‘박물관’과 ‘천사’: 두브라프카 우그레시치의 산문에 나타난 환상적 이미지와 상호텍스트성의 의미
‘Museum’ & ‘Angel’: The Meaning of the Fantastic Images & Intertextualities in the Prose Works since the 1990s by Dubravka Ugrešić
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참고문헌
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초록
본 연구의 목적은 포스트-유고슬라비아 여성 문학을 대표하는 작가 중 한 명인 두브라프카 우그레시치(Dubravka Ugrešić, 1949~ )의 망명 이후 발표된 에세이와 소설에서 반복적으로 나타나는 환상적 이미지(‘박물관', ‘천사’)의 의미를 분석하는 것이다. 1990년대 우그레시치의 망명 이후 집필된 산문에서 쓰인 이 환상적 이미지들은 다층적인 문화적, 철학적 의미가 담긴 문학 장치로 기능할 뿐 아니라, 또한 향후 그녀의 창작을 트랜스내셔널 문학과 페미니즘 문화이론의 관심사로 확장하도록 이끈 일종의 도약대 역할을 한다. 흥미로운 점은 ‘박물관’, ‘천사’의 환상적 이미지가 이 크로아티아 작가의 순수 창작이 아니라 그녀에게 큰 영향을 준 구 유고권 작가들(다닐로 키슈, 이보 안드리치, 미로슬라프 크를레쟈)과 러시아 및 세계문학 예술(블라디미르 나보코프, 일리야 카바코프, 이사크 바벨, 발터 벤야민)에서 계승한 문화적 유산이라는 사실이다. 즉, 해당 이미지들은 우그레시치와 선대 및 동시대 작가들 사이의 상호텍스트성을 통하여 이중인화적으로 창조된 것으로, 이런 문학적 상호텍스트성은 우그레시치 산문의 지배적 스타일인 에세이즘의 핵심적 요소이기도 하다. 우그레시치는 두 개의 주요한 환상적 이미지(‘박물관’, ‘천사’)와 그것에 부수하는 주제(‘기억’, ‘망각’)를 창작에 도입함으로써 민족문학의 한계에서 벗어나 추후 트랜스내셔널 문학과 페미니즘 문화론의 논제(문학의 변화된 위상, 여성 작가의 현대적 위상, 탈민족주의 문학가의 지위, 난민과 이주, 사회와 문학장 내 여성에 대한 차별, 노령화 문제)로 창작의 외연을 확장할 수 있게 되었다. 우그레시치가 망명 이후 발표한 다양한 에세이와 소설은 그녀의 이런 창작적인 변화를 예표하고 있다.
Abstract
This paper argues that the two major fantastic images, which have been adopted by one of the most prominent Croatian female writers of today Dubravka Ugrešić since her departure from her own country in the 1990s, serve not only as the literary devices with plentiful cultural, philosophical implications, but also as a sort of the spring board that will lead the ex-Yugoslav émigré writer to the concerns of the transnational literature and feminist cultural theories. As it has been known, the two major fantastic images of museum and angel are observed recurrently in the prose writings published by Ugrešić after her exile. An interesting point is that those are not the images invented by herself, but the ones inherited from her literary ancestors, not only from ex-Yugoslav literatures(Danilo Kiš, Ivo Andrić, Miroslav Krleža), but also from the World literature and Russian art culture(Vladimir Nabokov, Ilya Kabakov, Isaac Babel’, Walter Benjamin). As a matter of fact, those images are the superimposed ones created through the intertextualities with the aforementioned writers by the Croatian writer. When it comes to the literary intertextualities, they are engendered by the unbound literary form of essayism both in her essays and novels. It is surmised that these major images(museum, angel) and their related leitmotifs or themes(memory, (enforced) amnesia) could help her to escape the narrow confines of national literature and to deal with the agendas of transnational literature and feminist cultural theories(the changed status of literature itself, the position of postnational writers, especially female writers in the world of today, the problems of refugees and emigrants, discriminations toward social minorities including women in both society and the literary scene, and finally the problem of aging). The various essays and novels published after her exile(including The Museum of Unconditional Surrender, Europe in Sepia, Fox, Baba Yaga Laid an Egg) prefigure those movements in Ugrešić’s oeuvre.
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