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Howard Barker’s Brutopia: history in politics, politics in history
(Knowledge Hub Publishing Company Limited (Hong Kong), 2025) Öğünç, Banu
Howard Barker can be considered as one of the most prolific writers of the British stage who has written numerous plays as well as poetry and theoretical writings on drama. He is especially a significant name for political drama due to the strong political themes explored in his works. Brutopia: Secret Life in Old Chelsea, as its full name, is a historical play that combines political criticism together with Barker’s understanding of theatre in line with his Theatre of Catastrophe. In this play, Barker invites the audience and/or the readers to the fictionalised world of the play, decorated with the historical facts of Thomas More’s life and its timeline. Barker applies history to lay out the ground for social and political criticism of the contemporary society. He skilfully blends history with fiction in order to disturb the audience and/or the readers to make them think about the present. Consequently, this paper aims at analysing Brutopia within Barker’s creation of imaginary place as thinly disguised in history and focuses on social and political criticism that exemplifies Barker’s specific approach towards drama, Theatre of Catastrophe.
Fidelity to irish identity: allegory of the outsider in Julia o'faolain's “first conjugation” and John Montague's “an occasion of sin”
(Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi, 2022) Öğünç, Ömer
Julia O'Faolain's “First Conjugation” and John Montague's “An Occasion of Sin” are contemporary short stories that have received critical attention. The authors' attempts to renovate stylistic qualities of short story writing and to experiment with thematic issues in Irish literary tradition are the main sources of this attention. This article examines the impact of the outsiders who suddenly appear in a contemporary Irish setting in both works. Traditionally, Irish writers of ction have pointed out a sense of isolation and solitude dominating the mind of Irish characters, which results in a network of dark and gloomy social relationships. The intervention of the outsiders, however, renders this critical analysis exceptional in that the outsiders disrupt social formations resulting in an identity crisis. O'Faolain's “First Conjugation” introduces the outsider image in the form of an Italian instructor who challenges the worldview of a young Irish girl, an insider in this setting. Depicted from the perspective of the Irish protagonist, the story illustrates how easily the outsider challenges Irish identity. On the other hand, Montague's “An Occasion of Sin” narrates the outsider's experience among Irish characters. The conict between the outsiders and the insiders illustrates the urgent need for a renewal of Irish perceptions. Both texts focus on the aftermath of the arrival of the outsiders among the insiders leading to a climactic point of collision. Accordingly, this article reviews the relationship between the outsiders and the insiders in the selected works and argues that both texts appoint the outsider as an allegory of questioning.
Courtship and marriage in anthony trollope’s shorter fiction: the liberatedheroines of “miss ophelia gledd,” “the courtship of susan bell” and “mrsgeneral talboys”
(Gaziantep Üniversitesi, 2020) Öğünç, Ömer
The Victorian novelist Anthony Trollope handles many social issues in his works. While Trollope’s scope of subjects covers an extensive area, this study focuses on the matters of courtship and marriage as they are represented in the three selected short stories that require further critical acclaim. The common point between these three short stories in this study is the portrayal of their protagonists in a liberated manner. Namely, these heroines experience a sense of freedom from social rules of etiquette that very precisely determine manners in public sphere, because they have a lifestyle out of England. The liberation of Trollope’s heroines in the selected works suggests that Victorian restrictions for women can be alleviated. Ophelia Gledd and Susan Bell experience the privilege of liberty in courtship as American young girls. Similarly, Mrs General Talboys, a married woman, is on a single trip to Italy cherishing her isolation from matrimonial duties. After this article briefly touches upon Victorian understanding of courtship and marriage, it analyses the challenging representations of these three heroines. Therefore, this study aims at a critical study of Anthony Trollope’s “Miss Ophelia Gledd,” “The Courtship of Susan Bell” and “Mrs General Talboys” as the embodiment of liberated heroines. It further argues that Victorian rules of etiquette are prone to alterations and redefinitions when the heroines find themselves in a relatively appropriate environment that enables them to realise their potential.
