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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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초록· 키워드
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This article aims at shedding a new light on the image of Stavrogin by reading Dostoevsky’s The Devils against the background of the painting 〈Coast View with Acis and Galatea〉(1657) by Claude Lorrain(c. 1600-1682). The immediate context of the painting, the so-called ‘Stavrogin’s confession’ in the 〈Tikhon chapter〉, can be viewed as a narrative landscape painting; yet it is a painting of ‘an Iron age’ full of human extreme evils, not of a Golden age as depicted in Lorrain’s painting. In addition, the bestial barbarity and the supernatural physical power of Stavrogin can be fully appreciated only in connection with the mythological image of Cyclops Polyphemus. Also, the motif of ‘a single eye’ and ‘blindness’, which signify Stavrogin’s extreme nihilism based on the western rational ideas, is traced back to the ‘one-eyed giant monster Polyphemus. Stavrogin’s ‘one-eye’ is interpreted, as that of Polyphemus, a negation of the pluralities of perspectives and a denial of the complexity of human truth. In 〈Coast View with Acis and Galatea> the Arcadian utopia dominates the canvas while the Cyclops Polyphemus as an ominous being to overturn the peace and happiness is sighted only tiny in the background. On the contrary, in The Devils it is the image of Stavrogin (and his alter egos) as a Cyclops Polyphemus that overwhelms the foreground of the novel while a potential of salvation is depicted only fleetingly in the background. Yet common to both art works is the tension between a vision of salvation and a cyclops-like being threatening it.
목차
Ⅰ. 서론
Ⅱ. 본론 - ‘퀴클로페스 스타브로긴’
Ⅲ. 결론
《참고문헌》
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UCI(KEPA) : I410-ECN-0101-2014-309-000438681