유고슬라비즘의 헤테로토피아

조준래(Cho Jun Rae) 한국슬라브유라시아학회 2017 슬라브학보 Vol.32 No.1

The aim of this paper is to analyze the principal aspects of so called ʺPost-Yugoslav Metafictionʺ on the base of the heterotopic images described in postmodern writings by major post-Yugoslavian writers, Vladimir Arsenijević’s The Hold, David Albahari’s Bait, Vladimir Tasić’s The Farewell Gift, Saša Stanišić’s How the Soldier Repairs the Gramophone? and Aleksandar Hemon’s The Question of Bruno, Nowhere Man, The Lazarus Project. Being in succession to the legacy of the literary sources of former Yugoslavia, post‐Yugoslav metafictions reveal the constant existential, paradoxical problems and ideological dilemmas in which todayʹs Western Balkans are seen to be entangled, while reappropriating those as their literary materials. The writers of post‐Yugoslav metafictions describe the real face of the national imaginary in that area, and analyze the multilayered structure of the existential absurdity with focus on tribal nationalism, premodern ethos, provincialism through the literary method of self-alienation. Secondly, I inquired into the dialogic connection between the former Yugoslav writers and post‐Yugoslav writers of the younger generation. Through this categorization of writers of different generations according to their literary tendencies, I think it is possible to propose the new version of Yugoslav literary history. Thirdly, the study of the heterotopic images of these new writings helps us see the significance of the so-called ʺwriting of disasterʺ as an element of postmodern artistic devices. This new, non-Balkan, irregular artistic structure needs to be examined considering the political implication of the fact that post-Yugoslav literary works seem to function as a kind of counter-narratives against the traditional narratives that have often been appropriated as means of nationalistic propaganda. Conclusionally, I tried to analyse the positive connotation of the heterotopic images embodied in the avangardistic aspects of post-Yugoslav metafictions which are concerned with both the representation of reality and writers’ self-representation. Through this analysis we can draw a definite meaning of the heterotopic images of Yugoslavism proposed by those younger writers as an alternative to current political dilemmas from the fact that post-Yugoslav metafictions critically deal with both the external responses to the current affairs in the Western Balkan countries and the internal attitudes among the civil societies of that region.

M. M. 바흐찐과 러시아 상징주의․아끄메이즘 시학

조준래(Jun-Rae Cho) 한국중동부유럽학회 2001 동유럽발칸학 Vol.3 No.1

This paper is devoted to the analysis of ideological mutual relations between the Russian aesthetician M. M. Bakhtin and two major directions of russian modernism, russian symbolism and acmeism movements on the basis of illumination of such concepts as crisis of authorship, word-discourse, excess-addressee, and besides, bakhtinian theories of novel. The scientific validity of the given research consists in new attempt to reveal ideological applicability of the bakhtinian aesthetic concepts to historical contexts on the boundary of the centuries, which, as expected, will allow to understand complete system of russian cultural atmosphere during so called silver age. Bakhtinian asthetical thoughts and philosophy of language comprise actual disputes with other ideological circles which concerned problems of authorship in cultural activity in general, and definitions of the status of the concept word-discourse. The above stated concepts by Bakhtin become clearly understood when are compared to poetics of russian symbolism and acmeism poets, novelists. To study the depth of correspondence between modernist thinkers demands more in detail, above all, to allocate concurrences and distinctions between them simultaneously. But our purpose cannot be exhausted by it. The researcher intends to give cultural-ideological definitions to various cultural activities related to russian silver age, and there lies the priority of the given study.

브이곳스끼의 예술심리학에서 카타르시스의 개념

조준래(Cho Jun-rae) 한국슬라브유라시아학회 2006 슬라브학보 Vol.21 No.1

This paper aims to analyze the concept of catharsis which is to be considered as one of the most important ways to understand the core of artistic psychology by a Russian psychologist and aesthetic ian Lev Semenovich Vygotsky(1896-1934), the works of whom have been esteemed as predecessors of major Russian literary theories (including narratology and semiotics). It is a pity that there have been not very much attempts to study his major work, which is devoted to the study of psychological mechanisms produced by an artistic work. But without the making of a thorough study of his aesthetic thoughts, we always have to reach an incomplete understanding of his other later theories about education and linguistic philosophy. The subject of his theory of artistic psychology can be summarized as followings: the conceptualization of mechanisms of an art work through the psychological terms, and the analysis of the recipient's mind in relation to an art work, and the function of the structure of an artistic text as an stimulus to the recipient's emotion, and finally, the analysis of the concept of catharsis as the core of so called 'aestho-psychology', which attempts to synthesize methods of aesthetics, sociology, psychology. It is not difficult to find in Vygotsky's writings the great influence of his precedent and contemporary theorists and schools including Russian formalists, and reflexologists, and other psychologists. It is very natural that those philosophical influences comprise the context of Vygotsky's writings. But his scientific endeavor cannot be reduced to the repetition of the preceding researches. Indeed, it is possible to find that he get over them in his thoughts, and moreover, that he launches his new scientific ideas. Therefore, this paper examines thoroughly in each chapter several main points of Vygotsky's theory of aesthetic psychology(the meaning of three major aesthetic categories of form, content and catharsis, the mechanism of an artistic text, and such psychological terms as reaction, the principle of emotion, an aesthetic reaction, theories of fable, novella, tragedy), and at the same time, the trace of influence from other adjacent theories in his writings.

