Entering the long-held white, male-dominated domain of science-fiction, feminist writers, inspire... more Entering the long-held white, male-dominated domain of science-fiction, feminist writers, inspired by the 1960s second-wave feminist awakening and consciousness, have started to use science-fiction genre as a "fruitful venue" for exploration of the radical entanglement between eco-catastrophic scenarios and misogynistic, sexist ideologies, and impositions. Being one of these influential and prolific, feminist science-fiction writers, rather a speculative fiction writer, Margaret Atwood, in her 1985 novel The Handmaid's Tale, focuses on the interrelatedness of women and environment, their dual subjugation, abuse, and exploitation in the not-too-distant speculative world. She depicts that in the case of environmental disasters and/or ecological instability, women, becoming the most disadvantaged group, get subjected to docility, exploitation, and various horrendous practices, thus they suffer and pay the consequences of ecological devastation gravely. Portraying postcollapse USA, where the president, members of the parliament, and senate are killed and the US judicial system is suspended, the story takes place in what is now called the Gilead Republic, run by a group of totalitarian and despotic commanders. In this grim world order, infertility as a result of environmental degradation and ecological crises, becomes a huge problem, leading this oppressive government to take severe actions. Through invasive and selective methods, fertile women are collected as "herds" and first "tamed," then reduced to forced breeding and handed over to rich, elite and high-ranking male commanders to be used and exploited as breeding machines. The paper entails an exploration of how the escalating eco-catastrophic problems and disasters cause the female body to grotesquely transform into a "biological vessel" (Roos, 2008, p. 45). In this paper, the horrific scientific intervention applied to the female body and the quest to save the society from
This article delves into the fluidity of the toxic bodies drawing on Stacy Alaimo's Bodil... more This article delves into the fluidity of the toxic bodies drawing on Stacy Alaimo's Bodily Natures (2010) with reference to the Bhopal industrial leak and the Chernobyl Nuclear Power Plant accident in both of which tons of toxic chemicals and radioactivity leaked, causing extreme abnormalities in people's bodies. Resting on this grim reality, these two events are poignant examples in terms of the embodiment of fluid, toxic bodies of people who are wryly exposed to a massive amount of life-threatening toxicity which has been incorporated underground systems, groundwater lines, springs, and soil. Recognizing how bodies interact with the flow of chemicals and toxicants, this article examines the penetration of environmental toxicity into the bodies of people, explores how fluid the bodies which are, being in constant interaction and contaminated by the substances. I argue that by eroding the boundaries between human and non-human agencies, these eco-catastrophes provide a significant framework in making us realize pervasive toxicity in our lives. To my end, I employ Stacy Alaimo's trans-corporeality to offer a critical framework in understanding the fluidity of the human body which is not distinct and unmalleable but entangled in various rhizomatic webs of connections with the non-human world. Therefore, this article explores how human bodies who are exposed to two catastrophes are toxified through material forces, systems, drains and all underground agents as the boundaries between bodies and environment have become porous and permeable. In doing so, it scrutinizes how our lives, bodies, relationships, politics, and food have become enormously toxic with references to two texts, within the framework of "toxic discourse," Indra Sinha's Animal's People (2007) and Svetlana Alexievich's The Voices of Chernobyl: The Oral History of a Nuclear Disaster (2006), which dramatize two catastrophes, Bhopal and Chernobyl respectively. The foreboding effects of these two disasters are still profoundly felt and experienced not just locally but globally, which should definitely make us reconsider our takenfor-granted conceptions regarding the more-than-human world.
HUMANITAS - Uluslararası Sosyal Bilimler Dergisi, 2022
Virginia Woolf, in her highly experimental modernist novel The Waves (1931), depicts the psycholo... more Virginia Woolf, in her highly experimental modernist novel The Waves (1931), depicts the psychological depth and texture of human experience through a series of fragmented and disjointed images, interior monologues and soliloquies, highlighting the feeling of loss, disillusionment, and brokenness. Throughout The Waves (1931), the characters strive to express themselves, and engage in a posthuman quest for a construction of a self-image through interactions with human and nonhuman life forms, and co-existence with the environment. This paper explores The Waves from a material posthumanist approach to offer a new perspective to Woolf’s understanding of the interface of nature and culture, self and the environment, the human and nonhuman agencies. This approach would be useful means to analyze the characters’ yearning for unification and their embodiment with nature, and explore the posthuman materiality of living and non-living beings that would help them redefine their shattered imag...
