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1
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.
2
Kürner, Marjetka. "Tom Stoppard: TRAVESTIE - komplexní scénografický projekt." Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2009. http://www.nusl.cz/ntk/nusl-79133.
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Travesties is a refined comedy, written by one of the best and most important modern playwrights, Tom Stoppard. it was published in 1974 and counts as one of major works of the english author, born in Czechoslovakia. It brings together three important historical figures: modernist James Joyce, dadaist Tristan Tzara and revolutionist Lenin. These three are brought togeteher by main character, Henry Carr with his imagination and confused memories. By carefully studying the play and seeking inspiration in the visually attractive dadaist movement, I have elaborated my own interpretation of the work and a concept for scenography and costumes design for each character of Travesties.
3
ABRIOUX, CAREY CYNTHIA. "La vision prismatique de tom stoppard." Paris 3, 1988. http://www.theses.fr/1989PA030091.
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L'oeuvre theatrale du dramaturge tom stoppard est une oeuvre essentiellement difficile, complexe et ambigue. On peut appliquer l'image du prisme a sa vision de la realite particuliere en analysant un certain nombre des fils lumineux diffractes a travers ses pieces par le prisme dans le but de degager plus clairement la valeur dramatique de cette lumiere blanche generatrice d'un theatre original et uniqueThe dramatic work of the playwright tom stoppard is essentially a difficult, complex and ambiguous work. We can apply the image of a prism to his particular vision of reality and analyse a certain number of the rays or strands refracted throughout his plays in the hope of evaluating more clearly the dramatic value of the white light which generates such an original and unique theatre
4
Ramsey, Julianne Elizabeth. "Tom Stoppard: a playwright on the fence." Thesis, Wichita State University, 2010. http://hdl.handle.net/10057/3323.
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This thesis examines the content of Tom Stoppard‟s work, rather than placing emphasis on his form and cleverness. By dissecting the plays Rosencrantz and Guildenstern are Dead, Travesties, The Invention of Love, and Rock ‘n’ Roll, one can see that Stoppard acts as an impartial playwright. He presents opposing philosophical outlooks within the confines of his plays, but he gives no evidence as to which opinion most closely represents his own viewpoint.
By examining the previous research in relation to Tom Stoppard, as well as Stoppard‟s own discussions of his works, it becomes apparent that Stoppard often focuses on three primary themes: an individual‟s attempt to find truth and meaning within his existence, the use of multiple narrative strains to establish a balanced societal view, and the importance of art and intellect to a society. However, after scrutinizing much of the scholarly research around Stoppard‟s works, it became apparent that much of the literary criticism focused on his word play and cleverness, rather than the subject matter of his plays. This thesis hopes to add to the negligible amount of existing analysis of his substance, rather than just his form.
Although Tom Stoppard does function as an intellectual gamester and can dazzle with his cleverness, this paper concludes that focusing only on this facet of his plays yields an incomplete appreciation of what he has created. He treats his characters, regardless of whether or not he agrees with their points of view, as equally rational and logical. He leaves it to his audience to decide which character has the “correct” point of view. He is as much a philosophical gamester as he is a wordsmith, and he uses the three previously addressed themes to present the focal points of his philosophical debates. He functions as a playwright on the fence.Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Dept. of English
5
Cheung, Man-wai, and 張文薀. "Postmodernism in the works of Tom Stoppard." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26758635.
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Südkamp, Holger. "Tom Stoppard's biographical drama /." Trier : WVT, Wiss. Verl, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016558889&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
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7
Südkamp, Holger. "Tom Stoppard's biographical drama." Trier Wiss. Verl. Trier, 2007. http://d-nb.info/989158276/04.
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8
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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9
Yedekci, Esra. "Endless Pursuit Realitythrough Metadramatic Devices In Tom Stoppard'." Master's thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12612847/index.pdf.
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This thesis aims to investigate the question of reality in Tom Stoppard&rsquos plays Rosencrantz and Guildenstern are Dead, The Real Inspector Hound, and Travesties. Each of these plays closely examines the nature of reality and certainty and shows Stoppard as the critique of grand narratives of Reality, Truth, and Art. By deconstructing these master narratives, Stoppard attempts to invalidate the convictions that reality is fixed and that art should faithfully reproduce the material world in which reality is perceived as permanent. His challenge creates a realization in the audience and makes them question the issues they previously took for granted. To divest the audience of certainty and to display the endless pursuit of reality both in life and in art, Stoppard, in his plays, makes use of some metadramatic devices. Stoppard&rsquo
s distinctive use of the metadramatic devices which reveal the unaccountable nature of reality and the limits of knowledge is the core of this study
10
Morris, J. "Doubtful designs : A study of the works of Tom Stoppard." Thesis, University of Exeter, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.380690.
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11
Bennett, Richard. "Variations : influence intertextuality, and Milan Kundera, Jean Rhys, and Tom Stoppard." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26254.
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This thesis is in three chapters. Chapter one is about Harold Bloom's theory of the Anxiety of Influence. Bloom's argument is that literary history is shaped by the anxiety of "strong" poets at their belatedness. I show that he depends upon a subjective interpretation of literary production in order to defend a rigidly traditional canon.Chapter two deals with theories of intertextuality, principally those of Julia Kristeva and Michael Riffaterre. As alternatives to theories of influence, neither proves satisfactory. Both founder on the contradictory goal to explain all literature, at the expense of recognizing literary diversity.
Chapter three concerns literary variations. These are texts which are deliberately premised on pre-existing texts. I focus on three examples from this class of literary texts which is not satisfactorily dealt with by any of the theories I consider. I pursue a less wide-ranging approach in order to unearth important features of literary variations.
12
Cassini, John. "La gratuite ou le didactisme dans le théatre de Tom Stoppard." Paris 3, 1987. http://www.theses.fr/1987PA030225.
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13
Cassini, John. "La Gratuité ou le didactisme dans le théâtre de Tom Stoppard." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376036640.
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14
Du, Verger Jean. "L'écriture en spectacle : collage et réécriture dans le théâtre de Tom Stoppard." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040051.
