Earticle

본고는 최승자 시에 나타나는 극적 요소를 플롯 구조와 방백적 발화를 중심으로 분석하고, 이를 연극 교육의 가능성과 연결하여 고찰하는 데 목적이 있다. 기존의 최승자 시 연구가 죽음, 우울, 멜랑콜리 등 정서적 특성에 주목해 온 데 비해, 본고는 시가 특정한 장면 속에서 조직되고 청자를 향해 발화된다는 점에 주목하였다. 이를 위해 희곡의 플롯과 방백 개념을 바탕으로 최승자의 ｢더스트 인 더 윈드, 캔자스｣, ｢따뜻한 풀빵 같은｣, ｢백합의 선물｣, ｢나 쓸쓸히｣를 분석하였다. 분석 결과, 최승자 시의 플롯 구조는 정서와 인식의 변화가 하나의 사건적 흐름으로 조직되는 방식으로 나타났으며, 방백적 발화는 특정 청자를 향한 호명과 응답의 유예를 통해 화자의 내면을 독자 앞에 드러내는 기능을 수행하였다. 또한 반복 표현과 괄호 속 발화는 시 내부의 복수적 목소리를 형성하며 내면의 균열과 정서적 층위를 드러내는 장치로 작동하였다. 이를 바탕으로 본고는 플롯 구조 분석을 통한 장면 구성 활동, 방백적 발화 읽기를 통한 인물내면 표현 활동, 목소리 분리와 낭독 수행 중심의 시 교육 활동을 제안하였다. 이러한 활동은 시 읽기를 장면 구성, 청자 설정, 정서의 전환을 몸과 목소리로 탐색하는 수행적 학습으로 확장할 수 있는 가능성을 보여준다.

This study aims to analyze the dramatic elements in Choi Seung-ja’s poetry, focusing on plot structure and aside-like utterance, and to explore their potential applications in drama education. While previous studies have primarily focused on emotional characteristics such as death, depression, melancholy, and self-negation, this study pays attention to the fact that Choi’s poems are organized around specific scenes and directed toward an implied listener. To this end, four poems by Choi Seung-ja—Dust in the Wind, Kansas, Like a Warm Bun, The Gift of a Lily, and Lonely, I—were analyzed based on the dramatic concepts of plot and aside. The findings reveal that the plot structure in Choi’s poetry is organized as a flow of emotional and cognitive transformation functioning as a sequence of events. In addition, aside-like utterance serves to reveal the speaker’s inner world to readers through the invocation of a specific addressee and the suspension of response. Repetitive expressions and parenthetical utterances further create multiple voices within the poems, functioning as devices that expose emotional layers and internal divisions. Based on these findings, this study proposes drama-education activities including scene construction through plot analysis, exploration of characters’ inner worlds through the reading of aside-like utterances, and poetry instruction centered on voice separation and performative reading. Such activities demonstrate the possibility of extending poetry reading into a performative learning process in which students explore scene construction, audience awareness, and emotional transitions through voice and embodied expression.

미디어 융합의 거시적 환경에서 각종 미디어가 서로 영향을 끼치고 재구축되고 있다. 그에 따라 게임과 영화의 상호텍스트성이 점점 강화되어 텍스트와 형식을 서로 참고하여 각색하고 있으며, 게임화는 현재 영화 발전의 중요한 추세로 자리 잡게 되었다. 또한 인터넷 시대의 도래에 따라 스트리밍 동영상 사이트는 수용자가 드라마를 시청하는 중요한 플랫폼이 되었다. 웹 드라마는 주로 동영상 사이트가 독립적으로 제작하거나 기타 동영상 제작 회사와 제휴하여 제작되며, 인터넷을 기반으로 동영상 플랫폼에서 방송되는 드라마를 말한다. 최근 웹 드라마의 영화화 경향이 더욱 뚜렷해지고 있으며, Netflix는 ‘하이 퀄리티 시리즈’라는 개념을 자체 플랫폼의 웹 드라마 또는 영화 제작의 기준으로 삼고 있다. 또한 ‘게임 세대’의 성장에 따라 게임화 사유가 웹 드라마 제작 이념과 융합되면서 웹 드라마 역시 영화의 게임화 창작 모델을 사용하게 되었으며, 본 연구는 이러한 배경을 바탕으로 ‘게임화 영화’의 개념을 웹 드라마 <오징어 게임>에 도입하여 분석하였다. 본 연구는 우선 게임 메커니즘을 영화(웹 드라마)에 도입하기 위한 구체적인 전략을 요약하였다. 이후 <오징어 게임>을 연구 텍스트로 하여 영화 (웹 드라마) 게임화의 시공간 설정, 플롯 구조와 시각 표현 등 3가지 측면에서 <오징어 게임>을 분석하였다. 시공간 설정에서 캐릭터는 빈번하게 게임과 현실 사이를 오가면서 게임 공간에서 시간을 컨트롤 하며, 이러한 특수한 시공간 설정은 서사 표현력을 강화하고 시청자에게 상상의 공간을 제공하였다. 또한 플롯 구조에서 작품은 일련의 점진적인 관문을 설정하고, 주인공들이 이 관문을 통과해야만 일정한 혜택을 얻거나 업그레이드 할 수 있게 했으며, 이와 같은 명확한 리듬과 관문식 플롯은 관객의 몰입감을 효과적으로 향상시킬 수 있다.

