Relevant bibliographies by topics / Stoppard, Tom. Rosencrantz and Guildenstern are dead

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Stoppard, Tom. Rosencrantz and Guildenstern are dead'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

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Journal articles on the topic "Stoppard, Tom. Rosencrantz and Guildenstern are dead"

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Kazemi, Elham, and Mohsen Hanif. "Spatial Politics in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 70, no. 1 (January 27, 2017): 287. http://dx.doi.org/10.5007/2175-8026.2017v70n1p287.

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http://dx.doi.org/10.5007/2175-8026.2017v70n1p287Este artigo examina a noção de política espacial em Rosencrantz and Guildenstern Are Dead, de Tom Stoppard. Os dois cortesãos entram no mundo politicamente convulsivo de Hamlet, onde nenhuma estrutura de poder legítimo toma conta do estado. Sua racionalidade política regularizada deixa de ser aplicável ao mundo; a realidade viola o conhecimento empírico - direções geográficas e espirituais, e, geralmente, identidade - de Rosencrantz e Guildenstern. As funções previamente definidas de lugares, ou heterotopias (em termos de Foucault), estão em um estado de suspensão. Portanto, eles estão perdidos no meio dos conjuntos desconhecidos de relações espaciais; qualquer tipo de ato intencional escapa-lhes; morrem e desaparecem absurdamente em um lugar sem lugar.
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Sklizkova, Tina A. "The notions "Englishness" and "Russianess" in Tom Stoppard's fi lm "Anna Karenina"." Vestnik of Kostroma State University, no. 2 (2019): 195–99. http://dx.doi.org/10.34216/1998-0817-2019-25-2-195-199.

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The fi lm "Anna Karenina" is looked though the novel by Leo Tolstoy and at the same time in the basis of the fi lm lies the main principle of postmodernism – "the vision of the world as a text" – put forward by Tom Stoppard's play "Rosencrantz and Guildenstern Are Dead". There are two important for Russia and England notions in the centre of the fi lm: "Englishness" and "Russianess", which are connected with the county side. Stoppard as Leo Tolstoy paid attention at the "rural" and "urban"opposition. But he developed this problem in his fi lm. This Arcadia became impracticable in the modern situation. There is the certain game in the fi lm (real Vs. unreal) and the task of the spectators is to guess it, to solve the question of reality and unreality of the life and people.
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Zaslavskii, Oleg B. "Маленький человек в неевклидовом мире: о художественном пространстве в фильме и пьесе Т. Стоппарда “Розенкранц и Гильденстерн мертвы ”." Sign Systems Studies 33, no. 2 (December 31, 2005): 343–67. http://dx.doi.org/10.12697/sss.2005.33.2.05.

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The little in a non-Euclidean world: On the artistic space in Tom Stoppard's film and play “Rosencrantz and Guildenstern are dead”. It is shown that quite different aspects of Tom Stoppard’s work — spatial organization, relationship between reality and the conditional character of events, causality and narrative links, the problems of choice and personality — are united by the spatial one-sided model like the Möbius strip or Klein bottle. The artistic space turns out to be not orientable, the time being cyclic. This enables us to explain the mutual exchange of names between Rosencrantz and Guildenstern and a number of other paradoxical features in the plot and composition. The model like the Möbius strip embodies the absence of a free choice: there is no other side in the world and there is no chance to escape from the fate indicated in the title of Tom Stoppard’s work. The relevance of topology, e.g. the property of a global nature, is connected with the fact that a bearer of danger is the world as a whole. Apart from this, it points to the fact that such a structure of the world is essentially “non-Euclidean” and cannot be understood on the basis of observations from every-day life or “obvious” experiments like those carried out by Rosencrantz.
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Moosavinia, Sayyed Rahim, and Fatemeh Raeisi. "“Stark Raving Sane”: A Deconstructionist Reading of Tom Stoppard’s Rosencrantz and Guildenstern Are Dead." Anafora 8, no. 1 (2021): 187–201. http://dx.doi.org/10.29162/anafora.v8i1.10.