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L’œuvre dramatique de Tom Stoppard est souvent considérée comme caractéristique du postmoderne. Les techniques d’écriture qui régissent le texte théâtral de Stoppard, étudiés dans cette thèse, participent à une véritable mise en scène de l’écriture. Ils sont aussi, selon nous, un moyen de détourner et parodier les codes du postmoderne. Collages, fragments et réécriture, caractéristiques de l’œuvre de Stoppard, traduisent aussi une vision patrimoniale de la littérature, et permettent une approche originale et critique du postmodernisme, renouvelant ainsi le discours sur le moderne. La présente étude se propose tout d’abord de montrer comment, à travers les références aux œuvres picturales de Magritte et Duchamp, Stoppard met en scène le signe. Puis, elle cherche à mettre en évidence la manière dont Stoppard utilise le collage et l’emprunt musical pour construire et structurer certaines de ses pièces. Elle envisage enfin le collage comme l’expression d’une herméneutique littéraire et philosophique, en examinant notamment l’influence de l’écriture de James Joyce sur le processus scripturaire du dramaturge. Le théâtre, seule forme d’expression artistique qui peut emprunter à tous les autres arts (Beaux-Arts, musique et littérature), est le lieu idéal où se déploient le foisonnement, la complexité et la richesse de l’écriture de Stoppard. Mais l’utilisation de citations et de fragments n’implique pas la fragmentation du sens : le théâtre de Stoppard, loin d’être l’expression d’une vision détachée du monde, propose aussi une véritable réflexion ontologique et politique sur notre sociétéTom Stoppard’s plays have often been viewed as the epitome of the postmodern. The writing techniques which inform Stoppard’s dramatic texts and which are studied in the present thesis play an essential part in the way in which the playwright stages his own writing process. This study also postulates that those techniques stand as a means of subverting and parodying the codes of the postmodern. The collages, fragments and rewriting which inform Stoppard’s works, reflect a patrimonial conception of literature and allow for an original approach and critique of postmodernism thus renewing the discourse on the modern. While considering the various references to the works of Magritte and Duchamp, the present study seeks to unveil the way in which Stoppard stages the sign. It will then shed light on the way in which Stoppard uses musical collages and quotations, which dot the playwright’s work, to shape and construct some of his plays. Finally, this dissertation will envisage collage as the expression of literary and philosophical hermeneutics as it examines James Joyce’s crucial influence on the playwright’s writing technique. Theatre stands probably as the only form of art which can borrow from all the other forms of art (painting, sculpture, music and literature). As such, it is the ideal locus for Stoppard’s subtle and complex writing techniques to proliferate. However, using quotations and fragments does not necessarily imply a fragmentation of meaning. Far from conveying a detached view of the world, Stoppard’s dramatic works provide the audience with an ontological and political thought-provoking view on our contemporary society
15
Smith, Patricia Anne Myers. ""Oppositions, rather than heroes" : an examination of dialectical principles in the work of Tom Stoppard." Thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/23373.
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16
Turner, Irene. "Farce on the borderline with special reference to plays by OscarWilde, Joe Orton and Tom Stoppard." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31949204.
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Van, der Merwe Stephen Gareth. "Generic engineering : a study of parody in selected works of Oscar Wilde, James Joyce and Tom Stoppard." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/49971.
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Thesis (MA)-- Stellenbosch University, 2004.Full text to be digitised and attached to bibliographic record.
ENGLISH ABSTRACT: The following thesis develops a theory of parody as a multifunctional practice in relation to selected works of Oscar Wilde, James Joyce and Tom Stoppard. The study discusses parody as a mode of generic engineering (rather than a genre itself) with ideological ramifications. Based on an understanding of literary and non-literary genres as social institutions, this thesis describes the practice of parody as one of engineering generic or discursive incongruity with a particular cultural purpose in mind. In refiguring generic conventions, the parodist simultaneously reworks their implicit ideological premises. Parody hence comes to serve as a means of negotiating with "the world" through generic modification, and the notions of parodic social agency and cultural work are consequently central to this thesis. Focusing on The Picture of Dorian Gray and The Importance of Being Earnest respectively, Chapters Two and Three discuss Wilde's use of parody, and especially parodic "word-masks", for subverting the aesthetic and social conventions of Victorian England, and covertly propagating a gay subculture through parodic injokes. Word-masks - central to Wildean parody - entail the duplicitous use of an object text / genre as a cover under which a parodist hides other meanings. If Wildean parody might be described as claiming a covert agency, Joycean parody must, in contrast, be acknowledged as expressing deep-seated political ambivalence. Chapters Four and Five of this thesis discuss Joyce's Ulysses with specific reference to his use of parody to conflate, relativize and problematize the dominant aesthetic and Irish nationalist discourses of the early twentieth-century. Joycean parody also demonstrates parodic ambivalence and this is especially evident in what might be called his "parodic patriotism". In contrast to Wilde's and Joyce's use of parody for the expression of subversive or progressive political views, Stoppard's parodies confirm conservative English values not only in their reification of the English canon but also in terms of the ideological premises with which they invest their hypotexts. Chapters Six and Seven examine how parody can serve as one of the ways in which modem artists have managed to come to terms with tradition. Focusing on Stoppard's Rosencrantz and Guildenstern Are Dead and Travesties respectively, these chapters explore parody's capacity to function as tribute or homage to the writers of the past being parodied. Ultimately this thesis aims to demonstrate the continuum of parodic cultural work or effects of which parody, as a mode of generic engineering, is capable.
