자먀틴의 『우리들』에 나타난 고골적 요소들
Gogolian Elements in Zamjatin’s We
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Abstract Zamjatin recollected that Gogol had been ‘his friend’ in his lonely childhood. Therefore there are many Gogolian elements in Zamjatin’s writing. We is not an exception. For example, for both writers, the ‘nose’ is a metonymy for the object of desire, for the hero’s identity, and a synecdoche for humans. In this article, We is analyzed in comparison to ‘The Fair at Sorochintsi’, ‘May Night’, ‘Vij’, ‘Old-fashioned Landowners’, ‘Overcoat’, and ‘A Diary of Madman’. Utopia (the idyll for Gogol) is the lack of desire, demonic aspects in women, inverted (irrational and demonic) reflections of the world in the mirror, soulless men as machines, and the main character’s writing style, which reveals that the gap between what is ideal and the reality are common dominators in both We and Gogol’s writings. But Zamjatin inverts Gogol’s view of the world. He reinterprets women’s sexual demonic energy as a positive force for destroying the dead entropy. He also reinterprets idyll, which Gogol longed for in his early writings, as an anti-utopia.
Abstract
Abstract Zamjatin recollected that Gogol had been ‘his friend’ in his lonely childhood. Therefore there are many Gogolian elements in Zamjatin’s writing. We is not an exception. For example, for both writers, the ‘nose’ is a metonymy for the object of desire, for the hero’s identity, and a synecdoche for humans. In this article, We is analyzed in comparison to ‘The Fair at Sorochintsi’, ‘May Night’, ‘Vij’, ‘Old-fashioned Landowners’, ‘Overcoat’, and ‘A Diary of Madman’. Utopia (the idyll for Gogol) is the lack of desire, demonic aspects in women, inverted (irrational and demonic) reflections of the world in the mirror, soulless men as machines, and the main character’s writing style, which reveals that the gap between what is ideal and the reality are common dominators in both We and Gogol’s writings. But Zamjatin inverts Gogol’s view of the world. He reinterprets women’s sexual demonic energy as a positive force for destroying the dead entropy. He also reinterprets idyll, which Gogol longed for in his early writings, as an anti-utopia.
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