In the context of media convergence, various media are infiltrating and reshaping each other. The intertextuality between games and films has improved in terms of both literal adaptation and references in the form, and “gamification” has become one of the most important trends of film development. In the internet era, however, streaming video websites serve as an important platform where audiences can enjoy TV series. Web series refers to TV dramas that are released online after being produced either independently by video websites or cooperatively by websites and production houses. Recently, a clear trend towards gamification has been captured in web series. What's more, following the concept of “high-quality series”, Netflix makes all its own series in accordance with film standards. With the maturity of “Generation-Game”, thinking like games has blended in the design philosophy of web series, which also leverages the creative mode of gamification in films. On this background, the paper analyzes web series Squid Game from the perspective of “gamified films”. The paper begins with a summary of concrete strategies with which gaming mechanisms can be added into films (web series), followed by an analysis of Squid Game in three fundamental aspects, including space-time settings, plot structure, and visualization. In terms of space-time settings, each role alternates between the game and the reality, a space-time design so special that its narrative rigor is amplified and leaves people enormous imaginative space. When it comes to plot structure, the drama provides a series of progressive missions, and passing them, the protagonist will be rewarded and upgrade to the next level. Such a clear-cut, step-by-step plot effectively enhances immersive feelings of the audience. As for visualization, tons of subjective and track-up shots have been used in the drama to make the audience feel like participants, in which gamified sensory stimuli are reproduced. Based on previous research of gamification, gamified creation in films should contribute to a set of brand-new, systematic creative rules for films and TV dramas by integrating the elements, mechanisms and visualization of games with the creative flow of films and TV dramas.

This thesis has been written for the purpose to clarify its true meaning, mainly by analysis the Discord Structure with regard to Lee Gyung-son’s Drama Boksanamu Baegin Jib(Cottage rooted by Peach Tree). At the point where it dramatizes the scenery that probable at a rural village, it would be classified as a Realism Work, and at the point where it is ending by her Death remaining unfulfilled the desire of the Heroine herself, its dramatic type is locating at the category of tragedy. As well, at the point since the primary factor that induces to the tragic ending with the heroine is related with the contradictoriness of the traditional society, the motif could be converged as the sociological significance that introspects it critically. In analysis the composition of this Work, it is known that the Writer’s dramatizing ability is reaching at a considerable level. Namely, in view when comparing it with the level of the day, the understanding degree about the dramatic technique of the Writer seems as considerably high level. For example, the point that classified on the stage into both thing to be exposed and thing to be hidden in accordance with the character of scene by dividing the stage into double sectors, also the point that by properly commanding of the attacking point, from the introductory part, not only the tension and discord are dramatically exposing well, but also a kind of analyzingdramatic technique was applied thereat, and the point that by properly utilizing the technique of Beforehand Suggestion, then secure the probability of the event and also endeavored to raise the dramatic persuasive power as its effect, and the point that it used Concealment Plot by treating the fact of the daughter’s suicide as a scene for which some child tells it, and at the final, let the daughter’s craving which persisted a marriage returns rather to her death that composes it as a tragic irony by let the stage-curtain down, thus those conspicuous points are not a little as above. In consideration on these characteristics, it deserves that the recognition with regard to this Work which was almost alienated until now from our drama history should be different. Though it is an One- Act Drama, even if comparing this Work with the other works of the latter part of 1920s, because it is particularly not inferior. Therefore, it is expecting that through this Thesis, an interest in Lee Gyung-son and his works would be stirred in the theatrical world. Especially, in view at the dimension of dramatizing artifice, it is confirmable that the Play was quite constituted with a considerably modern sensibility.