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The focus of this study is the theme of Hamlet’s madness in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead, which as a play based on Shakespeare’s Hamlet, provides a critique on this theme through the perspective of Ros and Guil, who, by means of a reversal of minor and major characters, have become the center of the spotlight in Stoppard’s play. The concept of madness in general is complicated, including many different aspects, among which the historical aspect is the most significant, as the definition of madness has evolved through different historical eras. By placing Stoppard’s Rosencrantz and Guildenstern Are Dead in a historical context, this essay aims to demonstrate that as a play written in the latter half of the twentieth century, Ros and Guil’s critique of Hamlet’s madness, with all the intricacies of its language, collapses the binary opposition of sanity and insanity in a twentieth century poststructuralist manner, and leads to no clear-cut answer to the question of Hamlet’s madness. However, as a play whose events unfold in the context of Hamlet, a Renaissance play, it carries some of the social and political aspects of Shakespeare’splay, as Ros and Guil’s evaluation of Hamlet’s condition is heavily under Claudius’s politically infused influence.
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Ülker Erkan, Ayça Berna. "Humour and Fate in Tom Stoppard's Play Rosencrantz and Guildenstern are Dead." Pamukkale University Journal of Social Sciences Institute 2016, no. 50 (2016): 74–86. http://dx.doi.org/10.5505/pausbed.2016.20092.

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ŞENTÜRK UZUN, NESLİHAN. "HAUNTOLOGICAL CRISES OF IDENTITY, MEMORY, AND PERSONAL HISTORY IN TOM STOPPARD S ROSENCRANTZ AND GUILDENSTERN ARE DEAD." Modernism and Postmodernism Studies Network 2, no. 1 (September 25, 2021): 110–20. http://dx.doi.org/10.47333/modernizm.2021171849.

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Mostafalou, Abouzar, and Hossein Moradi. "Persistence of Baroque Trauerspiel in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead as a Postmodern Literature: Rejection of Metanarrative." Journal of Language Teaching and Research 8, no. 2 (March 1, 2017): 322. http://dx.doi.org/10.17507/jltr.0802.14.

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Metanarrative is a conventional style of narration in literature which features tragedy in Greek model’s sense. In this type, metanarrative follows the conventions set by Aristotle; these conventions range different ones; time, one of the most important elements of narration, is linear. Therefore, in this regard, tragedy follows succession of events based on chronological orders. Moreover, metanarrative signifies stability of human deeds and meanings; therefore, what human beings do or say is stable and truthful. Moreover, in metanarrative, death is considered to be the ceasing moment of life in which continuation of life takes place in afterlife. This means that there is no ending or beginning since life is just a confusing cycle. Melancholy is used in Freudian sense that signifies suffering from hallucination and paranoia. These key concepts have composed metanarrative in conventional sense, and consequently metanarrative has been the base of tragedies in Greek sense. However, by emergence of Benjamin’s ideas regarding Trauerspiel, the fundamentals of metanarrative were challenged. Therefore, postmodern narrative started to take the place of conventional metanarrative, so that the ideas of time, language, melancholy, and death approached postmodern features. The failure of metanarrative and approach to postmodern literature can be traced in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead in which there is no chronological order within the play. Moreover, conveying meaning through language fails, and life as an endless cycle, dominates the whole play. Consequently, the metanarrative and tragedy genre of Tom Stoppard’s Rosencrantz and Guildenstern Are Dead can be replaced by postmodern narrative and Baroque Trauerspiel.
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EKLER, Onur, and Razan Sayed Ali. "The Literary Evocation of Loeb’s Theory of Universe in Tom Stoppard’s Rosencrantz and Guildenstern are Dead." International Journal of Language Academy 43, no. 43 (2022): 177–84. http://dx.doi.org/10.29228/ijla.64936.

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Strang, Ronald W. "Bareham, T. ed., Tom Stoppard: Rosencrantz and Guildenstem are Dead; Jumpers; Travesties. A Casebook; Delaney, P., Tom Stoppard: The Moral Vision of the Major Plays." Notes and Queries 39, no. 2 (June 1, 1992): 242–43. http://dx.doi.org/10.1093/nq/39.2.242.

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Abramovskikh, Elena Valerievna, Sof`ya Mikhailovna Pasashkova, and Mariya Aleksandrovna Smolenskaya. "THE ISSUES OF META-NARRATIVE STRUCTURE IN TOM STOPPARD’S PLAY AND FILM <i>ROSENCRANTZ AND GUILDENSTERN ARE DEAD</i>." Sphere of Culture, no. 2 (2022): 25–37. http://dx.doi.org/10.48164/2713-301x_2022_8_25.

