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- W2579347818 abstract "In this chapter, I look at Pearse’s plays Passion Play (1911), The King (1912), Owen (1913), The Master (1915) and The Singer (1917) and, refuting the oft-repeated notion that Pearse’s recurrent treatment of the theme of the Passion proceeds from a morbid (or morbidly eroticised) fixation with death and blood sacrifice, I study the relationship between Pearse’s politics, educational practice and theatrical experimentation, and argue that he uses the tropes and the dramaturgy of the Passion pragmatically, as the forms ideally suited to promote his revolutionary agenda. I also challenge another critical view which has emerged in recent Pearse scholarship, according to which the plays both express Pearse’s illicit homosexual inclinations and attempt to camouflage them, ultimately working towards the stabilisation of traditional gender roles and the reinforcement of the hegemonic patriarchal order (Harris and Valente). Instead, I suggest that the masculinist discourse operating at surface level is complicated, indeed undermined, by the fluidity of gender positions which Pearse’s version of the Passion drama implicitly promotes." @default.
- W2579347818 created "2017-01-26" @default.
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- W2579347818 date "2016-01-01" @default.
- W2579347818 modified "2023-10-01" @default.
- W2579347818 title "Anticipating the Rising: Pedagogy, Sacrifice and Theatre in Padraic Pearse’s Plays" @default.
- W2579347818 doi "https://doi.org/10.1057/978-1-349-94963-2_3" @default.
- W2579347818 hasPublicationYear "2016" @default.
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