본 논문의 텍스트 분석은 뿌쉬낀이 만든 장면의 그룹화, 즉 비극 <보리스 고두노프>의 구조가 이 작품의 슈제트를 밝히는 열쇠임을 보여준다. 작품이 세 부분으로 구성되어 있다는 것은 보편적인 의견이다. 그러나 가운데 부분, 즉 2-4장면 그룹은 세 부분으로 구성되어 있다. 여기에 이중적인 과정이 보인다. 즉 한편으로는 그리고리 오뜨레삐에프(Григорий Отрепьев)가 꾸민 음모의 실현과 그의 지미뜨리(Димитрий)로의 변신, 그 다음 가짜 드미뜨리(Лжедмитрий)로의 변신(보리스 고두노프(Борисе Годунов)는 페오도르 황제(царь Феодор)를 최초의 목표로 설정하는 대신 이반 뇌제(Иван Грозный)를 동시에 비교한다), 또 다른 한편으로는 “민중의 여론”의 변화이다. 역사적 필연성은, 뿌쉬낀에 따르면, 발생하는 사건의 두 양상 간의 불일치나 어긋남이 발생함으로써 나타난다. 즉 참칭자(Самозванец)는 획득한 승리를 일시적으로 상실하는데, 민중이 그의 정체성을 믿고 완전히 그의 편으로 넘어간 바로 그 순간 가짜 드미뜨리가 된다. 드라마틱한 슈제트의 클라이맥스가 그와 같다. 즉 이 슈제트의 토대 위에 놓여 있는 민중에게 고유한 것들 간의 모순이 드러나며, 또한 “정직한 권력”에 관한 관념 및 역사의 실제적인 과정에 관한 관념에 의한 국가와 교회의 어떤 대표자들에 고유한 것들 간의 모순이 드러난다. 비극 <보리스 고두노프> 전체에 걸쳐, 한편으로는, 자신의 행위를 종교적이고 도덕적인 규범과 조화시키려고 노력하는 등장인물들의 관점과, 다른 한편으로는 권력은 “용기”, “과감”을 필요로 하며, 속임수나 살인과 같은 수단도 완전히 정당화한다고 여기는 등장인물들의 관점이 서로 충돌하고 있다. 이 비극의 종막은 인간의 운명이 인간의 개인적인 선택에 달려 있다면, 민중은 일시적인 눈멀음의 결과 자신도 모르게 내적으로 그와 낯선 위치를 지지하는 쪽으로 넘어갈 수 있으며, 바로 여기에 민중의 비극이 존재한다는 것을 보여준다.

In this paper, contour plot is considered as a method to explore the structure of categorical data. For this purpose, the paper suggests a method to sort two-way contingency table with respect to the expected marginals. It is found that the suggested plot provides us with valuable information for the underlying data structure. Firstly, we can investigate independency between the categories by examining the differences of expected frequency contours and observed frequency contours. With the plot, we can also visually investigate the existence of outliers inherent in the data. These properties of the suggested contour plot will be demonstrated by several sets of real data.

Mongolia has one of the strongest climate warming signals on Earth, and over 40% of the human population depends directly or indirectly on pastoral livestock production for their livelihoods. Thus, climate-driven changes in rangeland production will likely have a major effect on pastoral livelihoods . The loss of species dependent mostly on rainfall has resulted in adverse changes in the botanical composition of the steppes . Summer season in 2015 was completely dry until middle of July and, had not enough vegetation cover as last 15 years. The purpose of this study is to check plant community dynamics in Mongolia in relation to climate change in 2014 and 2015. The study sites were selected in mountain-steppe habitat in central Mongolia. In the 2014, there have been registered 81 plant species of 56 genera of 25 families on the investigated sites and, occurred 57 plant species of 44 genera of 21 families in the 2015. It is concluded that the abundance and richness of plants are directly connected to heavily affect by the climatic factor, i.e. amount of precipitation during growing season. As a same like result of climate change, in Mongolian land is going become desertification, and each spring, soil particles from Mongolia are swept up by a cold air mass into the atmosphere and blasts into south east China, Korea and Japan. The Koreans call this phenomenon the "Fifth season" or "Yellow sand", and the Chinese call it "Yellow dragon".

