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Papers by Alanoud Alghanem
World Journal of English Language, Dec 21, 2023
In a radical reaction against the idealism and sentimentality of melodrama, a few dramatists in t... more In a radical reaction against the idealism and sentimentality of melodrama, a few dramatists in the second half of the nineteenth century shifted the dramaturgy style into what came to be known as realism. This school of thought emphasizes the presentation of life as it is without exaggeration, illusions or artifices. It is evidently reflected in the dramatic works of some playwrights like John Millington Synge and Sean O'Casey who are the main concern of this paper. In this respect, the textualization of history is significantly an important aspect of realist plays. Therefore, this comparative study explores the textualization of history in two iconic Irish plays; John Millington Synge's Riders to the Sea (1904) and Sean O'Casey's Juno and the Paycock (1924). These plays are realistic portrayals of Irish society and the profound impact of historical events on the lives of ordinary individuals. By utilizing a new historicist and postcolonial reading, this study aims to uncover how historical events are recorded, reinterpreted, and recreated within literary works. It investigates the ways in which Synge and O'Casey incorporate these historical elements into their plays, demonstrating the dual nature of the relationship between history and literature. Besides, the study will conclude by proving the indirect commitment of these playwrights to their nations, countering accusations leveled against them.
World Journal of English Language, 2024
In a radical reaction against the idealism and sentimentality of melodrama, a few dramatists in t... more In a radical reaction against the idealism and sentimentality of melodrama, a few dramatists in the second half of the nineteenth century shifted the dramaturgy style into what came to be known as realism. This school of thought emphasizes the presentation of life as it is without exaggeration, illusions or artifices. It is evidently reflected in the dramatic works of some playwrights like John Millington Synge and Sean O'Casey who are the main concern of this paper. In this respect, the textualization of history is significantly an important aspect of realist plays. Therefore, this comparative study explores the textualization of history in two iconic Irish plays; John Millington Synge's Riders to the Sea (1904) and Sean O'Casey's Juno and the Paycock (1924). These plays are realistic portrayals of Irish society and the profound impact of historical events on the lives of ordinary individuals. By utilizing a new historicist and postcolonial reading, this study aims to uncover how historical events are recorded, reinterpreted, and recreated within literary works. It investigates the ways in which Synge and O'Casey incorporate these historical elements into their plays, demonstrating the dual nature of the relationship between history and literature. Besides, the study will conclude by proving the indirect commitment of these playwrights to their nations, countering accusations leveled against them.
Dub poetry is a form of performance poetry that originated with Black poets in Jamaica, Britain, ... more Dub poetry is a form of performance poetry that originated with Black poets in Jamaica, Britain, and Canada. It is accompanied by rhythmical accentuation and gesticulation while performing in front of the audience. This study analyses the children's dub poetry of the contemporary Black British poet Benjamin Zephaniah to highlight the unique characteristics that make his poetry more appealing to children. This is accomplished through an ecocritical reading of his early children's poems, which highlight his biocentric attitude and revolutionary stance against any form of anthropocentrism. The study demonstrates that Zephaniah is an eco-writer who has an effective method of engaging children with his poetry in both its forms, oral and printed, through his performative techniques, rhetorical strategies, humorous style, and serious cosmopolitan topics in the belief that poetry is political and poets should be activists.
Journal of Namibian Studies : History Politics Culture
Nowadays, the Afro-Caribbean community is well-represented in Britain, and the metropolitan area ... more Nowadays, the Afro-Caribbean community is well-represented in Britain, and the metropolitan area of London is regarded as a global hub for diaspora minorities and multicultural races. A new generation of Afro-Caribbean writers, including Benjamin Zephaniah, the subject of this essay, along with a few selected other writers of African or Asian descent, have departed from earlier concerns by identifying themselves not as ethnic groups but rather as Britons. This contrasts with the majority of writers of African or Asian descent who explore issues of race, discrimination, identity, and equality. Hence, the study operates in two levels. It first seeks to highlight the growth of this new wave of Afro-Caribbean writers as a shaping cultural force in Britain. Second, it will emphasize how important their creative works were in reshaping England's literary canon in the aftermath of T. S. Eliot's "Tradition and the Individual Talent." Hence, the research will demonstrate Be...
