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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2003.6
- 수록면
- 351 - 380 (30page)
이용수
초록· 키워드
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The patterns of action which Shakespeare weaves in his Hamlet, King Lear, Othello, and Macbeth differ remarkably from those of his early tragedies. A study on the technique of Shakespeare's defamiliarization leads itself to a way in which he accomplishes a significant change to make this difference possible.
Shakespeare commonly employs three devices of defaminiarization in his major tragedies. First, Shakespeare uses supernatural phenomena or riddles as a device of defamiliarization. In the opening scenes, he invokes and inseminates uncertainty and mysteriousness through it. This device reinforces a puzzling, mystifying atmosphere by defamiliarizing the surroundings in which a protagonist may be thrown. And it procrastinates the audience's perception.
Second, a protagonist's inner conflict or madness is another device of defamiliarization. The exploration of inner selves is a hallmark in Shakespeare's plays. His contemporaries, Thomas Kyd, Christopher Marlowe, Ben Jonson, John Webster, George Chapman, and Thomas Middleton, show much less tendency toward the probe into the conscious and unconscious world of characters. Shakespeare's plays which are psychological and aesthetic delay quick sensitivity and understanding of the audience, and make them reserve their judgement. The effect of defamiliarization relies upon the mystery of characters' contradiction.
Third, the grotesque is the last device of defamiliarization. The tragic protagonists in Shakespeare's tragedies are imposed to the agonizingly unendurable situation. They, all of a sudden, face the fantastic and grotesque world, and, at the very moment, find themselves isolated figures. In their existential despair, their language and behavior begin to assume something grotesque in themselves. Their language, which is curt and poignant like a dagger, depends much upon incongruity and absurdity. This grotesque scenes invoke at once laughter and repress it. They defamiliarize and further mystify the audience.
Shakespeare commonly employs three devices of defaminiarization in his major tragedies. First, Shakespeare uses supernatural phenomena or riddles as a device of defamiliarization. In the opening scenes, he invokes and inseminates uncertainty and mysteriousness through it. This device reinforces a puzzling, mystifying atmosphere by defamiliarizing the surroundings in which a protagonist may be thrown. And it procrastinates the audience's perception.
Second, a protagonist's inner conflict or madness is another device of defamiliarization. The exploration of inner selves is a hallmark in Shakespeare's plays. His contemporaries, Thomas Kyd, Christopher Marlowe, Ben Jonson, John Webster, George Chapman, and Thomas Middleton, show much less tendency toward the probe into the conscious and unconscious world of characters. Shakespeare's plays which are psychological and aesthetic delay quick sensitivity and understanding of the audience, and make them reserve their judgement. The effect of defamiliarization relies upon the mystery of characters' contradiction.
Third, the grotesque is the last device of defamiliarization. The tragic protagonists in Shakespeare's tragedies are imposed to the agonizingly unendurable situation. They, all of a sudden, face the fantastic and grotesque world, and, at the very moment, find themselves isolated figures. In their existential despair, their language and behavior begin to assume something grotesque in themselves. Their language, which is curt and poignant like a dagger, depends much upon incongruity and absurdity. This grotesque scenes invoke at once laughter and repress it. They defamiliarize and further mystify the audience.
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