고골의 『죽은 혼』 1권의 담화 분석 : 최종적인 말의 부재
Analysis of the Discourse of Gogol's Dead Souls, Volume 1 : Absence of Final Words
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Aside from his firm stance as an artist on the role of absurd and ugly daily life and the role of superficial and detailed depictions of humans, the narrator is wary of coming up with his own final interpretations and explanations of characters and subjects. The narrator takes a pose of constantly passing the share of the final interpretation to the reader. As for art, he only vaguely expresses what kind of human figure he will draw in the future as a different dimension of nobility, and does not say what it looks like. He only suggests that the basis for Chichikov's change is a different level of desire granted by heaven, and does not define the details of that desire. The narrator does not have a firm answer and definition on Rus's way forward. This is due to the "incomplete" of the work that depicts Russia on the "road", but it contains a stagnant appearance, not a change, and the work is not completed because the path is not completed. Rus’, who is captured as a whole through generalizations, is galloping somewhere, but she is stuck in a vagueness where the narrator doesn't even know where she's going. The narrator refers to a new level of spiritual growth, a new level of integrity, a new level of Rus’s growth, and a new level of art, suggesting that it is quite related to religious concepts. And the uncertainty, ambiguity, and immersion in the writing process itself encompasses and foreshadows the cessation of Gogol's future writing.
Abstract
Aside from his firm stance as an artist on the role of absurd and ugly daily life and the role of superficial and detailed depictions of humans, the narrator is wary of coming up with his own final interpretations and explanations of characters and subjects. The narrator takes a pose of constantly passing the share of the final interpretation to the reader. As for art, he only vaguely expresses what kind of human figure he will draw in the future as a different dimension of nobility, and does not say what it looks like. He only suggests that the basis for Chichikov's change is a different level of desire granted by heaven, and does not define the details of that desire. The narrator does not have a firm answer and definition on Rus's way forward. This is due to the "incomplete" of the work that depicts Russia on the "road", but it contains a stagnant appearance, not a change, and the work is not completed because the path is not completed. Rus’, who is captured as a whole through generalizations, is galloping somewhere, but she is stuck in a vagueness where the narrator doesn't even know where she's going. The narrator refers to a new level of spiritual growth, a new level of integrity, a new level of Rus’s growth, and a new level of art, suggesting that it is quite related to religious concepts. And the uncertainty, ambiguity, and immersion in the writing process itself encompasses and foreshadows the cessation of Gogol's future writing.
참고문헌 (21)
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- 고골, "친구와의 서신교환선" (2007), 나남
- 김연경, "고골의 작가적 딜레마와 «죽은 혼»", 러시아연구, 21(1), pp.1~28 (2011), 러시아연구소[DOI]
- 홍대화, "고골의 삶과 작품에 나타난 ‘기만’과 ‘자기기만’의 비극", 노어노문학, 23(3), pp.269~295 (2011), 한국노어노문학회
- 홍대화, "고골의 『죽은 혼』에 나타난 결여와 거짓말의 악마성", 문학과 종교, 27(1), pp.191~214 (2022), 한국문학과종교학회
- 홍대화, "고골의 『죽은 혼』 1부에 나타나는 비논리성의 시학: ‘거짓말’로서의 예술", 노어노문학, 34(1), pp.199~224 (2022), 한국노어노문학회
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