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
- 2003.3
- 수록면
- 221 - 249 (29page)
이용수
초록· 키워드
오류제보하기
The multiplex plots of A Midsummer Night's Dream, which have caused a lot of confusion among readers of the play, are all essential parts of the play in that they all contribute to solving in a festive mood the problems which arise from a confrontation of two parties having different opinions concerning marriage. When the opposition continues without being settled the one party who has advantage over the other usually resorts to authority, forcing the other either to obey or run away. This, however, is not a solution in the true sense of the word, especially in a comedy in which the playwright should come up with a bright idea to get rid of the conflicting element unsuitable for the genre, justifying the reconciliation of the ending in a satisfactory manner.
To find a more fundamental solution Shakespeare in this play starts with delaying the usual commonplace one by letting the characters fly into other situations where another urgent problem is waiting for them, which they either consciously or unconsciously disregarded during the confrontation. To the lovers facing new problems in the new situation, the former opposition, by being compared with new bigger one, melts away and goes out of their mind, cancelling itself as a problem. This process continues until there is no further need to illuminate a problem from new perspectives, and every problem is cancelled of itself as a problem. Seen in this respect, the multiplex plots of the play are, far from being redundant, essential and necessary parts of the playas a whole, and anyone of them should not be put aside with ease as a foil or a frame for other more important one.
The problem of love and marriage to be solved by Shakespeare with multiplex plots in this play is concerned with its illusory nature. When people fall in love with each other their love comes partly from the illusion of the object of love, not the object itself. When a man or a woman sticks to this illusion and believes it as a reality of it, disregarding others' different opinion about it, they come to be opposed to the society and escape into the other world within the very society. This is, in a sense, like an actor living the life of a character, leaving behind all that belongs to him in the real world. Just as the actor's role is not fixed, so is it possible for the lovers to change their roles. Once they come into the role-changing situation, the former confrontation between love and society no longer exists. So their role-playing experience in the woods does the function of deconstructing the lovers' assertion of themselves as a fixed lover unbreakable by any threat from outside. The Athenian amateur actors rehearsing "Pyramus and Thisbe" further illustrate by their botched action how role-playing takes place and what it means to them and to the lovers playing, in a sense, the role of lovers in the outside world. The fact that the play with so many plots "closes on a kind of nothing" does not mean that it does not say anything at all. Rather it means the play says through and through what it tries to say, leaving no incongruities and contradictions unsettled. This is why we should give rethinking to the multiplex plots of A Midsummer Night's Dream.
To find a more fundamental solution Shakespeare in this play starts with delaying the usual commonplace one by letting the characters fly into other situations where another urgent problem is waiting for them, which they either consciously or unconsciously disregarded during the confrontation. To the lovers facing new problems in the new situation, the former opposition, by being compared with new bigger one, melts away and goes out of their mind, cancelling itself as a problem. This process continues until there is no further need to illuminate a problem from new perspectives, and every problem is cancelled of itself as a problem. Seen in this respect, the multiplex plots of the play are, far from being redundant, essential and necessary parts of the playas a whole, and anyone of them should not be put aside with ease as a foil or a frame for other more important one.
The problem of love and marriage to be solved by Shakespeare with multiplex plots in this play is concerned with its illusory nature. When people fall in love with each other their love comes partly from the illusion of the object of love, not the object itself. When a man or a woman sticks to this illusion and believes it as a reality of it, disregarding others' different opinion about it, they come to be opposed to the society and escape into the other world within the very society. This is, in a sense, like an actor living the life of a character, leaving behind all that belongs to him in the real world. Just as the actor's role is not fixed, so is it possible for the lovers to change their roles. Once they come into the role-changing situation, the former confrontation between love and society no longer exists. So their role-playing experience in the woods does the function of deconstructing the lovers' assertion of themselves as a fixed lover unbreakable by any threat from outside. The Athenian amateur actors rehearsing "Pyramus and Thisbe" further illustrate by their botched action how role-playing takes place and what it means to them and to the lovers playing, in a sense, the role of lovers in the outside world. The fact that the play with so many plots "closes on a kind of nothing" does not mean that it does not say anything at all. Rather it means the play says through and through what it tries to say, leaving no incongruities and contradictions unsettled. This is why we should give rethinking to the multiplex plots of A Midsummer Night's Dream.
