“Women’s Voices in Contemporary Irish Theatre

IF 0.1 0 LITERATURE
Anafora Pub Date : 2022-01-01 DOI:10.29162/anafora.v9i1.3
Sandra Novkinić
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引用次数: 0

Abstract

The issue of re-establishing the contemporary Irish women playwrights to prominence has gained great attention. Women playwrights feel the need to combat systemic prejudice in the theatre industry, meaning that postfeminists in Ireland are very much present. Although often regarded as a synonym for third-wave feminism, postfeminism has its separate characteristics. One of them is that postfeminism defines equality differently than has been done previously. Equality should not look like androgyny, nor should it be strictly divided based on gender since such a division ignores the human elements of thought, intellect, emotion, and expression. Furthermore, ethical issues in literature have been identified and discussed worldwide for years, not excepting the contemporary Irish theatre. The aim of this paper is to show a notable step towards an increased emphasis on the issue of gender responsibility and solidarity, or lack thereof. The paper also deals with ethical implications and consequences of the ways in which these issues underpin social interactions as well as family and gender relations that Marina Carr and Nancy Harris dramatize in their plays.
“当代爱尔兰戏剧中的女性之声”
重新确立爱尔兰当代女性剧作家地位的问题引起了人们的广泛关注。女性剧作家觉得有必要与戏剧界的系统性偏见作斗争,这意味着爱尔兰的后女权主义者非常普遍。虽然后女权主义常被视为第三波女权主义的同义词,但它也有自己的特点。其中之一是后女权主义对平等的定义不同于以往。平等不应该看起来像雌雄同体,也不应该根据性别严格划分,因为这种划分忽视了人类的思想、智力、情感和表达等要素。此外,文学中的伦理问题已经在世界范围内被确定和讨论了多年,当代爱尔兰戏剧也不例外。本文的目的是表明在进一步强调或缺乏性别责任和团结问题方面迈出了显著的一步。这篇论文还探讨了玛丽娜·卡尔和南希·哈里斯在她们的戏剧中戏剧化的社会互动以及家庭和性别关系中这些问题的伦理含义和后果。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Anafora
Anafora LITERATURE-
CiteScore
0.10
自引率
0.00%
发文量
1
审稿时长
20 weeks
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