도스토옙스키의 목욕탕 흐로노토프: 「아쿨카의 남편, 한 편의 이야기」의 두 서술자를 중심으로
Dostoevsky’s Chronotope of the Bathhouse: Two Narrators in “Akul’ka’s Husband”
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This article aims to analyze the chronotope of the bathhouse in Dostoevsky’s oeuvre, focusing on two narrators – Goryanchikov and Shishkov – of “Akul’ka’s Husband. A Story.” The discussion concludes that the bathhouse, Shishkov conceals himself after his murder, is the essence of Dostoevsky`s hell. For Dostoevsky, stationary time and isolated space is identical to evil. The chronotope of the bathhouse visualizes the vicious circle of this kind of time and space, which the author refers in the letter and creates in the novels. The motif appears for the first time in Note from Dead House. Goryanchikov keeps silence with regard to the bathhouse Shishkov relates, whereas he directly mentions ‘hell’ earlier at another bathhouse. The opposite reaction marks his regeneration, given his silence in the Introduction of the novel. Shishkov, however, chatters his crime, not realizing its vice. It implies his incapablity of self-reflection, which derives from his smallness. The filthy confined bathhouse he hid in, which embodies his nature of smallness, strengthens the evil of stationariness and isolation.
Abstract
This article aims to analyze the chronotope of the bathhouse in Dostoevsky’s oeuvre, focusing on two narrators – Goryanchikov and Shishkov – of “Akul’ka’s Husband. A Story.” The discussion concludes that the bathhouse, Shishkov conceals himself after his murder, is the essence of Dostoevsky`s hell. For Dostoevsky, stationary time and isolated space is identical to evil. The chronotope of the bathhouse visualizes the vicious circle of this kind of time and space, which the author refers in the letter and creates in the novels. The motif appears for the first time in Note from Dead House. Goryanchikov keeps silence with regard to the bathhouse Shishkov relates, whereas he directly mentions ‘hell’ earlier at another bathhouse. The opposite reaction marks his regeneration, given his silence in the Introduction of the novel. Shishkov, however, chatters his crime, not realizing its vice. It implies his incapablity of self-reflection, which derives from his smallness. The filthy confined bathhouse he hid in, which embodies his nature of smallness, strengthens the evil of stationariness and isolation.
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