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dc.contributor.authorKoneczniak, Grzegorz
dc.date.accessioned2021-07-29T15:21:49Z
dc.date.available2021-07-29T15:21:49Z
dc.date.issued2020-12-30
dc.identifier.issn2353-6098
dc.identifier.urihttp://hdl.handle.net/11089/38323
dc.description.abstractThis article is a comparative analysis of Woman and Scarecrow by Marina Carr and The Seafarer by Conor McPherson from a hauntological perspective. It aims at discussing the influence of supernatural beings on mortal protagonists as well as addressing the configurations of power and knowledge formed between the characters. Woman and Scarecrow follows the final moments of a dying woman accompanied by the mysterious figure of Scarecrow, who is hidden from other characters. The verbal exchanges between Scarecrow and Woman will be interpreted as a manifestation of the apparent power possessed by the former, the ambiguous supernatural figure, over the latter, a human being, in terms of appropriating the knowledge about the woman’s past. In McPherson’s The Seafarer, a mysterious relationship develops between Sharky and Mr. Lockhart, who knows about Sharky’s past, too. This paper will demonstrate both similarities and differences in the way in which Carr and McPherson make use of supernatural beings that manipulate human characters in the most crucial moments of their lives and will situate the two plays within the recent rise of interest in spectrality in Irish drama.en
dc.language.isoen
dc.publisherWydawnictwo Uniwersytetu Łódzkiegopl
dc.relation.ispartofseriesAnalyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre;1en
dc.rights.urihttps://creativecommons.org/licenses/by-nc-nd/4.0
dc.subjectCarren
dc.subjectMarinaen
dc.subjectMcPhersonen
dc.subjectConoren
dc.subjectsupernaturalen
dc.subjectknowledgeen
dc.subjectmanipulationen
dc.subjectappropriationen
dc.subjectThe Seafareren
dc.subjectWoman and Scarecrowen
dc.titleSupernatural Beings and Their Appropriation of Knowledge and Power in The Seafarer by Conor McPherson and Woman and Scarecrow by Marina Carren
dc.typeArticle
dc.page.number40-51
dc.contributor.authorAffiliationNicolaus Copernicus University, Polanden
dc.referencesCarr, Marina. 2009. Woman and Scarecrow. Plays 2. London: Faber & Faber.en
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dc.referencesGordon, David. 2018. “Death Becomes Her in Woman and Scarecrow.” TheaterMania, 20 May 2018. https://www.theatermania.com/off-broadway/reviews/review-woman-and-scarecrow_85271.html DOA: 4.03.2021.en
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dc.referencesLorek-Jezińska, Edyta. 2013. Hauntology and Intertextuality in Contemporary British Drama by Women Playwrights. Toruń: Nicolaus Copernicus University Press.en
dc.referencesMcPherson, Conor. 2007. The Seafarer. New York: Theatre Communications Group. https://doi.org/10.5040/9781784600341.00000004en
dc.referencesMiller, Deb. 2018. Review: ‘Woman and Scarecrow’ at Irish Repertory Theatre. DC Metro, 20 May. https://dcmetrotheaterarts.com/2018/05/20/review-woman-and-scarecrow-at-irish-repertory-theatre/ DOA: 18.03.2021.en
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dc.referencesSihra, Melissa. 2018. Marina Carr: Pastures of the Unknown. Cham: Springer. https://doi.org/10.1007/978-3-319-98331-8en
dc.referencesSingleton, Brian. 2004. “The Revival Revisited.” In: Shaun Richards (ed.). The Cambridge Companion to Twentieth-Century Irish Drama. Cambridge: Cambridge University Press, 258–70. https://doi.org/10.1017/CCOL0521804000.019en
dc.referencesTrench, Rhona. 2010. Bloody Living: The Loss of Selfhood in the Plays of Marina Carr. Frankfurt am Main: Peter Lang.en
dc.referencesWatt, Stephen. 2000. “Love and Death: A Reconsideration of Behan and Genet.” In: Stephen Watt, Eileen Morgan, Shakir Mustafa (eds). A Century of Irish Drama: Widening the Stage. Bloomington, Indiana: Indiana University Press, 130–45.en
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dc.contributor.authorEmailgregorex@umk.pl
dc.identifier.doi10.18778/2353-6098.6.05
dc.relation.volume6


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