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이부용 신한영미어문학회 1994 새한영어영문학 Vol.31 No.-
The unlimited expression of selfconsciousness together with the basic theme of theatricality is a characteristic of Stoppard's early plays, particulary Travesties. This theatricality appears through the relation between play and life, The so called play-life metaphor. The metaphor in this play in particular is related to the theatricality of history. The elements of theatricality that Tom Stoppard employs break with the historical facts. The disruption of the actuality of the past serves the function of focussing on the "reality" of theatrical life as opposed to the "illusion" of real life. Accordingly the theatre is used as a metaphor to expose the human tendency to turn illusions into realities and vice-versa. From this point of view Stoppard presents the theme of imaginative fantasy and reality as historical and artistic experience. It can be concluded that Travesties has considerable distinctions compared with former playwriting methods in that the play deals with certain historical characters with a background of historical events. Throughout the play is contained a philosophy concerning historical acts. Once done, an ant ceases to exist except in re-creation .In relation to theatricalism the play makes good use of intertextualities and extends its realm into the field of art criticism.
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Tom Stoppard의 初期劇에 나타난 삶의 演劇的 屬性
이부용 동아대학교 인문과학대학 영어영문학과 1997 동아영어영문학 Vol.13 No.-
Tom Stoppard's earlier major plays have a purpose in common, to emphasize the perception of the theatrical quality of the life wherein we would find its reality In the pursuit of this purpose, the writer establishes a new and valuable dramatic pattern which he creates by the imagination of another play's content, and not by simple adoption or imitation. This method, different from the customary one, derived from his opinion that the play does not imitate life but life should imitate theatre. In Rosencrantz and Guildenstern are Dead, a play basically concerning uncertainty in modern society, Stoppard recreates the offstage situation of Hamlet by means of the roles of Rosencrantz and Guildenstern, the minor characters of the play, into the leading ones in his play. In the long run, this work suggests a new possibility for man to confront the universal situation and at the same time give us hope through the so-called 'play-life metaphor' Stoppard insists that parody can produce a creative play. The Real Inspector Hound, among other plays, deeply deals with parody in using a play within a play. In this play, he undermines the barrier between art and life and attempts to show that life is as absurd as detective melodramas. Stoppard expresses his view about art most intensively through the work Travesties. Advancing the play to the level of criticizing art or artists, he extends his view of history as to a fiction of history. By the method dramatizing history, he attains his aim of finding out the reality of the world of the imagination. In the course of reconstructing history with the technique of fantasy, Stoppard creates a theatrical art and proves that historigraphy is also a kind of art. As mentioned above, Stoppard's three major early plays indirectly anyalize epistemological matters by the method of imagining and criticizing other works. The self-consciousness he utilizes for his analysis is an indispensable means of delivering and at the same time forming a thought. In this repect we can conclude that Stoppard created a unique dramatic method in which both the content and form simultaneously establish the subject of the play. In the meantime, he points out the illusionary knowledge about life, gives a lesson to us that as our life and reality itself are originally theatrical, we should after all find true reality in theatrical art. Ascertaining that theatrical quality of life is a standard for our behavior and judgement, Stoppard presents us with the possibility of enlarge- ing our life's scope.
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민들레 추출액 농도에 따른 민들레 코팅쌀밥의 품질에 관한 연구
유경미,이연경,김세희,황인경,이부용,김성수,홍희도,김영찬 한국조리과학회 2005 한국식품조리과학회지 Vol.21 No.1
Washed rice was coated by spraying aqueous dandelion (Taraxacum officinale) extracts at 20, 30, 40 'Brix and dried at room temperature. The coating procedure was conducted 5 mL/min for 10min. Property changes in the dandelion coated rice and un-coated cooked rice were observed during 2 days of storage. Increasing the coating concentration was associated with lower color values (L, a value) and moisture contents. Sensory and texture properties generally decreased in the cooked rice coated with dandelion more than the control (non-coated rice). But, D-20(20 °Brix of the dandelion concentration) resulted in better textural properties and s ensnry scores for hardness and overall acceptability in cooked rice. Compared to the control, the washed rice roated with 20 °Brix for 0 and 2 days showed better quality in sensory activities, a lower gel consistency and better textural activities. It was concluded that the optimum coating ration of rice and added dandelion extract for cooking were 20 °Brix and 5% respectively, in proportion to the total weight of raw rice.
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