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논문 기본 정보

자료유형
학술저널
저자정보
박종덕 (동국대학교 경주캠퍼스)
저널정보
신영어영문학회 신영어영문학 신영어영문학 제65집
발행연도
2016.11
수록면
47 - 70 (24page)
DOI
10.21087/nsell.2016.11.65.47

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초록· 키워드

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The purpose of this paper is to examine Harold Pinter’s cinematic strategies for his concept on time in his screenplay, The Go-Between. Pinter was fascinated by the concept of time and the power to present the meaning of a whole life. This screenplay is related to the subject, the role of time including the annihilation of time, rupture, memory, and meaning. Pinter shifted the stress from the central story about the young Leo and the lovers which was the main theme of original novella to the annihilation of time by the adult Leo’s return to the place of his childhood experience. To make progress toward the meditation on time, memory and meaning by dismantling linar time, Pinter presented the multidimensional pure time that past, present, and future are fused in The Go-Between. Pinter extended the experiment in subjectivity begun in The Servant and The Accident. Pinter rejected its most potent manifestation, the structure based on the linear time in the narrative of original novella. Pinter presented the parallel and interacting narrations to reveal the double articulation of time and used voice-overs from the present in the past and the past in the present, and the non-chronological narration of the present to reveal the wholeness where past and present exist as a indivisible reality.

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