This paper examines the plot structure of Caldecott Award-winning books to shed light on the pedagogical implications of using picturebooks in English language teaching. The study selected 25 books from the 53 Caldecott Medal books published between 1970 and 2022 based on impartiality of topics, publication time distribution, genre diversity, and complexity of written language. This study identified 14 elements of picturebook plot, which can be categorized into several major phases. These include the introduction of character and background information, the development of the story’s major event through the characters’ ordeal and recognition, the provision of vital clues leading to a happy ending, and the resolution of the story’s matters. The concluding part of the story indicates the characters’ growth, social status changes, or environmental changes. This plot structure provides a foundation for interpreting and modifying picturebooks to ensure successful English language teaching. It also enables learners to appreciate the location of each picturebook objectively and serves as a reference point for modifying picturebooks to fit the target audience from different educational contexts.

KwonIkjungJeon, one of Korean medieval novels, begins with hero’s love story and turns into a story about a treacherous courtier Ok Nang-mok’s finesse to break wedding march. Here, Seon-dong, a character born from Ik-jung and Chun-hwa, reveals outstanding abilities and also plays a role as hero against Ok Nang-mok, which involves a sort of heroic story. Moreover, the revival of the dead Chun-hwa reveals an aspect of story on return to life. In the aspect of plot structure, this novel has a combination of stories on wedding crisis, heroic actions and return to life. The author of this novel lets Ok Nang-mok meddle in the love story of hero to form a major obstacle against wedding, but allows for resolving unhappiness between couple in wedlock, so that he could embody the high-handedness of ruling class. On the way to punishment against Ok Nang-mok, the heroic story of Seon-dong becomes remarkable, which is a result from the expression of author’s inner desire for success through his novel. Seon-dong became the subject of identification for readers as well as author, and thereby could attract enthusiastic responses from them. In denouement where all conflicts are resolved to determine destiny of characters, the author of this novel decides to return Chun-hwa, a fairy being to the life in the world, because the author thought that the ultimate happiness for mankind should be attained in this world. KwonIkjungJeon is a Korean medieval novel set in the peaceful world under the reliable control of Confucian ideal order, but turns into application of Taoistic world view, because such an order is broken up by Ok Nang-mok. As the evil character is killed by Seon-dong and former Confucian order becomes restored, the author uses Buddhist world view for the revival of Chun-hwa. The author adopts both Taoistic and Buddhist world view as an epoch-making means to solve given conflicts, ending up with correction of Confucian order.

차펙은 짧은 일생동안 문학의 거의 모든 장르를 사용하였는데, 그 중에서도 희곡 분야에서 가장 성공적이었다. 코미디『마크로풀로스의 비밀』은 1922년 프라하에서 개막 공연 이후 곧 야나첵에 의해 오페라로 소개 되는 등 현재까지 그의 작품들 중에서 가장 활발히 공연되는 작품이다. 이 희곡은 과학과 의학의 발달로 인간 수명의 연장에 대한 많은 관심이 고조되던 20세기 초에 일어난 이야기이다. 이 희곡의 구성은 4막으로 되어있지만 마지막 막은 '변신'이라는 제목이 붙어있는 독특한 구성으로 되어 있다. 이 희곡은 수많은 미스터리와 흥미로운 문제가 가득한 복잡한 플롯을 가지고 있다. 이 희곡의 주요 주제는 불로장생으로 인한 윤리적인 문제이다. 죽음 또한 중요한 모티프이다. 자신이 추구하는 가치대로 불로장생의 문서를 사용하고자 했던 주인공들이 끝이 없는 삶의 비극적인 결말을 깨닫고 선뜻 나서지 못하는 부분과 결국 인류의 또 다른 유토피아를 이루게 될지도 모르는 비밀문서는 타버려 사라지게 되는 결말을 통해 카렐 차펙은 우리에게 인간 삶의 소중함을 말해주고 있다. 저자는 원하지 않게 불멸의 삶을 살 수 있는 기회를 얻은 한 여자를 내세워 그녀에 대한 연민과 동시에 욕심에서 비롯된 삶의 연장은 결코 행복하지 않고 진정한 의미의 삶이 아님을 역설적으로 말하고 있다. 300년 이상을 살아 온 여주인공 마르티에게는 너무나 오래 살아서 인생의 목표도 의미도 아무 가치가 없다. 목표가 없기 때문에 모든 것이 권태롭고 지겹다. 우리의 삶이 아름다운 것은 그 끝이 있기 때문이라고 차펙은 이 작품을 통해서 말해준다. 이 희곡은 인류가 추구하기를 멈추지 않는 불로장생에 대한 슬픈 희극으로 해석할 수 있다.

