As a socialist feminist dramatist of the 20 th century, Caryl Churchill draws attention to women's oppression through Vinegar Tom in which she experiments Brechtian theatrical techniques. She shifts in time, from the past to the present, to illuminate the historical context of women's oppression. She combines successfully witch hunting of the seventeenth century because of which many women were executed and social economic conditions of women in the 1970s. The aim of the study is to provide a socialist feminist criticism of Caryl Churchill's Vinegar Tom. First of all, the study gives background information about how women were oppressed under the cover of witch hunting in Britain in the seventeenth century. Then, it focuses on their ongoing tough life conditions in the twentieth-century. It also presents socialist feminist views which sought to shed light upon the influence of capitalism in reinforcing the patriarchal oppression over women at those times. After that, the study examines Churchill's Vinegar Tom as an example of socialist feminist drama. It reveals that Churchill indicates the role of institutions, men and submissive women in legitimising and perpetuating the patriarchal oppression over women to maintain the social, economic and political status quo of Britain for centuries.
Sarah Kane is one of the most significant playwrights of the 1990s' in-yer-face theatre. Kane, who believes in the power of theatre in changing people's lives, aims to shake the audiences' senses not to remain silent about the unpleasant events around them. In this sense, her Blasted is an achievement. The play exemplifies all features of in-yer-face theatre. By examining Blasted, the study aims at indicating how in-yer-face theatre makes the spectators face the things which are unsaid and concealed. Through its vulgar language, sexuality, violence, and atmosphere constructed with catastrophic plots on the stage, the play violates a lot of conventional theatrical features and breaks all taboos.
Reginald Rose's Twelve Angry Men (1954) is a courtroom narrative, written for television and then revised for screen and stage several times. In the play, twelve unnamed jurors from different socioeconomic backgrounds are confined to a courtroom to reach a unanimous verdict on a murder trial. It portrays how relativity obstructs the jury to reach a consensus. Juror 8 stands alone against the other eleven members of the jury, who resolve about the criminality of the defendant on the basis of assumptions and presupposition, not a fair judgment. He adopts a Socratic manner and proceeds to provoke doubt amongst the others slowly and patiently questioning a series of arguments, statements and pieces of evidence from the trial. Thus, he promotes them to strip their consciousness of subjectivity and approach to the phenomenon objectively as much as possible by focusing on merely the essential elements, pertaining to the case. In this regard, the present study suggests that the character in question assumes the Husserlian phenomenological approach throughout the play. Therefore, the study intends to first introduce the phenomenology philosopher David Husserl's key concepts in the phenomenological method including "directed intentionality", "bracketing/epoché" and "reduction". It then aims to examine the phenomenological steps, which Juror 8 follows, and discuss to what extent the jury can achieve making a fair judgement about the case through a phenomenological approach.
The French Revolution (1789), fostering the thought of freedom and individuality, had an undeniable effect on the Romanticists. And poetry enabled most of them to express their sense of rebellion in an aesthetic manner.
Shedding light on the complicated relationship between space and the human being who goes beyond the physical boundaries of space, Henri Lefebvre made a breakthrough with his critical approach to the urban question through his concept of the "triad of space", including "perceived space", referring to the physically perceptible dimension of space; "conceived space", where the dominant ideologies are operated; and "lived space", which is peculiar to every inhabitant on the basis of their background. He argued that space is in an incessant process of production, estranging inhabitants in their lived spaces in multicultural and capitalist countries. He posited that "fetishistic concrete abstractions" provide them with romantic domination to cover their alienation and involve them in social relationships in perceived space. England and the protagonist, Big Mal, in Martin Amis's "State of England" (1998) stand as exemplars for the aforementioned issue. The postmodernist author fictionalizes a lower-class English man's everyday life in the late twentieth-century England through Mal. It is set in a school garden on a sports day; however, it also portrays Mal's lived spaces at home, the car park of a bar and even Burger King. In the present study, a Lefebvrean socio-spatial inquiry is employed for scrutinizing England's urban identity in Amis's story under question, within the context of capitalism. In this regard, the study indicates that England, undergoing various transformations in the 1990s, is a space of hegemony. In each part of this urban space, Mal oscillates between perceived and conceived spaces and becomes involved in the grindstone of lived space by means of some fetishistic concrete abstractions albeit his alienation. Ultimately, the study concludes that England as a whole is a politicized space which stretches throughout space-time and is always in the process of production by capitalist ideology, influencing everyday lives, especially of lower-class people and the next generation.
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