나는 과거를 응시한다: 『매일 한 줄씩』에 나타난 유리 올레샤의 자전적 글쓰기 (I Stare at My Inner World - Yu. Olesha's Autobiographical Writing in Ni dnia bez strochki -)

서지정보

· 발행기관 : 세계문학비교학회
· 수록지 정보 : 세계문학비교연구 / 40호 / 287 ~ 314페이지
· 저자명 : 김성일

초록

As has been well-known, numerous autobiographical features are embedded throughout Yu. Olesha's works, and one of his posthumous stories, Ni dnia bez strochki (No Day Without a Line, 1965), is the typical example that shows it is anything but the writer's autobiographical notes as well as autobiography itself. As Socialist Realism proclaimed its strong, propagandistic creeds, and waged its power over artists and writers, Yu. Olesha was forced to close his mouth. The writer, however, began not only to keep noting and writing what he had witnessed around him, but to record brief memories and comments on his works everyday. These bulky outputs then were finally published in the name of No Day without a Line. For this right reason, the text under review, is considered a valuable repository representing of the writer's literary career, artistic world, and contemporary histories at the time.
Regardless of the various criticisms on his text, I would like to argue and summarize some essential points as follows: First, it was a narrative strategy in which Olesha's intention was embedded adroitly, showing the point that the text was surely an autobiographical and meta-literary writing on the writer's self-recognition. Second, at the same time, the writer draws much attention from the reader that he himself is witnessing to artistic magic, not just a passive role as a simple writer. Third, the beauty of this autobiographical text lies in that it creates 'dialogueness,' which definitely serves a meta-literary channel through which the writer can look into his inner self and world, inviting the reader to his non-established theme. This is why No Day without a Line is reminded as a literary monument and artistic arsenal providing Yu. Olesha's world.

영어초록

As has been well-known, numerous autobiographical features are embedded throughout Yu. Olesha's works, and one of his posthumous stories, Ni dnia bez strochki (No Day Without a Line, 1965), is the typical example that shows it is anything but the writer's autobiographical notes as well as autobiography itself. As Socialist Realism proclaimed its strong, propagandistic creeds, and waged its power over artists and writers, Yu. Olesha was forced to close his mouth. The writer, however, began not only to keep noting and writing what he had witnessed around him, but to record brief memories and comments on his works everyday. These bulky outputs then were finally published in the name of No Day without a Line. For this right reason, the text under review, is considered a valuable repository representing of the writer's literary career, artistic world, and contemporary histories at the time.
Regardless of the various criticisms on his text, I would like to argue and summarize some essential points as follows: First, it was a narrative strategy in which Olesha's intention was embedded adroitly, showing the point that the text was surely an autobiographical and meta-literary writing on the writer's self-recognition. Second, at the same time, the writer draws much attention from the reader that he himself is witnessing to artistic magic, not just a passive role as a simple writer. Third, the beauty of this autobiographical text lies in that it creates 'dialogueness,' which definitely serves a meta-literary channel through which the writer can look into his inner self and world, inviting the reader to his non-established theme. This is why No Day without a Line is reminded as a literary monument and artistic arsenal providing Yu. Olesha's world.

참고자료

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