CAJ | 학술논문

阿尔志跋绥夫《绝境》在美学方面的一个重大特色是文本的狂欢性. 狂欢化文学是古希腊时期即已出现的一种文学形式,经历了古罗马时期和中世纪的变迁,在拉伯雷、塞万提斯等人的作品里得到了发展,最后被陀思妥耶夫斯基创造性地加以利用,由巴赫金对之作出鲜明的阐释. 或无意识地继承,或作家个性使然,《绝境》在很大程度也彰显了狂欢化手法. 主要表现在几个方面:人物和作者的平等性、人物的怪诞性、亵渎性以及俱乐部的广场性.
아이지발수부《절경》재미학방면적일개중대특색시문본적광환성. 광환화문학시고희석시기즉이출현적일충문학형식,경력료고라마시기화중세기적변천,재랍백뢰、새만제사등인적작품리득도료발전,최후피타사타야부사기창조성지가이이용,유파혁금대지작출선명적천석. 혹무의식지계승,혹작가개성사연,《절경》재흔대정도야창현료광환화수법. 주요표현재궤개방면:인물화작자적평등성、인물적괴탄성、설독성이급구악부적엄장성.
The carnival style is a major aesthetic characteristic of Mikhail Artsybashev's Extinction. The Carnival literature, originated from ancient Greeks, experienced the changes of ancient Rome and medieval. It was developed in the works of Rabe-lais, Cervantes, etc, creatively improved by Dostoevsky and finally vividly interpreted by Bakhtin. Extinction, unconsciously in-herited or out of writer's personality, mostly highlights the carnival style which is mainly displayed in the equality of the characters and author, the character s' eeriness and blasphemy, and the universal of club.