Scott Eric Hamilton
Themes and Contexts
The volume will be of interest to those working in the area of European cross-cultural representation in the disciplines of Literary Studies, Cultural Studies, European Studies, Anthropology and History.
Staging Beckett’s Happy Days in Early Post-Communist Romania
was the opposite. Communism was gone, and we were free, but seized by a great torpor. Suddenly we discovered the freedom to do nothing. Working was communist, working hard, worse, Stalinist. Chatter and watching TV was good. In that historical moment, against that common mentality, I staged Happy
Images of Eastern Europe in British Literature, Film and Culture
Edited by Barbara Korte, Eva Ulrike Pirker and Sissy Helff
The book offers new readings of authors who have influenced the cultural imagination since the nineteenth century, such as Bram Stoker, George Bernard Shaw, Joseph Conrad and Arthur Koestler. It also discusses the work of more contemporary writers and film directors including Sacha Baron Cohen, David Cronenberg, Vesna Goldsworthy, Kapka Kassabova, Marina Lewycka, Ken Loach, Mike Phillips, Joanne K. Rowling and Rose Tremain.
With its focus on post-Wall Europe, Facing the East in the West goes beyond discussions of migration to Britain from an established postcolonial perspective and contributes to the current exploration of 'new' European identities.
The Turkish Language Reforms and Samuel Beckett
limits of the state’s interest in translations of Western literature by turning to how existentialist texts were treated by Turkish authorities. As Koş explains, the Turkish state connected existentialism with the communism of Sartre, and communism posed a threat to the republic. Texts by Sartre, Camus
The Myth(s) of Sisyphus in Beckett’s Radio Play All That Fall
–1953 issue of Merlin —the same in which Beckett published an “Extract from Watt .” Seaver recreates the series of events that led to the break between Camus and Sartre over L’ Homme révolté . By criticizing Sartre’s support of Communism, Camus turned many Left Bank intellectuals against himself, splitting
Its Place in Korean Theatre History
writing and staging a series of nationalistic plays against left-wing policies and communism, prioritizing ideology over artistic achievement (M. Yu, 67 and Suh, 326–331). As many critics point out, together with an emphasis on anti-communist messages and the didactic function of theatre, Korean theatre