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.
이용수
초록· 키워드
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In his 1993 play, Arcadia, Tom Stoppard appropriates scientific theories, such as chaos theory, the Second Law of Thermodynamics, entropy, and fractals, as literary metaphors. Overall, Stoppard covers a shift in the scientific paradigm from the mechanical, predictable universe described by Newton to the unpredictable determinism described by deterministic chaos. He pointedly utilizes chaos theory to show that there is underlying order to seemingly random events. For this, he draws heavily from James Gleick’s famous 1987 book Chaos: Making a New Science.
In Arcadia, Stoppard suggests a connection between twentieth-century chaos theory and early nineteenth-century British Romanticism. He sets up a contrast between the classical gardening styles and the Romantic ‘picturesque’ style. Irregularity found in the picturesque style is related to irregularity in nature that Thomasina pursues in her iconoclastic studies. Her “Geometry of Irregular Form” is essentially fractal geometry, which is realized as fractal images through Valentine’s computer. As he puts it, “In an ocean of ashes, islands of order,” Arcadia dramatizes Stoppard’s view of the world which comprises a complex, dynamic interaction of randomness, determinism, and metaphysics.
From the opening line’s reference to “cardinal embrace” to the final image of dancing, sexual energy drives much of the play. Mrs. Chater, Mrs. Croom, and even Chloe are its heroines. As it is called “the attraction that Newton left out,” sexual energy represents the deterministically unpredictable side of humanity. Sexuality is not only literally creative of life, but also gives meaning and value to life. Sexual energy plays an important role in presenting theatrical vitality and also shows resistance against death, the entropic dissipation of a human being. The last waltz scene consisting of two couples from two centuries gives a beautifully moving finale as these couples celebrate a moment of eternity. The play becomes a metaphor for loss and recovery.
In Arcadia, Stoppard suggests a connection between twentieth-century chaos theory and early nineteenth-century British Romanticism. He sets up a contrast between the classical gardening styles and the Romantic ‘picturesque’ style. Irregularity found in the picturesque style is related to irregularity in nature that Thomasina pursues in her iconoclastic studies. Her “Geometry of Irregular Form” is essentially fractal geometry, which is realized as fractal images through Valentine’s computer. As he puts it, “In an ocean of ashes, islands of order,” Arcadia dramatizes Stoppard’s view of the world which comprises a complex, dynamic interaction of randomness, determinism, and metaphysics.
From the opening line’s reference to “cardinal embrace” to the final image of dancing, sexual energy drives much of the play. Mrs. Chater, Mrs. Croom, and even Chloe are its heroines. As it is called “the attraction that Newton left out,” sexual energy represents the deterministically unpredictable side of humanity. Sexuality is not only literally creative of life, but also gives meaning and value to life. Sexual energy plays an important role in presenting theatrical vitality and also shows resistance against death, the entropic dissipation of a human being. The last waltz scene consisting of two couples from two centuries gives a beautifully moving finale as these couples celebrate a moment of eternity. The play becomes a metaphor for loss and recovery.
목차
I. 들어가며
II. “재의 바다에 나타난 질서의 섬” : 무질서의 질서
III. “그때 우린 춤을 출 거예요” : 엔트로피적 소멸의 극복
IV. 나가며
인용문헌
Abstract
참고문헌 (1)
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UCI(KEPA) : I410-ECN-0101-2015-840-001080534