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Writing as transgression: criticism of the dominator model of culture in the plays of Naomi Wallace

dc.contributor.advisorBogoeva Sedlar, Ljiljana
dc.contributor.otherNastić, Radmila
dc.contributor.otherPavlović, Tomislav
dc.contributor.otherĐorić Francuski, Biljana
dc.creatorVojinović Tmušić, Milica
dc.date.accessioned2017-09-11T08:12:40Z
dc.date.available2017-09-11T08:12:40Z
dc.date.available2020-07-03T15:23:41Z
dc.date.issued2017-06-30
dc.identifier.urihttps://nardus.mpn.gov.rs/handle/123456789/8541
dc.identifier.urihttp://eteze.kg.ac.rs/application/showtheses?thesesId=5228
dc.identifier.urihttps://fedorakg.kg.ac.rs/fedora/get/o:813/bdef:Content/download
dc.description.abstractDoktorska disertacija Pisanje kao prekršaj: kritika kulture dominacije u dramskom stvaralaštvu Naomi Volas istražuje značaj ove američke spisateljice na dva načina: prati veze koje Volasova navodi sa pravcima feminističke kritike kojoj pripada Bel Huks (bell hooks) i sa postkolonijalnim studijama nove generacije afroameričkih istoričara čiji je istaknuti predstavnik Robin Keli (Robin D. G. Kelley), i povezuje uvide iz ovih i srodnih disciplina (arheologije, psihologije, antropologije, itd.) sa studijom Rijane Ajsler (Riane Eisler) Putir i oštrica: naša istorija, naša budućnost (The Chalice and the Blade: Our History, Our Future, 1988), koja ih objedinjuje i sistematizuje i iz koje je termin „kultura dominacije“ (po rečima Bel Huks (2014), sinonim za „imperijalni patrijarhat, poredak zasnovan na kapitalizmu i superiornosti belog čoveka“) preuzet i korišćen za razne aspekte kritike zapadne kulture kojima se Volasova u svojim delima bavi. Da bi se bolje pratila razvojna linija kritičkog mišljenja o kulturi kojoj dramsko stvaralaštvo Naomi Volas (Naomi Wallace) pripada, u disertaciji je izvedeno poređenje pedagoških i drugih kritičkih stavova profesora književnosti sa Kolumbijskog univerziteta, Lajonela Trilinga, zabeleženih u zbirkama eseja Jastvo koje se suprotstavlja: devet kritičkih eseja (The Opposing Self: Nine Essays in Criticism, 1955) i Izvan kulture: eseji o književnosti i učenju (Beyond Culture: Essays on Literature and Learning, 1966), sa pedagoškim stavovima Naomi Volas, iznetim 2008. u predavanju „Pisanje kao prekršaj“ („On Writing as Transgression“), namenjenom mladima, posebno mladim umetnicima u novom milenijumu. Sličnosti i razlike u pogledima Trilinga i Volasove na obrazovanje, politiku i kulturu otkrivaju prirodu ideoloških previranja u Americi tokom druge polovine dvadesetog veka, i pomažu da se bolje razume zašto se Volasova suprotstavlja neoliberalizmu koji na Zapadu danas preovladava i insistira na tome da pisanje i svekolika umetnost moraju biti prekršaj, radikalni bunt protiv normalizovanih nepravdi i zločina iz prošlosti i novih oblika stare eksploatacije koji ponovo postaju obležja 21. veka. Disertacija prati dramsko stvaralaštvo Naomi Volas od 1994. do 2012. Godine, koncentrišući se, kroz teorijski uvod i tri poglavlja, na tri drame, U srcu Amerike (In the Heart of America, 1994), Ljudi usahlih snova (Things of Dry Hours, 2004) i Tečna ravnica (The Liquid Plain, 2012), koje na najbolji način sublimiraju tok i razvoj njenih interesovanja tokom tri decenije kada su nastajale. Devedesetih godina dvadesetog veka Volasova piše značajne antiratne drame u kojima povezuje rat u Vijetnamu sa američkim intervencionizmom koji se i posle poraza u Indokini i dalje nastavlja. Početkom novog milenijuma, u drami Ljudi usahlih snova, ona krtikuje mit o američkom snu dramatizujući (otelovljujući, kako ističe studija Pozorište Naomi Volas: otelovljeni dijalozi (The Theatre of Naomi Wallace: Embodied Dialogues, 2013)) rasnu, rodnu i klasnu diskriminaciju i eksploataciju u SAD, koje san o pristojnom životu, upravo onako kako je Martin Luter King opominjao, i dalje čine nedostižnim za većinu Amerikanaca. Drama Tečna ravnica, iz 2012. godine, tumači probleme koje Amerika danas ima vraćajući se na početak, na istorijske i ideološke korene SAD koji leže u transatlantskoj trgovini robljem i vekovnom legalizovanom ropstvu i eksploataciji crnaca dopremljenih iz Afrike, ali i drugih segmenata američke populacije. Disertacija u zaključku ističe da sve drame Naomi