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001 239551
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006 m|||||o||d||||||||
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008 240625t20172017gw fo d z eng d
020 _a9783110515121
_qprint
020 _a9783110515435
_qEPUB
020 _a9783110517088
_qPDF
024 7 _a10.1515/9783110517088
_2doi
035 _a(DE-B1597)9783110517088
035 _a(DE-B1597)472777
035 _a(OCoLC)987936876
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aPR741
_b.W33 2017
072 7 _aLIT013000
_2bisacsh
082 0 4 _81p
_a290
_qDE-101
084 _aonline - DeGruyter
100 1 _ade Waal, Ariane
_eautore
245 1 0 _aTheatre on Terror :
_bSubject Positions in British Drama /
_cAriane de Waal.
264 1 _aBerlin ;
_aBoston :
_bDe Gruyter,
_c[2017]
264 4 _c©2017
300 _a1 online resource (VIII, 297 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aContemporary Drama in English Studies ,
_x2194-9069 ;
_v27
505 0 0 _tFrontmatter --
_tContents --
_tAcknowledgements --
_t1. Introduction --
_t2. Theoretical Framework --
_t3. Home-Front Plays: Subject Positions in the British Terror City --
_t4. Front-Line Plays: Positioning ‘Self’, ‘Other’, and Other Selves in Iraq and Afghanistan --
_t5. Conclusion --
_tWorks Cited --
_tGeneral Index --
_tIndex of Plays
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aIn a moment of intense uncertainty surrounding the means, ends, and limits of (countering) terrorism, this study approaches the recent theatres of war through theatrical stagings of terror. Theatre on Terror: Subject Positions in British Drama charts the terrain of contemporary subjectivities both ‘at home’ and ‘on the front line’. Beyond examining the construction and contestation of subject positions in domestic and (sub)urban settings, the book follows border-crossing figures to the shifting battlefields in Iraq and Afghanistan. What emerges through the analysis of twenty-one plays is not a dichotomy but a dialectics of ‘home’ and ‘front’, where fluid, uncontainable subjects are constantly pushing the contours of conflict. Revising the critical consensus that post-9/11 drama primarily engages with ‘the real’, Ariane de Waal argues that these plays navigate the complexities of the discourse – rather than the historical or social realities – of war and terrorism. British ‘theatre on terror’ negotiates, inflects, and participates in the discursive circulation of stories, idioms, controversies, testimonies, and pieces of (mis)information in the face of global insecurities.
530 _aIssued also in print.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 25. Jun 2024)
650 0 _aEnglish drama
_y21st century
_xHistory and criticism.
650 0 _aTerror in art.
650 4 _aBritisches Gegenwartstheater.
650 4 _aElfter September.
650 4 _aTerror.
650 7 _aLITERARY CRITICISM / Drama.
_2bisacsh
653 _a9/11.
653 _aContemporary British Theatre.
653 _aDrama.
653 _aSubject Positions.
653 _aTerror.
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9783110517088
856 4 0 _uhttps://www.degruyter.com/isbn/9783110517088
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9783110517088/original
942 _cEB
999 _c239551
_d239551