King Lear "After" Auschwitz : Shakespeare, Appropriation and Subjectivity in the Catastrophist Playwriting of David Rudkin, Howard Barker and Sarah Kane. / Ashby, Richard.

2018. 415 p.

Research output: ThesisDoctoral Thesis

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@phdthesis{b976146723f846458ead7dfe4fe01beb,
title = "King Lear {"}After{"} Auschwitz: Shakespeare, Appropriation and Subjectivity in the Catastrophist Playwriting of David Rudkin, Howard Barker and Sarah Kane",
abstract = "This study analyses appropriations of King Lear in post-war British playwriting, from Edward Bond{\textquoteright}s 1971 play Lear to Dennis Kelly{\textquoteright}s 2010 play The Gods Weep. It shows that post-war playwrights have variously appropriated King Lear in response to the disaster of the Holocaust and its near-total destruction of human subjectivity. I concentrate particularly on the playwrights David Rudkin, Howard Barker and Sarah Kane, all of whom appropriate King Lear in the service of a type of playwriting and drama called {\textquoteleft}Catastrophism{\textquoteright} – a form deeply influenced by Frankfurt School theorist Theodor Adorno and his conceptualization of aesthetics and subjectivity {\textquoteleft}after{\textquoteright} Auschwitz. Catastrophism names a form of tragic drama that eschews resolution and retains the autonomy of the tragic subject, who cannot be finally constrained by any form of aesthetic or ideological closure. Over and against repressive systems of thought and society, the Catastrophist subject retains his/her freedom. I show that appropriations of King Lear have played a vital role in Catastrophism and its response to the degradation of human subjectivity and freedom in the Holocaust. ",
keywords = "King Lear, Shakespeare, Appropriation, Tragedy, Subjectivity, Edward Bond, David Rudkin, Howard Barker , Sarah Kane, Holocaust, After Auschwitz, Theodor W. Adorno, Frankfurt School",
author = "Richard Ashby",
year = "2018",
month = jul,
day = "18",
language = "English",
school = "Royal Holloway, University of London",

}

RIS

TY - THES

T1 - King Lear "After" Auschwitz

T2 - Shakespeare, Appropriation and Subjectivity in the Catastrophist Playwriting of David Rudkin, Howard Barker and Sarah Kane

AU - Ashby, Richard

PY - 2018/7/18

Y1 - 2018/7/18

N2 - This study analyses appropriations of King Lear in post-war British playwriting, from Edward Bond’s 1971 play Lear to Dennis Kelly’s 2010 play The Gods Weep. It shows that post-war playwrights have variously appropriated King Lear in response to the disaster of the Holocaust and its near-total destruction of human subjectivity. I concentrate particularly on the playwrights David Rudkin, Howard Barker and Sarah Kane, all of whom appropriate King Lear in the service of a type of playwriting and drama called ‘Catastrophism’ – a form deeply influenced by Frankfurt School theorist Theodor Adorno and his conceptualization of aesthetics and subjectivity ‘after’ Auschwitz. Catastrophism names a form of tragic drama that eschews resolution and retains the autonomy of the tragic subject, who cannot be finally constrained by any form of aesthetic or ideological closure. Over and against repressive systems of thought and society, the Catastrophist subject retains his/her freedom. I show that appropriations of King Lear have played a vital role in Catastrophism and its response to the degradation of human subjectivity and freedom in the Holocaust.

AB - This study analyses appropriations of King Lear in post-war British playwriting, from Edward Bond’s 1971 play Lear to Dennis Kelly’s 2010 play The Gods Weep. It shows that post-war playwrights have variously appropriated King Lear in response to the disaster of the Holocaust and its near-total destruction of human subjectivity. I concentrate particularly on the playwrights David Rudkin, Howard Barker and Sarah Kane, all of whom appropriate King Lear in the service of a type of playwriting and drama called ‘Catastrophism’ – a form deeply influenced by Frankfurt School theorist Theodor Adorno and his conceptualization of aesthetics and subjectivity ‘after’ Auschwitz. Catastrophism names a form of tragic drama that eschews resolution and retains the autonomy of the tragic subject, who cannot be finally constrained by any form of aesthetic or ideological closure. Over and against repressive systems of thought and society, the Catastrophist subject retains his/her freedom. I show that appropriations of King Lear have played a vital role in Catastrophism and its response to the degradation of human subjectivity and freedom in the Holocaust.

KW - King Lear

KW - Shakespeare

KW - Appropriation

KW - Tragedy

KW - Subjectivity

KW - Edward Bond

KW - David Rudkin

KW - Howard Barker

KW - Sarah Kane

KW - Holocaust

KW - After Auschwitz

KW - Theodor W. Adorno

KW - Frankfurt School

M3 - Doctoral Thesis

ER -