AFRIKAANSE OPSOMMING: In hierdie tesis word daar - met verwysing na geselekteerde werke van Oscar Wilde, James Joyce en Tom Stoppard - 'n teorie van parodie as multi-funktionele praktyk ontwikkel. Parodie word bespreek as 'n vorm van generiese manipulasie (eerder as 'n genre op sigself) met ideologiese implikasies. Op die basis van 'n vertolking van literêre en nie-literêre genres as sosiale instellings, beskryf hierdie tesis die praktyk van parodie as die bewerkstelling van generiese en diskursiewe ongelyksoortigheid met 'n besondere kulturele oogmerk in gedagte. In die herfigurering van generiese konvensies is die beoefenaar van parodie terselfdertyd besig om hulle geïmpliseerde ideologiese aannames te herbewerk. Parodie word dus 'n metode om met behulp van generiese modifikasie in omgang met "die wêreld" te verkeer; en die idee van die sosiale agentskap en kulturele aksie van parodie staan dus ook sentraal tot hierdie tesis. Hoofstukke Twee en Drie fokus onderskeidelik op The Picture of Dorian Gray en The Importance of Being Earnest. In hierdie twee hoofstukke word Wilde se gebruik van parodie bespreek, met besondere aandag aan sy parodiese "woordmaskers" om die estetiese en sosiale konvensies van Victoriaanse Engeland te ondermyn, asook sy bedekte propagering - deur middel van parodiese binne-grappe -- van 'n gay subkultuur. Sentraal tot Wilde se parodie is woordmaskers wat 'n dubbelsinnige gebruik van teks en genre inspan as 'n dekmantel waaronder die beoefenaar van parodie ander betekenisse verskuil hou. As Wilde se parodie beskryfkan word as bedekte bemiddeling oftussenkoms (covert agency), moet Joyce se parodie - as teenstelling - identifiseer word as 'n uitdrukking van diepliggende politiese ambivalensie. In Hoofstukke Vier en Vyf word Joyce se Ulysses bespreek met spesifieke verwysing na sy gebruik van parodie om dominante estetiese en Ierse nasionalistiese diskoerse van die vroeë twintigste eeu saam te voeg, te relativiseer en te bevraagteken.. Joyce se parodie illustreer ook parodiese ambivalensie - 'n aspek wat duidelik blyk uit wat sy "parodiese patriotisme" genoem kon word. In teenstelling met Wilde en Joyce se gebruik van parodie as uitdrukking van ondermynende of pregressiewe gesigspunte, bevestig Stoppard se parodie konserwatiewe Engelse waardes nie net in hulle vergestalting van Engelse kanoniese tekste nie, maar ook in terme van die ideologiese aannames wat hulle aan hul hipotekste toeskryf. Hoofstukke Ses en Sewe ondersoek hoe parodie kan dien as een van die weë waarlangs moderne kunstenaars daarin geslaag het om hulleself te versoen met tradiese. In Hoofstukke Ses en Sewe - waar daar onderskeidelik op Rosencrantz and Guildenstern Are Dead en Travesties gefokus word - word ook aandag geskenk aan die vermoë van parodie om te funksioneer as huldeblyk of eerbetoon aan skrywers wie se werke geparodieer word. Hierdie tesis poog om die kontinuum van parodiese kulturele werk te illustreer waartoe parodie, as 'n vorm van generiese manipulasie, in staat is.
18
Turner, Irene. "Farce on the borderline with special reference to plays by Oscar Wilde, Joe Orton and Tom Stoppard." [Hong Kong : University of Hong Kong], 1987. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12367898.
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Pang, M. W. Petti. "The image of physics and physicists in modern drama portraits and social implications /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22535378.
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Harrison, Juliet Frances. "Artistic fictions : the representation of the artist figure in works by David Storey, John Fowles and Tom Stoppard." Thesis, University of Exeter, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286588.
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Leão, Liana de Camargo. "Metavisions." reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/24380.
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Albayrak, Gokhan. "Gender And Sexuality In Three British Plays: Cloud Nine By Caryl Churchill, My Beautiful Laundrette By Hanif Kureishi, The Invention Of Love By Tom Stoppard." Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12610691/index.pdf.
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This thesis analyzes how gender and sexual identities are discursively constructed through Churchill&rsquos Cloud Nine, Kureishi&rsquo
s My Beautiful Laundrette and Stoppard&rsquo
s The Invention of Love
it traces how the dominant discourse reduces the riddle of human sexuality to the binary frame
it also discusses that the bi-polar organization of sexuality does not suppress, but reproduces sexual dissidence. A male-female pair is envisaged by the prevailing discourse
Butler&rsquo
s ideas of performativity and drag performance will be employed to indicate that gender and sexuality are not inborn, but culturally and historically determined, and to explore how deviant sexualities undermine the double columns of the masculine and the feminine, the homosexual and the heterosexual. An investigation into the homosexual/heterosexual split will demonstrate how power shifts between the points of the binary frame rather than being monopolized by the dominant discourse. The regulating discourse polarizes homosexuality and heterosexuality
it deploys the binary frame to overvalue the heterosexual and to disparage the homosexual
the established order seeks to fortify its authority through the binary thought. Yet, the binary logic is internally unstable
binary oppositions constantly threaten to collapse and fuse into one another
therefore, due to the inherent indeterminacy of the binary logic, homosexuality is not annihilated, but rejuvenated by heterosexuality
thus, power flows among the dominant and counter discourses. Queer theory, drawing on post-structuralism, subverts the binary frame, and glorifies the proliferation of sexual identities and practices beyond the dualistic understanding.
23
Hannan, Theodora. "Bittersweet Attachments: Reimagining Desire in Queer Biographical Literature." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1523032004293975.
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Dominik, Šimon. "Intertextuální dramatika Toma Stopparda." Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-79432.
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The presented Master thesis attempts to analyse the preparation and rehearsing process of three productions of Tom Stoppard?s plays directed by the author of the thesis in the course of his studies at the Theatre Faculty of Prague?s Academy of Performing Arts. The first one was a Bachelor production of Stoppard?s comedy The Real Inspector Hound, the second a Master production of his farce On the Razzle, and the last one a revived production of The Real Inspector Hound. This thesis focuses on all key stages of the theatre production ? the choice of the play, dramaturgical preparation, rehearsals and performances. Special attention is paid to complications related to the translation of On the Razzle, followed by an insight into the colliding professions of a translator and a theatre director in one person.
25
Derek, Gingrich. "Unrecoverable Past and Uncertain Present: Speculative Drama’s Fictional Worlds and Nonclassical Scientific Thought." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31507.