수소 연료전지 파워팩 열관리 시스템(수냉식)의 1D 시뮬레이션 모델 구축

조준래(Cho jun rae),김은수(Kim eun su),최동현(Choi dong hyun),강지훈(Gang ji hun) 한국자동차공학회 2023 한국자동차공학회 부문종합 학술대회 Vol.2023 No.5

「주인공 없는 서사시」에 나타난 예술적 책임의 문제

조준래(Cho Jun-rae) 한국외국어대학교 외국문학연구소 2005 외국문학연구 Vol.- No.20

This paper aims to analyse one of the most complicated works of Twentieth century's Russian literature, Poem without a Hero written by Anna Akhmatova, the representative poetess of soviet era. Hitherto, many studies devoted to Poems without a Hero have centered exclusively on outer layers of the work, such as the formal novice and intertextuality of many different cultural codes. But it is a pity that those endeavors has not contributed much to the understanding of the ultimate message, which lies behind the formal devices, but at the same time, which the author intends to convey through them. Actually, we cannot but agree to the opinion that it is not easy for us to find behind the labyrinth of complicated structure that some traditional motives and themes comprise the core of Poem without a Hero, that is, the discipline of poetic justice or the theme of artistic answerability. The factors that comprise those problems are to be found in fluidity of author's position and role, in the different styles that he uses, in the various citations, reminiscences, and allusions, which lead us readers to the deeper layers of cultural context. But the theme of artistic answerability is not an end in itself. Rather, it functions as the important key to the enigmatic structure of the work because it is connected with the most essential problems of hero's presence in the work along with the author-poet's personal psychology, and her distinctive historical view, the elements of which can be seen in the other Acmeist poets(Mandelstam, Gumilev). And finally, the theme of artistic answerability helps understanding the duality of the work, which possesses ‘createdness’ and ‘spontaneousness’ at the same time. We can conclude that the dual hypostasis of this poem is the result of the author's own humble submission to the chorus, that is, obeying to the others' voices(the metonymy of the Russian people, the so-called ‘Russkij narod’).

크로노토프 분석을 통한 구(舊) 유고권(세르비아, 크로아티아, 슬로베니아, 보스니아) 모더니즘 소설의 원심력과 구심력 연구

조준래(Cho Jun Rae) 한국노어노문학회 2011 노어노문학 Vol.23 No.2

크로노토프와 주제의 측면에서 구 유고권 사실주의 문학의 유산을 계승하면서도, 그것과 현격히 대비되는 구 유고권 모더니즘 문학의 특정은 지역 전통문화와 전통사회의 가치관에 대한 재해석이다. 모더니즘 소설가들은 작품 속에서 지역 특유의 토속적 관습과 커뮤니케이션 방식을 표면화한다는 점에서는 사실주의 작가들과 연계성을 지니지만(구심성), 사회현상의 표층 아래 있는 심층적 차원을 담론 화한다는 점에서 탈사실주의적 특징(원심성)을 노출한다. 이런 원심성이 가장 극명하게 표출되는 지점이 전통사회의 하위주체, 특히 여성에 대한 심리주의적 문학담론이다. 예술적 스타일의 다양성에도 불구하고 구 유고권 모더니즘 작가들의 공통점은, 근대초기에 새로이 대두된 전통사회의 위기와 균열을 가족 담론과 여성 담론을 통해서 공론화하고 있다는 점이다. 따라서 사실주의 문학에서 쓰였던 통일한 크로노토프 모티프가 모더니즘 문학에서는 다른 의미의 크로노토프 모티프로 변형되며, 그 대표적인 예가 구 유고권 모더니즘 작가들의 여성담론과 가족담론에서 부정적인 크로노토프 모티프로 기능하는 전통적인 가부장적 공간인 ‘집(ku?a)’이다. The major point of difference between ex-Yugoslav realist prose and its modernist counterpart consists in the latter’s reconsideration of the local traditional culture and social valuation therein in the western Balkan. While the ex-Yugoslav modernists show nearly similar characteristics with their former prose writers in the fact that both of them embodied local folkloric habits and its peculiar manners of communication between men and women, they reveal the great distinction from realist writers through making disclosed the depth level of their traditional societies, in which until then have been hidden such problems as the low position of women in society and inter-familial violence against women. Despite the diversities of the artistic styles, the common characteristics among the ex-Yugoslav modernist prose writers are to be found in their ideological approach to the cultural crisis and rupture in the new century of modernity by means of family dicourse, feminine discourse, and literary psychologism. In this context this paper analyses the chronotope motif of ‘ku?a’ that is same in shape but different in implication and that functions as important narrative symbol with the negative and positive senses both in realist and modernist proses in ex-Yugoslav literature.

