本研究主要是探討二十世紀末期著名作家：沃伊諾維奇（В.Н. Войнович 1932-）及托爾斯塔雅（Т.Н. Толстая 1951- ），分別為《莫斯科2042》（Москва 2042）及《kys》（Кысь），並藉著研究他們有關普希金主題之著作，以分析「普希金性格」在時代價值思維轉型時，所呈現的文化意涵與書寫者之創作心理、文學觀及世界觀。十九世紀的文藝理論家葛里哥耶夫（Аполлон Григорьев 1822-1864）將普希金視為俄羅斯精神文化的代表，並將他概括為「俄羅斯的一切」（Пушкин－наше всё）。現代文學評論家帕拉莫諾夫（Борис Парамонов）則稱普希金為「俄羅斯的空無」（Пушкин－наше ничто）2F ，意義何在呢？從「一切」到「空無」，乍看之下，似有天壤之別，其實皆屬形而上學之範疇，在不同時代中，普希金的形象演化被賦予不同意義，可藉由分析和考察個別文學創作以獲得較明確的論點。

The pronouncement by Appolon Grigoryev (1822-1864) “Pushkin is our everything” is proved to be an aphorism, which could be explained by the growth of Pushkin’s influence widely found in the later works of Russian literature. The paper, in this connection, is to explore the track of Puskin in the Moscow 2042 (V. Vojnovich ) and Kys (T. Tolstaya), which appeared in the literal field with features of postmodernism. Both fictions are also reviewed in the aspects of 1) Moscow as the symbol of culture and power, 2) dystopian genre, 3) Pushkin’s motif.
The animation of Pushkin’s monument and the superficial understanding of Puskin’s idea by personage in Kys (T. Tolstaya ), make the pronouncement by Boris Paramonov “Pushkin is our nothing” also correct and significant in the context of “postcivilizational era”.