Název: Criticism of apartheid in Blood knot in comparison with Two trains running and Philadelphia, here I come!
Zdrojový dokument: Brno studies in English. 2008, roč. 34, č. 1, s. [79]-88
Rozsah
[79]-88
-
ISSN1211-1791
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/104239
Type: Článek
Jazyk
Licence: Neurčená licence
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Abstrakt(y)
The three plays' plots are from the same period and deal with marginalized groups and they are all critical to the regimes they "bear witness" to. Athol Fugard's Blood Knot and its portrayal of apartheid, which is in the main focus of this paper, is analyzed from the points of view of unfulfilled love, use of derogatory language and a desire for private space, that all contribute to the complex criticism of the racist regime of South African apartheid of the 1960s. The criticism, although implicit, becomes even more apparent and radical when presented in comparison with August Wilson's Two Trains Running and Brian Friel's Philadelphia, Here I Come!
Reference
[1] Ashcroft, Bill (2001) Post-Colonial Transformation. London and New York: Routledge.
[2] Delaney, Paul (1990) Tom Stoppard. The Moral Vision of the Major Plays. London: MacMillan.
[3] Friel, Brian (1996) Philadelphia, Here I Come! In: Friel, Brian. Plays One. London: Faber and Faber, 23–99.
[4] Fugard, Athol (2000) Blood Knot. In: Fugartd, Athol. Port Elizabeth Plays. Oxford: Oxford University Press, 51–123.
[5] Orkin, Martin (1991) Drama and the South African State. Manchester: Manchester University Press.
[6] Oyegoke, L. (2001) 'Issues in the Criticism of African Drama'. In: Losambe, L., et al. (eds.) Pre-colonial and Post-colonial Drama and Theatre in Africa. Claremont: New Africa Books, 140–53.
[7] Sarinjeive, D. (2001) 'Athol Fugard's Dramatic Representations and Gender Politics'. In: Losambe, L., et al. (eds.) Pre-colonial and Post-colonial Drama and Theatre in Africa. Claremont: New Africa Books, 128–39.
[8] Walder, Dennis (2000) 'Introduction'. In: Fugard, Athol. Port Elizabeth Plays. Oxford: Oxford University Press.
[9] Wertheim, Albert (2000) The Dramatic Art of Athol Fugard. From South Africa to the World. Indianapolis: Indiana University Press.
[10] Wilson, August (1993) Two Trains Running. New York: Plume.
[2] Delaney, Paul (1990) Tom Stoppard. The Moral Vision of the Major Plays. London: MacMillan.
[3] Friel, Brian (1996) Philadelphia, Here I Come! In: Friel, Brian. Plays One. London: Faber and Faber, 23–99.
[4] Fugard, Athol (2000) Blood Knot. In: Fugartd, Athol. Port Elizabeth Plays. Oxford: Oxford University Press, 51–123.
[5] Orkin, Martin (1991) Drama and the South African State. Manchester: Manchester University Press.
[6] Oyegoke, L. (2001) 'Issues in the Criticism of African Drama'. In: Losambe, L., et al. (eds.) Pre-colonial and Post-colonial Drama and Theatre in Africa. Claremont: New Africa Books, 140–53.
[7] Sarinjeive, D. (2001) 'Athol Fugard's Dramatic Representations and Gender Politics'. In: Losambe, L., et al. (eds.) Pre-colonial and Post-colonial Drama and Theatre in Africa. Claremont: New Africa Books, 128–39.
[8] Walder, Dennis (2000) 'Introduction'. In: Fugard, Athol. Port Elizabeth Plays. Oxford: Oxford University Press.
[9] Wertheim, Albert (2000) The Dramatic Art of Athol Fugard. From South Africa to the World. Indianapolis: Indiana University Press.
[10] Wilson, August (1993) Two Trains Running. New York: Plume.