Istorija u dramskom stvaralaštvu Džordža Bernarda Šoa : kontekst, tekst i metatekst

Abstract

U disertaciji Istorija u dramskom stvaralaštvu Džordža Bernarda Šoa, iz obimnog kanona Šoovog književnog stvaralaštva izdvaja se sedam drama čijom se analizom i tumačenjem ukazuje na piščev odnos prema istoriji i na pravac u kojem se razvijao njegov smisao za istoriju. U uvodnom delu studije, Šoova dramska umetnost postavlja se u kontekst pomaljajućeg modernog doba i u odnosu na isti izdvajaju se osnovne teze šoovske poetike kako bi se na osnovu njih mogle pratiti promene koje su usledile u Šoovoj umetnosti. Potom se ona komentariše u odnosu na kritičke i književno- teorijske stavove prema alternativnim tumačenjima istorije, sa osvrtom na viđenja istorije koje su ponudili Drojzen, Diltaj, Niče, Fuko, Vajt, Linda Hačn, čime se uspostavlja metodološki okvir za tumačenje Šoovih drama. Budući da se Šoov odnos prema istoriji može sveobuhvatno tumačiti jedino uz osvrt na njegove filozofske, religijske i političke stavove, centralni deo disertacije tematski je podeljen na dva dela. Prvo poglavlje odnosi se na Šoovu religiju kreativne evolucije i životne sile, kao i na autorovo traženje natčoveka kroz dramsku obradu velikih istorijskih ličnosti – Napoleona, Julija Cezara, Svete Jovane i Isusa Hrista – čija se „nadljudska“ priroda tumači u četiri zasebna potpoglavlja. Drugo poglavlje se fokusira na tri Šoove drame – Drugo ostrvo Džona Bula, Kuća koja srce slama i Ženeva – koje pokazuju da je autor pojedine drame koristio kao tribine sa istorijskom pozadinom kako bi plasirao sopstvene političke stavove, uputio kritiku i skrenuo pažnju na aktuelne probleme. U tri potpoglavlja opisuje se i komentariše Šoov odnos prema rodnoj Irskoj, svetskim ratovima i velikim diktatorima. Na osnovu sprovedene analize, zaključuje se da je Džordž Bernard Šo tokom svoje karijere razvijao i nadograđivao jedan početni dramski obrazac na čije su izmene uticale trenutne istorijske okolnosti. Za Šoa, istorija ne označava samo ono što je prošlo, već u daleko većoj meri ono što je sadašnje i nastajuće. Šo ne samo da ničeanski koristi istoriju za život, već je koristi najpre kao povod za raspravu o savremenim problemima, koje smatra rešivim ukoliko je čovečanstvo sposobno i spremno da uči na sopstvenim greškama.

In the dissertation History in George Bernard Shaw’s Dramatic Works: Context, Text, and Metatext we analyze and interpret seven plays of Shaw’s prolific canon of literary works so as to define the author’s relationship with history and outline the development of his historical sense. In the introductory part of the study, Shaw’s dramatic art is set in the context of the emerging modern age, with respect to which we define the basic principles of Shavian poetics, in order to identify the future changes in Shaw’s art. Next, we provide commentaries on Shavian art in relation to the attitudes of literary criticism and literary theories towards alternative interpretations of history, with reference to the views of history as offered by Droysen, Dilthey, Nietzsche, Foucault, Hayden White, Linda Hutcheon, thus outlining the methodological framework for the interpretation of Shaw’s plays. Given that Shaw’s attitude towards history can be analyzed comprehensively only if one pays special attention to his philosophical, religious, and political views, the central part of the dissertation is thematically divided into two parts. The first chapter deals with Shaw’s religion of Creative Evolution and the Life Force, as well as the author’s search for a Superman, as shown in his artistic treatment of the great historical personages – Napoleon, Julius Caesar, Saint Joan, and Jesus Christ – whose “superhuman” nature is analyzed in the four subsequent subchapters. The second chapter focuses on Shaw’s three plays – John Bull’s Other Island, Heartbreak House, and Geneva – which reveal the fact that the author used certain plays as platforms with historical background in order to propose his own political views, express his criticism, and draw attention to the topical problems of his time. The three subsequent subchapters describe and comment on Shaw’s relationship to his native Ireland, the World Wars, and the great dictators. Based on the conducted analysis, we come to the conclusion that during his long career, George Bernard Shaw had been developing and expanding one initial dramatic pattern which was being shaped by the current historical circumstances. For Shaw, history does not stand solely for the things past, but much more for the things present and the things to be. Not only does Shaw use history for life, the Nietzschean way, but he also uses it primarily as an incentive to provoke discussion of contemporary problems, which can be solved at the present moment if humanity is able and willing to learn from its own mistakes.