During the 1990s, a new movement on British stages emerged owing to the cultural, political, ideo... more During the 1990s, a new movement on British stages emerged owing to the cultural, political, ideological, and social changes prevalent in British society. Despite the multiplicity of denitions loosely attributed to this movement, the term “in-yer-face theatre,” appears to be more commonly well-received and more encompassing. As an overt reaction to the changes taking place in British society at the time, newly emerging dramatists express their disillusionment, nonconformity through transgressing the bounds of purported decency in theatre, subverting conventional dramatic representations and techniques with the use of striking and challenging imagery. Belonging to this in-yer-face oeuvre, Sarah Kane, has given voice to several contemporary issues, including survival under harsh conditions like in war zone, indifference and desensitization to war, the power imbalance both in public and private spheres, commodied love and sex, gender and identity politics, as well as growing consumer...
Posthumanism and its core ideas have been spreading in different parts of the world and in variou... more Posthumanism and its core ideas have been spreading in different parts of the world and in various areas of human interest as a response to the multi-faceted problems human and more-than-human worlds are facing. While scholars such as Stacy Alaimo, Karen Barad, Rosi Bradoitti, Donna Haraway, Katherine Hayles, and Cary Wolfe led Posthumanism as a distinct literary and philosophical movement in the late twentieth and early twenty-first centuries, it is rooted in postmodern thinking and its criticism of modernity and humanism, as seen in Ihab Hassan’s work. The human-centric subjectivity of modernity and its logocentricity found its climax in the Enlightenment, which paved the way for the Industrial Revolution in the following century. Through colonialism, modernity and its ideals have become global phenomena, as indigenous cultures have been subsumed under modernity’s principles, and some have gradually disappeared as a consequence. Those who have survived became exotic objects for th...
Bu calisma, insansonrasi (posthuman) kuram acisindan insanin taniminin ne oldugunu, Kazuo Ishigur... more Bu calisma, insansonrasi (posthuman) kuram acisindan insanin taniminin ne oldugunu, Kazuo Ishiguro’nun Never Let Me Go (Beni Asla Yalniz Birakma) (2005) adli eserinde klonlanmis bedenler, Indra Sinha’nin Animal’s People’inda (2007) toksik bedenler ve Justina Robson’un Natural History’sinde (2004) sibernetik bedenler olarak, uc posthuman beden betimlemesi uzerinde durarak, degisen beden anlayisiyla tartismaktadir. Bu baglamda, insan bedeninin insan olmayan diger dunyadan ayri degil onunla icice olarak algilandigi yeni olasi bakis acisi gelistiren insan bedeni ve dunya arasindaki degismez ve dinamik baglanti, son derece onemlidir. Her bir roman, insani kimyasal madddelerle, makinelerle ve diger insan olmayan varliklarla etkilesime sokarak, insanin arada kalmisligini betimlemekte ve insan ve insan olmayan bedenler arasindaki kesin cizgilerle cizilmis farklarin ortadan kalktigini gostermektedir.
Bu makale, Ann Radcliffe’in The Mysterious of Udolpho (Udolpho’nun Gizemleri) (1794)adli romanind... more Bu makale, Ann Radcliffe’in The Mysterious of Udolpho (Udolpho’nun Gizemleri) (1794)adli romaninda, esrarengiz ve gizemli bir sekilde ustu ortulmus olaylarin “kara perdesini kaldiran” Gotik bir kadin kahramanin tinsel kesfine odaklanmaktadir. 18. Yuzyil Ingiltere’sinde evcil bir alanda tutsak edilen kadinin yasantisina isik tutarken, Ann Radcliffe, Emily adini verdigi bu kadin kahramani, gecmisin yukunu kaldirarak suan ki tutsakligindan kurtulabilen biri olarak betimler. Radcliffe, kendi siirsel gucu ve duyarliligiyla isledigi Gotik turunu ve gerilimi kullanarak, 18.Yuzyilda kadinlarin durumunu anlamak ve gozler onune sermek icin doga ustuculugu bir cesit arac olarak kullanir ve toplumun kritik bir resmini cizerken ayni zamanda da kadinlarla ilgili politik soylemler de bulunur.
Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi - DTCF Dergisi, 2017
1990'lerde İngiliz toplumunda hüküm süren kültürel, politik, ideolojik ve sosyal değişiklerin etk... more 1990'lerde İngiliz toplumunda hüküm süren kültürel, politik, ideolojik ve sosyal değişiklerin etkisiyle İngiliz tiyatro sahnelerinde yeni bir akım doğdu. Bu akım değişik bir sürü tanımla adlandırılsa da "in-yer-face tiyatrosu" tanımı daha yaygın olarak kabul görmüş ve daha kapsayıcı bir kavram olarak görülmüştür. O zamanlar İngiliz toplumunda meydana gelen değişikliklere açık tepki olarak öne çıkan yeni oyun yazarları, memnuniyetsizliklerini, topluma uyumsuzluklarını, nezaket sınırlarını ihmal etmeyi ve geleneksel teatral tasvir ve tekniklerini çarpıcı imgeler kullanarak yıkmayı amaç edinirler. In-yer-face tiyatrosunun bir parçası olan Sarah Kane, savaş alanı gibi zorlu şartlarda ayakta kalma mücadelesi, güç dengesizliği, savaşa karşı kayıtsızlık, materyalleşmiş aşk ve seks, toplumsal cinsiyet ve kimlik politikaları ile toplumda artan tüketim gibi birçok konuyu eserlerinde islemiştir. Üçüncü oyunu Cleansed karakterlerin toplumsal uyuşmazlıklarına karşı onları sözde disipline edip eğiten, boğucu ve tutsak edici bir eğitim enstitüsünde geçmektedir. Öğrencileri toplumsal uyum sınırlarına indirgeyerek, istek ve bireyselliği yok eden yaygın ve baskıcı Batı eğitim sistemini eleştirirken, Sarah Kane dişi/erkek, ben/öteki, kurban/kurban edilen, beden/akil, baskılayıcı/baskılanan, masum/suç isleyen, doğal/doğal olmayan normal/normal olmayan ahlaklı/ahlaklı olmayan ve akıllı aklı başında olmayan gibi toplumsal değerlerin dayandığı ikili düşünce sistemini yıkmaktadır. Oyunları çoğunlukla geleceğe karşı karamsar ve çaresizlik içeriyor gibi değerlendirilse de bu makale onun Cleansed oyununu Deleuze ve Guattari nin pozitif ve yaşamı onaylayan felsefesiyle değerlendirilecektir. Bu değerlendirme, Kane'nin sabit kimlik anlayışı, süregelen cinsellik normları ve bedenler üzerine atfedilen toplumsal cinsiyetler üzerine sorular sorması bakımından oyunu değerlendirmede yeni bakış açıları getireceğine inanıyorum. During the 1990s, a new movement on British stages emerged owing to the cultural, political, ideological, and social changes prevalent in British society. Despite the multiplicity of denitions loosely attributed to this movement, the term "in-yer-face theatre," appears to be more commonly well-received and more encompassing. As an overt reaction to the changes taking place in British society at the time, newly emerging dramatists express their disillusionment, nonconformity through transgressing the bounds of purported decency in theatre, subverting conventional dramatic representations and techniques with the use of striking and challenging imagery. Belonging to this in-yer-face oeuvre, Sarah Kane, has given voice to several contemporary issues, including survival under harsh conditions like in war zone, indifference and desensitization to war, the power imbalance both in public and private spheres, commodied love and sex, gender and identity politics, as well as growing consumerism and repercussions in the society. Her third play Cleansed (1998) takes place in a stiing and captivating educational institution where characters in the play are allegedly disciplined and trained by violence against their unconformities. While criticizing the prevalent oppressive educational system that diminishes desire and unique individuality by seeking to subjugate students to the limits of conformity, Sarah Kane topsy-turvies dualistic thoughts based on societal norms between female/male, self/other, victim/victimized, body/mind, inside/outside oppressor/oppressed, victim/perpetrator, natural/unnatural, normal/abnormal, moral/immoral, and sane/insane. Despite the proclivity to interpret her plays fraught with pessimism and hopelessness towards future, this article recontextualizes her play Cleansed using Gilles Deleuze and Félix Guattari's positive and life-afrming philosophy, which I believe, will open up new alternative visions in the articulation of her play with regards to the question she raises about the xed nature of identity, long-standing norms of sexuality, and gender inscription on the bodies.
