CIVILICA We Respect the Science
(ناشر تخصصی کنفرانسهای کشور / شماره مجوز انتشارات از وزارت فرهنگ و ارشاد اسلامی: ۸۹۷۱)

گواهی نمایه سازی مقاله Waiting for Godot is an Irish Endgame

عنوان مقاله: Waiting for Godot is an Irish Endgame
شناسه (COI) مقاله: TELT01_272
منتشر شده در اولین کنفرانس ملی آموزش زبان انگلیسی، ادبیات و مترجمی در سال ۱۳۹۲
مشخصات نویسندگان مقاله:

Sayyed Rahim Moosavinia - Assistant Professor) Faculty of Letters & Humanities, Shahid Chamran University of) َAhvaz
Bamshad HekmatshoarTabari - MA in English Literature from Shahid Chamran University of Ahvaz

خلاصه مقاله:
Looking historically, Ireland is the first colony of the Great Britain. A postcolonial study of this country from a different prospective may then be illuminating in introducing a general model or framework for postcolonial critics: what appears to be applicable to studies done with the same aim in case of other postcolonial zones. In other words, many critics are eager to investigate the phenomenon of the British colonization, its different layers and manifestations in Ireland, and its precedence in order to probe what the total system of colonization and the relation between the colonizers and colonized may be composed of. What catches the attention of most postcolonial literary critics about the colonial Ireland can be claimed to be in specific, a set of literary and dramatic movements at the final years of the nineteenth century and the beginning of the twentieth century known as the Irish National Movement. In fact, this movement is the best representative of the spirit of the colonized Ireland and when studied sheds some light on all less investigable aspects of the colonizer and colonized relation, the nature of colonization and anti-colonial movements in general. With this aim, many Irish poets, fiction writers and playwrights have been studied so far by numerous critics. However, a figure like Samuel Beckett seems to be left out of the canon of the Irish anti-colonial movement due to several reasons: the fact that he does not belong to the first generation of this movement, has spent most of his life in France, and has produced many of his important works in French, besides his involvement in Post-War years in a kind of specific world view which is later to be reflected in a kind of drama labeled by Martin Esslin as the Theatre of the Absurd. The present study is then an attempt to be a re-reading of these elements in the way of linking them to the phenomenon of postcolonial on different layers. In order to prove the reliability of the issue, two of Beckett’s most outstanding plays Waiting for Godot and Endgame are explicated based on the common assumptions in most postcolonial studies – what has been rarely done in any other studies up to now. The outcome is to reflect on the fact that beyond the surface layer of these works, there exist many hidden criteria that will finally present a true picture of the Irish Postcolonial Samuel Beckett.

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