Scholars International Journal of Linguistics and Literature
Thomas Stearns Eliot's The Waste Land is a mysterious enigmatic text in both its form and con... more Thomas Stearns Eliot's The Waste Land is a mysterious enigmatic text in both its form and content which still invites many critics and reviewers to an infinite range of interpretations finding in it a striking departure from nineteenth century poetry and raising the flag of modernism and postmodernism. Its appearance in 1922 started a critical debate among critics who found it hard to place both because of the poet's complex artistic strategies and because of the poem's kaleidoscopic orchestrated structure. From this perspective, the present paper is mainly concerned with the poem’s kaleidoscopic structure highlighting the text's intertextuality, heterogeneity and multiculturalism. It seeks to re-read and investigate the poem from the perspective of Edward Said's Postcolonial theory proving that the poem’s encyclopedic structure achieves for the poet a form of Neo-Colonialism where the poet’s intellectual domination replaces the territorial one. The study conclud...
The present study is theoretically oriented proposing to re-read some major tenets of the New Cri... more The present study is theoretically oriented proposing to re-read some major tenets of the New Critics and the reader-response critics in an attempt to reconsider the objective theory of the New Critics to test whether it is sufficient in catering for all aspects of a text. It works via the exploration of both protocols set by a number of the major founders of both theories aiming to reveal the oppositions, commonalities as well as undeclared similarities. The critical controversy will thus be brought to light, in a bid to point out the shortcomings of each approach. Throughout this exploration, the study demonstrates that the ontological approach of the New Critics becomes incomplete and doubtful. It proves that the New Critics’ ‘affective fallacy’ has sprouted the postmodern theory of the reader-response criticism where the reader is no longer a passive recipient, but an active agent who fills in the blanks and formulates meanings. Thus, the study concludes by proving that there ar...
International Journal of Linguistics, Literature and Translation, 2020
Through a re-reading and a reassessment of Thomas Stearns Eliot’s (1888–1965) masterpiece The Was... more Through a re-reading and a reassessment of Thomas Stearns Eliot’s (1888–1965) masterpiece The Waste Land (1922), the present paper aims at recycling the poem with new polysemy. By using specific methods of the psychoanalytic approach, this study demonstrates that many details about the text and its context are marginalized if read through the objective protocols of Eliot/the New Critics. Thus, the present paper is devoted to re-reading the text subjectively to deconstruct Eliot's “impersonal theory” in catering efficiently for the author’s presence. The conclusion will prove that the text is highly charged with personal tones, and consequently deviates from his theory of “Depersonalization,” thereby proving an authorial presence.
World Journal of English Language, Dec 21, 2023
In a radical reaction against the idealism and sentimentality of melodrama, a few dramatists in t... more In a radical reaction against the idealism and sentimentality of melodrama, a few dramatists in the second half of the nineteenth century shifted the dramaturgy style into what came to be known as realism. This school of thought emphasizes the presentation of life as it is without exaggeration, illusions or artifices. It is evidently reflected in the dramatic works of some playwrights like John Millington Synge and Sean O'Casey who are the main concern of this paper. In this respect, the textualization of history is significantly an important aspect of realist plays. Therefore, this comparative study explores the textualization of history in two iconic Irish plays; John Millington Synge's Riders to the Sea (1904) and Sean O'Casey's Juno and the Paycock (1924). These plays are realistic portrayals of Irish society and the profound impact of historical events on the lives of ordinary individuals. By utilizing a new historicist and postcolonial reading, this study aims to uncover how historical events are recorded, reinterpreted, and recreated within literary works. It investigates the ways in which Synge and O'Casey incorporate these historical elements into their plays, demonstrating the dual nature of the relationship between history and literature. Besides, the study will conclude by proving the indirect commitment of these playwrights to their nations, countering accusations leveled against them.
World Journal of English Language, 2024
In a radical reaction against the idealism and sentimentality of melodrama, a few dramatists in t... more In a radical reaction against the idealism and sentimentality of melodrama, a few dramatists in the second half of the nineteenth century shifted the dramaturgy style into what came to be known as realism. This school of thought emphasizes the presentation of life as it is without exaggeration, illusions or artifices. It is evidently reflected in the dramatic works of some playwrights like John Millington Synge and Sean O'Casey who are the main concern of this paper. In this respect, the textualization of history is significantly an important aspect of realist plays. Therefore, this comparative study explores the textualization of history in two iconic Irish plays; John Millington Synge's Riders to the Sea (1904) and Sean O'Casey's Juno and the Paycock (1924). These plays are realistic portrayals of Irish society and the profound impact of historical events on the lives of ordinary individuals. By utilizing a new historicist and postcolonial reading, this study aims to uncover how historical events are recorded, reinterpreted, and recreated within literary works. It investigates the ways in which Synge and O'Casey incorporate these historical elements into their plays, demonstrating the dual nature of the relationship between history and literature. Besides, the study will conclude by proving the indirect commitment of these playwrights to their nations, countering accusations leveled against them.
