S-Space College of Humanities (인문대학) Institute for Russian, East European & Eurasian Studies (러시아문화권연구소) 러시아연구 (Russian Studies) 러시아연구 Volume 15 Number 1/2 (2005)
시인과 역사: 푸슈킨의 역사인식에 대한 재고
Poet and History: Reconsidering Pushkin ’s Historicism
- Issue Date
- 서울대학교 러시아연구소
- 러시아연구, Vol.15 No.2, pp. 69-95
- It is not until the 1980-1990's that Pushkin's historicism finally becomes liberated from the Soviet stronghold of Marxist dialectics. The Soviet scholars, perhaps motivated by the social necessities of their own period, embraced Pushkin' s historical awareness within the tendentious principle of realism, which led to a more or less rigid interpretation of his historical writings. The advent of post-structuralism and new historicism in the Western scholarship as well as the political change in Russia itself brought a major modification to the monological frame of interpretation, as is well documented in recent revisionary readings of the poet's historical works. In this new trend of scholarship the previous attempts to view the poet's historicism as a form of realism are strongly challenged, and history in tum is reconsidered foremostly in terms of artistic 'discourse', not in terms of ideology or historical philosophy. As a result, imagination, poetics, mythmaking, and generic differentiation emerge as the immediate concerns in analyzing his treatment of historical topics. In clear awareness of this change in Pushkin scholarship, and in agreement with the poststructuralist and new historicist outlook on the relativity of the so-called historical truth, this paper closely reads Pushkin's Poltava, The Captain's Daughter, and The History of Pugachev together with his critical articles, and reveals how Pushkin's pluralistic and rather subjective attitudes towards history as art is intertwined with his outwardly monological and objective pronouncement as an artist-tumed-to-historian. Although some of the recent studies tried to interpret the complexity in Pushkin's historical writings in tenus of 'dual truth', 'complementarity', or , intergeneric dialogue', this study intends to overcome the limit of dualism, since Pushkin's role as 'poet-historian' does not necessarily bifurcate to those of the poet and the historian apart. On the contrary, the paper
contends that historically critical mind and poetically liberating imagination of his, brought in one, gives birth to an all-encompassing vision and artistic power that endows all the contradicting elements and ideas with utmost 'freedom', which he himself pointed out as one prerequisite for a writer of historical dramas.