데올로기에 따라 살아가고자 하는 ‘이념’의 사람이기에 그러하다. This paper analyzes “Notes From Underground” as a parody of “A Hero of Our Time”. First, “Notes From Underground” parodies “A Hero of Our Time” in that the author states in footnote to “Notes From Underground” that the work is fiction and that its purpose is to propose a protagonist of our time and the underground man mentions Rousseau`s “Confession” in order to impress the sincerity of the protagonists` confessions upon the readers. The Underground man shows Pechorin characteristics through the codes of ‘evil person’ and ‘superstitions’, romanticist feelings of superiority and alienation, motifs of negation and skepticism, the succession of romanticist conflicts, an understanding of love and friendship as a dominating and dominated relationship, theatric words in order to gain a woman`s heart, and the wail that erupts when the theatric act has reached its limits. However, the underground man does not have the romanticist aura that Pechorin has. This is because he is also the successor of Poprishchin, Akaky Akakievich, and Devushkin, the weak that have been oppressed by society. If Pechorin was an executioner that judged other people`s lives, then the underground man has to endure the contempt of his servant Apollon who acts as his executioner by exposing his true life. The underground man undergoes skepticism, doubt, negation, and feelings of superiority and alienation as he mimics the romanticistic world and protagonists that he has made his own in his twenties, takes these feelings into his underground world, and reinforces his will to fight with an evil intent. He first rejects and ridicules the world around him from a perspective of all things beautiful and ideal and acts upon his fluctuating will. Then he is drawn into doing hideous acts and begins to feel pleasure from doing so. By looking at his actions that result from his purposeless, nonideal desire, he states that humans are not beings that can be enlightened by instruction, rational thought, and understanding of scientific laws, but ungrateful beings that choose to live according to foolish whims and an arbritrary free will. The underground man derives his argument against the concept of rational egoism that came to th fore in the 1860s from his own mimicked actions of romanticism, in particular Lermontov`s demonic romanticism. The underground man criticizes that whether it is romanticism or the new trend of thought, rational enlightenment, all such things are detached from life because they are all from books and they try to live by mimicking such books. Dostoevsky identifies the problems that Lermontov discovered in the aristocratic intellectuals of the same time, ‘loneliness, alienation, boredom, self-centered desire to only receive love, the wish to dominate others, pleasure derived from destroying, endless doubt and uncertainty, a self-ridiculing self-reflection, theatric tendencies to act as though in a protagonist in a literary work in order to overcome the boredom as the same problems found in modern men living in the artificial modern city of Petersburg and by bestowing upon the modern man the environment of the socially disadvantaged, examines the consciousness and self-consciousness of anti-hero. The Pechorinisitic romantic protagonist is changed in many ways by Dostoevsky. Characters that struggle between good and evil, Raskolnikov, Stavrogina, Rogozhin, and Dmitri Karamazov can be seen as the later versions. These are as the underground man was ‘evil men’ that needed to meet Christ. Not only this, but the underground man is also the predecessor of characters of ideology that propound ‘the extraordinary man`s way of thought’ and live according to such an ideology, Raskolnikov, Peter, Verkhovensky, Ivan Karamazov, Kirillov. This is because the underground man is a man of ideology that is buried in his romanticist world view and experiments on it.

《지하로부터의 수기》에 나타난 도스토예프스키의 '지하철학'

권철근(Kwon Chol Kun) 한국노어노문학회 2005 노어노문학 Vol.17 No.3

It has often been pointed out that Notes from the Underground represents an attack on the views of radical utilitarian thinker Chernyshevsky and a response to his novel What Is to Be Done. In this respect, comparatively little attention has been devoted to the fact that Notes from the Underground reveals human psychology as well. A close examination of the text shows that Notes from the Underground has perhaps the most complex narrational structure of all Dostoevsky's works. Part One, told from the point of view of the older Underground Man, is straightforward. Part Two, however, works on several narrational planes at the same time, relating the ideas and feeling of Underground Man sixteen years ago, as they are remembered by a now much older narrator about his present and past selves. As a result of this narrative situation a significant ironic distance is established between the Underground Man's younger and older selves. This ironic distance is especially important because it is the author's most effective means of bringing out the differences between the experiencing and narrating personae on which the Underground Man's possibility for self-deception is based. This is the reason why both the philosophy and the psychology of Underground Man are in detail studied. The reason that the Underground Man is created not only as an underground philosopher, but as a man of complex psychology is to make a considerable point of human nature, which is irrational. The Underground Man deceives even himself by the various devices, rationalization, exaggeration, and daydreaming, for instance. In lying to himself and listening to his own lies, the Underground Man embroils himself in endless contradictions. He no longer respects himself or others and is completely incapable of love. He has indeed become preoccupied with coarse pleasures and vices. He is easily offended - all because of his self-deception. An awareness of the Underground Man's psychology, together with his philosophy, emphasizes the significance of the work both as a masterful psychological portrait and as a philosophical manifesto against the radical utilitarian thinkers.

