심미의 관념화: 톨스토이의 『하지 무라트』의 시학 (Ideation of Aesthetic Appreciation: The Poetics of Tolstoy’s Hadji Murat)

서지정보

· 발행기관 : 한국외국어대학교(글로벌캠퍼스) 러시아연구소
· 수록지 정보 : 슬라브硏究 / 27권 / 4호 / 167 ~ 186페이지
· 저자명 : 이상룡

초록

『하지 무라트』에서 톨스토이는 심미적 형상화만으로 관념적 명제를 구축해내는 새로운 시학을 추구하였다. 자신이 추구하던 예술의 목적성 지향 노선에서 벗어나기는 하지만, 그는 심미성을 탁월한 수준에서 형상화한 뒤, 이를 통해 인간의 감정 작용에 깊은 영향을 미칠 수 있는 관념을 창출해내고자 한다. 바로 이 대목에서 그는 오히려 로트레아몽보다도 더 적극적으로 특정한 시공간에서 만날 때 창출되는 이질적 요소들의 상관성을 확장시켜나갈 수 있었다. 그는 어떤 대상이 가지고 있는 자동화된 개념의 의미를 전혀 다른 관점에서 조망하는 기법을 통해, 그것에 관해 우리가 가지고 있는 선입견이나 편견의 허위와 견고함에 관해 은유적으로 형상화한다. 또한 그는 심미성의 주요 요소인 숭고함/비극성/서정성/극적 긴장감/구성미학 등과 관념적 명제들을 자연스럽게 융합시켜내는 구성의 시학을 구현해내고 있다. 그렇게 함으로써 톨스토이는 자연이라는 실재 세계에 기반한 서정적 심미성이라는 추상성의 세계를, 인식작용이라는 가상적 세계에 기반한 관념화의 구조라는 추상성의 세계로 치환하는 독특한 시학을 완성하고 있는 것이다.

영어초록

In his work Les chants de Maldoror Lautreamont describes a young boy as “beautiful as the chance meeting on a dissecting-table of a sewing-machine and an umbrella.” What he was trying to convey is the possibility to create fresh sense of aesthetics through putting together completely unrelated matters on the same location simultaneously. In doing so, he attempts to come up with new paradigm of aesthetic appreciation. In Hadji Murat Tolstoy took very similar narrative strategy. Pursuing the new guiding principle that the starting-point for all systems of aesthetics must be the personal experience of a peculiar emotion, on the one hand he discards his conventional habits to not bother to put in his nose everywhere, on the other hand he let readers to take their own position on the thematics voluntarily. To this end, delineating natural beauty of wild flowers, he never endeavors to deliver authorial voice. Instead authentic autonomy of wild flowers takes its old place. The bottom line is that in this process of ideation of aesthetic appreciation, Tolstoy never infringes upon the readers interpretation of the narrative connotation. There are some striking features that deserve our close observation related to the poetics of this story. Most of all, the structure of plot have been defined as being panoramic, but this paper lays down a new foundation of 'a folding screen structure' emphasizing the equivalence of diverse leitmotifs. One of striking features of characterization is Tolstoy put Hadji Murat continue to command respect, in contrast with all creatures who have lost sight of any meaningful form of life. In particular, Tolstoy painstakingly builds up Hadji Murat's identity throughrepeating 'child-like genuine smile' of Hadji Murat that creates sincere adoration and reverence among the people who warmheartedly make friends with him. In terms of so called civilized people, Hadji Murat knows no law but self-preservation. That's why without the slightest scruple he betrays Imam Shamil and surrenders to the Russian tsar's troops, then later kills the brave Cossacks assigned to serve as his escort. Pursued by on all sides, he defends himself to the death with irrational doggedness. And Tolstoy seeks no compassion for him not because he takes side with the public opinion, but because he looks forward to Hadji Murat's fate as a circulation of being just like a metempsychosis.

참고자료

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