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초록· 키워드
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It has been well known that such dwelling spaces as apartments, houses or homes are of enormous importance in Bulgakov's real life as well as in his literary career. In his prose works, especially, such dwelling spaces are “one of the key organizing images,” as noted Edythe Haber. At the same time, on a symbolic plane they represent a “moral and metaphysical topography,” constituting the dwellers' spiritual landscape. And nowhere is all this more prominent than in Bulgakov's first novel The White Guard, at the spatial and semantic center of which lies the house of his childhood, the legendary house at No. 13 Alekseevskii Spusk.
It is true and common, thus, that among literary critics much more attention has been paid mainly to the Turbins' house and its symbolic significance. Moreover, most of Bulgakov's scholars have concentrated their focus of analysis exclusively on the inner space of the Turbins' home and its thematic function. A representative example of this is Laura Weeks' recent study examining “Houses, Homes, and the Rhetoric of Inner Space” as appeared in the novel The White Guard. However, it is regretable that her study is also devoted mostly to the inner space of the Turbin's home and its symbolic function. Whereas she draws special attention to the “rhetoric of inner space” strongly characterized by fire images, she makes no mention of the ‘rhetoric of outer space’ deeply marked with various water images. What is more significant of this ‘rhetoric of outer space’ is that it forms a salient contrast to the “rhetoric of inner space” and thus transforms the novel's concentric structure of space into the binary opposition between spaces of fire and water. However, existing scholarship has ignored the significant resonance which water imagery evokes in the novel's language and space.
This study examines the structure and aspect of space in Bulgakov's novel The White Guard, redirecting critical attention from the so-called “rhetoric of inner space” characterized by fire images to the ‘rhetoric of outer space’ marked with water images like snow(storm), fog, and other figures of water.
It is true and common, thus, that among literary critics much more attention has been paid mainly to the Turbins' house and its symbolic significance. Moreover, most of Bulgakov's scholars have concentrated their focus of analysis exclusively on the inner space of the Turbins' home and its thematic function. A representative example of this is Laura Weeks' recent study examining “Houses, Homes, and the Rhetoric of Inner Space” as appeared in the novel The White Guard. However, it is regretable that her study is also devoted mostly to the inner space of the Turbin's home and its symbolic function. Whereas she draws special attention to the “rhetoric of inner space” strongly characterized by fire images, she makes no mention of the ‘rhetoric of outer space’ deeply marked with various water images. What is more significant of this ‘rhetoric of outer space’ is that it forms a salient contrast to the “rhetoric of inner space” and thus transforms the novel's concentric structure of space into the binary opposition between spaces of fire and water. However, existing scholarship has ignored the significant resonance which water imagery evokes in the novel's language and space.
This study examines the structure and aspect of space in Bulgakov's novel The White Guard, redirecting critical attention from the so-called “rhetoric of inner space” characterized by fire images to the ‘rhetoric of outer space’ marked with water images like snow(storm), fog, and other figures of water.
목차
Ⅰ. 서론
Ⅱ. 내부 공간과 불의 언어
Ⅲ. 외부 공간과 물의 언어
Ⅳ. 결론
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UCI(KEPA) : I410-ECN-0101-2009-309-018914377