『지하로부터의 수기』 연구

권철근(Kwon, Chol-kun) 한국외국어대학교 외국문학연구소 2006 외국문학연구 Vol.- No.22

Notes from the Underground is a key work in which Dostoevsky develops the main themes of his great novels. These themes may be broadly stated as criticism of the idea that society can be reorganized on a permanently happy basis by means of reason. The Underground Man occupies a transitional position in Dostoevsky's works. He represents in part the continuation of the theme of "little man" and represents as well the beginning of Dostoevsky's critical examination of the anti-hero and social apostate. In other word, it is in the Underground Man that the timid rebellion of Makar Devushkin takes on the destructive character that the author will condemn in Raskolnikov. In Crime and Punishment and subsequent works the theme of anti-hero and social apostate is separated from the theme of "little man". Instead, "spirits endowed with intellect and will" introduce moral chaos and destruction into society, just as "reason" lead Raskolnikov, Stavrogin, and Versilov to moral disaster, which means that reason alone provides no foundation for behaviour. This idea is first developed in Notes from the Underground. The central fact of rationalism is its inevitable violation of the individual. This idea is illustrated by the tragic drama of Ivan Karamazov. The Legend of the Grand Inquisitor is the intellectual fruit of the last and greatest anti-hero. The Underground Man's rejection of the rationalists' "crystal palace" world harmony is related to Ivan's rejection of God's world. The Underground Man rejects the world harmony of the rationalists because it is based on ignoring and negation of suffering. Ivan with "Euclidian reason" cannot accept the world harmony that is based upon tears and suffering of children. He cannot accept the world that is not justified by reason. Thus, both the anti-rationalist Underground Man and the rationalist Ivan arrive at the same conclusion - the conclusion of uncompromising idealists. Pessimism and despair about the fate of man unite the Underground Man and Ivan. But the despair that leads the Underground Man to the idea of never-ending rebellion of the individual against any and all encroachment on his freedom evokes Ivan's creation of The Legend of the Grand Inquisitor.

