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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2018.12
- 수록면
- 27 - 65 (39page)
- DOI
- 10.46694/JSS.2018.12.33.3.27
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초록· 키워드
오류제보하기
The purpose of this article is to examine a relationship between Stavrogin and female figures in Dostoevsky’s The Devils in the aspect of religious beauty and the salvation. One of famous thesis of Dostoevsky is “Beauty will save the world.” But the concept of his beauty does not mean an external beauty, but a beauty of mind, or more precisely, a beauty as a possibility of religious salvation. Stavrogin is a representative of Russian nihilist intelligentsia that has lost its relationship with Russian soil and people. Stavrogin is called the ontological principle of evil because he commits all kinds of ugly crimes in order to escape his own boredom and emptiness. Though he is one of the most powerful and greatest artistic creatures of Dostoevsky, he does not know how to use his power, and at last becomes a victim of his own relentless power. He has many disciplines who call him as their leader, their sun, and even their real god. But Stavrogin does not acknowledge that their belief and creed origin from his ideology.
In this article the focus is on female characters, Marya Lebyadkina, Lizaveta Tushina, Darya and Maria Shatova. They are from different social status and have different intellectual levels and various personalities, but they have one thing in common in an aspect that they are all fascinated by Stavrogin’s beauty and become a part of the tragic destiny of Stavrogin-Russian Don Juan. Marya Lebyadkina is mentally and physically unstable, but she was chosen as Stavrogin’s wife. Lizaveta is very beautiful and intelligent aristocra, and especially she is prominent as a woman of great self-respect. Shatov’s sister Darya has calm and submissive personality, but she confidently believes that she will be a nurse of Stavrogin at the end of his life. Shatov’s wife, Maria gives birth to a Stavrogin’s son. These female figures are confused by a relationship with Starvrogin and oscillate between love and hatred for him. The common reason of their obsession with him is his beauty and his gracious manners, but he does not love any of them.. He cannot love people and does not have a capacity to love them. He just needs them to escape a boredom and emptiness in his life.
Dostoevsky thought that spiritual and religious beauty will save a world and mankind. But Stavrogin’s beauty was just an appearance concealing his inner ugliness. In his mind there was no difference between lascivious and brutal acts and acts of sacrifice for mankind. But women figures could not see his mental conflict and frustration and his demonic nature hidden under his mask of beauty. For Dostoevsky, the eternal ideal of beauty is Christ, but Stavrogin was nothing but a mean imposter of Christ. And he leads both himself and the people around him into a tragedy.
In this article the focus is on female characters, Marya Lebyadkina, Lizaveta Tushina, Darya and Maria Shatova. They are from different social status and have different intellectual levels and various personalities, but they have one thing in common in an aspect that they are all fascinated by Stavrogin’s beauty and become a part of the tragic destiny of Stavrogin-Russian Don Juan. Marya Lebyadkina is mentally and physically unstable, but she was chosen as Stavrogin’s wife. Lizaveta is very beautiful and intelligent aristocra, and especially she is prominent as a woman of great self-respect. Shatov’s sister Darya has calm and submissive personality, but she confidently believes that she will be a nurse of Stavrogin at the end of his life. Shatov’s wife, Maria gives birth to a Stavrogin’s son. These female figures are confused by a relationship with Starvrogin and oscillate between love and hatred for him. The common reason of their obsession with him is his beauty and his gracious manners, but he does not love any of them.. He cannot love people and does not have a capacity to love them. He just needs them to escape a boredom and emptiness in his life.
Dostoevsky thought that spiritual and religious beauty will save a world and mankind. But Stavrogin’s beauty was just an appearance concealing his inner ugliness. In his mind there was no difference between lascivious and brutal acts and acts of sacrifice for mankind. But women figures could not see his mental conflict and frustration and his demonic nature hidden under his mask of beauty. For Dostoevsky, the eternal ideal of beauty is Christ, but Stavrogin was nothing but a mean imposter of Christ. And he leads both himself and the people around him into a tragedy.
목차
Ⅰ. 서론
Ⅱ. 정신적 완성으로서의 미
Ⅲ. 결론
참고문헌
Abstract
참고문헌 (22)
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라승도 / 2006 / 관념의 이미지 : 도스토예프스키의 <악령>에 나타난 얼굴의 의미론 / 노어노문학 18(2):197~220
박영은 / 2007 / 도스토예프스키의 『악령』에 구축된 중세 성사극(聖史劇)의 지형도 / 슬라브학보 22(4):61~81
백준현 / 2003 / 왜곡된 동심원의 비극 -도스토예프스키 <악령>의 구조적 통일성- / 노어노문학 15(2):371~403
석영중 / 2002 / 도스또예프스끼의 <악령>에 나타난 케노시스와 신화(神化) / 슬라브학보 17(2):8
라승도 / 2006 / 관념의 이미지 : 도스토예프스키의 <악령>에 나타난 얼굴의 의미론 / 노어노문학 18(2):197~220
박영은 / 2007 / 도스토예프스키의 『악령』에 구축된 중세 성사극(聖史劇)의 지형도 / 슬라브학보 22(4):61~81
백준현 / 2003 / 왜곡된 동심원의 비극 -도스토예프스키 <악령>의 구조적 통일성- / 노어노문학 15(2):371~403
석영중 / 2002 / 도스또예프스끼의 <악령>에 나타난 케노시스와 신화(神化) / 슬라브학보 17(2):8
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