A Socialist Feminist Reading of Thatcherite Women in British Feminist Plays / İngiliz Feminist Oyunlarındaki Thatcher’cı Kadınların Sosyal Feminist Açısından Okunması

Ayça Berna Ülker Erkan

Öz


This study focuses on the representation of women in British feminist drama that challenges gender roles and gets stuck in having obsessive power as an outcome of the policy of the first British woman Prime Minister Margaret Thatcher. The study discusses excessively ambitious women who question patriarchal order and subvert gender roles to get power and finally left alone on the top like Thatcher. Marlene in Caryl Churchill’s play Top Girls, Marion in Churchill’s play Owners, Mary Traverse in Timberlake Wertenbaker’s play The Grace of Mary Traverse are discussed throughly. Marlene, Marion, and Mary are the representatives of the destructive effects of the ambition for power that characterize Thatcher’s Britain. Socialist/materialist feminism is applied to the plays both to criticize selfish Thatcherite powerful women figures and to express the lack of collaboration among women to improve their position.


Anahtar Kelimeler


Margaret Thatcher, Socialist/Materialist Feminism, British feminist Drama, Caryl Churchill, Timberlake Wertenbaker.

Tam Metin:

PDF (English)

Referanslar


Betsko, K., & Koenig, R. (1987). Interviews with contemporary women playwrights. New York, NY: Beech Tree Books.

Bimberg, C. (1997/98). Caryl Churchill’s Top Girls and Timberlake Wertenbaker’s Our Country’s Good as contributions to a definition of culture. Connotations, 7(3), 399-416.

Brewer, M. (1999). Race, sex, and gender in contemporary women’s theater: the construction of woman. Brighton: Sussex Academic Press.

Case, S.E. (1988). Feminism and theatre. New York: Routledge.

Churchill, C. (1985). Plays:1. London: Bloomsbury Methuen.

Churchill, C. (1996). Plays: 2 Softcops, Top Girls, Fen, Serious Money. London: Bloomsburry Methuen Drama.

Dahl, M. K. (1993). Constructing the subject: Timberlake Wertenbaker’s The Grace of Mary Traverse. Journal of Dramatic Theory and Criticism. Spring, 149-159.

Foster, V. (1998/99). The uses of history in contemporary feminist drama: a response to Christiane Bimberg. Connotations. 8(2), 249-57.

Gömceli, N. (2010). Timberlake Wertenbaker and contemporary British feminist drama. Palo Alto, CA: Academia Press.

Gould, J., & Anderson, D. (1987). Thatcherism and British society. In K. Minogue & M. Biddiss (Eds.), Thatcherism: Personality and politics. (pp. 38-54). New York: St. Martin’s Press.

Keyssar, H. (1984). Feminist theatre: An introduction to plays of contemporary British and American women. London: Macmillan.

Merrill, L. (1988). Monsters and heroines: Caryl Churchill’s women. In P. R. Randall (Ed.), Caryl Churchill: A casebook. (pp. 71-89). New York: Garland Publishing.

Nailsmith, B. (2005). Carly Churchill: Top Girls. London: Methuen Drama.

Peacock, D. K. (1999). Thatcher’s theatre: British theatre and drama in the eighties. London: Greenwood Press.

Reinelt, J. (1996). Caryl Churchill and the politics of style. In W. Demastes. (Ed.), The Cambridge companion to modern British women playwrights. (406-415). London: Greenwood.

Solomon, A. (1981). Witches, ranters and the middle class: The plays of Caryl Churchill. Theatre. 12(2), 49-55.

Stephenson, H. & Langridge, N. (1997). Timberlake Wertenbaker. In Rage and reason: Women playwrights on playwrighting. (136-145). London: Methuen.

Tycer, A. (2008). Caryl Churchill’s Top Girls. New York: Continuum.

Ülker Erkan, A. B. (2010). Caryl Churchill’ın oyunlarında feminist yansımalar. İzmir: Meta Basımevi.

Wertenbaker, T. (1996). Timberlake Wertenbaker: Plays 1. London: Faber & Faber.


Refback'ler

  • Şu halde refbacks yoktur.


online sayaç