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자료유형
학술저널
저자정보
저널정보
한국현대영미드라마학회 현대영미드라마 현대영미드라마 제22권 제2호
발행연도
2009.8
수록면
143 - 169 (27page)

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초록· 키워드

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In Voyage, the first play of The Coast of Utopia (2002) trilogy, Tom Stoppard dramatizes the fervent youth of idealism and conflicting ideas among a group of mid-nineteenth-century Russian revolutionaries and writers. Stoppard bases his dramatic portrayal of this first generation of the Russian intelligentsia on multiple sources. However, in his episodic, cyclical, and panoramic re-telling of their personal and intellectual reactions to oppressive reality in Russia, the playwright adds his own interpretative color by providing each character with an equally articulate voice, allowing them to debate freely their differing perspectives on social and personal reforms. Stoppard has brought alive the historical figures taken from the source texts and has made their philosophical debates, idealistic visions, and political and personal conflicts more vivid by presenting their opposing views in counterpoint, while bringing them together in a polyphonic whole. The play is also interlaced with distinctively Stoppardian wit and humor, making it more humane and accessible to contemporary audiences and providing them with both entertainment and education. This paper explores how the playwright juxtaposes and re-presents the many voices in Voyage, and how duality and polyphony help him to achieve his desired dramatic effect.

목차

Ⅰ. Introduction
Ⅱ. Ideological Multiple-Voicedness and Polyphonic Structure
Ⅲ. Juxtaposition of Voices: Bakunin vs. Belinsky
Ⅳ. Voices of Skepticism and Detachment: Herzen and Turgenev
Ⅴ. Conclusion
Works Cited
Abstract

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