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2017
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The aim of this thesis is to briefly survey the construction of Voyage, the first of Stoppard’s trilogy The Coast of Utopia, and to examine the problems involved in the description of Bakunin, its protagonist, in it. Like a tangled skein, Voyage is packed with diverse episodes and unfamiliar characters without a coherent plot. So a reader or an audience member will find it difficult to follow the play and properly appreciate it. Hence the need to clarify the construction. As for the description of Bakunin, it requires a detailed study in that the question should not be simply ignored on the excuse of Voyage being a fiction. As a dramatic work, Voyage is no doubt a fictional work, but it is also true that it is constructed in such a way that the characters and events described in it are the real historical people and events.
Voyage is made up of two acts; the first focuses on Bakunin’s private life in Premukhino, while the second is more concerned with Bakunin’s public life in Moscow. The first act is largely about the episodes of Bakunin’s sisters’ romance and marriages, which is depicted in a distinctively Chekhovian style. The second act is in a way more confusing in that, though Bakunin still plays the major role, it does not proceed with a firm focus on Bakunin. While preparing for the subsequent Shipwreck and Salvage with the introduction of Herzen, the protagonist in both plays, it seems to be intended to give a wide politico-cultural view of the age.
Stoppard openly acknowledged that in writing his trilogy he owed a lot to such eminent scholars as Edward Carr, Isaiah Berlin and Aileen Kelly. Unfortunately, however, they happen to be antagonistic to Bakunin and his ideas in various degrees. And in Voyage, quite expectedly, Bakunin is depicted in a very negative way. The negative treatment of Bakunin, however, cannot be wholly ascribed to the influences of the above-mentioned scholars, because a number of recent works on Bakunin including a biography give a more balanced appreciation of Bakunin and his ideas. The treatment of Bakunin in Voyage, therefore, definitely reflects Stoppard’s own ideological orientation and prejudices. In the end, it depends on oneself whether he/she feels sympathy with Bakunin and what he stands for, but it must be borne in mind that Bakunin was basically a freedom fighter, and a true criticism of his life and ideas should be made at least on the basis of that recognition.
Voyage is made up of two acts; the first focuses on Bakunin’s private life in Premukhino, while the second is more concerned with Bakunin’s public life in Moscow. The first act is largely about the episodes of Bakunin’s sisters’ romance and marriages, which is depicted in a distinctively Chekhovian style. The second act is in a way more confusing in that, though Bakunin still plays the major role, it does not proceed with a firm focus on Bakunin. While preparing for the subsequent Shipwreck and Salvage with the introduction of Herzen, the protagonist in both plays, it seems to be intended to give a wide politico-cultural view of the age.
Stoppard openly acknowledged that in writing his trilogy he owed a lot to such eminent scholars as Edward Carr, Isaiah Berlin and Aileen Kelly. Unfortunately, however, they happen to be antagonistic to Bakunin and his ideas in various degrees. And in Voyage, quite expectedly, Bakunin is depicted in a very negative way. The negative treatment of Bakunin, however, cannot be wholly ascribed to the influences of the above-mentioned scholars, because a number of recent works on Bakunin including a biography give a more balanced appreciation of Bakunin and his ideas. The treatment of Bakunin in Voyage, therefore, definitely reflects Stoppard’s own ideological orientation and prejudices. In the end, it depends on oneself whether he/she feels sympathy with Bakunin and what he stands for, but it must be borne in mind that Bakunin was basically a freedom fighter, and a true criticism of his life and ideas should be made at least on the basis of that recognition.
목차
Ⅰ. 서론
Ⅱ.『항해』의 구성
Ⅲ. 바쿠닌 묘사의 문제점
Ⅳ. 결론
인용 문헌
Abstract
참고문헌 (22)
참고문헌 신청
[학술지(정기간행물)] - 김태우 / 2013 / 톰 스토파드의 The Invention of Love: 알프레드 하우스먼과 오스카 와일드 / 현대영미드라마 26 (2) : 51 ~ 72
[학술지(정기간행물)] - 김태우 / 2004 / Against Radical Revoultionaries: The Treatment of Lenin and Tzara in Tom Stoppard's Travesties / 현대영미드라마 17 (1) : 67 ~ 95
[학술지(정기간행물)] - Bekken, Jon / 1992 / Bakunin and the Historians / Anarcho Syndicalist Review 13 : 30 ~ 32
[단행본] - Berlin, Isaiah / 2008 / Russian Thinkers / Penguin Books
[인터넷자원] - Billington, Michael / / The Coast of Utopia
[학술지(정기간행물)] - 김태우 / 2004 / Against Radical Revoultionaries: The Treatment of Lenin and Tzara in Tom Stoppard's Travesties / 현대영미드라마 17 (1) : 67 ~ 95
[학술지(정기간행물)] - Bekken, Jon / 1992 / Bakunin and the Historians / Anarcho Syndicalist Review 13 : 30 ~ 32
[단행본] - Berlin, Isaiah / 2008 / Russian Thinkers / Penguin Books
[인터넷자원] - Billington, Michael / / The Coast of Utopia
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UCI(KEPA) : I410-ECN-0101-2016-842-002068463