|
Contact
+ Contact Form
Search
+ Search Form
Introduction
+ Aims & Scope
+ Structure
+ History
Announcements
+ Updates
+ Calls for Papers
+ New Lectures
+ New Publications
Alphabetical Index
+ Author Index
+ Speaker Index
Chronological Index
+ Ancient History
+ Medieval History
+ Modern History
Geographical Index
+ African History
+ American History
+ Asian History
+ European History
+ Oceanian History
Topical Index
+ Prosecution
+ Cases
+ Types
+ Offenders
+ Victims
+ Society
+ Research
+ Representations
Resources
+ Institutions
+ Literature Search
+ Research
|
Start:
Alphabetical Index:
Author Index:
A |
B |
C |
D |
E |
F |
G |
H |
I |
J |
K |
L |
M |
N |
O |
P |
Q |
R |
S |
T |
U |
V |
W |
X |
Y |
Z |
Unknown
First published: December 1, 2025 - Last updated: December 1, 2025
TITLE INFORMATION
Authors: Komlan Christian Akpagana and Paméssou Walla
Title: From Comfort Zone to War Zone
Subtitle: Britain’s Indifference Blasted in Sarah Kane’s Blasted
Journal: Collection Pluraxes / Monde
Volume:
Issue:
Year: 2025
Pages: 264-287
eISSN: 2960-0723 -
Find a Library: WorldCat
Language: English
Keywords:
Modern History:
20th Century |
European History:
English History |
Types:
Rape;
Representations:
Literary Texts /
Sarah Kane
FULL TEXT
Link:
E.F.U.A EDITIONS (Editions Francophones Universitaires d’Afrique) (Free Access)
ADDITIONAL INFORMATION
Authors:
-
Komlan Christian Akpagana: -
-
Paméssou Walla: -
Abstract:
»Britain is one of the permanent members of the UN Security Council, a position that gives it both power and responsibility in responding to international crises.Paradoxically, Britain’s response to the Bosnian War was marked by a striking sense of indifference. Therefore, this article examines Sarah Kane’s Blasted (1995) as a radical theatrical intervention that exposes Britain’s indifference to the Bosnian War through the collapse of the domestic comfort into a state of consciousness. Through Antonin Artaud’s theory, known as theatre of cruelty coupled with semiotic critical approach, the study demonstrates how Kane assaults the audience with raw depictions of violence, rejecting euphemism in favor of visceral confrontation. With the help of Semiotic literary theory, the study explores the signs, symbols, metaphors and images permeating the disturbing scenes in Kane’s play to dismantle British detachment and implicate its audience in the violence it seeks to ignore. Moreover, this article finds that Blasted operates as both a semiotic disruption and a cruel revelation, indicting Britain’s indifference by turning its comfort zone into a War zone.«
(Source: Collection Pluraxes / Monde)
Contents:
| |
Abstract (p. 264) |
| |
Résumé (p. 264) |
| |
Introduction (p. 265) |
| |
1. Background to Sarah Kane’s Blasted (p. 266) |
| |
|
1.1. Exposing British Government and Media Hypocrisy (p. 268) |
| |
|
1.2. Britain’s Arrogance and Indifference Reflected in the Character of Ian in Blasted (p. 270) |
| |
|
1.3. The Sense of Media Complacency and Complicity in Blasted (P. 272) |
| |
2. Blasting Britain’s Indifference in Kane’s Blasted (p. 276) |
| |
3. From Comfort Zone to War Zone: Dehumanizing Effects of War as a Result of Britain Deliberate Indifference (p. 279) |
| |
|
3.1. The Symbolism of the Urination Scene in Blasted (p. 279) |
| |
|
3.2. Ian’s Rape by the Soldier as a Metaphor (p. 282) |
| |
|
3.3. The Symbolism of the Soldier Gouging Ian’s Eyes in Blasted (p. 283) |
| |
Conclusion (p. 285) |
| |
Bibliographical References (p. 286) |
Wikipedia:
History of Europe:
History of England |
Literature:
English literature /
Sarah Kane |
Literature:
Plays about rape /
Blasted |
Sex and the law:
Rape /
History of rape |
War:
Bosnian War
|