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자료유형
학술저널
저자정보
저널정보
한국슬라브유라시아학회 슬라브학보 슬라브학보 제19권 2호
발행연도
2004.12
수록면
29 - 52 (24page)

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초록· 키워드

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At the first glance, Moscow as described in Platonov's unfinished novel Happy Moscow seems to represent the center of happiness in the 1930s' Stalinist culture. Above all, the urban landscape strongly characterized with the Stalinist skyscrapers brightly lit by electricity evokes an illusion of utopian happiness that had supposedly been attained by Stalin's First Five-Year Plan. It turns out, however, that Platonov relentlessly reveals the contradictory aspects and theatricality of life concealed behind the magnificent facades of the Stalinist society in the early 1930s. And in the novel the construction of a happy life as shown on the surface ultimately turns into the deconstruction and subversion of the dominant discourses of the Stalinist culture in the 1930s. This is markedly symbolized in the destruction of Moscow Chestnova's bodily landscape and is strongly allegorized in Komiagin's unfinished picture, which in tum reflects the unfinished-ness of the novel itself. In this article, thus, I first attempt to show how Platonov in the novel reflects the urban landscape of Moscow, a symbol and center of rich and happy life in the 1930s' Stalinist culture, within his narrative strategy of deconstruction and subversion. Then, I try to analyze how the gazes wandering around the urban space of happy Moscow function within the novel's system of meanings, focusing on the particular aspect that the urban landscape is presented mostly through the characters' gazes.

목차

Ⅰ. 서론
Ⅱ. 도시의 풍경: 건설에서 해체로
Ⅲ. 방랑하는 시선들: 외적 관찰과 내적 성찰의 대비
Ⅳ. 결론
참고문헌
Abstract

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