Uluslararası İnsan Çalışmaları Dergisi

Yazarlar: ["Kübra VURAL ÖZBEY"]

Konular:-

DOI:10.35235/uicd.1213029

Anahtar Kelimeler:George Bernard Shaw,Caesar and Cleopatra,The Dark Lady of the Sonnets,“Macbeth Skit,” Cymbeline Refinished,Shakes versus Shav,Shakespeare,Postmodernizm

Özet: Although G. B. Shaw tends to associate himself with Shakespeare in his different works, much of the difficulty in understanding Shaw’s conception of the playwright stems from his adverse criticism of Shakespeare’s tragedies and comedies. When Shaw’s prose works are examined, it can be observed that he either praises Shakespeare or defames him. However, what matters to us in Shaw’s plays is that the impetus to criticise Shakespeare leads Shaw to revise the canonical playwright’s works for different reasons. From the beginning of the twentieth century to the end of his career, Shaw both rewrites Shakespeare’s plays and presents Shakespeare as one of his characters. In these works, Shaw relocates Shakespeare and his plays by making use of postmodernist literary characteristics in a way that Shakespeare becomes an impetus of postmodernism for Shaw. This paper explores Shakespeare’s postmodern agency in Shaw’s selected plays, namely Caesar and Cleopatra (1898), The Dark Lady of the Sonnets (1910), “Macbeth Skit” (1916), Cymbeline Refinished (1937) and Shakes versus Shav (1949).

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