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The growing accessibility of quantum mechanics and chaos theory over the past eighty years has opened a new mode of world-creating for dramatists. An increasingly large collection of plays organize their fictional worlds around such scientific concepts as quantum uncertainty and chaotic determinism. This trend is especially noticeable within dramatic texts that emphasize a fictional, not material or metafictional, engagement. These plays construct fictional worlds that reflect the increasingly strange actual world. The dominant theoretical approaches to fictional worlds unfairly treat these plays as primarily metafictional texts, when these texts construct fictional experiences to speculate about everyday ramifications of living in a post-quantum mechanics world. This thesis argues that these texts are best understood as examples of speculative fiction drama, and they speculate about the changes to our understanding of reality implied by contemporary scientific discoveries. Looking at three plays as exemplary case studies—John Mighton’s Possible Worlds (1990), Tom Stoppard’s Arcadia (1993), and Tony Kushner’s Homebody/Kabul (2001)—this thesis demonstrates that speculative fiction theories can be adapted into fictional worlds analysis, allowing us to analyze these plays as fiction-making texts that offer nonclassical aesthetic experiences. In doing so, this thesis contributes to speculative fiction studies, fictional worlds studies, and the dynamic interdisciplinary dialogue between aesthetic and scientific discourses.
26
Campos, Liliane. "Le discours scientifique dans le théâtre britannique contemporain (1988-2008)." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040163.
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Depuis vingt ans, le discours des sciences exactes apparaît régulièrement sur la scène britannique : la mécanique quantique, les mathématiques du chaos, la thermodynamique et les sciences naturelles sont aujourd’hui des matériaux dramaturgiques courants. Cette étude définit l’esthétique particulière et le nouveau rapport entre théâtre et savoir produits par ce phénomène, à partir d’un corpus reflétant la diversité de la création contemporaine, des dramaturges Tom Stoppard, Michael Frayn, Timberlake Wertenbaker ou Caryl Churchill aux compagnies de théâtre Complicite et On Theatre. Le discours scientifique joue dans ce théâtre un rôle simultanément épistémologique et poétique, car ses formes y sont détournées et activées dans de nouveaux contextes. Il fournit des métaphores et des structures narratives à des dramaturgies incertaines, caractérisées par une esthétique postmoderne de la vérité multiple et de l’ouverture du sens. Ces transferts discursifs sont ici abordés selon les trois grandes modalités du rapport à la science ainsi construit : l’imitation d’un modèle rationnel, la critique d’un lieu de pouvoir, et l’importation des schèmes poétiques de l’imaginaire scientifiqueOver the past twenty years, the discourse of hard science has appeared increasingly frequently on the British stage: quantum mechanics, chaos mathematics, thermodynamics and the natural sciences have provided dramatic material for contemporary artists. This thesis defines the resulting aesthetic, and the new relationship between theatre and knowledge that can be found in the work of dramatists such as Tom Stoppard, Michael Frayn, Timberlake Wertenbaker or Caryl Churchill, and theatre companies such as Complicite and On Theatre. The function of this scientific discourse is both epistemological and poetic: its forms are activated in new contexts, and bring metaphors and narrative structures to a postmodern drama characterised by uncertainty and multiple truths. These discursive transfers are analysed according to the relationship they create with science, which can involve imitating it as a rational model, criticizing it an instrument of power, or importing the shapes and patterns of scientific imagination
27
Workman, Abigail E. "Artist Descending a Staircase: Blending Radio and Theatre in Production." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1114209663.
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Lau, King, and 劉兢. "Postmodern performance in Tom Stoppard's Travesties and Arcadia." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26832501.
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Park-Finch, Heebon. "Hypertextuality and polyphony in Tom Stoppard's stage plays." Thesis, University of Bristol, 2012. http://hdl.handle.net/1983/6dfde4c2-d481-4264-b834-adb609758f2e.
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This thesis analyses selected works of Tom Stoppard in terms of Genette's notion of 'hypertextuality' as transtextual relationship and Bakhtin's 'polyphony' of voices and ideas, and examines how the playwright's (re)creative and (re)interpretive rendering of literature, philosophy, aesthetics, science, art, culture and history offers his contemporary perspective on the multiplicity of themes and texts in the plays. The thesis identifies the appeal in (re)reading or (re)spectating Stoppard's explicitly palimpsestuous texts, while considering the extent to which receivers of the hypertexts need to be aware of and conversant with the hypotexts in order to fully appreciate Stoppard's work. Following the opening chapter, in which the critical concepts of hypertextuality and polyphony are discussed, chapter 2 considers Rosencrantz and Guildenstern Are Dead (1967) as a transfocalization of Shakespeare's Hamlet, demonstrating polyphony of dualities. Chapter 3 looks at Travesties (1974) as a hypertext which employs plural hypertextualities (pastiche, mixed parody and travesty) and which exhibits polyphony of perceptions on art and politics, using the device of mise-en-abyme. Chapter 4 explores Arcadia (1993) in terms of dramatic transposition of ideas from other disciplines and reactivation ofliterary pastoral traditions. In chapter 5, Indian Ink (1995) is analysed as a post-colonial perspective on the ethics of empire, re-contextualizing works of Anglo-Indian literature and art. Chapter 6 discusses The Coast of Utopia trilogy (2002) in terms of intermodal transmodalization, along with duplicity and polyphony of textual, structural and ideological layers. The concluding chapter questions the effect of Stoppard's hypertextual adaptation and polyphonic re-presentations on audiences and readers of different levels of familiarity with the hypotexts, arguing that the carefully constructed combination of contrasting ideas, paradoxes and dualities in Stoppard's hypertexts offers opportunities for appreciation at various levels of 'knowing', exposing the subjectivity of perceptions and celebrating the many- voicedness of society.
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Matos, Susana Isabel Mendes de. "Music and subversion in Tom Stoppard's rock 'n'roll." Master's thesis, Universidade de Aveiro, 2013. http://hdl.handle.net/10773/11967.
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Mestrado em Línguas, Literaturas e CulturasThis dissertation aims at analysing music as a form of subversion in Tom Stoppard’s play Rock ‘N’ Roll. After a short summary of Stoppard’s career, the bands and songs chosen by him are analysed from the perspective of subversion against censorship and totalitarian regimes, relating them to the plot. The dissertation also focuses on the specific case of the Czech band the Plastic People of the Universe and its importance to the history of Czechoslovakia between 1968 and 1990.