The one dimensional man in thomas hardy’s jude the obscure
(Bursa Uludağ Üniversitesi, 2018) Öğünç, Ömer
Thomas Hardy’s Jude the Obscure (1895) successfully represents the conflictbetween the individuals and the bourgeois industrial society in the late Victorianperiod. Herbert Marcuse’s criticism of the contemporary industrial society, which isactually a one dimensional society that imposes absolute norms on the individualswho are forced to become one dimensional wo/men, is quite relevant for a criticalapproach on this conflict. Marcuse’s approach enables a critical analysis of the socialhegemony on such characters as Jude Fawley and Sue Bridehead in the novel.According to Marcuse, the institutionalised form of social oppression on theindividuals aims to force people to lead one dimensional lives in accordance withdominant social norms. Marcuse underlines the conflict between individuality andsocial order. Hence, the protection of social harmony and the established bourgeoissocial order depends on the subjection of these individuals to the rules of the onedimensional society and actually destroys individuality. So, this article argues that,viewed from Herbert Marcuse’s perspective, social oppression in Hardy’s Jude theObscure suppresses individuality to create one dimensional characters in a onedimensional society.
Kapitalizmin İcadı Uysal Bedenler: Şeytan Marka Giyer Filminde Kadın Temsilleri
(Kadın ve Demokrasi Derneği, 2024) Uğurel Özdemir, Ebru
Erkek egemen toplumlarda hayatta kalabilmek adına çok az seçeneği olan kadının, bilinçaltına işlenmiş kader algısını yıkmak kolay olmamıştır. Kadın, çoğu zaman utandırıldığı bedeni ile var olabilmek, bu beden yazgısında varlık gösterebilmek için bazı ideolojik silahların hedefi olmuştur: erken dönem Freudyen psikanaliz ve kapitalizmin birbirini besleyen güçleriyle dayattıkları pek çok asılsız söylem, kadın bedenini ve aklını uysallaştırmaya çalışmaktadır. Bir nevi yatırım olarak görülen beden, onu en kusursuz hale getirmek için kadına bir sorumluluk olarak yüklenmektedir. Bu çalışmanın amacı, kadının ve kadın bedeninin ideolojik güçlere karşı savunmasızlığını, psikolojik ve fiziksel olarak maruz kaldığı baskıyı, görsel bakımdan çok daha etkili bir örneklendirme sağlaması niyetiyle Şeytan Marka Giyer filmiyle yorumlamaktır. Söz konusu film, tanınmak ve var olabilmek için kendisinin yaratmadığı kategori, kavram ve adlara bağlanmak zorunda kalan kadının, her türlü ideolojik oyuna tabi olmak durumunda kalmasını etkili biçimde örneklendirmektedir. Bu çalışmada, kadın bedeninin tarih boyunca taşıdığı anlamlar özetlenecek olup; kadın psikolojisini olumsuz yönde etkileyen bilinçaltı ve ideoloji ilişkisi açıklanacaktır. Kapitalist sistemin ataerkil düzenle birlikte kadın bedenine karşı açtığı savaş, Foucault’nun ileri sürdüğü iktidar anlayışıyla bağdaştırılacak; ‘uysal bedenler’ ve ‘panoptikon’ kavramları çerçevesinde sınıflandırılacaktır. Bu münasebetle, Şeytan Marka Giyer filmindeki iki kadın karakterin eylemleri ve yaşadıkları olaylar sözü geçen kavramlar bazında ele alınacaktır. Tüketim ideolojisinin ve popüler kültürün bir yansıması niteliğinde olan Şeytan Marka Giyer filmi aracılığıyla medyanın kadını sömüren rolü ve etkisi de örneklerle açıklanacaktır.
Posthumanist animetaphors for criticism of the english protocapitalism ın Ben Jonson’s volpone
(Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi, 2024) Yılmaz, Türkan
Though being filled with numerous veiled or direct allusions to innate human rational capacity, Ben Jonson’s Volpone (1606) is, indeed, a very cruel irony and subversion of the predominant Eurocentric and mostly anthropocentric ideals of Renaissance humanist reform clinging to an optimistic belief in the daring extreme deeds of well-educated human reason. As a result of supposedly cultivated human rationality, the Renaissance is also marked by its economic and political balances, embroiled in the bourgeoisie and exposed to tremendous changes due in part to the not yet settled but upcoming free market economy which steadily escalated financial rivalry among individuals longing for being one of the members of the protocapitalist haute bourgeoisies. Accordingly, as this article aims to show, while Jonson criticises social hierarchy caused by a humane inclination towards legacy hunting and the protocapitalist system forcing parasitism as a licence to own power and carnal pleasure, he also attacks the biological hierarchy established between human and nonhuman beings. Though Jonson was a playwright who has a classicist set of values regarding the place of human and nonhuman entities, his use of humours in Volpone becomes a fully functioning political, biological and psychological metaphor for certain generic similarities between the two species. By doing so, Jonson displaces the human/animal distinction, and instead; celebrates the co-existence of all natural beings in harmony, which enables the play to be open to a posthumanist reading involving the co-existence of mental entities and physical matter, which were conventionally separated from each other under the deep shadow of Cartesian dualism.