Entering the long-held white, male-dominated domain of science-fiction, feminist writers, inspire... more Entering the long-held white, male-dominated domain of science-fiction, feminist writers, inspired by the 1960s second-wave feminist awakening and consciousness, have started to use science-fiction genre as a "fruitful venue" for exploration of the radical entanglement between eco-catastrophic scenarios and misogynistic, sexist ideologies, and impositions. Being one of these influential and prolific, feminist science-fiction writers, rather a speculative fiction writer, Margaret Atwood, in her 1985 novel The Handmaid's Tale, focuses on the interrelatedness of women and environment, their dual subjugation, abuse, and exploitation in the not-too-distant speculative world. She depicts that in the case of environmental disasters and/or ecological instability, women, becoming the most disadvantaged group, get subjected to docility, exploitation, and various horrendous practices, thus they suffer and pay the consequences of ecological devastation gravely. Portraying postcollapse USA, where the president, members of the parliament, and senate are killed and the US judicial system is suspended, the story takes place in what is now called the Gilead Republic, run by a group of totalitarian and despotic commanders. In this grim world order, infertility as a result of environmental degradation and ecological crises, becomes a huge problem, leading this oppressive government to take severe actions. Through invasive and selective methods, fertile women are collected as "herds" and first "tamed," then reduced to forced breeding and handed over to rich, elite and high-ranking male commanders to be used and exploited as breeding machines. The paper entails an exploration of how the escalating eco-catastrophic problems and disasters cause the female body to grotesquely transform into a "biological vessel" (Roos, 2008, p. 45). In this paper, the horrific scientific intervention applied to the female body and the quest to save the society from
This article delves into the fluidity of the toxic bodies drawing on Stacy Alaimo's Bodil... more This article delves into the fluidity of the toxic bodies drawing on Stacy Alaimo's Bodily Natures (2010) with reference to the Bhopal industrial leak and the Chernobyl Nuclear Power Plant accident in both of which tons of toxic chemicals and radioactivity leaked, causing extreme abnormalities in people's bodies. Resting on this grim reality, these two events are poignant examples in terms of the embodiment of fluid, toxic bodies of people who are wryly exposed to a massive amount of life-threatening toxicity which has been incorporated underground systems, groundwater lines, springs, and soil. Recognizing how bodies interact with the flow of chemicals and toxicants, this article examines the penetration of environmental toxicity into the bodies of people, explores how fluid the bodies which are, being in constant interaction and contaminated by the substances. I argue that by eroding the boundaries between human and non-human agencies, these eco-catastrophes provide a significant framework in making us realize pervasive toxicity in our lives. To my end, I employ Stacy Alaimo's trans-corporeality to offer a critical framework in understanding the fluidity of the human body which is not distinct and unmalleable but entangled in various rhizomatic webs of connections with the non-human world. Therefore, this article explores how human bodies who are exposed to two catastrophes are toxified through material forces, systems, drains and all underground agents as the boundaries between bodies and environment have become porous and permeable. In doing so, it scrutinizes how our lives, bodies, relationships, politics, and food have become enormously toxic with references to two texts, within the framework of "toxic discourse," Indra Sinha's Animal's People (2007) and Svetlana Alexievich's The Voices of Chernobyl: The Oral History of a Nuclear Disaster (2006), which dramatize two catastrophes, Bhopal and Chernobyl respectively. The foreboding effects of these two disasters are still profoundly felt and experienced not just locally but globally, which should definitely make us reconsider our takenfor-granted conceptions regarding the more-than-human world.
HUMANITAS - Uluslararası Sosyal Bilimler Dergisi, 2022
Virginia Woolf, in her highly experimental modernist novel The Waves (1931), depicts the psycholo... more Virginia Woolf, in her highly experimental modernist novel The Waves (1931), depicts the psychological depth and texture of human experience through a series of fragmented and disjointed images, interior monologues and soliloquies, highlighting the feeling of loss, disillusionment, and brokenness. Throughout The Waves (1931), the characters strive to express themselves, and engage in a posthuman quest for a construction of a self-image through interactions with human and nonhuman life forms, and co-existence with the environment. This paper explores The Waves from a material posthumanist approach to offer a new perspective to Woolf’s understanding of the interface of nature and culture, self and the environment, the human and nonhuman agencies. This approach would be useful means to analyze the characters’ yearning for unification and their embodiment with nature, and explore the posthuman materiality of living and non-living beings that would help them redefine their shattered imag...