Volas odišu optimizmom uprkos istorijskim istinama koje ona otkriva i kojima se njene drame bave. Optimizam Naomi Volas potiče iz duboke vere da se tragična istorija ponavlja samo zato što kultura dominacije prikriva i krivo prikazuje istorijske istine o ideologiji i praksi pomoću kojih opstaje. Preokupacije Naomi Volas mogu se po mnogo čemu sumirati naslovom „Umetnost, istina i politika“ („Art Truth and Politics“) koji je 2005. Harold Pinter dao svojoj Nobelovoj besedi. Mogu se, takođe, sumirati i izjavom istoričara Robina Kelija (2013) da su glavne teme u njenom stvaralaštvu, sloboda i ljubav, istovremeno i najrevolucionarnije ideje koje pokreću svekoliko čovečanstvo. Koristeći razne dramske strategije, Naomi Volas piše zato što veruje da u znanju, mašti i ljubavi leže potencijali za pozitivnu transformaciju društva koju umetnost zagovara i tako opravdava svoje postojanje.sr
dc.description.abstractThe doctoral dissertation Writing as Transgression: Criticism of the Dominator Model of Culture in the Plays of Naomi Wallace emphasizes the importance of this American playwright in two ways. It traces the connections between Naomi Wallace and certain feminist critiques of culture, exemplified by the works of the pedagogue and activist bell hooks, and examines the links between her plays and postcolonial studies, especially the research of the Afro-American historian Robin D. G. Kelley. The thesis also links her art, her pedagogical concerns and her interest in history to the findings of other closely related scientific fields (archaeology, psychology, anthropology etc.) that provide wider context and support for her plays and insights. Especially relevant in this respect is the study The Chalice and the Blade: Our History, Our Future (1988) by Riane Eisler, which offers a unifying, systemic analysis of the dominator model of culture, synonymous in bell hooks’ view with “capitalist, white supremacist imperialist patriarchy”. Eisler’s concept of the dominator model of culture is used in this thesis as a useful key for the better understanding of the criticism of Western culture embodied in Naomi Wallace’s plays. The thesis also establishes a link between the pedagogical and other critical concerns of the Columbia professor of modern literature, Lionel Trilling (1935-1975), found in his early collections of essays The Opposing Self (1955) and Beyond Culture (1966), and the views on education and culture expressed by Naomi Wallace in her lecture “On Writing as Transgression”, given to students of playwriting in 2008. Similarities and differences between their views on education, politics and culture, which this thesis explores, reveal the nature of the changing ideological climate in the United States in the second half of the twentieth century. The differences, highlighted in this dissertation, provide better understanding of the reasons why Naomi Wallace opposes both the ideology and practice of the currently prevailing neo-liberalism and militarism. It also clarifies the reasons why she insists that writing and art in general have to be acts of transgression, radical rejections of both normalized injustices of the past, and the new forms of old exploitative practices that are in the present once again becoming the trademarks of the twenty-first century. The dissertation examines the plays written by Naomi Wallace from 1994 to 2012. Through its Introduction and three subsequent chapters, it puts special emphasis on three plays, In the Heart of America (1994), Things of Dry Hours (2004) and The Liquid Plain (2012), because they best represent the direction and development of her interests over the decades in which they were written. In the nineties Wallace wrote powerful anti-war plays in which she drew parallels between The Vietnam War and the new American interventions after the American defeat in Indochina. In the play Things of Dry Hours, written and performed at the beginning of the new millennium, Wallace criticized the failure of the American Dream. Using various dramatic techniques, (embodying issues, as the 2013 study of her works, The Theatre of Naomi Wallace: Embodied Dialogues, claims) she exposes the continued racial, gender and class discrimination and oppression in the USA, which, in