Slow healing: environmental and social justice in unbowed: a memoir
(Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi, 2024) Özkan, Hediye
In her autobiography Unbowed: A Memoir (2006), Wangari Maathai, a political activist and Nobel Peace Prize winner, depicts environmental and political struggle against the legacies of colonialism. The personal narrative chronicles the ways in which the socio-cultural and ecological exploitation is perpetuated due to (neo)colonialism, capitalism, the centralization of power, and modernity under the myth of progress. In 1977, Maathai’s individual environmental efforts evolved into a collective struggle, The Green Belt Movement, which has trained rural women in Kenya to plant trees, generate income, and relentlessly fight against deforestation and soil erosion by planting millions of trees in Africa. This study examines Maathai’s personal narrative, which overtly highlights the interconnectedness of environmental and social justice by suggesting that without ecological justice, social justice is not possible. Drawing on the concept of “slow violence” to examine the resignifications of ecological damage in Africa and analyzing life writing a site of resistance, negotiation and agency, this study discusses the politics of decoloniality generated by indigenous knowledge systems to understand the interrelatedness of human and nature and reinstate basic human rights, damaged environment, and the perception of nature.
Travelling and Cycling: Borders and Borderscapes in Thomas Stevens’s Around the World on a Bicycle
(Istanbul University Press, 2025) Öğünç, Ömer
This study focuses on the representation of borders and the role of the borderscape in the travelogue Around the World on a Bicycle (1887) written by Thomas Stevens. As the text is examined as a narrative of bordering and debordering practices in the context of recent theoretical approaches to border lines and borderscapes, such practices invite a comprehensive analysis as regards their function and role in the life and identity of the traveller. Travel writing is mostly embedded with tendencies and burdens to meet requirements emanating from colonial and oriental discourses, whereas Stevens adopts a challenging outlook on his journey with the precise mission of moving forward, and inevitably crosses borders to circumnavigate the world. Instead of visiting a particular landscape, country, or people, he transcends great distances to accomplish this mission, which dissociates him from many travellers in the travelling world. His settings enable readers to observe the interaction between others on each side of a border. Through repetitive encounters between Thomas Stevens and the borders on his path, social, cultural, ethnographic, and individual dimensions of these incidents initially create and, then, call for the discussion of borderscapes as they expose various forms of identity resulting from the dichotomy between such notions as home and away. Therefore, this study illustrates the diversity of interactions and identities formed by means of border crossings and borderscapes in the context of Stevens’s travelogue about his journey on a bicycle around the world.
A narrative of crisis: nancy emerson’s diary and healing through writing
(John Hopkins University, 2024) Özkan, Hediye
SciVal Topics Abstract Nancy Emerson, a middle-class white woman who lived with her brother’s family in Augusta County, Virginia, kept a diary intermittently between May 1862 and November 1864. Emerson’s diary can be defined as a narrative of crisis, generated to respond to, reduce, contain, and mitigate trauma due to the potential physical and psychological threat of the American Civil War. The narrative construction of traumatic experiences is a form of purification and catharsis, allowing Emerson to experience the stages of recovery by regaining a sense of community and establishing safety through writing, attending prayer meetings, reporting news, remembrance of and mourning for the dead, and Christian resignation. By combining psychiatric, literary, and historical approaches, this study offers contextualization of Emerson’s narration, representation, and writing about physical and psychological crisis as a process of working through and recovery.
