『죽음의 집의 기록』에 나타난 옷의 상징성
The Symbolism of Clothes in Notes from the House of Dead
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This article examines the symbolism of clothes illustrated in <Notes from the House of the Dead> by focusing on the dressing and undressing of the characters. Each character’s attitude toward clothing reveals his inner truth and the essential aspects of the relationship between the characters. Clothing demonstrate that humans are physical being, but on the other hand, the way a person deals with clothing also suggests that humans are spiritual beings, beyond physicality. Humans as physical beings are emphasized in parts where dressing and undressing are forced upon prisoners. The prison uniforms, shackles, and markings forcibly worn on the body are objects that visualize the physical bondage of the prisoners, inflicting sensory pain and limiting each prisoner from escaping from his own recognition as ‘only a prisoner’. In the public bathhouse scene, where they take off their clothes, a group of prisoners appear to be overwhelmed by their 'physicality'. Voluntary dressing and undressing occurs when prisoners perceive themselves as spiritual beings. The coexistence of physicality and spirituality is observed in the act of taking off Mikhailov’s clothes and hanging a cross on Mikhailov's deathbed. The function of clothes as a symbol of spirituality is further strengthened in Alei’s and Sushilov’s act of making and trimming of clothes. The stage curtain appears as a symbolic object exemplifying that the characters’ special attitude toward clothing is not due to personal characteristics but, instead, represents one aspect of being a human.
Abstract
This article examines the symbolism of clothes illustrated in <Notes from the House of the Dead> by focusing on the dressing and undressing of the characters. Each character’s attitude toward clothing reveals his inner truth and the essential aspects of the relationship between the characters. Clothing demonstrate that humans are physical being, but on the other hand, the way a person deals with clothing also suggests that humans are spiritual beings, beyond physicality. Humans as physical beings are emphasized in parts where dressing and undressing are forced upon prisoners. The prison uniforms, shackles, and markings forcibly worn on the body are objects that visualize the physical bondage of the prisoners, inflicting sensory pain and limiting each prisoner from escaping from his own recognition as ‘only a prisoner’. In the public bathhouse scene, where they take off their clothes, a group of prisoners appear to be overwhelmed by their 'physicality'. Voluntary dressing and undressing occurs when prisoners perceive themselves as spiritual beings. The coexistence of physicality and spirituality is observed in the act of taking off Mikhailov’s clothes and hanging a cross on Mikhailov's deathbed. The function of clothes as a symbol of spirituality is further strengthened in Alei’s and Sushilov’s act of making and trimming of clothes. The stage curtain appears as a symbolic object exemplifying that the characters’ special attitude toward clothing is not due to personal characteristics but, instead, represents one aspect of being a human.
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