Dub poetry is a form of performance poetry that originated with Black poets in Jamaica, Britain, ... more Dub poetry is a form of performance poetry that originated with Black poets in Jamaica, Britain, and Canada. It is accompanied by rhythmical accentuation and gesticulation while performing in front of the audience. This study analyses the children's dub poetry of the contemporary Black British poet Benjamin Zephaniah to highlight the unique characteristics that make his poetry more appealing to children. This is accomplished through an ecocritical reading of his early children's poems, which highlight his biocentric attitude and revolutionary stance against any form of anthropocentrism. The study demonstrates that Zephaniah is an eco-writer who has an effective method of engaging children with his poetry in both its forms, oral and printed, through his performative techniques, rhetorical strategies, humorous style, and serious cosmopolitan topics in the belief that poetry is political and poets should be activists.
Journal of Namibian Studies : History Politics Culture
Nowadays, the Afro-Caribbean community is well-represented in Britain, and the metropolitan area ... more Nowadays, the Afro-Caribbean community is well-represented in Britain, and the metropolitan area of London is regarded as a global hub for diaspora minorities and multicultural races. A new generation of Afro-Caribbean writers, including Benjamin Zephaniah, the subject of this essay, along with a few selected other writers of African or Asian descent, have departed from earlier concerns by identifying themselves not as ethnic groups but rather as Britons. This contrasts with the majority of writers of African or Asian descent who explore issues of race, discrimination, identity, and equality. Hence, the study operates in two levels. It first seeks to highlight the growth of this new wave of Afro-Caribbean writers as a shaping cultural force in Britain. Second, it will emphasize how important their creative works were in reshaping England's literary canon in the aftermath of T. S. Eliot's "Tradition and the Individual Talent." Hence, the research will demonstrate Be...
Scholars International Journal of Linguistics and Literature
Thomas Stearns Eliot's The Waste Land is a mysterious enigmatic text in both its form and con... more Thomas Stearns Eliot's The Waste Land is a mysterious enigmatic text in both its form and content which still invites many critics and reviewers to an infinite range of interpretations finding in it a striking departure from nineteenth century poetry and raising the flag of modernism and postmodernism. Its appearance in 1922 started a critical debate among critics who found it hard to place both because of the poet's complex artistic strategies and because of the poem's kaleidoscopic orchestrated structure. From this perspective, the present paper is mainly concerned with the poem’s kaleidoscopic structure highlighting the text's intertextuality, heterogeneity and multiculturalism. It seeks to re-read and investigate the poem from the perspective of Edward Said's Postcolonial theory proving that the poem’s encyclopedic structure achieves for the poet a form of Neo-Colonialism where the poet’s intellectual domination replaces the territorial one. The study conclud...
The present study is theoretically oriented proposing to re-read some major tenets of the New Cri... more The present study is theoretically oriented proposing to re-read some major tenets of the New Critics and the reader-response critics in an attempt to reconsider the objective theory of the New Critics to test whether it is sufficient in catering for all aspects of a text. It works via the exploration of both protocols set by a number of the major founders of both theories aiming to reveal the oppositions, commonalities as well as undeclared similarities. The critical controversy will thus be brought to light, in a bid to point out the shortcomings of each approach. Throughout this exploration, the study demonstrates that the ontological approach of the New Critics becomes incomplete and doubtful. It proves that the New Critics’ ‘affective fallacy’ has sprouted the postmodern theory of the reader-response criticism where the reader is no longer a passive recipient, but an active agent who fills in the blanks and formulates meanings. Thus, the study concludes by proving that there ar...
International Journal of Linguistics, Literature and Translation, 2020
Through a re-reading and a reassessment of Thomas Stearns Eliot’s (1888–1965) masterpiece The Was... more Through a re-reading and a reassessment of Thomas Stearns Eliot’s (1888–1965) masterpiece The Waste Land (1922), the present paper aims at recycling the poem with new polysemy. By using specific methods of the psychoanalytic approach, this study demonstrates that many details about the text and its context are marginalized if read through the objective protocols of Eliot/the New Critics. Thus, the present paper is devoted to re-reading the text subjectively to deconstruct Eliot's “impersonal theory” in catering efficiently for the author’s presence. The conclusion will prove that the text is highly charged with personal tones, and consequently deviates from his theory of “Depersonalization,” thereby proving an authorial presence.