바흐친 시학의 관점에서 본 스베틀라나 알렉시예비치의 『세컨드핸드 타임: 호모 소비에티쿠스의 최후』 (Svetlana Alexievich's "Second Hand Time: The End of Homo Sovieticus" from the perspective of Bakhtin's poetics)

서지정보

· 발행기관 : 한국노어노문학회
· 수록지 정보 : 노어노문학 / 33권 / 1호 / 161 ~ 192페이지
· 저자명 : 김영숙

초록

본 고에서는 알렉시예비치의 대표작『세컨드 핸드 타임: 호모 소비에티쿠스의 최후』를 형식적인 측면에서는 바흐친의 시학을 중심으로, 내용적인 측면에서는 러시아 문학의 전통인 영원한 문제의 관점에서 고찰하고 있다.
형식적인 측면에서 알렉시예비치의 작가는 텍스트 안으로 들어와 등장인물들과 마주한 청자, 곧 바흐친이 말한바 ‘외재성’, ‘타자성’을 지닌 타자로서, 등장인물들이 자신의 삶을 재해석하고 의미를 부여하며 정당화하고 더 나아가 예술적인 미적 차원으로 승화하도록 하는 역할을 한다. 또한, 알렉시예비치의 작가 자신이 등장 인물에게 대화적으로 말을 걸 뿐만 아니라, 등장인물의 발화를 텍스트라는 하나의 의미 평면에 병치함으로써 서로에게 말을 걸고 응답하고 대화하도록 하고 있다. 마지막으로, 작가는 하나의 사건에 여러 인물의 다성적인 목소리를 도입하거나 다성적인 목소리를 한 인물의 내면을 그려냄으로써 서사의 웅장한 코러스를 만들어내고 있다.
내용적인 측면에서 이 작품은 가장 시의적인 주제를 다루면서도 러시아 문학에서 끊임없이 논의되어 온 영원한 문제 곧, 사회 정의의 문제, 고통과 구원의 문제, 유토피아의 문제, 역사의 방향성 문제 등을 깊이 있게 다루고 있어 러시아 문학의 전통을 계승하고 있다고 볼 수 있다. 작가는 이를 통해 인간성을 파괴하는 모든 부조리에 저항하면서 고통받은 인간의 내면에 말을 걸고 구원의 가능성을 모색하고자 한 것이다.

영어초록

In this paper, Svetlana Alexievich’s Second Hand Time: The End of Homo Sovieticus is reviewed in terms of form and content in order to clarify the principle that Alexievich's work is read as an artistic and creative chorus even though it is a first-person monologue. In terms of formality, this work was analyzed focusing on the concepts of ‘authority’, ‘dialogue’, and ‘polyphony’ of Bakhchin's poetics. In terms of content, I tried to reveal that Alexievich is not only a descendant of Bakhchin's poetics, but also a writer in the tradition of Russian literature by looking at how the ‘eternal problems’, the long tradition of Russian literature, are dealt with.
As examined in this paper, it can be said that Alexiyevich's writing strategy has the following characteristics in terms of form.
First, Alexievich's writer is different from Bakhchin's writer like ‘Creator’, who is ‘active formation energy’ with ‘creative productivity’ and ‘bearer of unity’. However, these two writers have something in common in that they are the other with 'outsiderness' and 'otherness', that allow the characters to reinterpret their lives, give meanings, justify them, and further sublimate them into an artistic and aesthetic dimension.
Second, Alexievich's writer is talking to the characters in a conversational way, even though she has his own valuation. She creates a magnificent chorus by letting the characters communicate with each other on a single meaning plane of text. Moreover, the intersection of various voices that do not agree with each other adds aesthetic tension and abundance to the work, making the work aesthetically complete.
Third, the artist ensures the concreteness and truthfulness of the statement and approaches historical truth by treating a huge and narrative discourse from the perspective of the first-person protagonist. Of course, the artist has his own valuation, and the artist's intention cannot be completely excluded in the process of selecting the literary materials and editing. However, she is creating a polyphonic collage by introducing a polyphonic gaze to a single event or drawing a character with a polyphonic view. Therefore, it can be said that Bakhchin's concept of polyphony is well realized by allowing the characters to speak freely with their own values without being controlled by the artist's intentions.
In terms of content, this work reflects on the most timely and historical events such as World War II, Stalin Great Purge, and the collapse of the Soviet Union and it deals in depth with eternal issues that have been constantly discussed in Russian literature, such as social justice issues, pain and salvation issues, utopia issues, and historical direction issues. Some accuse her of deliberately revealing the uncomfortable truth of Russia, but rather than trying to condemn a particular system or society, she tried to resist all the absurdity that destroys humanity, talk to the inner side of suffering humanity, and seek the possibility of salvation. Alexievich's work is thought to be the most persuasive answer to the question of what literature can do now that national disasters such as war, terrorism, nuclear explosions, ethnic conflicts, earthquakes and fires have become daily lives.

참고자료

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