Document Type : Research Article

Authors

Department of English Languages and Literature, University of Tehran, Alborz Campus, Tehran, Iran

Abstract

Since the human mind is temporal, his/her thoughts and the incidents s/he remembers from the past and narrates are temporally interpreted as well. Therefore, understanding the temporal dimension of the narratives leads to a profound recognition of both narratives and life which can be interpreted through textual signs. From this viewpoint, the present paper attempts to engage critically with Tom Stoppard, the contemporary British playwright who utilizes time-plays for conveying his thoughts. This study intends to deal with the hows and whys of the historical past in light of Paul Ricoeur’s narrative theory. Travesties, going under the sub-genre of ‘memory play’, put prominent figures of politics and literature from different times and places along with each other to reveal their outlooks by representing opposed discourses regarding the definitions of art. To examine temporality in the narrative, the genre of drama was chosen for the opposed discourses as this genre offers the opportunity to represent binary dialogues in a dialectic manner based on their spokesmen’s lived experiences. Thus, each concept is pitted against its ‘other’, some of them have been characters, schools of thought, or even dimensions of time. This openness to the ‘other’ points to morality, and consequently, the order resides in the narrative that this study reflects. In this regard, time is considered metaphorically to get a hermeneutic understanding of the narrative. For this purpose, the time-plays are interpreted with a narratological approach. Correlative is Ricoeur’s three phases of mimesis, memory, and forgetting, and the related ‘narrative time’ theory.

Keywords

احمدی، ب. (۱۳۷۰). ساختار و تأویل متن: شالوده‌شکنی و هرمنوتیک (جلد دوم). تهران، ایران:‌ نشر مرکز.
بابک معین، م. (۱۳۹۱). استعاره و پیرنگ در اندیشۀ پل ریکور.  نقد ادبی، ۵(۲۰)، 7-26.
بهشتی، م.، و داوری، ز. (۱۳۸۸). متن: نقطۀ تلاقی هرمنوتیک فلسفی و نظریّۀ ادبی.  نقد ادبی، 2(۶)، ۲۵-۵۲.    
فرهمندپور، س.، و زیار، م. (۱۳۹۹). استعاره و آفرینش معنا در سخن شاعرانه (بررسی آرای پل ریکور در کتاب استعارۀ زنده با تکیه بر چکامۀ تیره‌بختی اثر آلفرددو وینی. مطالعات زبان و ترجمه، ۵۳(۲)، ۱۷۹-۲۰۷.
نژادمحمد، و. (۱۳۹۷). از دغدغۀ زمان تا بحران هویت در داستان گشتیِ شبانه نوشتۀ پاتریک مودیانو. مطالعات زبان و ترجمه، 51(۳)، 127-148.
هنرمند، س. (۱۳۹۵). اندیشه‌های پل ریکور دربارۀ استعاره، خود، سیاست و گفتمان. تهران، ایران: نشر جوان.
 
Ball, M., Crewe, J., & Spitzer, L. (Eds.) (1999). Acts of memory: cultural recall in the present. Hanover, Germany: Dartmouth College.
Delaney, P., & Guralnick, E. (1991). Structure and anarchy in Tom Stoppard. PMLA, 106(5), 1170-1172.
Duffy, M. (2009). Paul Ricoeur’s pedagogy of pardon: A narrative theory of memory and forgetting. New York, NY: Continuum.
Gollob, D., & Roper, D. (1980). Trad Tom Pops In. Gambit, X, 10-11.
Greiner, P. A. (1980). The plays of Tom Stoppard: Recognition, exploration, and retreat. (Unpublished doctoral dissertation). The Ohio State University. Ohio, OH.
Hinden, M. (1986). After Beckett: The plays of Pinter, Stoppard, and Shepard. Contemporary Literature, 27(3), 400-408.
Kelly, K. (Ed.) (2001). The Cambridge companion to Tom Stoppard. Cambridge, England: Cambridge University Press.
Lightfoot, C., Lalonde, C., & Chandler, M. (Eds.). (2004). Changing conceptions of psychological life. New Jersey, NJ: Lawrence Erlbaum.
Ricoeur, P. (1977). The rule of metaphor: The creation of meaning in language (R. Czerny, K. McLaughlin, & J. Costello, Trans.). London, England: Toronto University Press.
Ricoeur, P. (1983). Time and narrative (K. McLaughlin & D. Pellaur, Trans.  Vol. 1). Chicago, CH: University of Chicago Press.
Robinson, S. G. (1977). Plays without plot: The theatre of Tom Stoppard. Educational Theatre Journal, 29(1), 37-48.
Stoppard, T. (1975). Travesties. New York, NY: Grove Press.
Valdés, J. M. (Ed.) (1991). A Ricoeur reader: Reflection and imagination. New York, NY: Harvester Wheatsheaf.
Whitehead, A. (2009). Memory. London, England: Routledge.
CAPTCHA Image