지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2003.12
- 수록면
- 83 - 116 (34page)
이용수
초록· 키워드
오류제보하기
Arcadia, the best play by Tom Stoppatrd so far, was first staged at the Lyttelton Theatre, Royal National Theatre in April 1993. Basically it can best be understood as a literary detective work. As it switches back and forth from the early nineteenth century and the present time, it shows the real picture of the earlier time on the one hand, and the literary detectives’ efforts to reconstruct the past on the other.
At a larger level, Arcadia is a grand drama of scientific debates. The scientific theories featured comprise no less than Newtonian physics, quantum mechanics, thermodynamics (entropy), and Chaos Theory. Into the debates are also woven vast themes like determinism, free-will, death, love, our quest for truth, and so on. This may sound enormously daunting, but to Stoppard's immense credit, granted that some basic understanding of the scientific theories is necessary for a full appreciation, Arcadia can even be satisfactorily enjoyed without particularly detailed knowledge of them, due to its extremely dexterously handled comedies on the one hand, and the moving human drama of love and death on the other.
Though it may not be tenable under rigorous scientific scrutiny, we can postulate the interactions of the scientific theories in Arcadia as follows for the sake of convenience. First, the Newtonian paradigm stands for a rigorous determinism where the universe runs according to its strict rules with no room for human participation. At the other end of the spectrum stands entropy theory with its fearful determinism that the universe is irrevocably heading for the heat death. Chaos Theory cuts in amid these opposite determinisms to make room for human free will and chance which make the world as it is.
The question of chaos and order lies at the centre of Arcadia against a vast background of scientific theories, and Stoppard impressively demonstrates that neither inevitability (order) nor randomness (chaos) alone can lead to the true vision of the world. It is the interaction of the two, “the fortuitous and the ordained” according to Guildenstern, and “the unpredictable and predetermined” according to Valentine, that makes the world as diverse as it is coherent. This fusion of chaos and order seems to be the final vision of the world Stoppard reached after some thirty years of vigorous career.
At a larger level, Arcadia is a grand drama of scientific debates. The scientific theories featured comprise no less than Newtonian physics, quantum mechanics, thermodynamics (entropy), and Chaos Theory. Into the debates are also woven vast themes like determinism, free-will, death, love, our quest for truth, and so on. This may sound enormously daunting, but to Stoppard's immense credit, granted that some basic understanding of the scientific theories is necessary for a full appreciation, Arcadia can even be satisfactorily enjoyed without particularly detailed knowledge of them, due to its extremely dexterously handled comedies on the one hand, and the moving human drama of love and death on the other.
Though it may not be tenable under rigorous scientific scrutiny, we can postulate the interactions of the scientific theories in Arcadia as follows for the sake of convenience. First, the Newtonian paradigm stands for a rigorous determinism where the universe runs according to its strict rules with no room for human participation. At the other end of the spectrum stands entropy theory with its fearful determinism that the universe is irrevocably heading for the heat death. Chaos Theory cuts in amid these opposite determinisms to make room for human free will and chance which make the world as it is.
The question of chaos and order lies at the centre of Arcadia against a vast background of scientific theories, and Stoppard impressively demonstrates that neither inevitability (order) nor randomness (chaos) alone can lead to the true vision of the world. It is the interaction of the two, “the fortuitous and the ordained” according to Guildenstern, and “the unpredictable and predetermined” according to Valentine, that makes the world as diverse as it is coherent. This fusion of chaos and order seems to be the final vision of the world Stoppard reached after some thirty years of vigorous career.
목차
Ⅰ. 서론
Ⅱ. 본론
Ⅲ. 결론
주
인용문헌
Astract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
Tom Stoppard의 Arcadia에 나타난 대조와 혼돈의 미학
현대영미드라마
1998 .10
-
『아카디아』에 나타난 스토파드의 세계관
영어영문학연구
2007 .01
-
“재의 바다에 나타난 질서의 섬” : 톰 스토파드의 Arcadia와 카오스 이론
현대영미드라마
2013 .12
-
Chaos
Korea Journal
1966 .10
-
Tom Stoppard의 Hapgood : 스파이 스릴러와 양자역학의 결합
현대영미드라마
2001 .04
-
Chaos 이론에 의한 The Crying of Lot 49의 해석
새한영어영문학
1993 .12
-
Chaos 이론에 입각한 조직혁신
성곡논총
1997 .07
-
Tom Stoppard의 Hapgood과 포스트뉴튼적 인식론의 가능성
현대영미드라마
1999 .11
-
Case theory
영어영문학
1987 .10
-
카오스이론에서의 예측가능성
철학연구
2005 .09
-
톰 스토파드의 메타드라마와 극적 재현의 문제 : The Real Thing의 경우
현대영미드라마
2003 .08
-
A Re-Reading of W. B. Yeats's Poems on Nature
한국 예이츠 저널
2012 .01
-
로뻬 데 베가의 『라 아르까디아 La Arcadia』에 나타난 Sannazaro의 영향
스페인어문학
2003 .01
-
스토파드 초기 극의 역사적 맥락 분석 : 60년대 70년대 영국 연극 동향과 비교하여
현대영미드라마
2012 .12
-
니체의 ‘힘에의 의지’: 자유의지론과 결정론을 넘어서
대동철학
2008 .01
-
James Joyce Vindicated in Tom Stoppard's Travesties
현대영미드라마
2007 .12
-
Tom Stoppard의 The Real Thing에 나타난 실제와 허구의 대비
인문학연구
2006 .02
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-842-015464874