Karel ?apek used almost all literary genres, among which his drama was the most successful. The opening night of the comedy The Makropulos Secret took place in 1922 in Prague, and since then it has been one of his most performed and successful plays. It was also adapted as an opera by L. Jana?ek which has been also performed often. This drama deals with immortality which was a popular theme in the early 20th century when people were interested in human longevity which would become possible by the development of science and medicine. The drama consists of three acts and a transformation which can be considered a fourth act. It has a complicated plot, there are many mysteries and interesting events. The main theme is an ethical problem which is caused by the elixir of life and death ? it is a very important motif. ?apek shows the significance of life through the tragic finale of the endless life of the heroine who wanted to use the formula of the elixir of life. At the end the only conclusion is to burn the secret formula of the elixir of life which would cause another utopia of human beings. The author tells us paradoxically that longevity which is guided by human desires is not happy nor is it the real meaning of life. He demonstrates it on the story and compassion to the heroine who got longevity which she did not want. For the heroine Marty the life loses its meaning and value as she's lived far too long, more then 300 years. For her everything seems to be tiresome and tedious. ?apek points to the conviction that life is beautiful just because it has an end. Therefore this play can be interpreted as a sad comedy about the perpetual youth which mankind has always been in pursuit of.

시간초월 영상서사는 인과율적인 연결법칙을 와해시키고 과거, 현재, 그리고 미래로 이어지는 시간계열을 다양한 경우의 수를 가지고 여러 번에 걸쳐 변화시키고비튼다. 그 중에서도 과거의 인물과 현재의 인물이 부정기적이고 짧은 접촉을 통해단서를 수집하고 추리하여 시간계열을 바꾸려 시도하는 접촉 모티프의 경우, 시간초월 서사만이 가지는 특유의 가능성이 극대화된다고 할 수 있다. 과거의 사건이 현재에 영향을 미치는 인과율을 추리하고 그 추리를 분기구조를 통해 실험하게 되기때문이다. 이에 본문에서는 시간을 초월하여 접촉하는 모티프가 시간초월 서사의 구조와의미를 밝히는데 중요한 열쇠가 된다고 보고, 이를 중심으로 살펴보고자 한다. 이때가장 최근에 대중에게 시간초월 서사를 각인시킨 tvn드라마 <시그널(2016)>을주요대상으로 삼고, 이외 접촉 모티프를 보여준 영화들을 예로 들어 접촉을 통한시간초월 모티프의 서사구조를 파악하고 그 의미를 연구하였다. 이를 위해 시간초월 서사의 다원우주라는 배경과, 추리를 하고 가설을 실험하며분기적으로 갈라지는 사건, 다른 시간계열로 가기 위한 실마리를 추리하는 탐정의역할로 나누어 살펴보았다. 이때 추리 분기구조를 통해 동참하게 된 수용자도 탐정의역할을 하게 되는 양상까지 아울러 살펴보았다. 시간초월 영상서사를 담은 영화와드라마들이 꾸준히 등장하고 있는 만큼, 접촉 모티프를 통해 서사구조와 의미를탐색한 본 연구가 그 서사적 기반 연구에 도움이 될 것이다.

The visual narrative of time transcendence collapses principle of cause and effect and change time paradigm going from past, present, and future with number of cases. Non-scheduled and short time contacting between character in past and in present can maximize the own possibility of the time transcendence narrative, cause they collect the clues with contact, deduce the principle of cause and effect, test deduction on bifurcating structure, and try to change time paradigm. So this paper considered the motif with contacting between characters in the other period time as the key to illuminate the narrative structure and meaning in time transcendence visual narrative. And it focused on tvn television drama <Signal(2016)> that imprinted on public recently and the other films had shown contact motif, and analyzed the narrative structure and meaning of time transcendence contact motif. For this purpose, it analyzed three aspects. A setting as pluralistic universe of time transcendence narrative, the bifurcating event as deductive plot and try hypothesis in this setting, and the role of detective deducing clues to move the other time paradigm. At this time, the viewer becomes a detective cause the bifurcating structure can make him the participant. As analyzing the narrative structure and meaning of time transcendence contact motif, this paper will be helpful about narrative study of time transcendence visual film and drama having appeared consistently.

