1/17/2024 0 Comments Lyn lear dissertationIn the third chapter, Howard Barker’s Gertrude-The Cry is discussed as a response to the representation of the woman figure in Shakespeare’s Hamlet (1600) in terms of sexual and gender politics. Accordingly, Wesker’s re-writing, as a play produced in the post-Holocaust context, is correlated with some events in its historical background such as Arab-Israeli conflict, Six Day War and Yom Kippur War. In the second chapter, Arnold Wesker’s The Merchant is analysed in terms of identity politics as the play criticises Shakespeare’s Merchant of Venice (1605) for its antisemitic discourse. Considering the problems of the 1970s’ Britain such as unequal class structure, student and worker’s riots, inefficiency of leftist politicians, violence triggered by Stalinism and the Vietnam War, it is discussed that Bond’s appropriation is not only a Shakespeare re-writing but also a play that sheds light on the concerns of its period. In the first chapter, Edward Bond’s Lear is examined as a Marxist-Socialist appropriation written against Shakespeare’s uncritical attitude to issues like class inequality and violence in King Lear (1606). Within the scope of these ideas, it is concluded that Shakespeare’s works are questioned, and their ideological aspects are criticised through reworkings. Additionally, the development of Shakespearean re-writing, its reception, and its functions are discussed. In the Introduction, re-writing’s association with adaptation theory and intertextuality as a postmodern practice is considered. Thus, it is asserted that re-writing has a significant function in terms of creating alternative ideas to the ways in which critical issues are discussed in the canonical texts and their political and ideological foundations. These works are considered both as commentary to the events of their historical background, and as plays that question Shakespeare’s literary and cultural status. This study examines re-writings of Shakespeare in British drama, Edward Bond’s Lear (1971), Arnold Wesker’s The Merchant (1976) and Howard Barker’s Gertrude-The Cry (2002) in relation to the socio-political, historical and cultural backgrounds of the periods in which they were generated.
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