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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2006.12
- 수록면
- 115 - 159 (45page)
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Originating in Saussurean linguistics, the idea of intextuality gradually formed itself amid the development of the literary structuralism which directly inherited the legacies of Saussurean linguistics on the one hand, and the development of Bakhtinian dialogism and poststructuralism which were engaged in constructive criticism of it, on the other. It was Kristeva, a Bulgarian critic and philosopher who came to Paris in the late 1960s, who newly coined the term, intertextuality, and tried to give a clear definition of it. According to her, intertextuality designates the fact that "any text is constructed as a mosaic of quotation; and text is the absorption and transformation of another." Though the definition seems clear-cut enough, what actually comprises it is so vast as to be the whole culture, and it partly explains why it is so difficult to apply the concept to practical literary criticism. Still, the significance of intertextuality as a critical method and principle in this postmodern age should not be underestimated, as intertextuality requires us to change our traditional understanding of the very nature of the text and the roles of the author and the reader.
The theatre world of Tom Stoppard, one of the representative dramatists in England, is the world of intertextuality. His various works are models of intertextuality in that they are sometimes based on borrowed plots and characters, and are usually packed with quotations and allusions, both explicit and implicit. On that account, however, his works are enormously complex and difficult to understand, fostering a whole variety of criticisms upon them.
One of the core questions in interpreting Stoppard's works is whether his works simply present conflicting ideas and opinions, and thereby fostering Barthean explosion of meanings, or they have essential structural and thematic concerns through which the author expresses his own sympathies and opinions. The brief critical analysis here of Rosencrantz and Guildenstern Are Dead, Travesties and The Real Thing in terms of intertextuality, takes the latter position, interpreting the leading polemics as the paradoxical relationship between reality and illusion, full agreement to the Joycean vision of art in opposition to the revolutionary artistic visions characterized by Tzara and Lenin, and the confirmation of the possibility that the real love can achieved, respectively. And it also attempted to reveal intertextuality as one of the core factors which strengthens and drives forward the leading polemic in each work. However, it must be kept in mind that Stoppard's theatrical world is not a closed system which offers a neat conclusion for each work. Constructed around the core polemics, it is also a labyrinthine world where meanings are expanded and exploded indefinitely very much like the way mirrors standing opposite to one another produce numberless reflections. In a way, it is this constructive combination of centripetal and centrifugal aspects in his works that makes Stoppardian theatre uniquely his.
The theatre world of Tom Stoppard, one of the representative dramatists in England, is the world of intertextuality. His various works are models of intertextuality in that they are sometimes based on borrowed plots and characters, and are usually packed with quotations and allusions, both explicit and implicit. On that account, however, his works are enormously complex and difficult to understand, fostering a whole variety of criticisms upon them.
One of the core questions in interpreting Stoppard's works is whether his works simply present conflicting ideas and opinions, and thereby fostering Barthean explosion of meanings, or they have essential structural and thematic concerns through which the author expresses his own sympathies and opinions. The brief critical analysis here of Rosencrantz and Guildenstern Are Dead, Travesties and The Real Thing in terms of intertextuality, takes the latter position, interpreting the leading polemics as the paradoxical relationship between reality and illusion, full agreement to the Joycean vision of art in opposition to the revolutionary artistic visions characterized by Tzara and Lenin, and the confirmation of the possibility that the real love can achieved, respectively. And it also attempted to reveal intertextuality as one of the core factors which strengthens and drives forward the leading polemic in each work. However, it must be kept in mind that Stoppard's theatrical world is not a closed system which offers a neat conclusion for each work. Constructed around the core polemics, it is also a labyrinthine world where meanings are expanded and exploded indefinitely very much like the way mirrors standing opposite to one another produce numberless reflections. In a way, it is this constructive combination of centripetal and centrifugal aspects in his works that makes Stoppardian theatre uniquely his.
목차
Ⅰ. 서론
Ⅱ. 상호텍스트성 이론 개요
Ⅲ. 상호텍스트성 이론 적용의 문제
Ⅳ. 스토파드의 작품 분석
Ⅴ. 결론
인용 문헌
Abstract
참고문헌 (14)
참고문헌 신청
1. [학술지(정기간행물)] - / 2000 / Intertextuality
2. [학술지(정기간행물)] - / 1997 / We're all free to do as we're told:Gender and Ideology in Tom Stoppards The Real Thing 40 (4) : 489 ~ 501
3. [학술지(정기간행물)] - / 1981 / U of Texas P
4. [학술지(정기간행물)] - / 1984 / Problems of Dostoevsky's Poetics U of Minnesota P
5. [학술지(정기간행물)] - / 1967 / Waiting for Hamlet : 25 ~ 26
2. [학술지(정기간행물)] - / 1997 / We're all free to do as we're told:Gender and Ideology in Tom Stoppards The Real Thing 40 (4) : 489 ~ 501
3. [학술지(정기간행물)] - / 1981 / U of Texas P
4. [학술지(정기간행물)] - / 1984 / Problems of Dostoevsky's Poetics U of Minnesota P
5. [학술지(정기간행물)] - / 1967 / Waiting for Hamlet : 25 ~ 26
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