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Keywords = Tom Stoppard

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12 pages, 239 KiB  
Article
Tom Stoppard: European Phantom Pain and the Theatre of Faux Biography
by Eckart Voigts
Humanities 2021, 10(2), 80; https://doi.org/10.3390/h10020080 - 1 Jun 2021
Viewed by 3756
Abstract
The paper reads Stoppard’s work in the 21st century as further testimony of the gradual politicisation of his work that began in the 1970s under the influence of Czech dissidents, and particularly as a result of his visits to Russia and Prague in [...] Read more.
The paper reads Stoppard’s work in the 21st century as further testimony of the gradual politicisation of his work that began in the 1970s under the influence of Czech dissidents, and particularly as a result of his visits to Russia and Prague in 1977. It also provides evidence that Stoppard, since the 1990s, had begun to target emotional responses from his audience to redress the intellectual cool that seems to have shaped his earlier, “absurdist” phase. This turn towards emotionalism, the increasingly elegiac obsession with doubles, unrequited lives, and memory are linked to a set of biographical turning points: the death of his mother and the investigation into his Czech-Jewish family roots, which laid bare the foundations of the Stoppardian art. Examining this kind of “phantom pain” in two of his 21st-century plays, Rock’n’Roll (2006) and Leopoldstadt (2019), the essay argues that Stoppard’s work in the 21st century was increasingly coloured by his biography and Jewishness—bringing to the fore an important engagement with European history that helped Stoppard become aware of some blind spots in his attitudes towards Englishness. Full article
(This article belongs to the Special Issue Contemporary British-Jewish Literature, 1970–2020)
12 pages, 232 KiB  
Article
British Jewish Writing in the Post-2016 Era: Tom Stoppard, Linda Grant and Howard Jacobson
by Sue Vice
Humanities 2020, 9(4), 116; https://doi.org/10.3390/h9040116 - 28 Sep 2020
Cited by 3 | Viewed by 2850
Abstract
This article analyses the ways in which British Jewish writing has responded to the watershed events of 2016: the vote to leave the EU in the United Kingdom, and the election of Donald Trump as President of the USA. It argues that such [...] Read more.
This article analyses the ways in which British Jewish writing has responded to the watershed events of 2016: the vote to leave the EU in the United Kingdom, and the election of Donald Trump as President of the USA. It argues that such a response demands varied generic and narrative forms, as exemplified in three case studies. Tom Stoppard’s 2020 play Leopoldstadt is a historical drama about twentieth-century Austrian history, but the moment of its staging and its links to the playwright’s biography convey its cautionary relationship to the present. Linda Grant’s 2019 novel A Stranger City is set in a post-2016 London that has become unfamiliar to its inhabitants, while Howard Jacobson’s Pussy of 2017 is a satire aimed at Trump’s electoral success. In each case, cultural turmoil is represented in terms of Jewish history. Full article
(This article belongs to the Special Issue Contemporary British-Jewish Literature, 1970–2020)
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