Abstract

Abstract:

This article analyses the ways in which David Greig's The Architect (1996), Stephen Greenhorn's Passing Places (1997) and David Harrower's Kill the Old Torture Their Young (1998) question existing notions of home, dissect the semantic structure of the concept and explore the impossibility of its physical representation. The three plays, with an explicit focus on spatial structures, stage postmodern landscapes (a housing estate, the globalised Highlands and an unnamed city) and failed attempts at representing them, thus problematising the conventional understanding of the place where one's home is. In the context of accelerated globalisation and on the eve (and in the immediate aftermath) of the successful devolution referendum, this new concept of a more inclusive, fluid and global notion of Scottishness was set against the clichés of an outdated nationalist discourse.

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Additional Information

ISSN
2050-6678
Print ISSN
1756-5634
Pages
pp. 137-155
Launched on MUSE
2017-11-25
Open Access
No
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