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Re-settling the "bard": Postcolonia...

Stevenson, Melanie Ann.

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Re-settling the "bard": Postcolonial parody in Canadian and Australian appropriations of Shakespeare (William Shakespeare).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Re-settling the "bard": Postcolonial parody in Canadian and Australian appropriations of Shakespeare (William Shakespeare)./
作者:	Stevenson, Melanie Ann.
面頁冊數:	344 p.
附註:	Source: Dissertation Abstracts International, Volume: 61-01, Section: A, page: 0170.
Contained By:	Dissertation Abstracts International61-01A.
標題:	Literature, Comparative. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NQ45839
ISBN:	0612458393

Re-settling the "bard": Postcolonial parody in Canadian and Australian appropriations of Shakespeare (William Shakespeare).
Stevenson, Melanie Ann.

Re-settling the "bard": Postcolonial parody in Canadian and Australian appropriations of Shakespeare (William Shakespeare). - 344 p.

Source: Dissertation Abstracts International, Volume: 61-01, Section: A, page: 0170.

Thesis (Ph.D.)--University of Toronto (Canada), 1998.

Until recently, postcolonial theory and criticism largely ignored Canada and Australia. Both colonized and colonizing, these predominantly white, Anglo-Celtic cultures were considered too ambivalent towards their imperial heritage to produce significant forms of literary resistance to it. But now ambivalence is recognized as inherent in the colonial experience, and scholars are reconsidering what can be learned from the former settler-invader colonies. Since rewriting canonical British authors has proved a popular form of resistance writing in non-settler Colonies, this study considers Canadian and Australian dramatic reworkings of Shakespeare, a cultural icon inseparable from British imperialism.

ISBN: 0612458393Subjects--Topical Terms:

530051
Literature, Comparative.

Re-settling the "bard": Postcolonial parody in Canadian and Australian appropriations of Shakespeare (William Shakespeare).
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245 1 0 $a Re-settling the "bard": Postcolonial parody in Canadian and Australian appropriations of Shakespeare (William Shakespeare).
300 $a 344 p.
500 $a Source: Dissertation Abstracts International, Volume: 61-01, Section: A, page: 0170.
500 $a Advisers: Linda Hutcheon; Alexander Leggatt.
502 $a Thesis (Ph.D.)--University of Toronto (Canada), 1998.
520 $a Until recently, postcolonial theory and criticism largely ignored Canada and Australia. Both colonized and colonizing, these predominantly white, Anglo-Celtic cultures were considered too ambivalent towards their imperial heritage to produce significant forms of literary resistance to it. But now ambivalence is recognized as inherent in the colonial experience, and scholars are reconsidering what can be learned from the former settler-invader colonies. Since rewriting canonical British authors has proved a popular form of resistance writing in non-settler Colonies, this study considers Canadian and Australian dramatic reworkings of Shakespeare, a cultural icon inseparable from British imperialism.
520 $a Australia's struggles to develop both a national identity and a unique theatre culture reflect mixed feelings about the British colonial heritage: pro-empire sentiment, republicanism, deference to British cultural models, the assertion of Australian distinctiveness, pride in their pioneer history and guilt at their oppression of the Aborigines. Several dramatic "re-visionings" of Shakespeare reflect this ambivalent history. For example, Hewett's The Man From Mukinupin recontextualizes The Tempest to Australia, parodying Shakespeare's paradigm of colonialism to criticize Australia's bloody settlement history. In contrast, Williamson's Dead White Males defends a traditional view of Shakespeare, and by extension, a reactionary white, British, male definition of Australia.
520 $a Canada's position at the nexus of three empires has produced a highly regionalized culture with an anglophone population fearful of American and inclined to be "dutiful daughters" of the British Empire. Consequently, anglophone Canadian appropriations of Shakespeare are less overtly postcolonial and oppositional than Australian ones. However, some, like MacDonald's Goodnight Desdemona (Good Morning Juliet), do explore Canada's postcolonial identity through identification with Shakespeare's female characters, who (like many Canadians) feel both privileged and In other Canadian plays, like Mitchell's Cruel Tears or Gurik's Hamlet, prince du Quebec, Shakespeare is parodied to express regional culture and concerns. But Bond's Lear shows how English playwrights, too, can parody Shakespeare to critique post-imperial Britain.
520 $a Parody is a useful literary decolonization technique for settler-invader cultures: it maintains some connection to the British heritage, while allowing for critical distance from it and the celebration of local identities.
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