S-Space College of Humanities (인문대학) Institute for Russian, East European & Eurasian Studies (러시아문화권연구소) 러시아연구 (Russian Studies) 러시아연구 Volume 05 (1995)
지깐까사이클 - 패러디에 의한 폐쇄된 사슬구조 : "Dikanka Stories" in endless cyclization by parody
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- Issue Date
- 서울대학교 러시아연구소
- 러시아연구, Vol.5, pp. 63-101
- This is a critical study of N. Gogols "Dikanka Stories" aimed to seek their artistic unity as a whole, that is, the principles of cyclization in aspects of composition and idea. And the approach is to analyze the stylization of each story in isolation and in comparison one another to form a single whole cycle in this analysis the character-narrators were taken to be three, one inviter and the invited two story tellers, for the other seemed to be narrators were considered but as variations of those of Part 1 not as new voices.
The result turned out that the "Dikanka Stories" were cyclized by mutual parody of two story tellers. So one story is motivated and parodied by the following in styles and themes. In this way each four stories in Part 1 and 2 makes a circle and in the end those two circles are connected into endless cycling one like a Möbius ribbon. The process of cyclization by parody can be said to be a process of self-negation of the inviter-creator Rudy Panko as a mask of the writer-creator Gogol and the voice of which is romantically ironized. ln Dikanka Cycle the role
of the first narrator Rudy Panko can never be overestimated in making them a artistic unity. ln cyclization Panko-Gogol makes his created narrators dispute by their stories and by their story tellings and it results into a subtext of presentation of how to see and perceive reality, what is beyond reality and behind fantasy, how to picture it out, and in the end the relationship between the painter-creator and the painted created world. And in this point of view only the mysterious meaningless positioning of Sponkain Dikanka Cycle can rightly be explained and be meaningful. lt is noticeable that the role and the meaning of femaleness between reality and fantasy, life and death are emphasized in his early artistic world.
"Dikanka Stories" may well be said not only as a juvenile exploration but a question and a quest metatextually raised and sincerely pursued by Gogol himself to himself in seeking artistic methods, which was to fully develop in his later works as we see.
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