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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
There is virtually no disagreement among literary scholars that out of the alchemical melange of different generic and stylistic ingredients in his magnum opus, Chevengur, Platonov powerfully forges a densely textured work of art of enormous value. They are equally unanimous in their opinion that Chevengur is dense and rich in poetic terms, too. What has been overlooked, however, is the fact that the novel’s poetic density and richness is achieved to a large extent by the author’s substantial use of water images. In Chevengur, Platonov demonstrates a perfect combination of his practical hydrological experience and his literary imagination. In Chevengur, indeed, water emerges as the most pervasive image from beginning to the end, providing a ‘poetic’ coherence to the novel.
On the other hand, water is the most pervasive natural element found in the entire narrative of Chevengur. It sometimes flows in the form of rivers and sometimes falls like rain or snow. It sometimes floats like fogs or vapors in organic union with air and sometimes becomes viscous in combination with earth. Finally, water flows as part of blood in the human body, or comes out of it as sweat or tears. While there are numerous references in the text to mobile fluids such as mentioned above, there is also an emphasis on immobile, stagnant waters like ponds, swamps, and the lake, from the opening to the very end of the novel. This abundance of various forms of water lends an aquatic reality to the novelistic world of Chevengur, pervading the whole narrative cosmos, including the human, the earthly, and the heavenly.
Paying close attention to those extraordinary aspects of water (and its related image-motifs), I will analyze how Chevengur is transformed into a narrative discourse of water through Platonov’s hydrological imagination and what ultimately this signifies.
On the other hand, water is the most pervasive natural element found in the entire narrative of Chevengur. It sometimes flows in the form of rivers and sometimes falls like rain or snow. It sometimes floats like fogs or vapors in organic union with air and sometimes becomes viscous in combination with earth. Finally, water flows as part of blood in the human body, or comes out of it as sweat or tears. While there are numerous references in the text to mobile fluids such as mentioned above, there is also an emphasis on immobile, stagnant waters like ponds, swamps, and the lake, from the opening to the very end of the novel. This abundance of various forms of water lends an aquatic reality to the novelistic world of Chevengur, pervading the whole narrative cosmos, including the human, the earthly, and the heavenly.
Paying close attention to those extraordinary aspects of water (and its related image-motifs), I will analyze how Chevengur is transformed into a narrative discourse of water through Platonov’s hydrological imagination and what ultimately this signifies.
목차
Ⅰ. 들어가는 말
Ⅱ. 무테보 호수에서 분수령까지
Ⅲ. 분수령에서 체벤구르까지
Ⅳ. 나오는 말
참고문헌
Abstract
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