『지하로부터의 수기』와 『황야의 이리』에 나타난 호모 파티엔스 연구

조혜경 한국노어노문학회 2024 노어노문학 Vol.36 No.2

본 논문은 도스토옙스키의 소설『지하로부터의 수기 』와 헤르만 헤세의 소설『황야의 이리 』에 나타난 주인공들의 고통의 양상을 비교하는 것을 그 목적으로 한다. 지하인과 하리 할러의 고통은 그들의 분열된 자아에 기인한다. 그들은 자아정체성의 혼돈 속에서 고통스런 삶을 살아간다. 지하인은 ‘다중적 정체성’을 지녔으나 그것을 수용하지 못하고 자신을 타인과의 관계에서 지배자로 규정하고 자신이 받은 모욕과 고통을 타인에게 갚아주려 시도하지만 성공하지 못한다. 지하인의 고통은 다중적인 자아를 수용하지 못한 결과일 뿐만 아니라 타인과 자신을 구별 짓기 위한 노력의 과정에서 비롯된 것이다. 반면에 하리 할러는 지하인과 달리 자신 안에 존재하는 인간적인 속성과 이리적인 속성과 더불어 또 다른 속성들을 타인과의 상호작용을 통해 깨닫고 그것을 수용한다. 뿐만 아니라 그는 주변인과 불멸의 예술가들을 통해 유머를 배우는데, 유머는 서로 대립되는 것들의 조화와 화합을 가능하게 하는 요소로 작용한다. 결론적으로 지하인에게 고통은 타인과의 구별 짓기를 강화하는 요인으로 작용하였다면, 하리 할러에게 고통은 자아에 대한 이해의 지평을 확장함과 동시에 타인과의 경계를 허물고 그들에게 다가서는 계기가 되었다고말할 수 있다. The purpose of this paper is to compare the aspects of suffering of the main characters in Dostoevsky's novel『Notes from Underground』and Herman Hesse's novel『The SteppenWolf』. The suffering of the Underground Man and Harry Haller is due to their divided selves. They live painful lives in confusion of self-identity. The underground person has ‘multiple identities’, but is unable to accept them and defines himself as a ruler in relationships with others, and attempts to repay others for the insults and pain he has received, but is unsuccessful. So, the suffering of underground people not only comes from not being able to accept multiple selves, but also from the process of trying to distinguish oneself from others. On the other hand, unlike the underground man, Harry Haller realizes and accepts the human and rational attributes that exist within him as well as other attributes through interactions with others. In addition, he learns humor through people around him and immortal artists, and humor acts as an element that makes harmony and harmony between opposing things possible. If for underground people, pain acted as a factor that strengthened the distinction from others, for Harry Haller, pain could be said to expand the horizon of understanding of self and at the same time serve as an opportunity to break down the boundaries with others and approach them.

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.

탐정과 도시공간 - 『염마』에 나타난 미로(迷路), 고도(高度), 지하(地下)와 탐색의 플롯

유인혁 구보학회 2017 구보학보 Vol.0 No.16

This article aims to analyze Chae, Man-sik’s detective story The Charming Demon from the perspective of urban spatiality. During the colonial period, detective stories including The Charming Demon were considered as having insufficient quality. In Colonial Joseon, where the modern civilization was not fully established, the form of detective stories was adopted, but it was recognized that the achievement was minimal. Also, the depiction of the urban space of The Charming Demon was perceived as representation of Western cities rather than the Gyeong-seong itself. This essay attempts to criticize these previous studies in two perspectives. First of all, this study suggests that Chae uses the form of urban space to create actions of detecting. In other words, three symbolic forms of unban space namely maze, high altitude, and underground will be discovered as the key-points of plot making. Secondly, this essay identifies the historical contexts of the spatial settings. In The Charming Demon, the spatial setting of most dramatic scenes is set in the places where the deconstruction of modernization is profoundly taken place. By reading these clues, this study will show the fact that the represented city in The Charming Demon is not merely an imagined phantasm, but a space of real historical memories. 이 글은 채만식의 탐정소설 『염마』를 도시공간의 형태에 기초해 분석했다. 지금까지 『염마』를 비롯한 식민지시기 탐정소설은 충분히 성숙하지 못한 것으로평가되었다. 즉 근대성이 성립되지 못한 당대 조선에서, 탐정소설의 형식은 수입했으나 그 성취가 미약했던 것으로 인식되었다. 또한 『염마』가 그리고 있는 경성의 모습은 해외 탐정소설에 나타나는 도시를 모방한 것으로 실제라기보다는상상적 이미지로 인식되었다. 이 글은 이러한 선행연구를 두 가지 차원에서 반성하고자 했다. 우선 채만식이 근대적 도시공간의 형태를 활용해 탐정의 행동을 연출하고 있음을 보이고자했다. 즉 미로와 고도, 지하라는 세 가지 형태를 통해 탐정의 조사를 요구하거나, 조력하고, 혹은 방해하는 모습을 찾아내어 분석했다. 다른 한편으로는 『염마』에 등장하고 있는 주요한 장소들의 근대적 맥락을 확인했다. 채만식은 경성에서 근대적 변화가 가장 첨예하게 이루어졌던 곳을 서사의 주요 무대로 삼았다. 이를 읽어냄으로써, 『염마』가 다루는 도시가 다만 환상이 아니라 실제 역사적 기억과 원망이 담겨있는 공간임을 드러내겠다.