목차
Ⅰ. 서론
Ⅱ. 연인들의 문제
Ⅲ. 연극과 환상
Ⅳ. 숲과 요정의 세계
Ⅴ. 결론
인용 문헌
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
상상력과 삶의 확장 : A Midsummer Night's Dream
신학과 목회
2005 .11
-
『한 여름 밤의 꿈』에 나타난 풍요제의 사회 정치적 의미
Shakespeare Review
2007 .03
-
사회 역사적 문맥에서 본 『한여름 밤의 꿈』에 나타난 사랑과 결혼
Shakespeare Review
2002 .03
-
사랑과 이성, 그 이상적 통합 : 『한여름 밤의 꿈』의 경우
신영어영문학
1996 .06
-
The Problem of Imagination in A Midsummer Night's Dream
신영어영문학
1999 .11
-
『한여름 밤의 꿈』에 보이는 참사랑과 통일성
Shakespeare Review
1999 .03
-
사랑의 얽힘과 풀림 : 『한여름 밤의 꿈』에 나타난 사랑의 속성
Shakespeare Review
2009 .03
-
Keywords and Key Clusters in Shakespeare’s Love Plays: Three Love Tragedies and Three Love Comedies
언어과학
2018 .01
-
A Midsummer Night's Dream의 영역통과의식
Shakespeare Review
1995 .06
-
『한여름 밤의 꿈』과 동물의 꿈
새한영어영문학
2018 .02
-
A Midsummer Night's Dream에 대한 신화비평적ㆍ심리학적 해석
Shakespeare Review
1993 .12
-
『한여름 밤의 꿈』에 나타난 숲의 순환구조
신학과 목회
2010 .05
-
셰익스피어의 『한여름 밤의 꿈』(A Midsummer Night’s Dream)과 음악적 상징으로서의 숲
Shakespeare Review
2018 .06
-
바틈과 퍽의 에필로그: 르네상스 연극 개혁 운동의 관점에서 본 「한여름 밤의 꿈」
고전 르네상스 영문학
2011 .01
-
『한여름 밤의 꿈』(A Midsummer Night’s Dream)에 나타난 사랑의 이율배반적 구조
Shakespeare Review
2016 .12
-
『한 여름 밤의 꿈』(A Midsummer Night’s Dream) : 바흐친의 카니발 이론을 중심으로
Shakespeare Review
2017 .12
-
Sons and Lovers에 나타난 세 유형의 파괴적 사랑
새한영어영문학
1983 .09
-
『한여름 밤의 꿈』에 나타난 가부장제의 양상
Shakespeare Review
2018 .09
-
A Midsummer Night's Dream 대위법 : Elizabeth 왕조의 성의 위계와 권력 체계
Shakespeare Review
1998 .06
이 논문의 저자 정보
이 논문과 함께 이용한 논문
『한 여름 밤의 꿈』에 나타난 풍요제의 사회 정치적 의미
박정근
Shakespeare Review
2007
.03
『햄릿』에 나타난 르네상스 개인주의
한정이
Shakespeare Review
2010
.09
“난 참으로 진기한 꿈을 꾸었어” : 『한여름 밤의 꿈』에서의 젠더 질서의 양면성
김용태
Shakespeare Review
2004
.09
사랑의 얽힘과 풀림 : 『한여름 밤의 꿈』에 나타난 사랑의 속성
김종환
Shakespeare Review
2009
.03
『한여름 밤의 꿈』과 동물의 꿈
최성희
새한영어영문학
2018
.02
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2010-840-003110422