The Oppressor/Oppressed Relationship in the Light of Neo-Colonialism {A Comparative Study of Selected Post-Colonial Plays}

Abstract

Abstract

In its attempt to propagate itself and its presence whether cultural, political, social, or economic, neo-colonialism proves that colonialism and imperialism are not things of the past. Colonialism, imperialism and neo-colonialism are three systems of oppression that have controlled and overwhelmed the world for centuries aiming at global hegemony. Hence, colonial, imperial and neo-colonial strategies of oppressive Western ideology aim at achieving economic superiority through cultural, social, economic, military and political hegemony over less advanced countries. Therefore, a 'New World Order' is constructed by the West to serve its interests disregarding the conditions of the exploited or oppressed colonized/neo-colonized countries. In such situation, the natives of oppressed countries, especially the Third World, are regarded as inferior, primitive barbarians. Moreover, to reinforce its power, neo-colonialism is further supported by the elites, who are brought to govern after the independence of their countries from colonialism. The elites are often educated and trained by the colonial, imperial and neo-colonial powers, thus they do not represent their native countries as their loyalty is for the neo-colonial power with which they exchange benefits.

Hence, this thesis explores the oppressor/oppressed relationship in the light of neo-colonialism considering it an extension of colonialism and imperialism by adopting a semiotic approach. It examines the selected plays, which belong to five different Western dramatists, in the post-colonial context with the objective of exploring the extent that these dramatists criticize and condemn their countries colonial, imperial and neo-colonial practices of exploitation, hegemony and oppression. Moreover, it mainly focuses upon the role of the dramatic elements, as verbal and non-verbal signs, in each play for the purpose of examining the rationale behind the manipulation of such elements in revealing the relation between the oppressor and the oppressed, as most of the previous studies concerning these plays have devalued them due to their criticism of oppressive Western dogmas and have ignored the role of the dramatic elements in conveying the sufferings of the oppressed.