만보산 사건과 조선인 사회주의자들의 중국 인식

윤상원(Yun Sangwon) 한국사연구회 2012 한국사연구 Vol.156 No.-

This thesis analyzes the Koreans’ perception of China around the time when the Wanbaoshan Incident (Man-bo-san Sah-gun) took place, especially focusing on the socialists’ point of view. After the Wanbaoshan Incident, Koreans who were enraged by the event carried out a series of attacks on Chinese residents in cities like Kyungsung, Pyeongyang and Incheon. The Japanese police at that time placed socialists who inhabited Kyungsung in preventive custody. Consequently, the socialists weren’t able to take a part in coping with the aftermath of series of attacks on Chinese that happened after the Wanbaoshan Incident. Plus, they lost their chance to contact the public within the legal boundary. Alongside the general trend of socialist movement which was to go underground after the dismissal of Shinganhui, this event has led the socialists to gradually disappear, ceasing to pursue their movement within the boundary of law. When veteran socialists that worked within the boundary of law weren’t properly dealing with the aftermath of the Wanbaoshan Incident, the newly rising socialists issued manifesto to inform the public about the truth of the Wanbaoshan Incident and the essence of invasion policy of Japanese imperialism. In the manifesto, the socialists clearly pointed out that the Chinese farmers were not Chosun’s enemies but the incident was a part of the invasion policy of Japanese imperialism. Also, they insisted that Chinese army was one of the enemies. The socialists drew a distinction between the Chinese army and the bourgeois class that were in the vanguard of the Japanese imperialism and the common Chinese people who were suppressed by the empowered. The lessons that the socialists learned from the Wanbaoshan Incident reassured their internationalist principle which stated that accomplishing the Chinese revolution by collaborating with Chinese farmers and laborers was the way to drive Japanese imperialism out of Chosun. There started to exist a slight difference in perception of China between the socialists who worked within the boundary of the Maintenance of the Public Order Act and those who didn’t conform to it. It was the role of those who worked within the legal boundary to refine the ‘raw’ ideas of their partners who didn’t conform to the law. By making national-wide appeal in writing, the socialists were trying to convince that nationalists’ movement to help Koreans in Manchuria was an impractical proposal and that nationalists’ perception of China derived from the pro-Japanese logic. In the process of that, the socialists began to perceive differently of China’s Nationalist party, debating whether they will bring it down or take advantage of it. In the meantime, the socialists who were used to the style of activism in 1920s began to quit engaging in the movement, convinced or forced to do so by the Japanese imperialism which commenced to take the form of militarism. This trend of going underground by evading the intervention of law, which had been rising since the dismissal of Shinganhui became prominent while experiencing Wanbaoshan Incident and the Manuchurian incident.

치프킨이 바라본 도스토예프스키: 『바덴바덴에서의 여름』을 중심으로

조유선 한국러시아문학회 2016 러시아어문학 연구논집 Vol.52 No.-

This study explores Tsypkin’s unique novel Summer in Baden-Baden, which records the life and literature of Dostoevsky and is described by Sontag as one of the most “beautiful, exalting, and original achievements of a century’s worth of fiction.” Dostoevsky in Summer in Baden-Baden is the incarnation of the complex and morbid pride. He is not properly communicate with others in daily life and literary circles, and always complains and condemns them just like an hero ‘underground man’ in his Notes from Underground. The problem is that a Russian Jew Tsypkin is still keen on Dostoevsky although the great writer’s evildoing and anti-Semitism. “Why was I now on my way to Petersburg-yes, not to Leningrad?”, “Why was I reading this book [Anna’s Dairy] now?” Tsypkin’s train travel from Moscow to Leningrad is the process to answer these questions, and a journey to find ‘myself’. Going on pilgrimage to pursue Dostoevsky-human, Tsypkin continues to pay attention to the suffering of Anna, Russian Women and Jews, which represents the metaphor of human suffering. For Tsypkin in loneliness and helplessness, Dostoevsky is a irresistible being complicated by hate and love, literary revenge and homage. In the most difficult time of his life Tsypkin grapples with Dostoevsky and resists to him with a writing as if Dostoevsky grapples with a God who allows the suffering of children. In Summer in Baden-Baden Tsypkin recreates the memories of other’s suffering by an literary imagination for self-healing and regiment of suffering.

