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ENGLAND is a play performed in an art gallery by two performers, Tim Crouch and Hannah Ringham. The play, which discusses the social position of contemporary art, has a design that can only be performed in a white walled art gallery where Crouch and Ringham alternate in the narration of an intense monologue. In the first act, the protagonist, whose boyfriend is a wealthy art dealer and participates in art auctions as part of his work, is portrayed as a very serious heart patient who despairingly awaits for an organ transplantation. In the second act, the protagonist, now named as English, goes to an unknown city in the Middle East to thank a Muslim widow (the wife of the donor, Hassam) who believes that her husband was killed and his heart was stolen to save a Western person’s life. The play contextualizes a different kind of exploitation within the context of transmigration and transplantation. It represents the invasion of a heart for a wealthy Westerner’s body and another country’s culture. In addition to analysing the text, this study aims to provide an overview of Tim Crouch's work and to show the themes of transformation and exploitation in ENGLAND.

This paper aims to shed light on the concept of exceptional femininities in the script and performance of Cicely Hamilton's political play A Pageant of Great Women, which she wrote in 1909. The word "femininities" is used in the article to refer to women of the period and their distinguishing feminine qualities which emphasise their unique identities as notable figures. The article claims that her play was not only an imitation of Edwardian social drama with a political message. Instead, it suggests that she exploited a large variety of sources in the construction of her female characters. The play showcases rich costumes, a large stage and a very large cast, and its first production was performed by famous Edwardian actresses who represent the exceptional qualities of femininity they promoted on the stage. However, it also reveals confusion about the ordinary and the exceptional and to what extent ordinary women could be attracted to the playwright's arguments through her representation of exceptionality. Hamilton's relying solely on the exceptional, hence the minority, for mass appeal, suggests an elitist strategy. It is elitist due to its exclusive idealisation of exceptionality, but her strategy has limitations in elucidating the scope and the range of exceptionality and how it could be applied to the ordinary. This paper examines the tension between the represented and the object of representation in the construction and production of the play and attempts to show how this tension is partly resolved through the playwright's unique solution.

The New Woman as a radical female figure and a controversial literary construct appeared in the works of fin-desiècle feminist authors in Britain. Short story was a suitable form for the New Woman to represent new femininity and express her opinions both in content and form. Her short stories portrayed a large body of female characters that could be identified with her smoking habits, masculine outfits and manners as well as strong feminist arguments. This paper attempts to identify what the possible meanings are engendered by the constructions of new femininity and her unconventional personalities that promote women's artistic creativity, performance of pseudo-masculinity as well as free act and speech for gender equality. The stories examined in this paper have been selected from Elaine Showalter's book entitled Daughters of Decadence: Women Writers of the Fin-de-Siècle, which includes a representative selection of short stories written by female writers. In this selection, it has also been important to determine in what ways the collection of short stories in this edition offered a common discourse about these women's stance over the issue of female liberties and their personal struggle in their private lives.

This study analyses variation sets in a sample of child-directed speech (CDS) in Turkish in terms of their structure and effect on child speech. The term "variation set" was first introduced to describe the sequences of repetitions, in which the intention behind expressions stays the same throughout the whole conversation while the form shows constant variation. This occurs in various ways such as lexical substitution, rephrasing and so on. This study attempts to investigate the speech of a child aged 1;8 in various conversations with a Turkish native speaker parent who engages in daily activities with her son. As a longitudinal study, the data was collected through video recordings for a period of three months covering the child's developmental stages from the age 1;8 to 1;10. The videos were recorded by the mother on a regular basis during day-time activities in play, meal and leisure times each week. Initially, the recorded data was transcribed and variation sets were identified. Later, they were analysed by looking at their structure and functions in the speech. Finally, the findings were compared with each other (in three sets) for the changes in frequency, structure and functions between the ages of 1;8 to 1;10. The data provide ample evidence on how variation sets in CDS are modified for a successful interaction without a communication breakdown in line with the child's linguistic competence.