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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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As is pointed out by James and acknowledged by Stoppard himself, "the plurality of contexts" is a central tactic Stoppard engages in constructing his plays. In Professional Foul, for example, several strands of contexts, such as football ethic, the catastrophe theory and Prof. Anderson's unusual adventure in the communist Czechoslovakia are all entwined to produce the overall effects of the play. Arcadia, which was first staged as late as 1993, has a very complicated network of meanings, incorporating into itself the contrast between Classicism and Romanticism, several scientific theories, literary detective work, a love theme among others.
Rosencrantz and Guildenstern Are Dead, probably Stoppard's most widely known play, is also made up of several different contexts, namely, a Hamlet parody, a variation of a spy thriller, a fable of modern man "from womb to tomb", and a discussion of the paradoxical relationship between illusion and reality. The most interesting are the third and the fourth contexts, from which the complex meanings of the play largely emanate. However, the fourth does not make a whole context as the others do.
As Rosencrantz and Guildenstern Are Dead borrows characters and plot from Hamlet, it is simply impossible to ignore the Shakespearean influences, but viewing the play in terms of its Shakespearean connection leaves surprisingly little room to extricate the full meanings of the play. And the other contexts, pursued in detail, reveal that Rosencrantz and Guildenstern Are Dead has its own important agendas and wider implications outside Hamlet. The context of a spy thriller variation shows that the world of Rosencrantz and Guildenstern Are Dead is by definition little different from the dark, inhuman world of modem espionage. Most importantly, viewed from the context of life/death, illusion/reality, Rosencrantz and Guildenstern Are Dead turns out to be a sort of meta-drama, with Rosencrantz and Guildenstern and the Player the major participants in the discussion of the very properties of the drama.
Rosencrantz and Guildenstern Are Dead, probably Stoppard's most widely known play, is also made up of several different contexts, namely, a Hamlet parody, a variation of a spy thriller, a fable of modern man "from womb to tomb", and a discussion of the paradoxical relationship between illusion and reality. The most interesting are the third and the fourth contexts, from which the complex meanings of the play largely emanate. However, the fourth does not make a whole context as the others do.
As Rosencrantz and Guildenstern Are Dead borrows characters and plot from Hamlet, it is simply impossible to ignore the Shakespearean influences, but viewing the play in terms of its Shakespearean connection leaves surprisingly little room to extricate the full meanings of the play. And the other contexts, pursued in detail, reveal that Rosencrantz and Guildenstern Are Dead has its own important agendas and wider implications outside Hamlet. The context of a spy thriller variation shows that the world of Rosencrantz and Guildenstern Are Dead is by definition little different from the dark, inhuman world of modem espionage. Most importantly, viewed from the context of life/death, illusion/reality, Rosencrantz and Guildenstern Are Dead turns out to be a sort of meta-drama, with Rosencrantz and Guildenstern and the Player the major participants in the discussion of the very properties of the drama.
목차
Ⅰ. 서론
Ⅱ. 『햄릿』 패로디
Ⅲ. 스파이 소설의 컨텍스트
Ⅳ. 삶/죽음, 현실/환상의 컨텍스트
Ⅴ. 결론
주
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