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도스토옙스키와 이콘: 죽음의 집의 기록에 나타난 바라봄의 문제를 중심으로

Dostoevsky and the Icon: Problem of Seeing in Notes from a Dead House

석영중
한국러시아문학회 (The Korean Association Of Rusists)|2022.08|러시아어문학연구논집 (Russian Language and Literature)|제78호|pp. 35-62|DOI 10.24066/russia.2022..78.002

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참고문헌

키워드

이콘도스토옙스키대속죽음의 집의 기록아쿨카의 남편역원근법역에크프라시스Notes from a Dead HouseAkulka’s HusbandReverse PerspectiveReverse Ekphrasis.
주제분류러시아어와문학

초록

This paper is focused on the relationship between the reverse perspective of the Orthodox icon painting and Dostoevsky’s narrative perspective as is realized in his Notes from a Dead House and the separate short story in the novel “Akulka’s Husband.” The icon solves the conflict between the vision of God hidden in the two dimensional plane and the illusive human vision through the device of reverse perspective. According to Pavel Florensky, the main characteristics of reverse perspective is “polycentredness”, or seeing simultaneously, which represents God’s timeless and spaceless vision. If the icon visually asserts the dogma of “Imitatio Christi”, Dostoevsky, by applying the reverse perspective to his narrative, imitates God’s vision and creates an icon-like fiction. The polycentredness of the narrative point of view eternalizes the innocent victim Akulka as a copy of divine image, protects it from being trivialized in the temporality of profane world, and finally maximizes the possibility of redemption.

Abstract

This paper is focused on the relationship between the reverse perspective of the Orthodox icon painting and Dostoevsky’s narrative perspective as is realized in his Notes from a Dead House and the separate short story in the novel “Akulka’s Husband.” The icon solves the conflict between the vision of God hidden in the two dimensional plane and the illusive human vision through the device of reverse perspective. According to Pavel Florensky, the main characteristics of reverse perspective is “polycentredness”, or seeing simultaneously, which represents God’s timeless and spaceless vision. If the icon visually asserts the dogma of “Imitatio Christi”, Dostoevsky, by applying the reverse perspective to his narrative, imitates God’s vision and creates an icon-like fiction. The polycentredness of the narrative point of view eternalizes the innocent victim Akulka as a copy of divine image, protects it from being trivialized in the temporality of profane world, and finally maximizes the possibility of redemption.

참고문헌 (36)

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