Exploring Environmental Ethics: From Exclusion of More-than-Human Beings Towards a New Materialist Paradigm
(Avant Project, 2023) Göçmen, Gülşah
nvironmental ethics deals with discussing the ethical framework of environmental values, their organization and regulation, and their ethical premises. One of the main cul-de-sacs that environmental ethics has is its anthropocen-trism that can be observed through its diverse ethical approaches—even eco-centric ones, developed as non-anthropocentric egalitarian alternatives. This article aims to question the exclusiveness of Anthropos, the practices, values, and discourses that determine the scope and course of environmental ethics, and the exclusion of nonhuman animals or more-than human beings from its focus. It first examines the main approaches in environmental ethics (land ethic, deep ecology, social ecology, and postmodern environmental ethics)— biocentric, ecocentric, anthropocentric, socialist, postmodern—and reveals that they are but limited to the human perspective, deeply rooted in human exceptionalism. All of these approaches provide us with a critical frame that still needs to be deconstructed so that they will not project an anthropocentric orientation. This article posits that the compass of environmental ethics, re-cently aligning itself to embrace the more-than-human world in its ecocentric attitude, still needs to be revisited for its discourses of exclusion. At this point, new materialism functions as a prolific theoretical site as it diminishes the clas-sical boundaries between human and animal or subject and object that anthropocentric environmental ethics relies on. With such concepts as “agential realism” (Barad), “transcorporeal ethics” (Alaimo), “vibrant matter” (Bennett), or “storied matter” (Oppermann and Iovino) the new materialist view of the human and the nonhuman evolves to end set dualities in the discourses of environmental ethics. This article concludes that the new materialist theory de-stabilizes any anthropocentric position in environmental ethics and includes more-than-human beings in its ethical focus, discarding any dualities that serve anthropocentrism or human exceptionalism.
Demythologization of the Mythic Representation of Woman: Critical Reimagining of the Archaic Stories
(Ankara Üniversitesi KASAUM, 2023) Uğurel Özdemir, Ebru
Ancient Greek myths, as the architect of the patriarchal ideology, serve as a panorama of the reality, which women in all ages around the world face and are forced to experience. Based on the fossilized ideas of the archaic philosophy, the mythological narratives are at the center of a canon which reveals, internalizes and legitimates the binary oppositions between the sexes. Although myths are set in the past and thus seem to be bygone, the events and characters still mirror the modern age: nothing seems to have changed concerning the negative perception of womanhood. This essay does echo the feminist writer Cixous’s challenge to awaken all women to discover their own power by not yielding to man-made stories but writing their own realities. In this direction in this study, the classical myths are reimagined from postfeminist perspective with the purpose of subverting the dynamics of patriarchy and phallocentrism.
Healing invisible wounds: Don Delillo’s Falling Man and the recovery of trauma
(Dokuz Eylül Üniversitesi, 2021) Özkan, Hediye
9/11 has not only caused dramatic, social, and political changes in the US history but also created a literature in which many authors seek to understand the aftermath of the attacks on the World Trade Center. Literature about 9/11 focuses particularly on how white or immigrant male masculinity is shaken due to trauma as it fails to present the intricate relationship between traumatized woman and recovery. Furthermore, literary criticism on 9/11 narratives centered on the analysis of the traumatic experiences of individuals does not take the discussion further by examining the recovery process of trauma. Therefore, the purpose of this study is to examine Don DeLillo’s Falling Man and the literary representation of the traumatized woman’s recovery, a topic mostly neglected within the scholarship of 9/11 novels. Confronting trauma creates a psychological and emotional catharsis which is a vital process leading to healing and rejuvenation as well as coming into terms with the self, memory, past, and society. Through the lenses of contemporary literary trauma theory and contemporary trauma stress studies, this paper examines traumatized woman’s recovery and healing to restructure, reorient, and rebuild self and life aftermath of 9/11 and its traumatic effects.
