지원사업
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
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In “Little Trilogy” composed of “The Man in a Shell”, “Gooseberries”, and “About Love,” Chekhov focuses on representing a wide spectrum of various aspects of “Фут-лярность,” which can be attributed to melancholy as cultural and psychological main code influencing Russians’, especially Russian intelligentsia’ mentality at the fin?de?siecle. The melancholic symptoms like narcissistic personality, inertia, ennui, aggressiveness, violence, epistemological closedness account for almost the same various aspects of “футлярность.”
In “Little Trilogy” Chekhov makes use of the overlapping structure through the form of “text in text,” so in the three texts each character?narrator’s and his representation objects' various aspects of “футлярность” are overlapped across their different cognitive dimensions. And to the overlapping structure is added a higher cognitive dimension of the author?character in line with Chekhov.
In the dimension of each character-narrator, the representation objects respectively are portrayed as a representative of paranoid for suppression and prohibition of ‘the Other’ like Velikov, a representative of obsession with “objet petit a” like Nikolai Ivanych, a female representative of suffering from unrealizable love like Anna Alexyevna. But in the dimension of the author-character, each character-narrator, portraying other’s extreme symptoms of “футлярность,” betrays his own symptoms of “футлярность” like narcissistic personality, cruelty and aggressiveness, which are caused by melancholy from dissatisfaction and resentment about himself or vulgar reality.
This study moves forward to estimate “футлярность” of the cognitive dimension of the third author?narrator, an alter ego of Chekhov, who in “Little Trilogy” tries to appease the sharp pain from “футлярность” by depicting and reflecting on peaceful natural scenery in the moods of poetic melancholy. The poetic melancholy permeated into the natural scenery is expected to serve as a pain?killer of the sharp pain from vulgar reality, but the effect of poetic melancholy is temporary and superficial.
Given that melancholy has two aspects of cognitive and affective faculties, Chekhov here contents himself with dealing with only the affective faculties by poetic melancholy. That implies that Chekhov himself, suffering from melancholy and футлярность, had difficulties in finding out the epistemological approach to pathological melancholy, which Russian intellectual heroes in these texts suffer from seriously. However, in later works he suggests some epistemological cures for melancholy like labor and perseverance, which may reflect his “warm heart and cold eye” in George Eliot's terms.
In “Little Trilogy” Chekhov makes use of the overlapping structure through the form of “text in text,” so in the three texts each character?narrator’s and his representation objects' various aspects of “футлярность” are overlapped across their different cognitive dimensions. And to the overlapping structure is added a higher cognitive dimension of the author?character in line with Chekhov.
In the dimension of each character-narrator, the representation objects respectively are portrayed as a representative of paranoid for suppression and prohibition of ‘the Other’ like Velikov, a representative of obsession with “objet petit a” like Nikolai Ivanych, a female representative of suffering from unrealizable love like Anna Alexyevna. But in the dimension of the author-character, each character-narrator, portraying other’s extreme symptoms of “футлярность,” betrays his own symptoms of “футлярность” like narcissistic personality, cruelty and aggressiveness, which are caused by melancholy from dissatisfaction and resentment about himself or vulgar reality.
This study moves forward to estimate “футлярность” of the cognitive dimension of the third author?narrator, an alter ego of Chekhov, who in “Little Trilogy” tries to appease the sharp pain from “футлярность” by depicting and reflecting on peaceful natural scenery in the moods of poetic melancholy. The poetic melancholy permeated into the natural scenery is expected to serve as a pain?killer of the sharp pain from vulgar reality, but the effect of poetic melancholy is temporary and superficial.
Given that melancholy has two aspects of cognitive and affective faculties, Chekhov here contents himself with dealing with only the affective faculties by poetic melancholy. That implies that Chekhov himself, suffering from melancholy and футлярность, had difficulties in finding out the epistemological approach to pathological melancholy, which Russian intellectual heroes in these texts suffer from seriously. However, in later works he suggests some epistemological cures for melancholy like labor and perseverance, which may reflect his “warm heart and cold eye” in George Eliot's terms.
목차
Ⅰ. 들어가는 말
Ⅱ. 멜랑콜리의 상자성: 정서와 인식의 상호관계
Ⅲ. 인물-화자와 재현되는 인물들의 멜랑콜리와 상자성
Ⅳ. 체홉의 상자성: 시적 멜랑콜리의 한계
Ⅴ. 나오며
참고문헌
Abstract
참고문헌 (31)
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UCI(KEPA) : I410-ECN-0101-2009-309-018824689