O presente trabalho propõe-se apresentar uma análise da música como forma de subversão na peça de teatro Rock ‘N’ Roll de Tom Stoppard. Após um breve resumo da carreira literária de Stoppard, são analisadas as bandas e músicas escolhidas pelo autor numa perspetiva de subversão contra a censura e regimes totalitaristas, relacionando-as com o enredo da peça. Foca-se ainda o caso específico da banda checa Plastic People of the Universe e a sua importância para a história da Checoslováquia entre 1968 e 1990.
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Camporese, Francesca <1989>. "Playing with Voices: an Analysis of Tom Stoppard’s Radio Plays." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3742.
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This paper takes into consideration the so-called ‘minor works’ written for the radio by one of the most celebrated contemporary playwrights of our time, Tom Stoppard, with the purpose of showing the enormous potential of a dramatic format which has often been neglected by critics and which is not likely to receive so much scholarly attention as traditional drama.
The first part provides the reader with an introductory background to the evolution of radio drama, outlining the main features that characterise this particular dramatic genre, in an attempt to discuss its limitations and its points of strength. In the following chapters, I proceed with a detailed analysis of Stoppard’s output for the radio, consisting of nine radio plays to date, conducted from a semiotic perspective: the aim of the present study is not only to focus on the recurring motifs in Stoppard’s radio plays, but to highlight the different techniques used by the playwright in order to convey his message to the audience through an exclusively aural medium.
In the second chapter, I discuss two closely related aspects, analysing how the temporal and the spatial dimensions are represented respectively in Artist Descending a Staircase (1972), Where Are They Now? (1970), The Dissolution of Dominic Boot (1964), and In The Native State (1991). The third chapter is dedicated to another characteristic feature of radio drama, namely its capability to follow the mind’s movements and express the inner thoughts of a character, a technique that is present in different forms in the plays The Dog It Was That Died (1982), ‘M’ is for Moon Among Other Things (1964), If You’re Glad I’ll Be Frank (1966), and On Dover Beach (2007). Finally the fourth and last chapter presents some passages from Albert’s Bridge (1967) and other plays, focusing on how Stoppard has paradoxically found in radio a privileged medium to explore the theme of the relativity of perspective and to address the subject of the visual. Lastly, the chapter ends tackling the problem of the transposition from a sound-based medium like radio to a visual one, offering a brief comparative study of In The Native State and Indian Ink (1995), the adaptation for the stage written by Stoppard of one of his most successful radio plays.
The study shows how Stoppard’s masterful use of radio has produced some unique dramatic effects that cannot be reproduced on the stage without involving a considerable loss in meaning and incisiveness, thus effectively demonstrating that radio drama does possess a distinct artistic identity. In addition, experimenting with this dramatic format contributed to Stoppard’s growth as a playwright, as it allowed him to explore several themes and techniques that he further developed in his stage plays; Stoppard’s radio plays demonstrate not only that indeed it is possible to craft a form of theatre exclusively for the ear, but that radio drama can still represent a stimulating dramatic format nowadays.
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Gurrola, Pérez Pedro. "La influencia de Ludwig Wittgenstein en el teatro contemporáneo." Doctoral thesis, Universitat de Barcelona, 2003. http://hdl.handle.net/10803/131994.
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Este trabajo de investigación se propone examinar la influencia que ejerció el pensamiento de Ludwig Wittgenstein y, en particular, su analísis del lenguaje, en la reflexión sobre el lenguaje y las estructuras teatrales que ha sido una característica del teatro de la modernidad. Se investiga cómo las ideas de Wittgenstein fueron asimiladas o reinterpretadas al incorporarse a la obra de autores teatrales de la segunda mitad del siglo XX.
La obra de Wittgenstein, con su radical revisión de los métodos y objetivos de la filosofía misma y su riguroso análisis del funcionamiento del lenguaje, ha dejado una importante huella en la filosofía del siglo XX. Fuera del ámbito filosófico, la obra de Wittgenstein también ha tenido una importante repercusión en determinados movimientos artísticos de la segunda mitad del siglo XX. De la literatura a las artes visuales, se han efectuado diferentes y variadas lecturas de la obra del filósofo austríaco. Dichas lecturas pueden calificarse de excéntricas, en tanto que adoptan una perspectiva ajena al debate filosófico que dió origen a dicha obra y porque con frecuencia la extraen de su contexto original para incorporarla al discurso artístico.
Para comprender el contexto en que se sitúan estas re-lecturas de la obra de Wittgenstein, en la primera parte de este trabajo se analiza la difusión de dicha obra, especialmente fuera de los ámbitos académicos. Encontramos que este proceso de difusión fue tardío y muy desigual. Aunque la primera edición del Tractatus data de 1922, este texto tuvo por muchos años una difusión limitada y no fue sino hasta los años cincuenta, tras la muerte del filósofo, cuando tanto el Tractatus como el resto de la obra de Wittgenstein comenzaron a divulgarse más allá de los ámbitos académicos. Fue en Austria donde Wittgenstein tuvo mayor impacto y de manera más temprana. Inicialmente, a través de Ingeborg Bachmann, quizá la primera en hacer una lectura poetica del Tractatus. A partir de ahí, el pensamiento de Wittgenstein estuvo continuamente presente en la literatura austríaca, primero en las propuestas experimentales del Grupo de Viena y posteriormente en el movimiento cultural que surgió en los años sesenta en la ciudad de Graz.
Contrastando con lo anterior, en Francia la recepción del pensamiento de Wittgenstein fue muy tardía. Esto se debió en parte al rechazo que despertó el logicismo de Frege y Russell y el positivismo lógico, así como a la hegemonía que ejerció el pensamiento estructuralista en el panorama intelectual francés durante las décadas de los sesenta y setenta.