Desperate lovers versus tyrant beloveds: the master-slave analogy in the poems of john keats and felicia hemans
(Uludağ Üniversitesi, 2021) Özkan, Hediye
Although love of for nature as a source of inspiration is one of the primary themes in Romantic period, romantic love, which conveys the passion, pleasure, or the pain of love, often appears as a common theme in Romantic poetry. Romantic poetry becomes as a fertile space where some of the poets explore romantic love as a powerful, intense, and irresistible emotion that gives pain and melancholy rather than pleasure and happiness. I argue that the uneasy relationship between the lovers and beloveds in Romantic poetry, particularly in poems of John Keats and Felicia Hemans parallels with a long-lasting theme, the pain of love, depicted through the sultan-servant or master-slave analogy in Ottoman Divan poetry. Discussing the function of master-slave analogy in Ottoman Divan poetry and theorizing love within philosophical and scientific contexts with the ideas of Ficino and Hegel, this paper examines how Keats and Hemans employs this analogy in their poems and explore the pain of love to demonstrate the power dynamics between the lovers and beloveds. Keywords:
Nostalgic (Re)Visions of Englishness in Merchant Ivory’s Adaptation of Kazuo Ishiguro’s The Remains of the Day
(Taylor and Francis Ltd., 2021) Göçmen, Gülşah; Özmen Akdoğan, Özlem
This article argues that the adaptation of Kazuo Ishiguro’s novel The Remains of the Day (1989) by Merchant Ivory evokes nostalgia as a trope that glorifies the imperial past of the British through portraying extravagantly both the butler protagonist’s professionalism and his attachment to the country house (Darlington Hall), one of the symbolic places used in heritage cinema. In the novel, Stevens’ sense of nostalgia is presented as a sensual impetus or a blueprint to revisit the past to construct a more insightful understanding of the self. Analysing both uses of nostalgia in the source text and its adaptation, this article reveals that the Merchant Ivory adaptation (1993) limits its nostalgic perspective to depicting the idealised imperial past, and it does not evoke any dissident conception of nostalgia for the audience as the novel provides through its protagonist’s retrospection for the reader. Discussing the politics and contextual background of the adaptation, it concludes that Merchant Ivory’s film version of Ishiguro’s novel exemplifies characteristics of heritage cinema to convey dominantly conservative ideologies such as elitism and nationalism as common norms upheld in Thatcher’s Britain.
Disguised subjugation as education: colonial and maternal pedagogy in Jamaica Kincaid's Lucy
(İstanbul Üniversitesi, 2020) Özkan, Hediye
Jamaica Kincaid's Lucy: A Novel, an autobiographical narrative as opposed to what the title suggests, examines the colonial and immigrant experience of an Antiguan girl, who grows up in the British Caribbean and comes to the U.S. at the age of nineteen as an au pair. The colonial and maternal education along with the textual capture and erasure in her childhood controls Lucy's chokes over her intellect, voice, body, mobility, and sexuality, while leading her to a stage where she seeks the new definitions of womanhood, female re-embodiment, and personhood in the New Land. This paper focuses on the autobiographical narrative as a catharsis for Lucy, who confronts the constructed reality through personal reflections on colonial education, and by doing so, who eases the predicament of colonisation and dualisms due to the coloniser inside. I argue that the systematic colonial and maternal pedagogy depicted in the narrative is employed to mythicise reality, obliterate the Caribbean self/culture, and disenfranchise colonial society. Referring to "cultural invasion," a concept developed by Brazilian educational philosopher Paulo Freire to investigate disguised subjugation as education, this paper scrutinises Lucy's retrospection both on her maternal and colonial tutelage that later becomes a leading force of her own decolonisation.
George Chapman's Caesar and Pompey and Cato as the mediator
(Selçuk Üniversitesi, 2020) Özkan, Hediye
The classical Roman past has been a rich source for the playwrights who desire to make literary connections between the ancient political characters and real life figures. George Chapman, a neglected playwright of the seventeenth century, uses the Roman Empire allegory in Caesar and Pompey: A Roman Tragedy (1631) to respond to the political dissagreements which lead England into the Civil War. Through Caesar and Pompey, Chapman conveys possible scenarios that correspond to specific political events in the history of early modern England. Using new historicism as a theoretical framework, this paper analyzes Chapman's play as a political allegory of the dispute between Charles I and Parliamentarians, leading the three kingdoms into war in 1642. Drawing a parallel between the Roman republic depicted in the play and the specific moments of early modern world, this paper discusses how Cato acts as Chapman's mouthpiece and the ardent supporter of political negotiation rather than conflict. Thus, the paper contributes to the scholarship about Chapman who uses the history of Roman republic as a warning for the future of English politics during the Elizabethan period.
