Wit and Value System in the Plays of Oscar Wilde and Tom Stoppard
Elham Gamal Abdel Mageed Ahmed;
Abstract
The objective of this thesis is twofold: First, it seeks to present a detailed survey of one of the significant concepts in drama, i.e. wit, discusses traditional assumptions about it and debates that it is not just a technical device. Instead, the thesis suggests a perspective of wit which relates it to the value system of society. Second, it offers readings of Oscar Wilde and Tom Stoppard’s plays in order to grasp the nature of the relationship between wit and value system in their plays respectively.
Chapter One “Introduction” traces the development of the term wit from its etymological origin, its various treatments in the critical writings of famous thinkers throughout different ages, and its social role in light of its relationship with value system. Wit could thus be utilised as a subversive tool or as a tool of consolidating the system of values. Hence, the role of wit surpasses its being an aesthetic device; it could be a tool of changing or stabilising the status quo.
Chapter Two, “The Witty Artist and Value System in Oscar Wilde’s Plays”, deals with Wilde’s use of wit as an aesthetic mask which at once conceals and reveals his severe criticism of Victorian value system. Moreover, this chapter argues that Wilde manages to make a reconciliation between his aesthetic slogan of Art for Art’s Sake and his humanist commitment. Limiting the scope of analysis to Wilde’s subversive use of wit in three major plays, namely, Lady Windermere’s Fan, An Ideal Husband and The Importance of Being Earnest shows how he utilises his wit to expose and attack the contradictions and hypocrisies of Victorian morality.The premise that Tom Stoppard’s witty plays celebrate non-commitment regarding social and political issues is tackled in Chapter Three “Value System in Tom Stoppard’s Witty Plays”. This chapter reveals how Stoppard’s aesthetic and moral vision is affected by logical positivism and Ludwig Wittgenstein’s linguistic philosophy. The analysis of three plays written by Stoppard, namely, Rosencrantz and Guildenstern Are Dead, Travesties and The Real Thing, indicates that he does not believe that art could effect change by means of direct action; instead, his plays represent the theatrical consolidation of absolute values and the rejection of relativism.
The thesis results in some general findings which assert that wit could be used either as a subversive tool which challenges dogmatic systems of values or as a tool of the celebration of the absolute, unchangeable nature of values. Moreover, the study manifests the influence of Wilde’s wit on Stoppard’s style and aesthetic vision. Finally, it reaches the conclusion that Wilde is more socially committed towards changing the value system of society than Stoppard whose witty plays dramatise his social and political detachment.
Chapter One “Introduction” traces the development of the term wit from its etymological origin, its various treatments in the critical writings of famous thinkers throughout different ages, and its social role in light of its relationship with value system. Wit could thus be utilised as a subversive tool or as a tool of consolidating the system of values. Hence, the role of wit surpasses its being an aesthetic device; it could be a tool of changing or stabilising the status quo.
Chapter Two, “The Witty Artist and Value System in Oscar Wilde’s Plays”, deals with Wilde’s use of wit as an aesthetic mask which at once conceals and reveals his severe criticism of Victorian value system. Moreover, this chapter argues that Wilde manages to make a reconciliation between his aesthetic slogan of Art for Art’s Sake and his humanist commitment. Limiting the scope of analysis to Wilde’s subversive use of wit in three major plays, namely, Lady Windermere’s Fan, An Ideal Husband and The Importance of Being Earnest shows how he utilises his wit to expose and attack the contradictions and hypocrisies of Victorian morality.The premise that Tom Stoppard’s witty plays celebrate non-commitment regarding social and political issues is tackled in Chapter Three “Value System in Tom Stoppard’s Witty Plays”. This chapter reveals how Stoppard’s aesthetic and moral vision is affected by logical positivism and Ludwig Wittgenstein’s linguistic philosophy. The analysis of three plays written by Stoppard, namely, Rosencrantz and Guildenstern Are Dead, Travesties and The Real Thing, indicates that he does not believe that art could effect change by means of direct action; instead, his plays represent the theatrical consolidation of absolute values and the rejection of relativism.
The thesis results in some general findings which assert that wit could be used either as a subversive tool which challenges dogmatic systems of values or as a tool of the celebration of the absolute, unchangeable nature of values. Moreover, the study manifests the influence of Wilde’s wit on Stoppard’s style and aesthetic vision. Finally, it reaches the conclusion that Wilde is more socially committed towards changing the value system of society than Stoppard whose witty plays dramatise his social and political detachment.
Other data
| Title | Wit and Value System in the Plays of Oscar Wilde and Tom Stoppard | Authors | Elham Gamal Abdel Mageed Ahmed | Keywords | Wit;Value system;Absolute versus relative values;Art for Art’s Sake;Linguistic philosophy | Issue Date | 2015 | Publisher | Ph. D. of Teacher Preparation in Arts - Dept. of English - Faculty of Education - Ain Shams University |
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