The purpose of this paper is to demonstrate that the delayed stagings of American “committed” plays, written in the 1930s and produced in Slovene theaters immediately after World War Two in the late ...forties and fifties, were often miscontextualized and misinterpreted by the theater critics of the period. This was in the early post-war years largely due to the need to serve the then ruling ideology and to comply with the criteria of Marxist aesthetics, especially that of a radical social realist criticism. However, the later stagings of American plays by “committed” playwrights, and particularly those by Arthur Miller and
The Postcolonial Subject in Transit presents in-depth analyses of the complex transitional migratory identities evident in emerging African diasporic writings. It provides insights into the hybridity ...of the migrant experience, where the migrant struggles to negotiate new cultural spaces. It shows that while some migrants successfully adapt and integrate into new Western locales, others exist at the margins unable to fully negotiate cultural difference. The diaspora becomes a space for opportunities and economic mobility, as well as alienation and uncertainties. This illuminates the heterogeneity of the African diasporic narrative, expanding the dialogue of the diaspora, from one of simply loss and melancholia to self-realization and empowerment.
The first Slovenians came to Australia in the 1850s and 1860s, working on Austrian warships on their journeys around the world, since Slovenia, like most of the other Central European countries, was ...part of the Habsburg and the later Austro-Hungarian Empire. They did not decide to settle there, despite the alluring sensational news of the goldrush in Victoria. In the period between the two world wars, some 10,000 Slovenians migrated to Australia. They were mostly people from the Primorje (the Slovenian Adriatic Littoral) region, which after the Great War became part of Italy. They wanted to avoid the strong Italianising
PDF