크로노토프 분석을 통한 구(舊) 유고권(세르비아, 크로아티아, 슬로베니아, 보스니아) 모더니즘 소설의 원심력과 구심력 연구

조준래(Cho Jun Rae) 한국외국어대학교 외국문학연구소 2011 외국문학연구 Vol.- No.44

근대에 새로이 대두된 위기와 균열에 대한 예술적 통찰인 구 유고권 모더니즘 소설은 심리주의 기법의 강화와 극적인 플롯 구성을 특징으로 하며, '나'와 '타자', '중심'과 '주변'의 역동성과 가변성을 강조하는 발칸 특유의 크로노토프를 구조적 장치로써 활용한다. 이런 인간의 예술적 이미지는 발칸 근대사를 점철했던 승자와 패자, 이주와 난민의 물결, 다양한 종족과 사상의 명멸 같은 구체적인 역사적 현실과도 일치한다. 서사의 차원에서 구 유고권 모더니즘 소설 텍스트의 크로노토프는 일정한 플롯군(群)을 파생한다. 첫째는 변혁과 위기의 모티프(농촌과 도시, 프롤레타리아적 질서와 부르주아적 질서의 극단적 대립의 코드, 구세계(악)와 신세계(선)의 충돌)에 기초한 비극적 결말의 플롯으로, 성장서사와 유사한 직선적 '길'의 크로노토프(→)를 통해서 실현된다. 두 번째 유형의 플롯은 천상과 지상의 수직적 대립에 기초한 플롯으로서, 이런 플롯 유형은 시간적, 공간적 표지가 뚜렷하지 않고, 현실과 거리를 둔, 모더니스트의 낭만적 모험을 추구하는 유토피아적 체험의 크로노토프를 통해서 발현된다(↑). 세 번째 유형의 플롯은 유년시절과 전원생활의 모티프가 동반되는 민속적 크로노토프와 관련되어 있다. 이런 플롯에서 나타나는 '길'의 크로노토프는 운명적·순환적인 시간의 지배를 받기때문에 순환하는 원의 형태로 변형된다(○). 네 번째 유형의 플롯은 복합형의 크로노토프로서 가장 발칸적인 크로노토프이며, 구 유고권 모더니즘 문학가운데서 특히 보스니아의 소설과 관련된다. 자주 등장하는 '다리'의 모티프는 '길'의 크로노토프가 처음과 끝도 없이 시공간적으로 무한히 확장되어있는 모습을 형상화하며(↔), 이 비유는 '대화'의 필연성과 삶에 대한 희망을 함축한다. 마지막으로, 20세기 중후반의 사건을 다루고 있는 유고슬라비아 포스트모더니즘 소설의 시공간적 특성은 모더니즘 소설에서 시작된 공간의 글로벌화를 더욱 가속화하는 한편으로, 비재현적, 비역사적인 공간을 작품의 크로노토프로 설정한다는 점에 있다. 이런 유고슬라비아 포스트모더니즘의 공간적 변화는 소설의 주제의식이 국제화되고 초민족적 담론에 대한 사회적 요청이 제고된 상황에서 나타난 자연스러운 결과이다.

외재화된 현실 : 바흐찐의 사상적 진화 연구

조준래(Jun Rae Cho) 한국외국어대학교 러시아연구소 2001 슬라브연구 Vol.17 No.1

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H. A. 네끄라소프의 서정시에 나타난 타자(他者)의 말

조준래 ( Jun Rae Cho ) 한국외국어대학교 러시아연구소 2004 슬라브연구 Vol.20 No.2

「거장과 마르가리따」에 나타난 작가와 주인공의 문제

조준래 ( Jun Rae Cho ) 세계문학비교학회 2005 세계문학비교연구 Vol.12 No.-