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Dissertations / Theses on the topic "Stoppard, Tom. Rosencrantz and Guildenstern are dead"

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Holden, Martin Lee Castleberry Marion. "A director's approach to Tom Stoppard's Rosencrantz & Guildenstern are dead." Waco, Tex. : Baylor University, 2007. http://hdl.handle.net/2104/5064.

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Pritzker, Elaine C. "Tom Stoppard: Humanizing Chaos." FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/401.

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The purpose of this study was to critically evaluate Tom Stoppard’s application of chaos theory and quantum science in ROSENCRANTZ AND GUILDENSTERN ARE DEAD, HAPGOOD and ARCADIA; and determine the extent to which Stoppard argues for the importance of human action and choice. Through critical analysis this study examined how Stoppard applies the quantum aspects of: (1) indeterminacy to human epistemology in ROSENCRANTZ AND GUILDENSTERN ARE DEAD; (2) complementarity to human identity in HAPGOOD; and (3) recursive symmetry to human history in ARCADIA. It also examined how Stoppard excavates the complexities of human action, choice and identity through the lens of chaos theory and quantum science. These findings demonstrated that Tom Stoppard is not merely juxtaposing quantum science and human interactions for the sake of drama; rather, by excavating the complexities of human action, choice and identity through the lens of chaos theory and quantum science, Stoppard demonstrates the fundamental connection between individuals and the post-Newtonian universe.
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Lin, Po-chen, and 林柏辰. "The Postmodernist Strategies in Tom Stoppard''s Rosencrantz and Guildenstern are Dead, Jumpers, and The Real Thing." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/12247160873328659161.

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碩士
中國文化大學
英國語文學研究所
93
Tom Stoppard adopts a lot of postmodernist techniques in creating his works. The aim of this thesis is to examine postmodernist strategies which Stoppard uses in his three plays. Chapter One begins with a short biography of Stoppard, and then introduces the features of postmodernism and the differences between modernism and postmodernism. While modernists exhibit anxiety and a sense of loss because of the destruction of the faith in the Western civilization, postmodernists exhibit the uncertainty and the decentering. Postmodernists usually use a lot of parody and collage in their works. Stoppard uses parody to subvert the convention and the classics and to give the audience the new perspective of human beings. Chapter Two deals with Rosencrantz and Guildenstern Are Dead. The intertextuality of this play is obvious. Stoppard puts two minor characters from Shakespeare’s Hamlet into a Beckettian world of Waiting for Godot. The setting of this play is divided into two different worlds﹘the medieval and the contemporary. The context of this play continuously interlaces with that of Hamlet. Stoppard wants to reveal the powerful control of the author in a play and reveals the theatricalization in this play. Chapter Three deals with Jumpers. Stoppard uses two opposite philosophical theories﹘logical positivism and altruism﹘to express his farcical, conflicting and, dialectical ideas. The uncertainty, which is one feature of postmodernist works, is prevailing in this play. The setting is not a complete one, but is split into two conflicting areas. This feature is one kind of postmodernist strategies. Stoppard also presents the postmodern situation of the marriage relationship and that of human relations. Chapter Four deals with The Real Thing. Stoppard attempts to explore “the real thing” in the way of debating and discusses this issue in three perspectives: love, writing, and politics. This play contains four plays-within-the-play, and is also related to other literary works. The intertextuality is a prominent feature of this play. The structure of this play, which interlaces fictional scenes and real scenes, functions as two mirrors which mirror, echo and contrast with each other. Chapter Five is the Conclusion. Stoppard attempts to convey his idea in his plays through the postmodernist devices or strategies. However, evidently, he is influenced by modernism a lot. Therefore, he is the crossover between modernism and postmodernism, and between tradition and innovation.
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Teng, An-ni, and 鄧安妮. "Misreading Tom Stoppard: Alienation Effect and Intertextuality in His Rosencrantz and Guildenstern Are Dead and Dogg's Hamlet, Cahoot's Macbeth." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/39515437898549487853.