En el ámbito puramente teatral, encontramos que fue en Austria e Inglaterra donde las ideas de Wittgenstein repercutieron de manera significativa. En particular, la obra de Wittgenstein ha dejado una huella importante en la obra de tres autores: Thomas Bernhard, Peter Handke y Tom Stoppard. Realizamos un análisis crítico de la producción teatral de estos autores, examinando los diferentes elementos del pensamiento de Wittgenstein que cada uno de ellos incorpora a su producción dramática, y efectuamos un estudio comparativo de las diferentes interpretaciones que cada uno de estos autores llevo a cabo.The goal of the Doctoral Thesis is to examine the influence of Ludwig Wittgenstein on the revision of dramatic and language structures which is a characteristic of modern theatre. The work of Wittgenstein, with its radical revision of the methods and aims of philosophy, and its analysis of language and of its limits, has been very influential in the 20th century philosophy. Outside the philosophical domain, his work has also had a significant impact on artistic movements of the second half of the past century. From literature to the visual arts, multiple reflections have emerged around Wittgenstein’s work and we frequently find his ideas incorporated into the artistic discourse. These revisions are eccentric, to the extent that they are held from a perspective which is different from the strictly philosophical one and they extract the work out from its original context. To understand the general setting, we analyze the diffusion process of Wittgenstein ideas, especially their spill-over into the non-academic world. We find that this process was slow and uneven. In fact, it was not until the 50s, after the death of the philosopher, when his work began to spread outside the academic circles, mainly in Austria and England. In other countries, like France or Spain, it took much longer for Wittgenstein to enter into mainstream philosophy, let alone the artistic domain. In particular, when we look at theatrical activity, we assess how Wittgenstein left an important imprint, mainly in the work of three European writers: Thomas Bernhard, Peter Handke and Tom Stoppard. We perform a critical study of their work, examining the elements from Wittgenstein’s work that each one of these authors incorporate into their own dramatic proposals and we make a comparative study around the ways in which those elements were assimilated.
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Mason, Stephanie M. "A strange pig's breakfast, the use of witty metaphors in Tom Stoppard's early plays." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0012/MQ36510.pdf.
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Carlson, Elizabeth J. "Even in Arcadia: Conflict, Certainty, and Self-Perception whilst Directing Tom Stoppard's Iconic Play." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/311450.
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TheaterM.F.A.
This thesis is a partial documentation of the process of preparing and rehearsing Temple University Theatre's 2015 production of Tom Stoppard's Arcadia, and the ways in which the process was artistically challenging and personally transformative. It is a demonstration of the manifold procedure of discovering action through language in the rehearsal process, the essential relationship of language to behavior in all collaborative practice and both the embrace of constructive conflict and the fundamental exercise of self-reflection as the primary catalysts for artistic development.
Temple University--Theses
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Kim, Tae Woo. "Individual(s), individualism, and the world of chaos and order : a study of Tom Stoppard's works." Thesis, University of Leicester, 2000. http://hdl.handle.net/2381/30267.
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In the early works, typically in Rosencrantz and Guildenstem Are Dead and Lord Malquist and Mr Moon. Stoppard presents modem man's desperate efforts to find meanings in his lives and the world, on the one hand, and the agonizing process of an aspiring writer trying to establish his own identity as a creative writer, on the other. In spite of their instinctive and intuitive belief in the order of the world, however, the early protagonists are unredeemably entrapped in chaos, and end up in ignominious deaths. After the spectacular success of Rosencrantz and Guildenstem Are Dead, the tone of Stoppard's works changed in a significant, if almost imperceptible, way. The frustration and helplessness which permeate his earlier works almost disappeared. More significantly, Stoppard deliberately tried to expound and defend his own ideas on such fundamental issues as morality and art in Jumpers and Travesties, respectively, and the ideas have basically remained the same throughout his whole career. After Travesties there took place more explicit changes in style and subject in Stoppard's works which marked Stoppard's so-called political theatre. The works of this period can best be explained as occasional and transitional, and, it is through these political works that Stoppard's individualist ethic found its most clear-cut expression. The Real Thing signals a new, maturer era of Stoppardian theatre. Stoppard almost for the first time furnished the stage with fully fleshed-out characters not only in terms of the protagonist but down to every and each minor character. Ideas are not simply presented as preconceived, but unfold themselves to the final conclusion through dramatic actions and conflicts. Love, a rare theme in the Stoppardian theatre until then, finally takes centre stage as "the real thing", and is presented in such a way that only through love is a real union possible between the people (individuals). Arcadia is the closest to Stoppard's dramatic ideal of "the perfect marriage between ideas and high comedy".
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Kircher, Malte Tim [Verfasser], Helga [Gutachter] Stopper, and Stephanie [Gutachter] Hahner. "Neuronale Genotoxizität von Angiotensin II / Malte Tim Kircher ; Gutachter: Helga Stopper, Stephanie Hahner." Würzburg : Universität Würzburg, 2020. http://d-nb.info/1221063111/34.
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Burns, Glenn English Australian Defence Force Academy UNSW. "Private lives : the presentation of marriage in English drama 1930-1990." Awarded by:University of New South Wales - Australian Defence Force Academy. School of English, 1999. http://handle.unsw.edu.au/1959.4/38642.
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Despite the broadening of the subject matter of English drama in its ???new wave??? period from the late nineteen fifties, it is striking to see how much of enduring mainstream English drama has a domestic focus. The purpose of this thesis is to provide the first full-length study of marriage on the English stage from 1930-1990. The thesis examines the way in which a number of important playwrights have fashioned drama from the conflict between the public, or institutional, functions of marriage and the private, or relational, functions of marriage. The thesis places this conflict into historical context. This will show that the conflict between the private and public aspects of marriage is not one of clearly opposed opposites but one that is made dynamic by significant social and legal changes to the status, function and conventions of marriage. The thesis also demonstrates that this conflict is further complicated by class considerations and by the particular circumstances of each marital partnership. From the wealth of material available, I have chosen to examine in detail the work of seven playwrights who have made significant contributions to domestic drama or domestic comedy. Playwrights have been selected because their plays gained a strong audience on first performance and because, through numerous revivals and through publication of scripts, they have earned an enduring place in English drama. John Osborne???s Look Back in Anger, which in 1956, ushered in the ???new wave???, is pivotal play for discussion. The previous generation is represented by Noel Coward, J. B. Priestley and Terence Rattigan. The ???new wave??? and its aftermath are represented by Harold Pinter, Tom Stoppard and, finally Alan Ayckbourn. Despite a wide variety of approaches to the topic of marriage, these writers tend to assume a middle class audience and to follow or adapt the traditions of realism or comedy of manners. This thesis argues that despite real, even radical, changes to marriage, to accepted sexual practices and to the status of women in the sixty years under discussion, the mainstream theatre has tended to be conservative in its presentation of marital and sexual matters, especially in continuing to reinscribe a public/private opposition determined by gender.