spite of Martin Luther King Jr.’s hopes expressed in the I have a Dream speech, still make decent life impossible for the majority of Americans. Wallace’s play The Liquid Plain, written in 2012, traces the roots of contemporary problems in America back to the historical and ideological beginnings of the USA, to the centuries-long transatlantic slave trade, legalized slavery and exploitation of black people shipped from Africa, and oppression of other segments of the American population also considered inferior and expendable. In the Conclusion the dissertation stresses the fact that all the Naomi Wallace plays are deeply optimistic, despite the disturbing historical truths they are unearthing and exploring. Her optimism derives from her profound belief in human nature and her conviction that tragedies in history recur only because the dominator model of culture hides and / or distorts the historical truths about the ideological assumptions and social practices it depends on. In a nut shell, it can be claimed that Naomi Wallace is interested in “Art, Truth and Politics“, as much as the British Nobel Prize winning playwright Harold Pinter, who summed up his artistic credo by giving this title to his 2005 Nobel Lecture. Her preoccupations could also be summed up by Robin D. G. Kelley’s claim that “Freedom and Love may be the most revolutionary ideas available to us“. (Keli 2013: 237) Those are the forces inspiring and motivating the entire work and activism of Naomi Wallace, who, as Kelley says, compels people “to consider ‘love’ in all of its dimensions, as a principal force in human history, perhaps the principal force”. (237) Through her original use of different theatre techniques and scenic devices, and her original employment of various Brechtian strategies of political theatre, Naomi Wallace continues to create some of the most significant plays of the modern stage, inspired by the belief that knowledge, imagination and love lie at the very heart of the positive transformation art encourages, explicitly or implicitly promotes, and makes possible, and doing so justifies its existence.en
dc.formatapplication/pdf
dc.languagesr
dc.publisherУниверзитет у Крагујевцу, Филолошко-уметнички факултетsr
dc.rightsopenAccessen
dc.rights.urihttps://creativecommons.org/licenses/by-nc-nd/4.0/
dc.sourceУниверзитет у Крагујевцуsr
dc.subjectNaomi Volassr
dc.subjectNaomi Wallaceen
dc.subjectBel Hukssr
dc.subjectRijana Ajslersr
dc.subjectLajonel Trilingsr
dc.subjectRejmond Vilijamssr
dc.subjectRobin Kelisr
dc.subjectkultura dominacijesr
dc.subjectiskoraksr
dc.subjectsavremeno angažovano pozorištesr
dc.subjectistorijska dramasr
dc.subjectnova istorijska proučavanjasr
dc.subjectkritička pedagogijasr
dc.subjectteologija oslobođenjasr
dc.subjectrasizamsr
dc.subjecttrgovina robljemsr
dc.subjectklasno društvosr
dc.subjectbell hooksen
dc.subjectRiane Eisleren
dc.subjectLionel Trillingen
dc.subjectRaymond Williamsen
dc.subjectRobin D. G. Kelleyen
dc.subjecta dominator model of cultureen
dc.subjecttransgressionen
dc.subjectcontemporary political theatreen
dc.subjecthistorical dramaen
dc.subjectnew approaches to historyen
dc.subjectcritical pedagogyen
dc.subjecttheology of liberationen
dc.subjectracismen
dc.subjectslave tradeen
dc.subjectclass societyen
dc.subjectprestupsr
dc.subjectprekršajsr
dc.titlePisanje kao prekršaj: kritika kulture dominacije u dramskom stvaralaštvu Naomi Volassr
dc.title.alternativeWriting as transgression: criticism of the dominator model of culture in the plays of Naomi Wallaceen
dc.typedoctoralThesisen
dc.rights.licenseBY-NC-ND
dcterms.abstractБогоева Седлар, Љиљана; Настић, Радмила; Павловић, Томислав; Ђорић Француски, Биљана; Војиновић Тмушић, Милица; Писање као прекршај: критика културе доминације у драмском стваралаштву Наоми Волас; Писање као прекршај: критика културе доминације у драмском стваралаштву Наоми Волас;
dc.identifier.fulltexthttps://nardus.mpn.gov.rs/bitstream/id/50840/Disertacija.pdf
dc.identifier.fulltexthttp://nardus.mpn.gov.rs/bitstream/id/50840/Disertacija.pdf
dc.identifier.fulltexthttps://nardus.mpn.gov.rs/bitstream/id/50841/bitstream_50841.pdf
dc.identifier.rcubhttps://hdl.handle.net/21.15107/rcub_nardus_8541


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