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碩士
國立中興大學
外國語文學系
93
This thesis deals with the issues of misreading, alienation effect and intertextuality in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead and Dogg’s Hamlet, Cahoot’s Macbeth. By interpreting Stoppard’s plays with the idea of alienation effect and intertextuality, his plays would reveal the gap in Harold Bloom’s idea of misprision. Chapter One is to illustrate the theoretical basis of Bloom’s misreading, Bertolt Brecht’s alienation effect and Roland Barthes’s intertextual concept, and explain the relationship of three theories. Chapter Two discusses Rosencrantz and Guildenstern Are Dead and Dogg’s Hamlet, Cahoot’s Macbeth in terms of Brecht’s alienation effect. In this discussion, the concept of alienation effect is related to Barthes’s intertextual approach, by which Bloom’s idea of misprision reveals its gap. The gap means that Stoppard’s plays real the idea of misprision even though Stoppard does not follow Bloom’s six strategies of misprision. Chapter Three tries to deal with Stoppard’s plays with Barthes’s intertextual approach. Parody and metatheatre are other concepts used to further illustrate the intertextual approach in Stoppard’s plays in order to make the intertextual approach in Chapter Three more integrated. Conclusion aims to illustrate the shortages in my thesis, my attempt to interpret Bloom’s concept in different aspects, and my ideal writerly texts which would produce the alienation effect.
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Liao, Fei-Pi, and 廖非比. "Tom Stoppard’s Doubleness: Rosencrantz and Guildenstern Are Dead, Hapgood, and The Invention of Love." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/90721544383872978727.

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Lin, Chih-chung, and 林志忠. "Intertextuality, Parody and Meta-art in Tom Stoppard's Rosencrantz and Guildenstern Are Dead and Travesties." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/57121897191411881797.

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碩士
國立臺灣大學
外國語文學系研究所
87
Abstract This thesis aims to discuss the issues of intertextuality, parody and meta-art in Stoppard's theater by analyzing Rosencrantz and Guildenstern Are Dead and Travesties. Parody is without doubt a motley form, incorporating various texts; parodists also become conscious of the self-reflexive manner in manipulating the used materials, which resurges as the dominant concern of postmodern parody. Parody is not a literary parasite, but a re-interpretation of the past. By analyzing the two selected plays which serve to illustrate the Stoppardian conventions, we may better appreciate the seemingly chaotic design in Stoppard's theater. Introduction is to delineate the disparate concepts of intertextuality and the relationship between parody and self-conscious literature. Chapter One attempts to sketch the relationship between Shakespeare's Hamlet, Beckett's Waiting for Godot and Rosencrantz and Guildenstern Are Dead. In his misreading of the giant precursor, Stoppard re-characterizes the monolithic figure Hamlet and the two insignificant courtiers, and resituates them in the Beckettian world where we reach a new understanding of the original and the later plays. Chapter Two discusses Travesties, which is inextricably related to Oscar Wilde's The Importance of Being Earnest. Stoppard, however, replaces the Wildean content with a serious contemplation on the aesthetic-political subject matters. The divergent values of aestheticism are claimed and counter-claimed by James Joyce (advocator of high modernism), Tristan Tzara (leader of anti-establishment) and V. I. Lenin (enthusiastic partisan of Marxism). Chapter Three tries to deal with the different meta-discursive aspects in parody of the plays. In Rosencrantz and Guildenstern Are Dead, Stoppard puts his play on the blurred precinct between art and life; spectators and audience; theatricality and reality. In Travesties, Stoppard shifts his critical concerns to the questioning of the authenticity of history. The discussion will focus on Henry Carr, a self-contradictory and unreliable narrator, whose fragmentary memory is tainted with distortion. Conclusion aims to problematize the difficulty of defining parody. At the same time, it will briefly introduce Stoppard's later works which demonstrate the parodic characteristics.
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Books on the topic "Stoppard, Tom. Rosencrantz and Guildenstern are dead"

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Tom Stoppard, Rosencrantz and Guildenstern are dead. London, England: Penguin Books, 1988.

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Birmingham Public Libraries. Language and Literature Department. Tom Stoppard: 'Rosencrantz and Guildenstern are dead'. Birmingham: B.P.L., 1987.

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Sales, Roger. Tom Stoppard: Rosencrantz and Guildenstern are dead. West Drayton: Penguin, 1988.

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Hunter, Jim. Tom Stoppard: Rosencrantz and Guildenstern are dead, Jumpers, Travesties, Arcadia. London: Faber, 2000.

