@article{ART001549389},
author={KIM, YOO},
title={National Identity and Post-Nationalism in Contemporary Scottish Drama: Focusing on David Greig’s Europe},
journal={Journal of Modern English Drama},
issn={1226-3397},
year={2011},
volume={24},
number={1},
pages={5-27}
TY - JOUR
AU - KIM, YOO
TI - National Identity and Post-Nationalism in Contemporary Scottish Drama: Focusing on David Greig’s Europe
JO - Journal of Modern English Drama
PY - 2011
VL - 24
IS - 1
PB - 한국현대영미드라마학회
SP - 5
EP - 27
SN - 1226-3397
AB - Contemporary Scottish drama emerging in the 1990s, dubbed often as ‘post-devolution plays’, can be defined as post-nationalist plays in the sense that they share the desire to investigate the boundaries of the nation-state. Employing a variety of motifs such as travelling, border-crossing and borderland encounter, they attempt to move beyond a narrow sense of Scottishness. They focus on differences ‘within’ Scotland, challenging the conventions of Scottish nationalistic plays, which thrived on anti-colonialism and parochialism. A sense of flexible identities and displacement are two dominant traits of contemporary Scottish drama within the new contexts of post-1989 Europe and the rapid expansion of globalization.
What Greig’s plays share is a sense of displacement, which is caused by the disconnecting of the association between culture and place. Greig sets his plays in “non-place,” such as airport, shopping malls, hotels and refuge camps. In contrast to familiar, organic and localized anthropological “places”, these anonymous and functional “non-places” become associated with the mobile, hybrid subjectivities.
In Europe(1994), a forgotten railway station in an unnamed border town becomes a battleground for the dynamic interaction among nationalism, global capitalism and border-crossing. The railway station is a typical example of “non-place”, a symbol of connections where the individual can experience Otherness. However, Greig does not present a performative act of border-crossing as an idealized, metaphorical locus of a new hybridity, which tends to overlook the real conditions of the border. The play insists that border-crossing is not a luxury, but a matter of life and death in a contested space where ethnic nationalism continuously competes with transnational capitalism.
KW - David Greig;Scottish Drama;post-nationalism;non-place;global capitalism
DO -
UR -
ER -
KIM, YOO. (2011). National Identity and Post-Nationalism in Contemporary Scottish Drama: Focusing on David Greig’s Europe. Journal of Modern English Drama, 24(1), 5-27.
KIM, YOO. 2011, "National Identity and Post-Nationalism in Contemporary Scottish Drama: Focusing on David Greig’s Europe", Journal of Modern English Drama, vol.24, no.1 pp.5-27.
KIM, YOO "National Identity and Post-Nationalism in Contemporary Scottish Drama: Focusing on David Greig’s Europe" Journal of Modern English Drama 24.1 pp.5-27 (2011) : 5.
KIM, YOO. National Identity and Post-Nationalism in Contemporary Scottish Drama: Focusing on David Greig’s Europe. 2011; 24(1), 5-27.
KIM, YOO. "National Identity and Post-Nationalism in Contemporary Scottish Drama: Focusing on David Greig’s Europe" Journal of Modern English Drama 24, no.1 (2011) : 5-27.
KIM, YOO. National Identity and Post-Nationalism in Contemporary Scottish Drama: Focusing on David Greig’s Europe. Journal of Modern English Drama, 24(1), 5-27.
KIM, YOO. National Identity and Post-Nationalism in Contemporary Scottish Drama: Focusing on David Greig’s Europe. Journal of Modern English Drama. 2011; 24(1) 5-27.
KIM, YOO. National Identity and Post-Nationalism in Contemporary Scottish Drama: Focusing on David Greig’s Europe. 2011; 24(1), 5-27.
KIM, YOO. "National Identity and Post-Nationalism in Contemporary Scottish Drama: Focusing on David Greig’s Europe" Journal of Modern English Drama 24, no.1 (2011) : 5-27.