할리우드 뮤지컬의 소련화 : 알렉산드로프의 〈서커스〉

윤새라(Yoon Saera) 한국슬라브유라시아학회 2008 슬라브학보 Vol.23 No.4

The premise of this paper is that Grigorii Aleksandtov’s musical comedy, Circus (1936), is an attempt to embrace the successes of Hollywood musical comedy and, at the same time, overcome its defects largely inherent in American (and for that matter Western) culture. Circus is in every respect a product of the time it was made: from mid-1930s on, Soviet artists were under pressure to get the state ideology across to the masses in a comprehensible form. Both entertaining and propagandistic, Aleksandrov’s second musical faithfully sticks to the direction sanctioned by the state. As well noted, the musical genre in film owes its origin and success to Hollywood. Having embarked on a new territory with The Jazz Singer (1927), Hollywood musical provided successful formula for the genre. Aleksandrov, one of the few fortunate Soviet citizens who had a chance to have a first-hand experience in Hollywood, put forth an array of Hollywood-style spectacle in Circus. One of the prime examples is the incorporation of Art Deco style to the film’s show numbers, a clear imitation of Busby Berkeley’s choreography in the same genre. In following Hollywood’s footsteps, however, Aleksandrov employs the foreign import in the manner that it serves the Soviet ideology. In his hand, the Hollywood-like style is best utilized by the Soviet circus troupe and with its grander scale, it overpowers the heroine’s allegedly Western number. More importantly, Aleksandrov employs various facets of the film in justifying the message of the film: superiority of the Soviet society vis-a-vis the West. The heroine’s transformation from a capitalist sensualist to a sanitized Soviet citizen is in particular highlighted by means of the narrative and mise-en-scene. Aleksandrov pushes the dialogue to reach its climax when he takes on the issue of racism, the most infamous problem associated with the then United States. By presenting how the Soviet people resolve the issue, the filmmaker implies the Soviet superiority. In this respect, the finale of the film taking place in the Red Square on May Day is indispensable in symbo lizing the final stage of the heroine’s sovietization. While drawing upon certain features of Hollywood musical, Circus utilizes the Hollywood model ultimately to justify the Soviet cause.

인간과 동물의 공존: 톨스토이와 사냥

윤새라(Yoon, Saera) 한국외국어대학교 외국문학연구소 2022 외국문학연구 Vol.- No.86

This article examines Tolstoy’s treatment of animals in the hunting scenes of The Cossacks (1863), War and Peace (1867), and Anna Karenina (1878). In The Cossacks, the relationship between humans and animals is largely determined by the characteristics of the setting. In the Caucasus, far from civilization, Tolstoy’s Russian protagonist experiences a sense of unity with the animals while hunting. In his later two novels, however, hunting takes on a starkly different note: it is portrayed as a recreational sport practiced by landowners. Moreover, there is a clear hierarchy between humans and animals. In particular, the use of anthromorphism, attributing human characteristics to animals, serves to indicate the author’s anthropocentrism.

톨스토이의 신여성 : 『부활』의 카튜샤 마슬로바

윤새라(Yoon, Saera) 한국외국어대학교 외국문학연구소 2021 외국문학연구 Vol.- No.82

본 논문은 『부활』의 카튜샤 마슬로바가 톨스토이의 전작 『전쟁과 평화』와 『안나카레니나』의 여주인공들과의 접점에도 불구하고 새로운 유형의 여성인물임을 논증하고자 한다. 이를 위해 카튜샤가 톨스토이의 이전 여주인공들과 어떤 점에서 다른지 고찰한다. 나타샤 로스토바가 첫사랑에 실패하며 겪는 아픔이 성장통이라면 카튜샤의 첫사랑은 그와는 비교할 수 없을 정도로 심각한 타락을 야기한다. 매춘을 부끄러워하기는커녕 자랑스러워하는 카튜샤의 정신은 죽음이나 진배없기에 『부활』의 여주인공에게는 『전쟁과 평화』의 나타샤가 구현하는 성장이 아닌 ‘부활’의 필요성이 대두된다. 이때 카튜샤의 ‘부활’은 구원의 테마와 함께 전개된다. 먼저 네흘류도프가 구원자 역할을 자처하고 나서고 그녀의 정신적 부활은 그로부터 추동된다. 그런데 카튜샤의 부활에 지속가능성을 부여하는 인물, 즉 진정한 구원은 귀족 네흘류도프가 아니라 새로운 시대를 상징하는 혁명가들로부터 온다. 그들에게 감화된 카튜샤는 정신적 사랑과 선을 추구하게 된다. 죽음에 비견 될 만한 타락을 벗어나는 카튜샤의 이러한 변화는 사랑에 집착하다가 결국 파멸하는 안나 카레니나의 비극과도 뚜렷이 대비된다. 무엇보다도 작가가 전작들에서 탐구한 가정의 행복과 불행을 벗어나 『부활』에서는 가정의 테두리 밖에서 여주인공의 삶을 그린다는 점에서도 카튜샤는 톨스토이의 신여성이라고 하기에 부족함이 없다. Resurrection, Tolstoy’s last novel, is often underestimated for its devotion to moral concerns overpowering artistic quality. Yet Tolstoy once again created an unforgettable heroine, Katyusha Maslova. Although a clear lineage among the three heroines (Natasha Rostova, Anna Karenina, and Katyusha Maslova) exists, Katyusha is a new type of heroine in Tolstoy’s oeuvre. This article casts a light on Katyusha’s novelty in the context of Tolstoy’s three novels. Unlike Natasha of War and Peace, Katyusha is a victim in her romantic relationship. With broken heart, she sinks into a life of depravity. If Natasha’s fall turns out to be fortunate in the sense that she learns a lesson from the mistake, Katyusha’s fall is so disastrous that it requires something comparable to “resurrection”. In the process of resurrection, the saviour figure comes to the foreground. With the help of multiple characters playing such a role, Katyusha’s journey of redemption stands out against the background of Anna Karenina’s tragic downfall.