Nezihe Meriç’in Sevdican ve SuAndi’nin The Story of M isimli oyunlarında göç ve ırkçılığın kadın bakış açısından irdelenmesi
(Ahmet Yesevi Üniversitesi, 2020) Öğünç, Banu
Nezihe Meriç’in Sevdican isimli oyunu Almanya’ya göçen kadınların yaşadıklarını yansıtmayı amaçlayan tek kişilik bir oyundur. Yine tek kişilik bir oyun olan SuAndi’nin The Story of M (M’nin Hikâyesi) toplumda yaşanan ırkçılığı ve de ayrımcılığı bir kadın karakter üzerinden sahneye taşır. Aynı zamanda Almanya’ya olan Türk göçü ile Birleşik Krallık’a Batı Hint Adaları’ndan göçün de yansıması olan bu iki oyun, nasıl her iki ülkeye olan göç hikâyesi birbiri ile benzerlik gösteriyor ise, karakterler, tema ve de anlatım açısından paralellik göstermektedir. Göç ve ayrımcılık konusunu ele alan bu iki oyun, yaşanan benzer acıları kadın ve anne kimlikleri üzerinden sahneye taşır. Sonuç olarak bu çalışma Nezihe Meriç’in Sevdican ve SuAndi’nin The Story of M isimli oyunlarını teknik ve tematik açılardan karşılaştırarak göç olgusunun iki farklı kültürde yazılan bu iki oyunda nasıl ortak bir noktadan aktarıldığını örneklendirmeyi amaçlamaktadır.
Where do I belong? Power struggle in miss Julie and the Hairy Ape
(Gaziantep Üniversitesi, 2018) Öğünç, Banu
Written 1888 by Swedish playwright August Strindberg, Miss Julie is considered a naturalistic play that deals with power struggles between the characters Jean and Julie in terms of gender and class. As an over-reacher, Jean tries to overpower Julie in order to upgrade his social position. Hairy Ape, on the other hand, is an expressionistic play which was written by American playwright Eugene O’Neill in 1922. The play is about the degraded position of Yank who searches for his social place in the society. After being labeled as a “filthy beast” by the daughter of a steel company owner, Yank internalizes his status as an ape like creature. Throughout the play he involves in a quest as he tries to belong to a social class. Although written in two different centuries reflecting different cultures and cultural problems, both plays employ male characters who struggle to improve their position within the hierarchal and material society in spite of the status quo they face. Their struggle also includes the male characters’ questioning of power over female characters. Consequently, this study aims to analyze Miss Julie and Hairy Ape in order to illustrate power struggles of the male characters that transgress one century to century and one culture to another preserving the core of the problems of the class issue in the modern society.
Let us “Bear Very Much Reality:” T. S. Eliot’s Outsider in “Burnt Norton”
(Gaziantep Üniversitesi, 2019) Göçmen, Gülşah
“Burnt Norton” (1935), the first section of T. S. Eliot’s Four Quartets (1942), mirrors the poet’s inquisitive approach towards the complexity of human condition in the modern age, particularly focusing on the central concepts of life, time, death, or eternity. Engaged in an existentialist exploration of such notions, Eliot designs the Quartets as an analogical musical composition. “Burnt Norton,” as the leading movement of the whole piece, becomes the first notes in Eliot’s poetic musicality in his entire work, with its variance in tone and poetic form and a rhythmical obsession with certain themes such as life, time, infinity, or memory. This paper aims to analyze such modernist pursuits voiced in the poem by treating its persona as a “Stranger,” or a typical quester of existentialist philosophy. As an English philosopher/author, Colin Wilson contributes to the development of the continental philosophy of existentialism, specifically identifying major characteristics of the Outsider figure. Wilson’s analytical work, The Outsider (1956) serves as a theoretical frame to characterize the speaker of the poem as an Outsider in this paper. It argues that the speaker of the Quartets, as primarily reflected in “Burnt Norton,” presents similar central existentialist crises of simultaneously searching for the ways to explore reality or denying its possibility. He questions how much reality a human being “bears” without any meaningful attempt to understand it, and invites the reader to recognize their own unfit answers that deny their position as Outsiders in modern life.
Political theatre in the age of brexit: The state of nation in monologues
(Sciendo, 2019) Öğünç, Banu
On the British stage, political theatre, which emerged in the twentieth century, has been linked with the problems of the working class as initiated in the 1920s until the early 1960s. With the end of the official censorship of theatre in 1968, political theatre in Britain experienced a period in which socialist works marked the stage. Nevertheless, the 1990s challenged the association of political theatre with the conditions of the working class. Considering the current political and social events in Britain and around the world, it is appropriate to underline that political theatre is not only in a constant flux, but its definition has been once again challenged. In this regard, Brexit can be considered as one of the most significant movements to influence the understanding of political theatre in the twenty-first century. Consequently, this study aims to analyse Brexit Shorts: Dramas from a Divided Nation (2017), a co-production by the Guardian and Headlong Theatre Company and discuss their contribution to the changing definition of political theatre. Brexit Shorts will be further explored regarding their influence on the popularity of monologues as a mode of performance.

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