러시아 시베리아 작가들의 시베리아-유토피아, 디스토피아 테마 = Themes of the Utopia and Dystopia in Russian Siberian Literature

다국어 초록 (Multilingual Abstract)

Like Siberian territory, Siberian literature appears to have no clear borders. In it's broadest meaning it often encompasses literature about Siberia as well as literature of Siberian people. In terms of their human biographical originalities they are so various that sometimes their images and views on Siberia extremely varied, sometimes between heaven and hell., or utopia and dystopia.
The tradition of depicting Siberia as a hell was mostly deeper than that of depicting it as a heaven. The former is the case of Avaakum's "Life" which depicted Siberia for the first time as a place of forced bitter exile. And this tradition continued, influncing on the works of the 18th and 19th century writers including F.M. Dostoevsky's "The House of the Dead." and the works of 20th century 'exile literature' writers V. Shalamov and A. Solzhenitsyn. But like the Avaakum's "Life", Dostoevsky's “The House of the dead" contained some parts of blissful scenary in beautiful nature and the 'narod' of Siberia, changing the soil to positive images, associated with heavenly utopian future of Russia. But from the case of Dostoevsky's "Diary of a Writer", the images of Siberia are often linked with Russian role between 'negative-corrupted' Europe and 'innocent' Siberia or Asia. However we could find the imperialistic geopolitical world conception of Dostoevsky concerning on the soil of Siberia engaged with anti-European views, and it was transcended by 20th A. Block's poem "Skify".
During the 1st half of the 19th century the Decembrists gave us most negative views on Siberia by mythologizing Siberia as an ultimate dark place of alienation, hardship, exiles. But under the stream of these negative views on Siberia those of Russian writers could'nt refrain from depicting the charms of new frontiers, with rich nature, exotic legendary outlaws, facinated by the myths of Siberia. And the Siberian local romantics, patiots and Siberian regionalists of the second part 19th century began to form images of utopian or "heavenly" Siberia as a kingdom of beautiful and abundant nature with blissful memory of childfood and innocence.
The 19th century regionalist's symbol of innocence, purity, freedom, moral superiority, and true "Russianness" of Siberia could be associated with Russian culture of the 20th century in spite of political exiles and hardship on this soil again under the Stalinist regime (The cases of V. Shalamov, A. Solzhenitsyn). The utopian image or legendary paradise conception of Siberian earth was also hailed by Soviet regime mainly with concerns of economic potential. But with the industrial development and rapid modernization process in this area, Russian intelligentsia began to realize the ecological disasters here and there in Siberia. From the 1960s the advent onto the Soviet literary stage of so-called "derevenskaia proza", with its strong voices of nationalistic and ecological provosts, gave us the new pro and con eyes on Siberia, mostly linked with modernization problems of Siberia.
What will happen with the myth of Siberia in post-Soviet Russia is, of course, anyone's guess. Already the vision of approaching tragic apocalypse was spreaded among the writings of "derevenshchiki", most notably of Valentine Rasputin's. It means that their themes were confronting with serious social, and ecological problems of modern Siberia. But, still their novels and articles do not conceal the writers' secret hopes of some special positive roles and realization of utopian image of Siberia in terms of literary depiction of it. Consequently, in spite of still ambiguos situation of Siberian literary circles in and out of Siberia, Siberian literature could and should create the more important stream on the river of Russian and world literature from in the future.

목차 (Table of Contents)

• Ⅰ. 서언 = 139
• Ⅱ. ‘유형지’에서 보상적 대상으로의 반전 = 142
• Ⅲ. 도스또옙스끼의 러시아 메시아니즘과 아시아·시베리아 = 149
• Ⅳ. 19세기 이르꾸츠끄 작가들의 시베리아-유토피아 테마 = 159
• Ⅴ. 20세기 시베리아-디스토피아 담론 = 168
• Ⅵ. 결론 = 172