During the 1990s, a new movement on British stages emerged owing to the cultural, political, ideo... more During the 1990s, a new movement on British stages emerged owing to the cultural, political, ideological, and social changes prevalent in British society. Despite the multiplicity of denitions loosely attributed to this movement, the term “in-yer-face theatre,” appears to be more commonly well-received and more encompassing. As an overt reaction to the changes taking place in British society at the time, newly emerging dramatists express their disillusionment, nonconformity through transgressing the bounds of purported decency in theatre, subverting conventional dramatic representations and techniques with the use of striking and challenging imagery. Belonging to this in-yer-face oeuvre, Sarah Kane, has given voice to several contemporary issues, including survival under harsh conditions like in war zone, indifference and desensitization to war, the power imbalance both in public and private spheres, commodied love and sex, gender and identity politics, as well as growing consumer...
Posthumanism and its core ideas have been spreading in different parts of the world and in variou... more Posthumanism and its core ideas have been spreading in different parts of the world and in various areas of human interest as a response to the multi-faceted problems human and more-than-human worlds are facing. While scholars such as Stacy Alaimo, Karen Barad, Rosi Bradoitti, Donna Haraway, Katherine Hayles, and Cary Wolfe led Posthumanism as a distinct literary and philosophical movement in the late twentieth and early twenty-first centuries, it is rooted in postmodern thinking and its criticism of modernity and humanism, as seen in Ihab Hassan’s work. The human-centric subjectivity of modernity and its logocentricity found its climax in the Enlightenment, which paved the way for the Industrial Revolution in the following century. Through colonialism, modernity and its ideals have become global phenomena, as indigenous cultures have been subsumed under modernity’s principles, and some have gradually disappeared as a consequence. Those who have survived became exotic objects for th...
Bu calisma, insansonrasi (posthuman) kuram acisindan insanin taniminin ne oldugunu, Kazuo Ishigur... more Bu calisma, insansonrasi (posthuman) kuram acisindan insanin taniminin ne oldugunu, Kazuo Ishiguro’nun Never Let Me Go (Beni Asla Yalniz Birakma) (2005) adli eserinde klonlanmis bedenler, Indra Sinha’nin Animal’s People’inda (2007) toksik bedenler ve Justina Robson’un Natural History’sinde (2004) sibernetik bedenler olarak, uc posthuman beden betimlemesi uzerinde durarak, degisen beden anlayisiyla tartismaktadir. Bu baglamda, insan bedeninin insan olmayan diger dunyadan ayri degil onunla icice olarak algilandigi yeni olasi bakis acisi gelistiren insan bedeni ve dunya arasindaki degismez ve dinamik baglanti, son derece onemlidir. Her bir roman, insani kimyasal madddelerle, makinelerle ve diger insan olmayan varliklarla etkilesime sokarak, insanin arada kalmisligini betimlemekte ve insan ve insan olmayan bedenler arasindaki kesin cizgilerle cizilmis farklarin ortadan kalktigini gostermektedir.
Bu makale, Ann Radcliffe’in The Mysterious of Udolpho (Udolpho’nun Gizemleri) (1794)adli romanind... more Bu makale, Ann Radcliffe’in The Mysterious of Udolpho (Udolpho’nun Gizemleri) (1794)adli romaninda, esrarengiz ve gizemli bir sekilde ustu ortulmus olaylarin “kara perdesini kaldiran” Gotik bir kadin kahramanin tinsel kesfine odaklanmaktadir. 18. Yuzyil Ingiltere’sinde evcil bir alanda tutsak edilen kadinin yasantisina isik tutarken, Ann Radcliffe, Emily adini verdigi bu kadin kahramani, gecmisin yukunu kaldirarak suan ki tutsakligindan kurtulabilen biri olarak betimler. Radcliffe, kendi siirsel gucu ve duyarliligiyla isledigi Gotik turunu ve gerilimi kullanarak, 18.Yuzyilda kadinlarin durumunu anlamak ve gozler onune sermek icin doga ustuculugu bir cesit arac olarak kullanir ve toplumun kritik bir resmini cizerken ayni zamanda da kadinlarla ilgili politik soylemler de bulunur.
Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi - DTCF Dergisi, 2017
1990'lerde İngiliz toplumunda hüküm süren kültürel, politik, ideolojik ve sosyal değişiklerin etk... more 1990'lerde İngiliz toplumunda hüküm süren kültürel, politik, ideolojik ve sosyal değişiklerin etkisiyle İngiliz tiyatro sahnelerinde yeni bir akım doğdu. Bu akım değişik bir sürü tanımla adlandırılsa da "in-yer-face tiyatrosu" tanımı daha yaygın olarak kabul görmüş ve daha kapsayıcı bir kavram olarak görülmüştür. O zamanlar İngiliz toplumunda meydana gelen değişikliklere açık tepki olarak öne çıkan yeni oyun yazarları, memnuniyetsizliklerini, topluma uyumsuzluklarını, nezaket sınırlarını ihmal etmeyi ve geleneksel teatral tasvir ve tekniklerini çarpıcı imgeler kullanarak yıkmayı amaç edinirler. In-yer-face tiyatrosunun bir parçası olan Sarah Kane, savaş alanı gibi zorlu şartlarda ayakta kalma mücadelesi, güç dengesizliği, savaşa karşı kayıtsızlık, materyalleşmiş aşk ve seks, toplumsal cinsiyet ve kimlik politikaları ile toplumda artan tüketim gibi birçok konuyu eserlerinde islemiştir. Üçüncü oyunu Cleansed karakterlerin toplumsal uyuşmazlıklarına karşı onları sözde disipline edip eğiten, boğucu ve tutsak edici bir eğitim enstitüsünde geçmektedir. Öğrencileri toplumsal uyum sınırlarına indirgeyerek, istek ve bireyselliği yok eden yaygın ve baskıcı Batı eğitim sistemini eleştirirken, Sarah Kane dişi/erkek, ben/öteki, kurban/kurban edilen, beden/akil, baskılayıcı/baskılanan, masum/suç isleyen, doğal/doğal olmayan normal/normal olmayan ahlaklı/ahlaklı olmayan ve akıllı aklı başında olmayan gibi toplumsal değerlerin dayandığı ikili düşünce sistemini yıkmaktadır. Oyunları çoğunlukla geleceğe karşı karamsar ve çaresizlik içeriyor gibi değerlendirilse de bu makale onun Cleansed oyununu Deleuze ve Guattari nin pozitif ve yaşamı onaylayan felsefesiyle değerlendirilecektir. Bu değerlendirme, Kane'nin sabit kimlik anlayışı, süregelen cinsellik normları ve bedenler üzerine atfedilen toplumsal cinsiyetler üzerine sorular sorması bakımından oyunu değerlendirmede yeni bakış açıları getireceğine inanıyorum. During the 1990s, a new movement on British stages emerged owing to the cultural, political, ideological, and social changes prevalent in British society. Despite the multiplicity of denitions loosely attributed to this movement, the term "in-yer-face theatre," appears to be more commonly well-received and more encompassing. As an overt reaction to the changes taking place in British society at the time, newly emerging dramatists express their disillusionment, nonconformity through transgressing the bounds of purported decency in theatre, subverting conventional dramatic representations and techniques with the use of striking and challenging imagery. Belonging to this in-yer-face oeuvre, Sarah Kane, has given voice to several contemporary issues, including survival under harsh conditions like in war zone, indifference and desensitization to war, the power imbalance both in public and private spheres, commodied love and sex, gender and identity politics, as well as growing consumerism and repercussions in the society. Her third play Cleansed (1998) takes place in a stiing and captivating educational institution where characters in the play are allegedly disciplined and trained by violence against their unconformities. While criticizing the prevalent oppressive educational system that diminishes desire and unique individuality by seeking to subjugate students to the limits of conformity, Sarah Kane topsy-turvies dualistic thoughts based on societal norms between female/male, self/other, victim/victimized, body/mind, inside/outside oppressor/oppressed, victim/perpetrator, natural/unnatural, normal/abnormal, moral/immoral, and sane/insane. Despite the proclivity to interpret her plays fraught with pessimism and hopelessness towards future, this article recontextualizes her play Cleansed using Gilles Deleuze and Félix Guattari's positive and life-afrming philosophy, which I believe, will open up new alternative visions in the articulation of her play with regards to the question she raises about the xed nature of identity, long-standing norms of sexuality, and gender inscription on the bodies.
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