Litera: Journal of Language, Literature and Culture Studies

SUBMITINFORMATION
EnglishTürkçe

Research Article


DOI :10.26650/LITERA2024-1493884   IUP :10.26650/LITERA2024-1493884    Full Text (PDF)

“What is Hecuba to [me]?”: The Impossibility of Catharsis and Rupture of Representation in Marina Carr’s Hecuba

Ayşen Demir Kılıç

Marina Carr’s Hecuba (2015), an adaptation of Euripides’s tragedy Hecuba (424 BC), resonates with Hamlet’s famous line “What is Hecuba to him, or he to her?” (Shakespeare, 1599/2003, 2.2.511) for the contemporary spectator by arousing pain and guilt instead of a cathartic effect. In the adaptation, Carr portrays a different presentation of the Queen of Troy from her representations in several classical texts. Contrary to the classical picture of a vengeful mad queen, she retells the untold story of the tragic queen and reveals Hecuba’s sorrow, pain, love for her children, and the vulnerability of a woman who is surviving a war. In Hecuba, Carr manages to build an ethical encounter between Hecuba and both Agamemnon and the spectator. In doing so, she breaks the representation by applying experimental theatrical devices that disturb the spectator in their comfort zone and subvert the cathartic effect. The play leaves the spectator with the burden of heavy pain and responsibility for the Other. In this respect, this article discusses the impossibility of the purgation of feeling in contemporary theatre through a Levinasian ethical approach in relation to the Other in Marina Carr’s Hecuba.

Keywords: Marina Carr, Euripides, Hecuba, Levinas, Ethics

PDF View

References

  • Aragay, M. (2014). To begin to speculate: Theatre studies, ethics and spectatorship. In M. Aragay & E. Monforte (Eds.). Ethical speculations in contemporary British theatre (pp. 1-22). London: Palgrave Macmillan. google scholar
  • Carr, M. (2015). Hecuba. In Marina Carr: Plays 3. (pp. 204-260). London: Faber and Faber. google scholar
  • Cochrane, C. & Robinson, J. (2016). Theatre history and historiography: Ethics, evidence and truth (pp. 1-29). London: Palgrave Macmillan. google scholar
  • Eaglestone, R. (1997). Ethical criticism: Reading after Levinas. Edinburgh: Edinburgh University Press. google scholar
  • Foley, H. P. (2001). Female acts in Greek tragedy. Princeton: Princeton UP. google scholar
  • Gonzalez Chacon. M. (2016). Re-examining and redeeming the tragic queen: Euripides’ “Hecuba” in two versions by Frank McGuinness (2004) and Marina Carr (2015), en Complutense Journal of English Studies (24), 25-41. https://doi.org/10.5209/CJES.52527 google scholar
  • Grehan, H. (2009). Performance, ethics and spectatorship in a global age. London: Palgrave Macmillan. google scholar
  • Hutcheon, L. & O’Flynn, S. (2013). A theory of adaptation. New York: Routledge. google scholar
  • Large, W. (2015). Levinas’s totality and infinity: A reader’s guide. London: Bloomsbury. google scholar
  • Levinas, E. & Nemo, P. (1985). Ethics and infinity: Conversations with Philippe Nemo (R. A. Cohen, Trans.). Pittsburgh: Duquesne University Press. google scholar
  • Levinas, E. (1987). Reality and its shadow. Collected philosophical papers (A. Lingis, Trans.) (pp. 1-13). Boston: Martinus Nijhoff Publishers. google scholar
  • Levinas, E. (1987). Time and the Other: And additional essays. (R. A. Cohen, Trans.). Pittsburgh: Duquesne University Press. google scholar
  • Levinas, E. (1998). Otherwise than being, or, Beyond essence (A. Lingis, Trans.) Pittsburgh: Duquesne University Press. google scholar
  • Levinas, E. (2007). Totality and infinity: An essay on exteriority. (A. Lingis, Trans.). Pittsburgh: Duquesne University Press. google scholar
  • Liapis, V. & Sidiropoulou, A. (2021). Introduction. In V. Liapis & A. Sidiropoulou (Eds.). Adapting Greek tragedy: Contemporary contexts for ancient texts (pp. 1-23). Cambridge: Cambridge University Press. google scholar
  • Lloyd, M. (2019). Greek tragedy in Ireland 2019-2020 [Review of the play Hecuba by Marina Carr]. Ireland, Britain, and the Classical World. 26, 98-114. google scholar
  • Ranciere, J. (2019). The emancipated spectator (G. Elliott, Trans.). London: Verso. google scholar
  • Rees, C. (2017). Adaptation and nation: Theatrical contexts for contemporary English and Irish drama. London: Palgrave Macmillan. google scholar
  • Rich, A. (1972). When we dead awaken: Writing as re-vision. College English, 34(1), 18-30. https://doi. org/10.2307/375215 google scholar
  • Ridout, N. (2009). Theatre & ethics. London: Palgrave Macmillan. google scholar
  • Sanders, J. (2016). Adaptation and appropriation. New York: Routledge. google scholar
  • Shakespeare, W. (2003). Hamlet: Prince of Denmark (P. Edwards, Ed.). Cambridge: Cambridge University Press. (Original work published 1599) google scholar
  • Sierz, A. (2014). Foreword. In M. Aragay & E. Monforte (Eds.). Ethical speculations in contemporary British theatre (pp. ix-xvi). London: Palgrave Macmillan. google scholar
  • Sihra, M. (2005). Greek myth, Irish realty: Marina Carr’s By the bog of cats.... In J. Dillon & S. E. Wilmer (Eds.). Rebel women: Staging ancient drama today (pp. 116-135). London: Bloomsbury. google scholar
  • Sihra, M. (2018). Marina Carr: Pastures of the unknown. Cham: Palgrave Macmillan. google scholar
  • Storey, I. C. & Allan, A. (2014). A guide to ancient Greek drama. Chichester: Wiley Blackwell. google scholar
  • Vural Özbey, K. (2023). Glocalisation and adaptation in Marina Carr’s By the bog of cats... and Blood wedding. google scholar
  • Söylem Filoloji Dergisi. 8(2), 398-20. https://doi.org/10.29110/soylemdergi.1288451 google scholar
  • Wallace, C. (2019). Marina Carr’s Hecuba: Agency, anger and correcting Euripides. Irish Studies Review. 1-16. https://doi.org/10.1080/09670882.2019.1663606 google scholar
  • Wang, W. M. (2020). Readerly plays: Narration and formal experimentation in Marina Carr’s Hecuba. Style 54(4), 399-417. https://doi.org/10.5325/style.54.4.0399 google scholar
  • Wilmer, S. E. (2005). Introduction. In J. Dillon & S. E. Wilmer (Eds.). Rebel women: Staging ancient drama today (pp. xiii-xxv). London: Bloomsbury. google scholar
  • Wood, D. (2014). Introduction. In R. Bernasconi & D. Wood (Eds.). The provocation of Levinas: Rethinking the other (pp. 1-4). New York: Routledge. google scholar

