파스테르나크 작품에 나타난 우랄의 형상: 『류베르스의 어린 시절』을 중심으로

Abstract

This paper aims to examine the gigantic landscape of Ural mountains, a major motive in Pasternak's writings, how it manifests from the 'imaginary geography' to 'realistic geography' in Pasternak's first novel The Childhood of Luvers, and finally to understand the "I-other" figure, or "Europe-Asia" figure expressed in the novel as well. The protagonist of the The Childhood of Luvers, Zhenia Luvers, rejects automatic and conventional thought and embraces her own senses in becoming aware of her surroundings and expressing her point of view. Such point of view is made most salient in the process of understanding the word 'Asia'. These characteristics can be used as a valid material in analyzing the ways Luvers understands 'others' in the second part of the novel. Pasternak once commented that he had wanted to explore the perception towards the 'others' in the novel, and thus we can recognize the characters Tsvetkov and the Chinese, in the second part 'Strangers', as an 'other figure'. However, they are not merely a stranger, but are actually an inevitable relationship stemming from the tenets of Christianity and also from being a part of the universe. Pasternak especially recognized the Chinese as a part of the dynamic world existing within the Russian history, and has brought it forth independent of the single-sided definition that the Europe had assigned to Asia. Finally, Ural, as an amalgamation of the author's own experiences and impressions, motive, and syuzhet, is depicted as a fusion of Asian and European images, and also functions as a meaningful topos not unlike 'forest', 'garden' and 'mountains' in other works by the author.