수도사의 생애: 도스토옙스키의 조시마 장로와 톨스토이의 세르기 신부

윤새라 ( Saera Yoon ) 한국외국어대학교 러시아연구소 2016 슬라브연구 Vol.32 No.3

Given the significance of Russian Orthodoxy in the nineteenth-century Russia, let alone the works of Dostoevsky and Tolstoy, it is puzzling that not much of research has been done on the two great masters`` treatment of monks. The two writers, struggling with the issues of religion all throughout their lives, carved out an impressive figure of monk later in their writing career: Zosima of The Brothers Karamazov and Father Sergius. The premise of this article is that Dostoevsky and Tolstoy created a modern hagiography with the story of Zosima and “Father Sergius” respectively. The comparison of the two works demonstrates that the two masters have different priorities, with which they view the life of a Russian monk. However, despite the notable differences, they arrive at the same conclusion, sharing the core belief in the value of humility and active love.

오해와 진실: 드미트리 카라마조프의 테마

윤새라 ( Yoon Saera ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2018 世界文學比較硏究 Vol.64 No.-

도스토옙스키는 마지막 장편소설 『카라마조프 형제들』에서 드미트리라는 새로운 인물유형을 선보인다. 강렬한 육체성을 근간으로 창조된 드미트리는 마돈나의 이상과 소돔의 이상 간에 벌어지는 투쟁을 마음속에 품은 인물이다. 그런데 그의 정체성이라고 할 수 있는 선과 악 사이의 괴리는 그의 내면에만 국한되지 않는다. 그의 외부에서도 드미트리를 둘러싼 불일치가 발견된다. 구체적으로, 그에 대한 오해와 진실이 지속되며 드미트리의 주된 테마를 형성한다. 본고는 드미트리를 두고 중첩되는 오해를 인물 위주로 살펴봄으로써 그의 마음속 불일치가 플롯 상으로는 오해와 진실 간의 불일치로 구현되는 양상을 고찰한다. 이를 위해 드미트리에 대한 오해를 발생시키는 주요 인물인 아버지 표도르와 약혼녀 카테리나를 차례대로 고찰하고 이어서 그들에 대한 반대항 역할을 하여 균형을 잡는 아우 알료샤와 연인 그루셴카를 살펴본다. 더 나아가 드미트리의 진실을 단 한 번의 만남에서 통찰하는 조시마 장로의 경우, 그의 과거와 드미트리의 삶 간의 연관성에 주목해 조시마 장로가 드미트리를 이해하는 중요한 기준점을 제시한다는 점을 짚어본다. Dmitry Karamazov is a new type of character in Dostoevsky’s oeuvre. Dmitry, deeply rooted in the tradition of the cult of earth, represents human flesh and emotions. One of the essential features of Dmitry is, as he confesses to his brother Alyosha, that his heart is a battlefield in which the ideal of Madonna is at war with that of Sodom. Yet, the conflict is not restricted to his heart. A similar disparity is found on the level of narrative, in which misunderstanding about Dmitry incessantly spreads to cover his truth. This article examines the persistent disparity between misunderstanding and truth that revolves around Dmitry, focusing, first, on Dmitry’s father and fiancee who misunderstand him. While Dmitry’s father wages a full-fledged assault of lies toward his eldest son, Katerina Ivanovna proves to be much more complex and cunning, thereby doing Dmitry a greater harm. More importantly, however, Dostoevsky counters Fyodor Karamazov and Katerina Ivanovna with Alyosha, Grushenka, and Father Zosima who understand Dmitry’s truth. In particular, Father Zosima deserves a critical attention for offering insight into Dmitry’s truth, inasmuch as his pre-monastic life overlaps with Dmitry’s on important junctures.