Citations

Copy and paste a formatted citation or use one of the options to export in your chosen format


EXPORT



APA

Demir Kılıç, A. (2024). “What is Hecuba to [me]?”: The Impossibility of Catharsis and Rupture of Representation in Marina Carr’s Hecuba. Litera: Journal of Language, Literature and Culture Studies, 34(2), 401-421. https://doi.org/10.26650/LITERA2024-1493884


AMA

Demir Kılıç A. “What is Hecuba to [me]?”: The Impossibility of Catharsis and Rupture of Representation in Marina Carr’s Hecuba. Litera: Journal of Language, Literature and Culture Studies. 2024;34(2):401-421. https://doi.org/10.26650/LITERA2024-1493884


ABNT

Demir Kılıç, A. “What is Hecuba to [me]?”: The Impossibility of Catharsis and Rupture of Representation in Marina Carr’s Hecuba. Litera: Journal of Language, Literature and Culture Studies, [Publisher Location], v. 34, n. 2, p. 401-421, 2024.


Chicago: Author-Date Style

Demir Kılıç, Ayşen,. 2024. ““What is Hecuba to [me]?”: The Impossibility of Catharsis and Rupture of Representation in Marina Carr’s Hecuba.” Litera: Journal of Language, Literature and Culture Studies 34, no. 2: 401-421. https://doi.org/10.26650/LITERA2024-1493884


Chicago: Humanities Style

Demir Kılıç, Ayşen,. ““What is Hecuba to [me]?”: The Impossibility of Catharsis and Rupture of Representation in Marina Carr’s Hecuba.” Litera: Journal of Language, Literature and Culture Studies 34, no. 2 (Mar. 2025): 401-421. https://doi.org/10.26650/LITERA2024-1493884


Harvard: Australian Style

Demir Kılıç, A 2024, '“What is Hecuba to [me]?”: The Impossibility of Catharsis and Rupture of Representation in Marina Carr’s Hecuba', Litera: Journal of Language, Literature and Culture Studies, vol. 34, no. 2, pp. 401-421, viewed 10 Mar. 2025, https://doi.org/10.26650/LITERA2024-1493884


Harvard: Author-Date Style

Demir Kılıç, A. (2024) ‘“What is Hecuba to [me]?”: The Impossibility of Catharsis and Rupture of Representation in Marina Carr’s Hecuba’, Litera: Journal of Language, Literature and Culture Studies, 34(2), pp. 401-421. https://doi.org/10.26650/LITERA2024-1493884 (10 Mar. 2025).


MLA

Demir Kılıç, Ayşen,. ““What is Hecuba to [me]?”: The Impossibility of Catharsis and Rupture of Representation in Marina Carr’s Hecuba.” Litera: Journal of Language, Literature and Culture Studies, vol. 34, no. 2, 2024, pp. 401-421. [Database Container], https://doi.org/10.26650/LITERA2024-1493884


Vancouver

Demir Kılıç A. “What is Hecuba to [me]?”: The Impossibility of Catharsis and Rupture of Representation in Marina Carr’s Hecuba. Litera: Journal of Language, Literature and Culture Studies [Internet]. 10 Mar. 2025 [cited 10 Mar. 2025];34(2):401-421. Available from: https://doi.org/10.26650/LITERA2024-1493884 doi: 10.26650/LITERA2024-1493884


ISNAD

Demir Kılıç, Ayşen. ““What is Hecuba to [me]?”: The Impossibility of Catharsis and Rupture of Representation in Marina Carr’s Hecuba”. Litera: Journal of Language, Literature and Culture Studies 34/2 (Mar. 2025): 401-421. https://doi.org/10.26650/LITERA2024-1493884



TIMELINE


Submitted31.05.2024
Accepted23.09.2024
Published Online24.12.2024

LICENCE


Attribution-NonCommercial (CC BY-NC)

This license lets others remix, tweak, and build upon your work non-commercially, and although their new works must also acknowledge you and be non-commercial, they don’t have to license their derivative works on the same terms.


SHARE




Istanbul University Press aims to contribute to the dissemination of ever growing scientific knowledge through publication of high quality scientific journals and books in accordance with the international publishing standards and ethics. Istanbul University Press follows an open access, non-commercial, scholarly publishing.