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- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2010.12
- 수록면
- 755 - 774 (20page)
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The polyphony of Dostoevsky’s novels theorized by Bakhtin stands out in Shakespeare’s Antony and Cleopatra. This play contains two consciousnesses, two languages, and two voices in a hybrid construction. This hybrid is made possible by the pattern of parody in which two styles and two languages are crossed with each other.
Shakespeare seems to destroy the homogeneity of characters and the interconnectedness of events. Heterogeneous and disparate materials are intertwined. Contradictory ideas and values are claimed by one or another character.
In the structure of parody, the main characters stand ideologically peculiar and independent in both worlds. Octavius Caesar parodies Antony as a boy, a strumpet’s fool, and an old ruffian in dotage; and Cleopatra as a strumpet, a whore and a witch. Cleopatra parodies Caesar as a scarce-bearded boy, a paltry thing, and an ass. Through the exchange of their colliding voices, they demystify each other. They are not a mouthpiece of Shakespeare’s authorial discourse, but an autonomy of their own individual voices.
These independent, contradictory voices are not converged, but hopelessly unsolved. The world of Antony and Cleopatra defies the shaping of any unified artistic vision. An incessant cacophony of their unmerged voices stays ringing within earshot even after. This play is not monologically merged, or finalized, but open-ended.
Shakespeare seems to destroy the homogeneity of characters and the interconnectedness of events. Heterogeneous and disparate materials are intertwined. Contradictory ideas and values are claimed by one or another character.
In the structure of parody, the main characters stand ideologically peculiar and independent in both worlds. Octavius Caesar parodies Antony as a boy, a strumpet’s fool, and an old ruffian in dotage; and Cleopatra as a strumpet, a whore and a witch. Cleopatra parodies Caesar as a scarce-bearded boy, a paltry thing, and an ass. Through the exchange of their colliding voices, they demystify each other. They are not a mouthpiece of Shakespeare’s authorial discourse, but an autonomy of their own individual voices.
These independent, contradictory voices are not converged, but hopelessly unsolved. The world of Antony and Cleopatra defies the shaping of any unified artistic vision. An incessant cacophony of their unmerged voices stays ringing within earshot even after. This play is not monologically merged, or finalized, but open-ended.
목차
Ⅰ. 들어가며
Ⅱ. 바흐친적 패러디 양식과 다성성의 세계
Ⅲ. 나오며
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