문화원형으로서의 도시 페테르부르크 연구
Study of City St. Petersburg as Culture Archetype
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City St. Petersburg, as its historical counterpart Moscow, has been known as a fundamental culture archetype in all of Russia’s cultures. The city needed a creation of myth because it was relatively young, compared to Moscow. As times went by, there happened a unique phenomenon of the so-called “Petersburg Texts” both in Russian culture and literature, thereby contributing to Russian cultural history. And it is one of the main tasks to be explored throughout this paper. Those distinguishing features that the Petersburg Texts usually contain can be summarized as follows: first and foremost, the texts are based on ambivalence between the natural (nature) and artificial (city itself by human-beings). This criterion itself plays a role in telling apart between self vs. other (svoi vs. chuzhoi in Russian semiotic term), and further this term develops into the other essential characters such as artificial, incompatible, and fantasmagoric dimensions. One of obvious evidence capable of supporting these features is that the city stands for extreme inhuman and geometric figure, all of which are based on city planning and liner-perspective construction at the time when Peter the Great was building the city from its beginning to the completion. Generally speaking, the genesis of the city St. Petersburg started from A. Pushkin to M. Dostoevsky through N. Gogol, but this nineteenth-century tradition goes further into the authors of early Symbolists in the 1920s. At the same time, the theme of St. Petersburg evolved toward the diverse directions and disciplines, both in Soviet space and overseas. For this right reason, the topic invites numerous critics’ interpretations and new understandings.
Abstract
City St. Petersburg, as its historical counterpart Moscow, has been known as a fundamental culture archetype in all of Russia’s cultures. The city needed a creation of myth because it was relatively young, compared to Moscow. As times went by, there happened a unique phenomenon of the so-called “Petersburg Texts” both in Russian culture and literature, thereby contributing to Russian cultural history. And it is one of the main tasks to be explored throughout this paper. Those distinguishing features that the Petersburg Texts usually contain can be summarized as follows: first and foremost, the texts are based on ambivalence between the natural (nature) and artificial (city itself by human-beings). This criterion itself plays a role in telling apart between self vs. other (svoi vs. chuzhoi in Russian semiotic term), and further this term develops into the other essential characters such as artificial, incompatible, and fantasmagoric dimensions. One of obvious evidence capable of supporting these features is that the city stands for extreme inhuman and geometric figure, all of which are based on city planning and liner-perspective construction at the time when Peter the Great was building the city from its beginning to the completion. Generally speaking, the genesis of the city St. Petersburg started from A. Pushkin to M. Dostoevsky through N. Gogol, but this nineteenth-century tradition goes further into the authors of early Symbolists in the 1920s. At the same time, the theme of St. Petersburg evolved toward the diverse directions and disciplines, both in Soviet space and overseas. For this right reason, the topic invites numerous critics’ interpretations and new understandings.
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