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Tom Stoppard: Rosencrantz and Guildenstern are dead, Jumpers, Travesties, Arcadia. London: Faber and Faber, 2000.

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Players, Shakespeare Institute. Tom Stoppard's Rosencrantz and Guildenstern are dead. [Stratford-upon-Avon]: Shakespeare Institute, 1999.

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Productions, Vanessa Ford. Vanessa Ford Productions presents a national tour of 'Rosencrantz and Guildenstern are dead' by Tom Stoppard. and 'Macbeth' by William Shakespeare. [G.B.]: Vanessa Ford Productions, 1989.

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Tony, Bareham, ed. Tom Stoppard: Rosencrantz and Guildenstern are dead, Jumpers, Travesties : a casebook. Basingstoke: Macmillan, 1990.

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Parry, P. H. York Notes on Tom Stoppard's "Rosencrantz and Guildenstern Are Dead". Longman, 1991.

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Campos, Liliane. ‘Wheels have been set in motion’: Geocentrism and Relativity in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427814.003.0012.

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By decentring our reading of Hamlet, Stoppard’s tragicomedy questions the legitimacy of centres and of stable frames of reference. So Liliane Campos examines how Stoppard plays with the physical and cosmological models he finds in Hamlet, particularly those of the wheel and the compass, and gives a new scientific depth to the fear that time is ‘out of joint’. In both his play and his own film adaptation, Stoppard’s rewriting gives a 20th-century twist to these metaphors, through references to relativity, indeterminacy, and the role of the observer. When they refer to the uncontrollable wheels of their fate, his characters no longer describe the destruction of order, but uncertainty about which order is at work, whether heliocentric or geocentric, random or tragic. When they express their loss of bearings, they do so through the thought experiments of modern physics, from Galilean relativity to quantum uncertainty, drawing our attention to shifting frames of reference. Much like Schrödinger’s cat, Stoppard’s Rosencrantz and Guildenstern are both dead and alive. As we observe their predicament, Campos argues, we are placed in the paradoxical position of the observer in 20th-century physics, and constantly reminded that our time-specific relation to the canon inevitably determines our interpretation.
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Book chapters on the topic "Stoppard, Tom. Rosencrantz and Guildenstern are dead"

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Glomb, Stefan. "Stoppard, Tom: Rosencrantz and Guildenstern are Dead." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17171-1.

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Mancewicz, Aneta. "Rosencrantz and Guildenstern Are Dead, Tom Stoppard." In Adaptation in Theatre and Performance, 45–69. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-96806-9_3.

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Scott, Michael. "Parasitic Comedy: Tom Stoppard, Rosencrantz and Guildenstern are Dead." In Shakespeare and the Modern Dramatist, 13–27. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-13340-6_2.

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Delaney, Paul. "Through a Glass Darkly: Mortality and the Outer Mystery in Rosencrantz and Guildenstern are Dead." In Tom Stoppard, 14–35. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20603-2_2.

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Gordon, Robert. "Stoppard and the Critics." In Rosencrantz and Guildenstern are Dead, Jumpers and The Real Thing, 42–46. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-09381-6_5.

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Gordon, Robert. "George vs the Logical Positivists: Stoppard on Philosophy." In Rosencrantz and Guildenstern are Dead, Jumpers and The Real Thing, 21–28. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-09381-6_3.

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Gordon, Robert. "Plays Within Plays: Stoppard on Hamlet and Waiting for Godot." In Rosencrantz and Guildenstern are Dead, Jumpers and The Real Thing, 9–17. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-09381-6_1.

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Moriarty, Julia. "Rosencrantz and Guildenstern Are Dead by Tom Stoppard." In How to Teach a Play. Methuen Drama, 2020. http://dx.doi.org/10.5040/9781350017566.ch-079.

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"Appendix 1: Hamlet vs Rosencrantz and Guildenstern Are Dead." In Tom Stoppard’s Plays, 585–603. Brill | Rodopi, 2017. http://dx.doi.org/10.1163/9789004319653_010.

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"Stoppard On His Own Art And Practice." In Tom Stoppard: Rosencrantz and Guildenstern are Dead, Jumpers and Travesties. Bloomsbury Academic, 1989. http://dx.doi.org/10.5040/9781350388024.0009.

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