오도옙스키의 『러시아의 밤』에 나타난 낭만적 아이러니와 종말론적 세계관: 「최후의 자살」, 「이름없는 도시」를 중심으로
Romantic Irony and Apocalyptic Worldview in Odoevsky’s Russian Nights: Focusing on Last Suicide and City without Name
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This paper aims to reflect on V. Odoevsky’s complicated, ambiguous, and dynamic worldview with the concept of romantic irony, which may be identified as either the ambiguous fluctuation between self-creation and self-destruction or as the unlimited process of self-creation by self-destruction toward an absolute ideal. Odoevsky’s philosophical novel Russian Nights might be oriented toward the more seriously conceptualization of romantic irony, taking into consideration the author’s sincere search for absolute truth to save the decaying modern society from Enlightenment, utilitarianism, scientism and economism. His solution is pseudo-religious and romantic in insisting on spiritual-moral purification and aesthetic realization of absolute idea. The multilateral form and dynamic dialogue of different worldviews in the two frame-novels of “Last Suicide” and “City without Name” in Russian Nights testify to the author’s self-reflection on Schelling philosophy and typical romanticist worldviews through self-creation by self-destruction. The whole novel reflects the author’s Baroque pessimist apocalypse, emphasizing the limitations of humanity and language, and the existence of unknown despotic Sovereign over humanity. The author seems to have de-romanticized romantic discourses through serious romantic irony, which induced him to choose the second-best Enlightenment after this novel.
Abstract
This paper aims to reflect on V. Odoevsky’s complicated, ambiguous, and dynamic worldview with the concept of romantic irony, which may be identified as either the ambiguous fluctuation between self-creation and self-destruction or as the unlimited process of self-creation by self-destruction toward an absolute ideal. Odoevsky’s philosophical novel Russian Nights might be oriented toward the more seriously conceptualization of romantic irony, taking into consideration the author’s sincere search for absolute truth to save the decaying modern society from Enlightenment, utilitarianism, scientism and economism. His solution is pseudo-religious and romantic in insisting on spiritual-moral purification and aesthetic realization of absolute idea. The multilateral form and dynamic dialogue of different worldviews in the two frame-novels of “Last Suicide” and “City without Name” in Russian Nights testify to the author’s self-reflection on Schelling philosophy and typical romanticist worldviews through self-creation by self-destruction. The whole novel reflects the author’s Baroque pessimist apocalypse, emphasizing the limitations of humanity and language, and the existence of unknown despotic Sovereign over humanity. The author seems to have de-romanticized romantic discourses through serious romantic irony, which induced him to choose the second-best Enlightenment after this novel.
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