언어의 ‘전쟁과 평화’: 톨스토이의 자기번역 문제
The 'War and Peace' of Language: Tolstoi and Auto-translation
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Tolstoi's multilingual novel War and Peace invites thoughtful reconsiderations on the Bakhtinian theory of polyglossia and the function of auto-translation. Tolstoi himself, in his apology on the anomal use of French in the novel, insisted it to be taken as shading in portraiture. Like that of light and shadow, the relation of French and Russian in the novel is oppositional yet interdependent; one makes the other exist, and only through their coexistence the novel's meaning can acquire its complete form. In order to define Tolstoi's polyglossia, this essay overviews theoretic explications on the novel's linguistic aspect, including Bakhtin's general idea of novelistic discourse, and then proceeds to analyze selective multilingual scenes: Anna Sherer's speech in the opening salon scene, Anatol Kuragin's bilingual anecdote, the zaum’ language of the battlefield, Napoleon's encounter with Lavrushka, and with the dying Andrei, where the language of life and death as well as the language of war and peace enter into utmost rivalry. The essay shows why and how Tolstoi's distinctive use of multi-language and ensuing auto-translation microscopically reflect the novel's main argument on the philosophy of history and life.
Abstract
Tolstoi's multilingual novel War and Peace invites thoughtful reconsiderations on the Bakhtinian theory of polyglossia and the function of auto-translation. Tolstoi himself, in his apology on the anomal use of French in the novel, insisted it to be taken as shading in portraiture. Like that of light and shadow, the relation of French and Russian in the novel is oppositional yet interdependent; one makes the other exist, and only through their coexistence the novel's meaning can acquire its complete form. In order to define Tolstoi's polyglossia, this essay overviews theoretic explications on the novel's linguistic aspect, including Bakhtin's general idea of novelistic discourse, and then proceeds to analyze selective multilingual scenes: Anna Sherer's speech in the opening salon scene, Anatol Kuragin's bilingual anecdote, the zaum’ language of the battlefield, Napoleon's encounter with Lavrushka, and with the dying Andrei, where the language of life and death as well as the language of war and peace enter into utmost rivalry. The essay shows why and how Tolstoi's distinctive use of multi-language and ensuing auto-translation microscopically reflect the novel's main argument on the philosophy of history and life.
참고문헌 (12)
- 레프 톨스토이, "전쟁과 평화" (1988), 범우사
- Виноградов В. В., ""О языке Толстого (50-60-е годы)," Литературное наследство. М", 117~220 (1939)
- Пушкин А. С., "Полное собрание сочинений. Л", ~ (1974)
- Толстой Л. Н., "Полное собрание сочинений. М", ~ (1928)
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- Emerson, C., "The Tolstoy Connection in Bakhtin. in: Rethinking Bakhtin: Extensions and Challenges", pp.149~170 (1989), Northwestern University Press
- Holquist, M., "Dialogism: Bakhtin and his World" (1990), Routledge
- Jakobson, J., "Linguistics and Poetics. in: Roman Jakonson: Selected Writings", pp.18~51 (1981), Mouton Publishers
- Morson, G. S., "Hidden in Plain View: Narrative and Creative Potentials in 'War and Peace'" (1987), Stanford University Press
- Tolstoi, L. N., "La Guerre et la paix. trad. de H. Mangault" (1987), Gallimard