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
- 2006.3
- 수록면
- 23 - 37 (15page)
이용수
초록· 키워드
오류제보하기
The striking clock in Julius Caesar is a undeniable mistake. Everyone knew it for an anachronism. So it is that all annotated editions of the play carry a note to Act Ⅱ, scene ⅰ, line 192, duly explaining that Shakespeare erred at this point. However, the mistake is so clear and obvious, that it leads to such assumption that Shakespeare did know that he was committing an anachronism and he must have deliberately intended his readers to notice the anachronism. The use of a novel chronometric device in the representation of the old classic story, as a dramatic metaphor, plays an important role in giving special interpretations and meanings to Julius Caesar.
The anachronism in Julius Caesar is a useful device to trace the tragedy of Brutus, who is a real tragic hero in Julius Caesar. Brutus is a plotter in the dramatic sense, a man who has decided to author and produce a tragedy entitled "Julius Caesar." What he wants is not a bare assassination, but a tragedy of classical, almost Aristotelian, purity. According to his dramatic theory, only the tragic hero, Julius Caesar, not Antony, is to be killed, and the killing itself is to be a ritual, a sacrifice, and even beautiful. But he is only too successful. The classical style has disastrous consequences, because Brutus is utterly mistaken about the audience for whom the tragedy is intended. He is thinking of an audience of noble and capable of the moral discrimination which classical tragedy demands. The actual audience for his play is eager to be led, easily tricked, crude in their responses. For the success of a play, a dramatist, like a politician, must take account of the time and the temper of the people. As a result, Brutus is not guilty of treachery, but he is guilty of anachronism.
By using the concept of anachronism, Shakespeare also tries to diagnose the people who prided themselves of their classical knowledge and felt confident that they could judge their own day in the name of pre-established standards. Although Shakespeare's contemporaries and competitors, who mocked at this mistake as "small Latin and less Greek," knew very well that no clock ever struck in ancient Rome, they did not know what the clock stuck in their own day. They were isolated in the classical sources without communicating with the present. This is a point of Shakespeare's anachronism, precisely calculated and placed with shrewd irony so that it would serve as an acid test for his critics. The anachronism in Julius Caesar can be not only a dramatic metaphor to analyze the play, but also a dramatic response for criticism against his creativity. In conclusion, the striking clock in Julius Caesar can be considered as a 'dramatic' mistake.
The anachronism in Julius Caesar is a useful device to trace the tragedy of Brutus, who is a real tragic hero in Julius Caesar. Brutus is a plotter in the dramatic sense, a man who has decided to author and produce a tragedy entitled "Julius Caesar." What he wants is not a bare assassination, but a tragedy of classical, almost Aristotelian, purity. According to his dramatic theory, only the tragic hero, Julius Caesar, not Antony, is to be killed, and the killing itself is to be a ritual, a sacrifice, and even beautiful. But he is only too successful. The classical style has disastrous consequences, because Brutus is utterly mistaken about the audience for whom the tragedy is intended. He is thinking of an audience of noble and capable of the moral discrimination which classical tragedy demands. The actual audience for his play is eager to be led, easily tricked, crude in their responses. For the success of a play, a dramatist, like a politician, must take account of the time and the temper of the people. As a result, Brutus is not guilty of treachery, but he is guilty of anachronism.
By using the concept of anachronism, Shakespeare also tries to diagnose the people who prided themselves of their classical knowledge and felt confident that they could judge their own day in the name of pre-established standards. Although Shakespeare's contemporaries and competitors, who mocked at this mistake as "small Latin and less Greek," knew very well that no clock ever struck in ancient Rome, they did not know what the clock stuck in their own day. They were isolated in the classical sources without communicating with the present. This is a point of Shakespeare's anachronism, precisely calculated and placed with shrewd irony so that it would serve as an acid test for his critics. The anachronism in Julius Caesar can be not only a dramatic metaphor to analyze the play, but also a dramatic response for criticism against his creativity. In conclusion, the striking clock in Julius Caesar can be considered as a 'dramatic' mistake.
목차
등록된 정보가 없습니다.
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
Julius Caesar에서 WILL과 SHALL
신영어영문학
1994 .02
-
셰익스피어와 정치적 정의: 『줄리어스 시저』를 중심으로
영어영문학연구
2013 .01
-
정의 구현과 치유의 상관관계: Julius Caesar와 Caesar Must Die 비교 연구
고전 르네상스 영문학
2014 .01
-
수사학과 Julius Caesar
Shakespeare Review
1995 .06
-
Julius Caesar 에 있어서의 소재변용
Shakespeare Review
1986 .08
-
『줄리어스 시저』에 나타난 설득 기술
영어영문학연구
2011 .01
-
정치심리학에서 본 『줄리어스 시저』
영어영문학연구
2015 .01
-
『줄리어스 시저』의 프로이드적 읽기 : 원시부족과 그룹정치
Shakespeare Review
2015 .12
-
『줄리어스 시이저』에 나타난 브루터스의 정치적 실천전략의 부재
영어영문학
2018 .02
-
줄리어스 시이저의 이중적 자아 이미지
영어영문학
2016 .05
-
The Aspect of the Stoic Elements in Julius Caesar
영어영문학
2007 .06
-
합리적 개인주의 : 『줄리어스 시저』와 『햄릿』에 나타난 주체 형성하기
동서비교문학저널
2018 .09
-
『줄리어스 시저』: 힘에의 의지
Shakespeare Review
2007 .06
-
『줄리어스 시저』의 거울구조
Shakespeare Review
2006 .09
-
이데올로기의 구조로서의 씨이저리즘
Shakespeare Review
2002 .03
-
「줄리어스 시저」에 나타난 ‘위기의 사회’
고전 르네상스 영문학
2011 .01
-
인간을 변화시키는 힘: Caesar Must Die 연구
영어영문학연구
2014 .01
-
『쥴리어스 씨이저』- 권력과 저항의 갈등 구조
Shakespeare Review
1999 .03
-
영국 근대초기 줄리어스 시저의 수용에 관한 고찰 ―셰익스피어의 『줄리어스 시저』와 시저의 『갈리아 전기』를 중심으로―
영국 연구
2010 .01
이 논문의 저자 정보
이 논문과 함께 이용한 논문
소설의 모델, 독자, 작가 : 이희철(李熙喆)의 문학적 행보에 대한 고찰
권두연
비평문학
2011
.12
[김태용 論] “다시 시도하라. 또 실패하라. 더 낫게 실패하라.”
복도훈
문학과사회
2010
.08
“내가 바로 작가야!” : 여성 작가의 새로 쓰는 셰익스피어, 앤-메리 맥도널드의 『잘자 데스데모나 (잘잤니 줄리엣)』
김희진
Shakespeare Review
2007
.03
실패 없는 인생은 없다
신경하
새가정
1997
.02
근대 여성 작가의 자기 표현 방식 : 나혜석ㆍ김명순ㆍ김일엽을 중심으로
박죽심
어문론집
2004
.12
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2010-840-003100459