SARCASTIC INTERTEXTUALITIES AS ANGRY SPEECH IN JOHN OSBORNE’S LOOK BACK IN ANGER

Starting from John Osborne 's negative reaction to theatre critics' and journalists perception ofLook Back in Anger 's idiosyncratic language as "angry", as well as their perception of the protagonist Jimmy Porter as representative of the Angry Young Man movement, this paper considers sarcasm as one of the key aggressive rhetorical devices used in the language of the play. Osborne thought that the specific, even revolutionary rhetoric ofhis play was in most cases misunderstood and wrongly conveyed in theatre adaptations as "angry", which made the performance lose the edge that the language of the play had the potential for. Look Back in Anger provides an insight into the Porters lower-class mundane dailiness, charged with verbal aggression and intertextual allusiveness stemming from deeper political, historical and social issues of mid--twentieth-century Britain. This paper focuses on Jimmy Porter 's prevalent use of sarcasm as weapon in his personal battle, by taking John Haiman 's Talk ls Cheap: Sarcasm, Alienation, and the Evolution of Language, to illustrate how the language of Look Back in Anger coincides with Haiman 's conclusions on the theoretical and applied characteristics ofsarcasm in contemporary society.

John Osborne'un Öfke Adlı Oyununda Metinlerarası Alaycılık

Eleştirmenler ve gazetecilerin dilini "öfkeli bulduğu ve başkahramanı Jimmy Porter ’ı 'Genç Öfkeli Adam akımının temsilcisi olarak gördüğü John Osborne ’un Öfce adlı oyuna odaklanan bu çalışma, ortaya koyulan öfkenin büyük ölçüde bir söz sanatı olarak değerlendirilen iğnelemeyle gerçekleştirildiği ortaya koyulacaktır. Osborne ’a göre ise oyunundaki ‘devrimci söz sanatı yanlış algılanmış ve bu doğrultuda tiyatro sahnesine "öfkeli olarak yansıtılmıştır. Jimmy Porter ’ın alt sınıf günlük hayatını gözler önüne seren Öfke, ağırlı olarak Britanya ’daki sosyal, tarihsel ve toplumsal konularından kaynaklanan sözel saldırganlıkla ve metinlerarası kinayeyle yüklüdür. Bu çalışmada Porter ’ın kişisel savaşında iğnelemeyi kullanma biçimi, günümüz toplumundaki iğnelemenin teorik ve uygulamalı özelliklerine odaklanan John Haiman ’ın Talk ls Cheap: Sarcasm, Alienation, and the Evolution ofLanguage ışığında incelenecektir.

Kaynakça

GRAY, Jack C. “Irony: Practical Definition”. National Council of Teachers of English 21.4 (1960). 220—222. Web 14 April 2011.

HAIMAN, John. Talk Is Cheap: Sarcasm, Alienation, and the Evolution of Language. New York: Oxford University Press. 1998. Print.

LACEY, Stephen. British Realist Theatre: The New Wave In Its Context. London: Routledge. 1995. Print.

Look Back in Anger Dir. Judy Dench and D. Jones. 1989. DVD. The Renaissance Theatre Company for Thames Television.

KENNEDY, Andrew. “Osborne”. Six dramatists in search of language. London: Cambridge University Press, p. 192—212. 1975. Print.

OSBORNE, John. “Author’s Note”. De’ja vu in John Osborne: Plays 1. London: Faber Faber, p. 279—280. 199621. Print.

-—-. Look Back in Anger. London: Faber Faber. 1996b. Print.

REBELLATO, Dan. 1956 and All That: The Making of Modern British Drama. London and New York: Routledge. 1999. Print.

ŞENLEN, Sıla. Words as Swords: Verbal Violence as Construction ofAuthority in Renaissance and Contemporary English Drama. Stuttgart: Ibidem—verlag, 2009. Print.

SIERZ, Aleks. “John Osborne and the Myth of Anger”. In Yer Face Theatre. 1996. Web. 24 March 2011.

WANDOR, Michelene. Post- War British Drama: Looking Back in Gender. London: Routledge. 2001. Print.

Kaynak Göster