도스또옙스끼의 백치 속에 나타난 얼굴-표상의 문제

Abstract

The article tries to analyze the problem of 'face-representation' and its function played in Dosoevsky's Idiot by applying a new method of analysis. As an experiment to interpret the work, the theory of Deleuze & Guattari is called for. Deleuze and Guattari developed a concept of 'visagéité' to stress that face is a part of a larger system of social discipline and power, which is intrinsic to speech acts. Idiot begins with a scene to foreshadow the appearance of Filipovna's face. Myshkin, who is good at calligraphy, gradually loses his comfortable feeling and sense of identity, as the face of Filipovna gradually begins to grasp Myshkin's mind. The figure inscribed in his calligraphy is analogous to the face. Myshkin, who is proud of his calligraphy, begins to lose his pride in front of her face. Myshkin is overwhelmed by her photo to the extent that he feels fear from it. Filipovna is 'the other' to dominate the consciousness of Myshkin in this novel. Myshkin becomes subordinated to her and her face image. The fact that Myshkin's subjectivity becomes wavering is also reflected in the speech acts among the heroes in Idiot. But Myshkin, in the last part of the novel, gradually begins to recover his mind through his own idiotic attempt of escape. He challenges the power by taking an asymmetrical attitude, that is, becoming sometimes an animal figure, more specifically, a rat figure.