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FEDERICO, LUCA. "L'apprendistato letterario di Raffaele La Capria." Doctoral thesis, Università degli studi di Genova, 2020. http://hdl.handle.net/11567/1005664.
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Superati «novant’anni d’impazienza» e dopo un lungo periodo votato all’autocommento e all’esplorazione delle proprie intenzioni, Raffaele La Capria ha raccolto le sue opere in due Meridiani curati da Silvio Perrella. La Capria ne ha celebrato l’uscita nella prolusione inaugurale di Salerno Letteratura, poi confluita nel breve autoritratto narrativo "Introduzione a me stesso" (2014). In questa sede, l’autore è tornato su alcuni punti essenziali della sua riflessione sulla scrittura, come la relazione, reciproca e ineludibile, fra tradizione e contemporaneità. All’epilogo del «romanzo involontario» di una vita, La Capria guarda retrospettivamente alla propria esperienza come ad un’autentica educazione intellettuale. Perciò, muovendo da un’intervista inedita del 2015, riportata integralmente in appendice, la tesi ha l’obiettivo di ricostruire l’apprendistato letterario di La Capria dai primi anni Trenta, quando l’autore ancora frequentava il ginnasio, fino all’inizio dei Sessanta, quando ottenne il premio che ne avrebbe assicurato il successo. Il percorso, che riesamina l’intera bibliografia lacapriana nella sua varietà e nella sua stratificazione, si articola in una serie di fasi interdipendenti: la partecipazione indiretta alle iniziative dei GUF (intorno alle riviste «IX maggio» e «Pattuglia»); l’incursione nel giornalismo e l’impegno culturale nell’immediato dopoguerra (sulle pagine di «Latitudine» e di «SUD»); l’attività di traduttore dal francese e dall’inglese (da André Gide a T.S. Eliot); l’impiego alla RAI come autore e conduttore radiofonico (con trasmissioni dedicate a Orwell, Stevenson, Saroyan e Faulkner); la collaborazione con «Il Gatto Selvatico», la rivista dell’ENI voluta da Enrico Mattei e diretta da Attilio Bertolucci; e le vicende editoriali dei suoi primi due romanzi, “Un giorno d’impazienza” (1952) e “Ferito a morte” (1961), fino alla conquista dello Strega. La rilettura dell’opera di uno scrittore semi-autobiografico come La Capria, attraverso il costante riscontro di fonti giornalistiche, testimonianze epistolari e documenti d’archivio che avvalorano e occasionalmente smentiscono la sua versione dei fatti, diventa allora un’occasione per immergersi nella sua mitografia personale e avventurarsi in territori finora poco esplorati: come la ricostruzione del suo profilo culturale, a partire dal milieu in cui La Capria vive e opera, o l’incidenza delle letture e delle esperienze giovanili sulla sua prassi letteraria.
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Liu, Chia-jane, and 劉家禎. "Killing Time: Synchronicity and Anachronism in Tom Stoppard." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/13142188630151253637.
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碩士淡江大學
西洋語文研究所
89
Time has always been one of the most important concerns in Tom Stoppard’s plays. His innovative, theatrical treatment of time makes Stoppard one of the most unconventional and outstanding playwrights of the postmodern drama. Stage performance is one of the most effective art forms in representing the theatricality of anachronism and synchronicity, and even the device of montage in films cannot so fully express the contradictory situations of Stoppard’s works as performed onstage. Stage performance offers the most advantages in confronting the audience with the absurdity and whimsy in human conditions. Stoppard uses anachronism and synchronicity interrealtedly to violate and de-familiarize our normal concept of time and raises a chain of questions within the minds of the audience. Through a textual study of the temporal elements of the three plays─Travesties, Arcadia and The Invention of Love, we can grasp the quintessence of Stoppard’s theatrical exploration of an alternative critical thinking that refutes the Enlightenment and the Newtonian science of absolute truth. Stoppard excavates the ambiguous quintessence of time and the possibilities of alternative temporal implications─synchronistic juxtapositions and confrontation in Travesties, the anachronistic simultaneous meetings of people from two distant eras in Arcadia, and the anachronistic expostulations of A. E. Housman with his younger self in The Invention of Love. In terms of postmodern treatment of time, Stoppard’s plays echo this anti-Enlightment paradigm in that it holds that history can no longer be defined as a stable, or rather, as a rigid, diachronic representation of historical facts. This liberation of time from the “legitimacy of time and history” attempts to excavate the “otherness” of history, to emancipate the repressed the and omitted, and to find a new scope and horizon outside the Newtonian universe of order and design. History is open to interpretation, through the synchronicities and anachronisms of historical “events.” An “antithesis” of temporal confusions and experiments is proposed as a valid replacement for the orthodox thesis of the absolute truth of history and knowledge, and in the upshot, the playwright shows the audience that he believes that a whole, new, synthetic picture of the world is convincingly expressed in his works.
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Clapham, David Anthony Lennard. "Towards Utopia : Tom Stoppard, history and Isaiah Berlin." Phd thesis, 2009. http://hdl.handle.net/1885/149973.
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CHANG, LI-WEN, and 張瓈文. "The subversive drives:women in Tom Stoppard''s creative world." Thesis, 1992. http://ndltd.ncl.edu.tw/handle/69327929047744299147.
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"Betrayal in contemporary British drama: Harold Pinter, Tom Stoppard and Peter Nichols." Chinese University of Hong Kong, 1995. http://library.cuhk.edu.hk/record=b5888574.
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by Wong Suk Yin, Edith.Thesis (M.Phil.)--Chinese University of Hong Kong, 1995.
Includes bibliographical references (leaves 94-104).
Chapter Chapter One --- The Eternal Triangle --- p.1
Chapter Chapter Two --- Harold Pinter --- p.16
Chapter Chapter Three --- Peter Nichols --- p.45
Chapter Chapter Four --- Tom Stoppard --- p.71
Chapter Chapter Five --- Conclusion --- p.91
Works Cited and Consulted --- p.94
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Emilsson, Wilhelm. "Epicurean aestheticism: De Quincey, Pater, Wilde, Stoppard." Thesis, 1997. http://hdl.handle.net/2429/8482.