정체성과 정치성

윤새라(Saera Yoon) 한국슬라브유라시아학회 2012 슬라브학보 Vol.27 No.2

This paper aims at examining the political and cultural spectrum of Vladimir Bortko’s film Taras Bulba (2009), a reinterpretation of the novella by Nikolai Gogol (1842). As the film was conceived and released to mark the two centennial anniversary of the writer’s birth, Bortko faithfully follows the path charted out by Gogol in 1842, particularly the infamous “Russification” of Ukranian Cossacks. By heavily referencing to Russian cultural treasures such as Tiutchev’s poem, paintings, and Eisenstein’s film, Bortko reinforces Gogol’s political ideology with regards to Ukrainian Cossacks. Yet Bortko’s film adaptation diverges from the Gogol’s 1842 novella in its treatment of Poland, the representative of Western Europe. Overall, the film appears to reiterate Gogol’s hostility towards the Catholic civilization. Nevertheless, Bortko inserts a significant twist of plot (the episode surrounding the birth of the Polish lady’s son by Andrii) into his film narrative and in so doing, leaves a room for a different vision for future, in comparison with Gogol’s work. Therefore, Bortko’s film interpretation operates in two tracks that beg for discrimination: on the one hand, an affirmation of the Russian identity of Ukrainian Cossacks and, on the other hand, a subtle duplicity of Russia’s relationship with the West.

여성의 자리: 〈메샨스카야 3가〉에 비친 안과 밖의 풍경

윤새라(Yoon Saera) 한국슬라브유라시아학회 2008 슬라브학보 Vol.23 No.1

Abram Room’s 1927 film Tret’ia Meshchanskaia, often dubbed as the first Soviet feminist film, offers a valuable insight into the period when the film was made. Unlike most of the mainstream movies of the time dealing with the past, this film captures the spirit of the time, particularly the woman question. Against the backdrop of a series of progressive reforms on women issues that were introduced in the Soviet Union in the 1920s, the film touches upon the crucial issues any “new” Soviet woman had to grapple with, namely, in the realms of sexual relations, production (work), and reproduction (abortion). In this paper, I attempt to investigate the woman question from the vantage point of space. The film’s artistic narrative contains several dimensions of space, but first and foremost, the poetics of “in” and “out” permeates the entire work, shedding light on where Liuda, the heroine of the film, is and where she will be. The woman stays in a semi-basement flat, a condition comparable to confinement. By contrast, her husband symbolically occupies a work space out on the top of the Bolshoi Theater. The contrast of space rich in symbolism continues all the way throughout the film, including the three key episodes of Liuda’s outing. In the end, by means of a masterful utilization of space on various levels, the film portrays the process of a woman’s transformation into a truly positive “new” Soviet woman, in keeping with the social demands promoted by the Party.

에이젠쉬테인의 ‘성자전’ : 『알렉산드르 넵스키』

윤새라(Yoon Saera) 한국슬라브유라시아학회 2007 슬라브학보 Vol.22 No.3

Alexander Nevsky is a landmark in Sergei Eisenstein's filmography, marking not only his first sound film but also his first cooperation with Prokofiev and Nikolai Cherkasov. This film also serves as a fertile ground for discussion, since it reveals the shift of Eisenstein's film aesthetics. This article aims at investigating one aspect of Eisenstein's new aesthetics by looking into the ways the director utilizes in dealing with a historical theme. Even though Alexander Nevsky is a revered historical figure in Russian history, the Nevsky created by Eisenstein is, as I try to prove, far from being faithful to historical truth- In the first place, few historical sources passed down to the twentieth century. Yet, the apparent difficulty did not pose an obstacle for the director who took advantage of the scarcity of historical sources. In brief, Eisenstein's Alexander Nevsky is a product born out of the social demand, rather than a historical figure. To continue his career in the middle of Stalin's Great Purge in 1937, Eisenstein had to conform to the state policy on arts and Alexander Nevsky is by all means his response to the so-called Socialist Realism. Thus, I examine Eisenstein's film from the perspective of genre, tracing its characteristics of Socialist Realism in parallel to those of hagiography. What is interesting is that Eisenstein relied on the images of Christ in creating his Alexander Nevsky. All in all, Eisenstein's Alexander Nevsky can be regarded as a film version of Soviet hagiography with the implicit allusions to Christ, crystallized particularly in the character of Alexander Nevsky.