치프킨이 바라본 도스토예프스키: 『바덴바덴에서의 여름』을 중심으로

조유선 ( You Seon Cho ) 한국러시아문학회 2016 러시아어문학 연구논집 Vol.52 No.-

This study explores Tsypkin`s unique novel Summer in Baden-Baden, which records the life and literature of Dostoevsky and is described by Sontag as one of the most beautiful, exalting, and original achievements of a century`s worth of fiction. Dostoevsky in Summer in Baden-Baden is the incarnation of the complex and morbid pride. He is not properly communicate with others in daily life and literary circles, and always complains and condemns them just like an hero ``underground man`` in his Notes from Underground. The problem is that a Russian Jew Tsypkin is still keen on Dostoevsky although the great writer`s evildoing and anti-Semitism. Why was I now on my way to Petersburg-yes, not to Leningrad?, Why was I reading this book [Anna`s Dairy] now? Tsypkin`s train travel from Moscow to Leningrad is the process to answer these questions, and a journey to find ``myself``. Going on pilgrimage to pursue Dostoevsky-human, Tsypkin continues to pay attention to the suffering of Anna, Russian Women and Jews, which represents the metaphor of human suffering. For Tsypkin in loneliness and helplessness, Dostoevsky is a irresistible being complicated by hate and love, literary revenge and homage. In the most difficult time of his life Tsypkin grapples with Dostoevsky and resists to him with a writing as if Dostoevsky grapples with a God who allows the suffering of children. In Summer in Baden-Baden Tsypkin recreates the memories of other`s suffering by an literary imagination for self-healing and regiment of suffering.

한국 메가시티 지하시설 작전에 요구되는 능력

심준학,조승진,김준우,최지웅,최원준,양순일,박상혁 국제문화기술진흥원 2024 The Journal of the Convergence on Culture Technolo Vol.10 No.2

최근, 주요 선진 국가들은 인구문제 해결, 정치·경제, 그리고 국가 경쟁력 강화 등을 이유로 정책적으로 메가시티를 육성하고 있다. 그 변화의 추세는 더욱 가속화되고 있다. 한국도 서울·경기권에 이어 부산·울산·경남권, 대구·경북권, 광주·전남권, 대전·세종·충남·충북권 등지에 메가시티 정책이 추진되고 있다. 이런 도시화 현상으로 인해 군사전문가들은 미래의 전장 환경을 우주나 대도시(메가시티)로 예상한다. 이런 관점에서 한국도 미리 준비하지 않으면 메가시티가 직면한 위협에 효과적으로 대응하지 못할 것이다. 따라서 메가시티의 거대한 규모와 지하 작전환경의 특징에 최적화된 지하시설작전 능력이 요구되는 것이다. 이런 배경에서 메가시티 지하 작전환경의 특징과 미국, 이스라엘 등 군사 선진국의 지하시설작전 준비 사례를 분석하였다. 이를 기초로 한국 메가시티 내 지하 작전환경에 적합한 지하시설작전에 요구되는 능력을 아이디어 차원에서 군의 조직 및 전투계, 전투원 생존을 보장할 특수장비 및 물자 확보, 소부대 전투기술 개발과 훈련시스템 구축 측면에 우선순위를 두고 제시하였다. Recently, major advanced countries are fostering megacities through policy for reasons such as solving population problems, political and economic issues, and strengthening national competitiveness. The trend of change is accelerating. In Korea, following Seoul and Gyeonggi, mega city policies are being promoted in Busan, Ulsan, Gyeongnam, Daegu and Gyeongbuk, Gwangju and Jeonnam, and Daejeon, Sejong, South Chungcheong and North Chungcheong areas. Due to this urbanization phenomenon, military experts predict that the future battlefield environment will be space or a large city (mega city). From this perspective, Korea will not be able to effectively respond to the threats facing megacities if it does not prepare in advance. Therefore, underground facility operation capabilities optimized for the huge scale of the mega city and the characteristics of the underground operational environment are required. Against this background, the characteristics of the underground operational environment of mega cities and cases of preparation for underground facility operations in advanced military countries such as the United States and Israel were analyzed. Based on this, the capabilities required for underground facility operations suitable for the underground operational environment within Korean megacities are developed from an idea perspective to military organization and combat system, securing special equipment and materials to ensure combatant survival, developing small unit combat techniques, and establishing a training system. It was presented with priority given to.