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This is a study of what I argue is a neglected side of Aestheticism. A standard definition of
Aestheticism is that its practitioners turn away from the general current of modernity to
protest its utilitarian and materialistic values, but this generalization ignores the profound
influence of contemporary philosophical and scientific thought on such major figures of
British Aestheticism as Walter Pater and Oscar Wilde. This study focuses on Aesthetes
who are not in flight from modernity. I call their type of Aestheticism "Epicurean
Aestheticism" and argue that since this temperament is characterized by a willingness to
engage with the flux of modern times it must be distinguished from the more familiar,
escapist form of Aestheticism I call "Platonic Aestheticism." I propose that Aestheticism
be viewed as a spectrum with Epicurean Aestheticism on one side and the Platonic variety
on the other. While Platonic Aesthetes like W. B . Yeats and Stephane Mallarme continue
the Romantic project of trying to counter modernity with various idealist and absolutist
philosophies, Epicurean Aesthetes adopt materialist and relativistic strategies in their
desire to make the most of modern life. I argue that the first unmistakable signs of
Epicurean Aestheticism are to be found in Thomas De Quincey, that the sensibility is fully
formulated be Pater, continued by Wilde, and finds a current representative in Tom
Stoppard. All Aesthetes are dedicated to the pursuit of beauty, but Platonic Aesthetes seek
beauty in an eternal and transcendent realm, while Epicurean Aesthetes have given up such
absolutist habits of thought. Pater writes: "Modern thought is distinguished from ancient
by its cultivation of the "relative" spirit in place of the "absolute." Epicurean Aesthetes
want a new aesthetic that will parallel the paradigm shift from absolutism to relativism.
While a nostalgic, quasi-religious longing for a purely ideal realm characterizes Platonic
Aesthetes, Epicurean Aesthetes accept that the high, idealistic road to eternal beauty is
closed. Instead of lamenting this fact, they start looking for beauty among the uncertainties
of the phenomenal world: by viewing life as an aesthetic spectacle to be observed and
experimented on with playful detachment they become Epicureans of the flux of
modernity.
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Magalhães, Ana Sofia Fernandes de. "Perceções do tempo em Arcadia, de Tom Stoppard: a importância da consciência do público." Master's thesis, 2015. https://repositorio-aberto.up.pt/handle/10216/82520.
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Magalhães, Ana Sofia Fernandes de. "Perceções do tempo em Arcadia, de Tom Stoppard: a importância da consciência do público." Dissertação, 2015. https://repositorio-aberto.up.pt/handle/10216/82520.
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Jesson, James Roslyn. "Radio texts : the broadcast drama of Orson Welles, Dylan Thomas, Samuel Beckett, and Tom Stoppard." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-08-1568.
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Radio drama developed as a genre as new media proliferated and challenged the cultural primacy of print. The methods of production and distribution and the literary genres that developed during the age of print provided models for radio playwrights to follow but also cultural forces for them to challenge. This dissertation considers these dual influences of print on the radio drama of four playwrights: Orson Welles, Dylan Thomas, Samuel Beckett, and Tom Stoppard. Each playwright “remediates” the printed page in radio plays by adapting or evoking the form of various literary texts, including novels (Welles), travel writing (Thomas), diaries and transcribed speech (Beckett), and historical writing (Stoppard). By representing written texts in an electronic, primarily oral medium, these authors examined the status of literary expression in an age of ascendant electronic media. Welles’s The War of the Worlds and Huckleberry Finn, Thomas’s Under Milk Wood and other broadcasts, Beckett’s Rough for Radio II and Embers, and Stoppard’s In the Native State highlight defining features of the print tradition and reveal how practices of writing and “reading” changed in the radio environment. These plays suggest that radio prompted writers to reconsider the literary author’s creative role, the text’s stability, and the audience’s interaction with the work. “Radio Texts” ultimately argues, therefore, that radio drama’s significance transcends its place in media history and dramatic criticism; the works I examine also point to radio plays’ important role in authors’ re-evaluation of literary expression in a changing twentieth-century media ecology.text
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Harger, Jennifer Leigh. ""Living in truth" : moral and political intersections in Samuel Beckett, Tom Stoppard, and Václav Havel." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3327.
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Often considered to be apolitical playwrights, Samuel Beckett and Tom Stoppard each dedicated dramatic works to dissident Czech playwright (and later President) Václav Havel in the late 1970s and early 1980s—during his imprisonment for his role in writing and distributing the dissident document Charter 77. These dramatic works, with a few others, collectively mark simultaneous, parallel shifts in Beckett’s and Stoppard’s careers toward uncharacteristically explicit political engagement. This report examines these works—Beckett’s Catastrophe and What Where, and Stoppard’s Every Good Boy Deserves Favor and Professional Foul—through the lens of Havel’s political philosophy, especially as expressed in his 1978 essay “The power of the powerless.” This report argues that Havel’s model of apolitical resistance to injustice, a model he calls “living in truth,” expresses humanist values that these playwrights had long affirmed in their art. Their shared moral vision, along with sympathy for Havel’s plight under a totalitarian regime that distorted language as a tool of oppression, was the catalyst for their new, direct involvement in political matters. The report establishes the historical context of the Soviet-dominated Communist regime in Czechoslovakia, along with relevant biographical and professional narratives for each figure. It then examines closely this selection of Beckett’s and Stoppard’s dramatic works and their shared thematic concerns, and demonstrates how they artistically embody and communicate Havel’s model of “living in truth.”text
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King, Jay M. Sandahl Carrie. "Rifts in time and space playing with time in Barker, Stoppard, and Churchill /." Diss., 2004. http://etd.lib.fsu.edu/theses/available/etd-04092004-164526.
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Thesis (M.A.)--Florida State University, 2004.Advisor: Dr. Carrie Sandahl, Florida State University, School of Theatre. Title and description from dissertation home page (viewed May 20, 2005). Includes bibliographical references.
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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.