이효석의 문학적 자의식과 러시아문학: 「도시왿� 유령」과 고골의 「외투」, 「넵스키 거리」에 나타난 도시생태학을 중심으로 (Lee Hyo-seok's Literary Self-Consciousness and Russian Literature: Focusing on Urban Ecology in and Gogol's , )

본 논��에서는 이효석의 「도시왿� 유령」과 고골의 「외투」를 도시 담론 가운데 미셸 푸코의 헤테로토피아 개념을 연결시켜 고찰하였다. 고골과 이효석의 작품에 나타난 도시공간을 바탕으로 ‘부적응자의 소외된 공간’이란 모티브가 어떻게 작품 속에서 동기화 되는지, 또 어떤 유사성을 지녔는지도 살펴보았다.
장안거리로 대변되는 모더니티를 향유하는 자들, 화자왿� 거지모자, 동묘의 유령 등이 혼재된 「도시왿� 유령」의 ‘경성’은 유토피아왿� 디스토피아가 내포된 헤테로토피아이다. 그리고 「외투」의 도시 공간은 ‘고립’과 ‘틈새’의 헤테로토피아이다. 두 작가의 작품에서 보여주고 있는 헤테로토피아 공간은 ‘도시를 구성하고 있는 주류질서가 만들어 놓은 도시의 다른 모든 공간에 대한 반박이자 이의 제기의 공간이 되고 있다.’ 이 공간을 통해 우리는 당시 ‘근대 도시’에 은밀하게 내재된 민낯과, 그 공간속에 거주하는 도시인들의 고립되고 억압된 일상을 들여다보게 되는 것이다.

In this paper, Lee Hyo-seok's 「dosiwa yulyeong」 and Gogol's 'The Overcoat' are considered in connection with Michel Foucault's concept of ‘heterotopia’ in the urban discourse. Based on the urban space shown in the works of Gogol and Lee Hyo-seok, we are also examining how the motif of 'the alienated space of people who cannot adapt' is synchronized in the work and what similarities it has.
‘Gyeongseong’ in 「dosiwa yulyeong」, where people enjoying modernity represented by Jangan Street, the narrator, the beggar’s hat, and the ghost of a fairy tale are mixed, is a heterotopia with utopia and dystopia. And the urban space of 'The Overcoat' is a heterotopia of 'isolation' and 'Interstitial Spaces'. The heterotopia space shown in the works of the two artists becomes a space for rebuttal and objection to all other spaces in the city created by the mainstream order that composes the city. Through this space, we can look into the secretly inherent face of the 'modern city' and the isolated and oppressed daily life of the city dwellers in that space.
Through 「dosiwa yulyeong」, Lee Hyo-seok artistically embodies the alienated emotions of “insignificant people” living in “Gyeongseong” in the early 20th century. At the same time, through the unfortunate episodes of a city worker 'the talker' and the 'beggar son and mother', it also depicts the alienation and sorrow of others in modernity who lived in Gyeongseong at that time. In addition, Hyo-seok Lee directs a scene in which the 'beggar son and mother', who has been reduced to a tragic poverty line in the tomb of ‘Gyeongseong’ in 「dosiwa yulyeong」, turns into a ghost. This shows the negative ecology of a hybrid city with the contrast of modernity in the colonial city of ‘Gyeongseong’. In other words, the illusion of abundance provided by splendid modernity on Jangan Street intersects with the reality of extreme poverty and suffering caused by non-civilization and cultural decline in Jongmyo and Dongmyo. In doing so, the duality of modernity is revealed. A similarity to Gogol’s ‘The Overcoat’ and ‘Nevsky Street’ is found here. Hyo-seok Lee and Go-gol, through their works, show the two-sided and dual characteristics of modernity of a modern city. At the same time, the two authors inform us that the modern cities of ‘Gyeongseong’ and ‘Petersburg’ are not only glamorous, fantasy-like cities dominated by the desire for the manifestation of modernity, but also a modern city where the deconstruction of human dignity that gives birth to ‘alienation’ and ‘misfit’ is proceeding.