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- KIKUCHI Sachiko
- 城西大学
Bibliographic Information
- Other Title
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- ブライアン・フリールの『ルーナサの踊り』と『ワンダフル・テネシー』におけるアイルランド人らしさの追求
- ブライアン・フリールの『ルーナサの踊り』と『ワンダフル・テネシー』におけるアイルランド人らしさの追及
- ブライアン フリール ノ ルーナサ ノ オドリ ト ワンダフル テネシー ニ オケル アイルランドジン ラシサ ノ ツイキュウ
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Abstract
Brian Friel founded Field Day Theatre Company in 1980 and tried to offer the responses to the Northern Ireland problem through art. Friel's preoccupation with defining Irishness is presented through politics, history and language especially in Translations and Making History, which were performed by Field Day. However, Dancing at Lughnasa and Wonderful Tennessee, which were both written for the Abbey Theatre and premiered in the early 1990s, move away from the historical and political dimensions and they give quite different impressions from the plays written for Field Day. Both Dancing at Lughnasa and Wonderful Tennessee are set in modern Ireland and they examine the private lives of the characters in relations to the family. Hence it seems that Friel changed his approach. Therefore, in this paper I will study these two plays and find if Friel's search for Irishness continues in them.
Journal
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- Eibeibunka: Studies in English Language, Literature and Culture
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Eibeibunka: Studies in English Language, Literature and Culture 39 (0), 95-107, 2009
The Society of English Studies
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Details 詳細情報について
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- CRID
- 1390282680804987264
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- NII Article ID
- 110007227525
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- NII Book ID
- AN1038003X
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- ISSN
- 24242381
- 09173536
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- NDL BIB ID
- 10278293
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- Text Lang
- ja
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- Data Source
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- JaLC
- NDL
- CiNii Articles
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- Abstract License Flag
- Disallowed