| 000 | nam k | |
| 001 | 2210080148772 | |
| 005 | 20140710125836 | |
| 007 | ta | |
| 008 | 891025s1989 bnk FB 000a kor | |
| 040 | ▼a221008 | |
| 041 | ▼akor▼beng | |
| 056 | ▼a842▼24 | |
| 100 | ▼a박행동 | |
| 245 | 00 | ▼aAntony and Cleopatra의 兩面性 /▼d朴幸棟 [著] |
| 260 | ▼a부산:▼b東亞大學校 敎育大學院,▼c1989 | |
| 300 | ▼ai,48장;▼c26 cm | |
| 502 | ▼a학위논문(석사)--▼b東亞大學校 敎育大學院:▼c英語敎育專攻,▼d1989. 2 | |
| 520 | ▼b영문초록 : This study interprets Antony and Cleopatra as an encyclopedic and culminating work, which reveals the roots of and reflects on the nature of Shakespeare's art. the play makes us experience the worlds of tragedy and comedy side-by-side. as Antony must, in its worlds do Rome and Egypt. The presence of thes two opposing genres which are both fully realized in the play explains the presence of opposite interpretations in the critical writing about the play. Act I, Scene I, is in structure and imagery a microcosm of the play. contained within the sixty-two lines are the central themes of the play(in their full ambiguity), the most important emotional rthyhms of the work, and some of the central imagery. In its structure, the scene presents us with the love of Antony and Cleopatra firmly placed between two judgements of that love. The Roman life is associated with images of straightness and stability, the Egyptian with images of fluidity ('O' erflows'), mingling ('stirr'd') and relaxation ('soft hours'). These patterns are projected through the play. The integration of theme and image in the actual dramatic movement of the scene provides an example of how this works over the whole play. As the tragic, Roman dispensation wanes, the world of comedy waxes and o'erflows the measure of the classical genre system which would keep it separate and subordinate. New, elevated comic worlds appear in Act ? as the Romans come to Egypt and the genres come together. One is the world of romantic epic, with its allegorical characters like Eros and Scarus, its "great fairy," its knight fighting for his love. Antony, the Roman lover of jests becomes a romance doer of gests as he defends his comic world. The advent of the serious comic structure of Christianity is intimated in Antony's Last Supper scene with his servants, in Enobarbus' repentant and prayerful death scene, and in the scene of hercules' departure, which suggests a changing of the gods and imitates the form of a mystery play. Enobarbus, who previously was able to contain his comic spirit within a Roman, classical framework, is burst in the process of this overflowing expansion of the comic universe. The world of comedy, like Antony in his death, grows at once heavier and more lofty. | |
| 600 | ▼aShakespeare, William,▼d1564-1616 | |
| 650 | ▼a희곡▼x평론▼z영국 | |
| 700 | 1 | ▼aShakespeare, William |
| 856 | ▼adonga.dcollection.net▼uhttp://donga.dcollection.net/jsp/common/DcLoOrgPer.jsp?sItemId=000002141758 | |
| 900 | ▼a세익스피어, 윌리암 | |
| 940 | ▼a안토니 앤드 클레오파트라의 양면성 | |
| 950 | ▼a비매품▼b￦2700▼c(추정가) | |
| 950 | ▼aFB |
Antony and Cleopatra의 兩面性
종류
학위논문 동서
서명
Antony and Cleopatra의 兩面性
발행사항
부산: 東亞大學校 敎育大學院 1989
형태사항
i,48장; 26 cm
학위논문주기
학위논문(석사)-- 東亞大學校 敎育大學院: 英語敎育專攻, 1989. 2
주기사항
영문초록 : This study interprets Antony and Cleopatra as an encyclopedic and culminating work, which reveals the roots of and reflects on the nature of Shakespeare's art. the play makes us experience the worlds of tragedy and comedy side-by-side. as Antony must, in its worlds do Rome and Egypt. The presence of thes two opposing genres which are both fully realized in the play explains the presence of opposite interpretations in the critical writing about the play. Act I, Scene I, is in structure and imagery a microcosm of the play. contained within the sixty-two lines are the central themes of the play(in their full ambiguity), the most important emotional rthyhms of the work, and some of the central imagery. In its structure, the scene presents us with the love of Antony and Cleopatra firmly placed between two judgements of that love. The Roman life is associated with images of straightness and stability, the Egyptian with images of fluidity ('O' erflows'), mingling ('stirr'd') and relaxation ('soft hours'). These patterns are projected through the play. The integration of theme and image in the actual dramatic movement of the scene provides an example of how this works over the whole play. As the tragic, Roman dispensation wanes, the world of comedy waxes and o'erflows the measure of the classical genre system which would keep it separate and subordinate. New, elevated comic worlds appear in Act ? as the Romans come to Egypt and the genres come together. One is the world of romantic epic, with its allegorical characters like Eros and Scarus, its "great fairy," its knight fighting for his love. Antony, the Roman lover of jests becomes a romance doer of gests as he defends his comic world. The advent of the serious comic structure of Christianity is intimated in Antony's Last Supper scene with his servants, in Enobarbus' repentant and prayerful death scene, and in the scene of hercules' departure, which suggests a changing of the gods and imitates the form of a mystery play. Enobarbus, who previously was able to contain his comic spirit within a Roman, classical framework, is burst in the process of this overflowing expansion of the comic universe. The world of comedy, like Antony in his death, grows at once heavier and more lofty.
주제
관련 URL