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In Dostoevsky's major novels 〈Notes from Underground〉 is defined in critical literature as a key work. In particular its acclaimed role as a prelude to his oeuvre has significant meaning. Various themes which are raised in this work evolved up to higher level in such novels as 〈Crime and Punishment〉, 〈The Idiot〉, 〈The Devils〉 and 〈The Brothers Karamazov〉. Not only metaphysical and ontological themes, but also complex poetics, which originated from this work are developed in greater depth in those major novels. Dominant elements in 〈Notes from Underground〉 are conspicuous in extreme and condensed form, the constructional principles which shape and direct the typical Dostoevskian narratives.
In this work the idealism of the 1840s is openly mocked in the repeated phrase 'all that is beautiful and lofty', and Russian romanticism itself is dismissively criticised at the opening of part Ⅱ, when the underground man looks back at the incidents of his earlier life. Moreover, in the perverted hypersensitivity of the underground man can still be glimpsed quintessential elements of the earlier' dreamer' figure, but a 'dreamer' who has gone sour. In keeping with an artistic world where illumination ineluctably moves from one pole to the other, idealism has become cynicism.
If one concedes that the persona of the underground man in large measure a polemical device, and, moreover, that his arguments in Part Ⅰ cohere as a polemic, it will also be obvious that the difficulties of the text folw directly from the nature of this polemic and the methods by which it is conducted. Given the fact that the underground man is challenging the primacy of rationality in human affairs, we might logically assume that his own arguments will abandon reason, and so it appears. His statements are full of inconsistencies, self-contradictions, illogicalities and paradox.
In this context narrator's speech has created allegory of paradox, that is, although he pretended not to get involved into dialogue with others, however, in the level of figurative connotation, his secret intention aims at substantial communication. It is the very essence which poetics of 〈Notes from Underground〉 formalizes through paradoxical narratives. And in terms of this kind of poetics the leitmotif of this work is achieved by principles of hope to grope in intangible world for human identity.
In this work the idealism of the 1840s is openly mocked in the repeated phrase 'all that is beautiful and lofty', and Russian romanticism itself is dismissively criticised at the opening of part Ⅱ, when the underground man looks back at the incidents of his earlier life. Moreover, in the perverted hypersensitivity of the underground man can still be glimpsed quintessential elements of the earlier' dreamer' figure, but a 'dreamer' who has gone sour. In keeping with an artistic world where illumination ineluctably moves from one pole to the other, idealism has become cynicism.
If one concedes that the persona of the underground man in large measure a polemical device, and, moreover, that his arguments in Part Ⅰ cohere as a polemic, it will also be obvious that the difficulties of the text folw directly from the nature of this polemic and the methods by which it is conducted. Given the fact that the underground man is challenging the primacy of rationality in human affairs, we might logically assume that his own arguments will abandon reason, and so it appears. His statements are full of inconsistencies, self-contradictions, illogicalities and paradox.
In this context narrator's speech has created allegory of paradox, that is, although he pretended not to get involved into dialogue with others, however, in the level of figurative connotation, his secret intention aims at substantial communication. It is the very essence which poetics of 〈Notes from Underground〉 formalizes through paradoxical narratives. And in terms of this kind of poetics the leitmotif of this work is achieved by principles of hope to grope in intangible world for human identity.
목차
1. 반역의 사유, 이성으로부터의 자유
2. ‘지하‘와 ‘수정궁‘의 알레고리
3. 소외, 의사 소통의 단절, 그리고 타자의 목소리
4. 몽상가의 역설, 자유와 희망의 원리
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