첫째, 텍스트의 줄거리는 과거 사건의 회상과 현재 진행사건의 서술 구조로 되어 있으며, 지배적인 사건진행은 모녀간의 갈등과 갈등 해결 그리고 재갈등에 이르는 과정이다. 그 과정은 등위접속적인 구조를 포괄하고 있는 종속접속적 구조로 되어 있다. 둘째, 텍스트에서 엄마와 딸 다미 간의 갈등은 모녀관계에서 있는 지배/복종의 수직적 질서를 수락/거부하라는 모녀간의 역할 갈등이다. 그 역할 갈등은 모녀간에 있는 서로 다른 역할의 차이에 기인한 가족적 질서의 수락/거부 갈등이다. 셋째, 모녀간의 역할 갈등을 통하여 텍스트는 가족적 유대 및 가족적 역할 규범을 강화하는 가족주의를 전경화 하고 있다. 결국, 텍스트는 전통 가족제도를 그대로 유지하고 있는 근대 가족서사체이며, 가부장제의 범위 안에서 가족적 역할의 규범 준수를 지향하고 있는 가족주의를 독자들에게 강요하고 있다.

First, the story of text is constructed with a reminiscent past event and present progressive event. And the progress of dominant event is a process toward a conflict between mother and daughter, a resolution of it and reappearance of it. The course of conflict consists of a subjective structure which includes correlative structure. Second, the conflict between mother and daughter, Dami, is the role conflict; Dami's mother pushes her to accept (or to refuse) the vertical order in the relation of mother and daughter. It is an acceptance(or refusal) of family order that is caused by different role play. Third, through the role conflict between mother and daughter, the text makes a foreground of family system to enforce union of family and standard of role in the family. Finally, the text has a modern family narration which still cherishes traditional family system and it command readers to keep the standard role of family in the patriarchal system.

The new forms of narrative emerge in digital media environment, and narrative itself has been reconceptualized especially because of user storytelling. In cyber space, we experience de-centering and dispersing subject. The user storytelling which is created by post-modernistic desire shows rhizome structure. Furthermore, this experience of storytelling gives us new understanding of world and human. The change of storytelling and world view caused by digital media technology also effects existing media which has traditional narrative structure. As the audience experiences digital storytelling, a new viewing attitude has been formed, and many examples which adopt new narrative structure keeping own characteristic start to appear. This paper examines the tendency of film narrative in the 2000s with an example of multi-plot film. Above of all, the characteristics of digital media environment and user storytelling are analyzed using Deleuze's rhizome, and then four keywords of rhizome narrative structure are drawn by analyzing the seriation(mise en serie) of user storytelling. Next, this paper focuses on how the characters and events are connected and made rhizome structure in the movie, All for Love (2005). In All for Love, every character and event is interrelated and interdependent. It is redefined consistently by process of seriation which is space-based, not time-based. Also the story is event oriented, and all events get meaning by connection. Rhizome paradigm finally made by seriation is acentered multiplicity. Narrative in film needs to get dramatic unity unlike digital media, since film is closed media. Ironically, All for Love gets dramatic unity by sense of time. Rhizome structure in multi-plot film which shows the characteristic of digital media satisfies the expectation of the audience who experiences new narrative forms of digital storytelling, as well as gets dramatic unity successfully as a film.

In this article, we tried to introduce a little-known work of M.A. Bulgakov "Snowstorm" and provide some various clues for reading this short story. This study is focused on "snowstorm-plot", grasping the structure and the theme of the present work. To this end, in the Chapter II we tired to seek for the meanings of Bulgakov's "snowstorm" based on intertextuality shown from the works by those writers such as Pushkin, Gogol and Tolstoy. In this short story "snowstorm" is presented not only as a natural phenomenon but as a "participant" which provides young doctor-narrator with short time break and let him go to a dying bride, and at last place him on the crossroads of life and death. Indeed "snowstorm" plays a role of the framed structure of Bulgakov's text. In the Chapter III we observed the creative expression of Bulgakov's work which is comprised of overlappings with dream and reality. In other words, in the short story "Snowstorm" the outside and the inside story of frame are described as a dream of the one same night. We can guess that the Shermetievo story is a kind of dream of young doctor who fell asleep in Tuesday night, asking himself "how many patients will come tomorrow?". By the way the Shermetievo story unfolds as an incident which is happened on Wednesday. In this way in Bulgakov's "Snowstorm" it is hard to draw clear lines of demarcation between dream and reality. Therefore existential themes like these "Life and Death", "Professional calling and personal conscience", "The great nature and the week human being" are resonated with original structure "Dream in Dream".