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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2007.12
- 수록면
- 205 - 223 (19page)
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Travesties marks the culmination point of Stoppard's early career in that it masterfully displays the dramatic expertise Stoppard developed with his early major plays like Rosencrant and Guildenstern Are Dead and Jumpers. And it also marks a turning point in his career, for Stoppard's works after Travesties show a more realistic turn towards what is called Stoppard's political plays.
With its borrowed plot and characters, a variety of styles adopted from various historical documents, and the mixture of fiction and history, among other things, Travesties has naturally invited diverse interpretations. However, approaches to it from the viewpoint that Travesties represents Stoppard's own vision of art and an artist, seem to be surprisingly rare. The reason is, it seems, that there is a widespread perception among the literary circles that to trace the author's intention in his/her text is outdated and unscientific. Unscientific it may be, but it is also true that there is no denying the presence of the author in a text, and that the author's vision of art, if it is persuasively deduced from his/her text, will help us understand the author's works better, on the one hand, and it will enrich our understanding of the properties and the roles of art itself, on the other. What this study aims at is to deduce and rebuild as much as possible Stoppard's own vision of art and an artist expressed in Travesties.
Stoppard repeatedly said that he used to have a slight guilt feeling about being an artist, and that it took years for him to overcome it. Travesties is partly a dramatization of this process, and Stoppard uses Carr and Joyce, in particular, as his mouthpieces to express his own vision of art and an artist. Of course, Stoppard achieves this not in a crude way. He does give the impression that he simply presents various views on art held by Tzara, Lenin, Joyce and even Carr. However, he subtly manipulates the audience's sympathy with various episodes, dialogues and quotations, so that in the end there is no mistaking where Stoppard's own sympathy lies. And it is Joyce's vision of art with his focus on 'the here and the now', his unwavering dedication to art, and his non intervention in the worldly affairs, that Stoppard wholeheartedly inherited. And this seems to be one of the reasons why Stoppard sometimes gives the impression that he is a traditional artist, though his works are packed with aspects which can be more effectively and legitimately analyzed from a postmodern viewpoint.
With its borrowed plot and characters, a variety of styles adopted from various historical documents, and the mixture of fiction and history, among other things, Travesties has naturally invited diverse interpretations. However, approaches to it from the viewpoint that Travesties represents Stoppard's own vision of art and an artist, seem to be surprisingly rare. The reason is, it seems, that there is a widespread perception among the literary circles that to trace the author's intention in his/her text is outdated and unscientific. Unscientific it may be, but it is also true that there is no denying the presence of the author in a text, and that the author's vision of art, if it is persuasively deduced from his/her text, will help us understand the author's works better, on the one hand, and it will enrich our understanding of the properties and the roles of art itself, on the other. What this study aims at is to deduce and rebuild as much as possible Stoppard's own vision of art and an artist expressed in Travesties.
Stoppard repeatedly said that he used to have a slight guilt feeling about being an artist, and that it took years for him to overcome it. Travesties is partly a dramatization of this process, and Stoppard uses Carr and Joyce, in particular, as his mouthpieces to express his own vision of art and an artist. Of course, Stoppard achieves this not in a crude way. He does give the impression that he simply presents various views on art held by Tzara, Lenin, Joyce and even Carr. However, he subtly manipulates the audience's sympathy with various episodes, dialogues and quotations, so that in the end there is no mistaking where Stoppard's own sympathy lies. And it is Joyce's vision of art with his focus on 'the here and the now', his unwavering dedication to art, and his non intervention in the worldly affairs, that Stoppard wholeheartedly inherited. And this seems to be one of the reasons why Stoppard sometimes gives the impression that he is a traditional artist, though his works are packed with aspects which can be more effectively and legitimately analyzed from a postmodern viewpoint.
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참고문헌 (19)
참고문헌 신청
1. [학술지(정기간행물)] - Richard / 1991 / Modernism and Postmodernism in Travesties Essays from the Milwaukee James Joyce Conference U of Delaware P
2. [학술지(정기간행물)] - Delaney / 1990 / The Moral Vision of the Major Plays
3. [학술지(정기간행물)] - Ann Arbor / 1994 / Tom Stoppard in Conversation U of Michigan P
4. [학술지(정기간행물)] - Stanley / 1994 / he Ranks with Shaw Tom Stoppard in Conversation U of Michigan P
5. [학술지(정기간행물)] - Goldberg / 1961 / A Study of James Joyce's Ulysses
2. [학술지(정기간행물)] - Delaney / 1990 / The Moral Vision of the Major Plays
3. [학술지(정기간행물)] - Ann Arbor / 1994 / Tom Stoppard in Conversation U of Michigan P
4. [학술지(정기간행물)] - Stanley / 1994 / he Ranks with Shaw Tom Stoppard in Conversation U of Michigan P
5. [학술지(정기간행물)] - Goldberg / 1961 / A Study of James Joyce's Ulysses
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