「페초린 수기」의 구성 시학

윤새라(Saera Yoon) 한국노어노문학회 2012 노어노문학 Vol.24 No.4

레르몬토프의 『우리 시대의 영웅』에 실린 다섯 편의 소설은 사건이 일어난 시간 순서대로 배열되지 않고 주인공 페초린의 내면으로 점점 더 다가가는 원리에 입각해 현재의 순서로 구성되어 있음은 그동안 많은 연구자들이 지적해온 바다. 본 논문은 분석 대상을 좁혀 『우리 시대의 영웅』에 포함된 「페초린 수기」의 구성 시학을 고찰하는 것을 목적으로 한다. 이를 위해 「페초린 수기」에 실린 이야기들을 관통하는 운명의 테마를 살펴보는데 구체적으로는 ‘운명’(судьба)을 비롯해 ‘숙명’ (предопределение)이라는 핵심어휘를 중심으로 텍스트를 분석한다. 이러한 작업을 통해 페초린의 의식이 얼마나 ‘운명’에 깊숙이 침윤되어 있는지 알 수 있으며 페초린이 ‘운명’에 대해 견지하는 모순적인 태도가 발견된다. 또한 「타만」에서는 우연히 운이 좋아 생명을 건진 것으로 그려진 페초린이 「공작영애 메리」에서는 운명의 형리로 타인의 운명을 결정 짓는 가해자이자 동시에 피해자 역할로 자신의 이미지를 구축하다가 마지막 소설인「운명론자」에 이르면 아예 타인의 운명을 예언하고 더 나아가 대담하게 절체절명의 위기 순간에도 운명과 대결해 승리하는, 신에 비견될 만한 전지전능한 능력까지 스스로에게 부여함이 드러난다. 따라서 「페초린 수기」에 포함된 세 편의 소설은 주인공 페초린이 자신의 운명 장악력이 증대되어 가는 방향으로 내러티브를 진행시켜가며 이 과정에는 소설에서 오리엔탈리즘이 작동하는 방식도 일조한다. 그리고 「운명론자」에서 완성되는 페초린의 모습은 레르몬토프의 또 다른 걸작 『악마』의 악마 형상과도 중첩되어 「페초린 수기」의 구성시학을 견고히 한다. It is a commonly accepted understanding that the raison d’etre of the five stories comprising A Hero of Our Time by Mikhail Lermontov is to take the readers closer to the protagonist of the novel. In fact, as the narrative progresses, the reader comes to have an increasingly better look at Pechorin, the hero of the novel. This paper aims at unraveling the structural principle of “Pechorin’s Diary,” consisting of “Taman’,” “Princess Mary, and “The Fatalist.” Since the theme of fate runs through “Pechorin’s Diary,” I analyze the use of the keywords “fate,” along with “predestination.” As a result of the examination, it turns out that the protagonist is indeed obsessed with “fate” and his actions can be viewed from the perspective of his ambivalent interpretation of fate. More importantly, the three stories of “Pechorin’s Diary” reveal the tendency of attributing Pechorin with the sense of omniscience and omnipotence. While Pechorin is described to be lucky in averting a life-threatening scheme against him in “Taman’,” he assumes a role of both agent and victim of fate in his plots against Grushnitsky and Mary in the next story. Pechorin’s image with regard to fate reaches its climax in the final story “The Fatalist,” in which he not only reads someone else’s predestination, but authors it for himself. This final stage of the protagonist’s self-fashioning image reminds the reader of Lermontov’s another masterpiece The Demon.

톨스토이의 나타샤와 안나: 진화 혹은 역행의 서사

윤새라 ( Saera Yoon ) 한국외국어대학교 러시아연구소 2020 슬라브연구 Vol.36 No.4

This paper examines Natasha and Anna, the two most memorable heroines from Tolstoy’s work, focusing on their life trajectories. They chart out the opposite paths, mirroring each other. While Natasha begins as a teenage girl and develops into a wife and mother of many children, Anna Karenina begins as a mother and wife but quickly transforms herself into a lover. If Natasha’s trajectory is characterized by a development, Anna’s is a regression. In this respect, the final passages preceding Anna’s suicide that contains an allusion to her childhood serve as a logical conclusion to her journey of regression. Moreover, Natasha’s relationship with Pierre helps explain the reasons of Anna’s unhappiness with Vronsky even though they are in love. The readers also find the heroines in a similar situation when they ask Andrei and Karenin for forgiveness respectively. Yet Natasha’s words and action are in agreement, whereas Anna’s are not. The disagreement between Anna’s words and action indicates that her life becomes steeped in hypocrisy, although she claims otherwise. Along this line, Anna has no other choice but self-destruction at the end of the path of regression.