Books by Alireza Fakhrkonandeh
Routledge , 2023
The first to focus on the (re-)presentations of oil in dramatic literature, theatre and performan... more The first to focus on the (re-)presentations of oil in dramatic literature, theatre and performance, Oil and Modern World Dramas is a pioneering volume in the emerging field of Oil Literatures and Cultures, and the more established field of World Literatures. Through close analysis, Fakhrkonandeh demonstrates how these dramatic works depict oil, both in its perceived nature and character, as an overdetermined matter/sign/object: a symbol (of freedom, autonomy, speed, wealth, modernity, enlightenment), a commodity, a social-cultural agent, a social relation, and a hyper-object. This book is also distinguished by its innovative and critically manifold conceptual framework, positing the petro-literatures and petro-cultures an inextricable part of a global network. Oil and Modern World Dramas not only demonstrates how the chosen works of petro-drama manifest these concepts in their social-political vision, aesthetics and historical-ontological dynamics, but also reveals how they deploy such assemblage-based approaches both as a cartographical means and aesthetic method for exposing the systemic (capitalocenic) nature of petro-capitalist exploitation, and as means of proposing ways of resistance and producing alternative modes of subjectivity, community and relationality and economy.
جودیث و دخدادنی ها - هاوارد بارکر - علیرضا فخرکننده , 2020
هاوارد بارکر – بزرگترین تراژدی¬نویسِ تاریخ انگلیس از زمان شکسپیر تا کنون – تئاتر فاجعه را برآیندِ... more هاوارد بارکر – بزرگترین تراژدی¬نویسِ تاریخ انگلیس از زمان شکسپیر تا کنون – تئاتر فاجعه را برآیندِ «دردِ زایمانِ مرگ» تعریف می¬کند و آن را پلی بر مغاکِ میانِ میرایان و مرگ قلمداد می¬کند. تئاتر فاجعه را به طور کلی و دو نمایشنامه¬ی حاضر را به طور خاص می¬توان در چهار مفهوم چکیده کرد: «رخداد»، «امر ناممکن»، «امر نا-انسانی»، و «گمان¬اندیشیِ وجودی-اخلاقی». «رخداد» به نوبه¬ی خود به شکل¬های گوناگونی تجلی می¬یابد: حدشکنی (شاملِ قربانگری و شهوندگی)، رویارویی با «دیگری» و همچنین میل به مرگ به مثابه¬ی غایی¬ترین «ناشناختنی» و «راز» در حیاتِ انسان. هر دو نمایشنامه¬ای که در این کتاب گنجانده شده¬اند – جودیث و رخدادنی ها – تصویرگر لحظاتِ آستانه¬ای-رخدادی مواجهه میان «تاریخ» و «پاد-تاریخ» هستند که شخصیت در آنها تصمیمی می¬گیرد، که از نظرگاه عقل ابزاری-عرفی، «غیرعقلانی» و گاه حتا «غیرانسانی» می¬نماید. بسیاری از شخصیت ها با پیش¬انگاشت¬ها، صلاح-اندیشی¬ها و پیش¬فرض¬های اخلاقی، ایدئولوژیکی، و سیاسی خود به رویارویی رخداد می¬روند. در این رویارویی ست که شخصیت ها - به لحاظ پویاشناختیِ اخلاقی-وجودی و زیباشناسیِ تن-روانشناختی - گاه آری¬گویانه و گاه ناخودآگاه دستخوش دگرگونی، تحول، و از-خود-فراروی بنیادین می¬شوند.
Palgrave Macmillan, 2019
This book explores questions of gender, desire, embodiment, and language in Barker's oeuvre. With... more This book explores questions of gender, desire, embodiment, and language in Barker's oeuvre. With The Castle as a focal point, the scope extends considerably beyond this play to incorporate analysis and exploration of the Theatre of Catastrophe ; questions of gender, subjectivity and desire; God/religion; aesthetics of the self; autonomy-heteronomy; ethics; and the relation between political and libidinal economy, at stake in 20 other plays by Barker (including Rome
تئاتر فاجعه برجسته ترین اثر در نظریه و فلسفه ی درام و تئاتر در کنار تئاتر و همزادش از آرتو و ارغن... more تئاتر فاجعه برجسته ترین اثر در نظریه و فلسفه ی درام و تئاتر در کنار تئاتر و همزادش از آرتو و ارغنون کوچک از برشت است.
In this unique and invigorating study, chaos theory and quantum mechanics are employed as the bas... more In this unique and invigorating study, chaos theory and quantum mechanics are employed as the basis for a clearer understanding of the often confusing contemporary theatre world. Examining numerous antecedents to contemporary thought on chaos and the cultural roots of the notion of chaos, links are provided to playwrights ranging from Shakespeare to Ibsen and Tom Stoppard to Sam Shepard. William Demastes investigates parallel developments across the arts and sciences: connections between the dramatic naturalism of the late nineteenth century and Newtonian thought, and theatre of the absurd and disorderly chaos theory. After centuries of isolation and increased specialisation, the author contends, it may once again be time to consider the 'arts' and 'sciences' not as two isolated enterprises but to acknowledge interrelations between them.
In Conjunction with an Critical-Analytical Article on the Play (authored by the Translator
Papers by Alireza Fakhrkonandeh
Interdisciplinary Literary Studies Journal , 2021
Crossing the Mirror into Maternal Waters: The Ethics and Aesthetics of Becoming-other in Ella Hickson’s The Writer , 2022
The past two decades of contemporary British drama have been marked by an upsurge of interest in ... more The past two decades of contemporary British drama have been marked by an upsurge of interest in the exploration of the ethics, aesthetics and politics of authorship along with the relational dynamics among the author, the work and audience/reader. One of the latest and paradigmatic examples of this trend is Ella Hickson's The Writer (2018), a play informed by a queer feminist sensibility and distinguished by its aesthetics, its form, and its political critique of theatre as an institute underpinned by phallogocentric and heteronormative discourses. Accordingly, the essay will demonstrate how the queering of gender and genre are indelibly intertwined in the play. The Writer queers conventional theatrical form not only by deconstructing its "economy" and "forms" of hegemonic subjectivity, expression, and desire; but also by incorporating a surreal scene and various metatheatrical momentsto develop a more evental (or feminine) form characterised by formal transgression, abstraction, and excess. The Writer queers gender by pondering the dynamics of an evental love-sex relationship between the female writer (the protagonist) and her female lover along with a surreal experience of intimacy between the writer and mythical Semele. To effectively ponder the thematic and formal preoccupations of The Writer, this essay develops a nuanced conceptual framework whose premises include Irigaray's "the female imaginary", Deleuze's "becoming-other", Cixous's "écriture feminine", Lyotard's "the figural" and Derrida's "chora".
Uploads
Books by Alireza Fakhrkonandeh
Papers by Alireza Fakhrkonandeh
and the epistemological, clinical, ethical and phenomenological
aporias it poses than the phrase “the sublime object of psychiatry”
(Angela Woods). “Sublimity”, however, instigates further
complications and problems by mystifying the nature and
experience of schizophrenia rather than contributing to the
development of a clearer account of it. A conspicuous case of the
critique of this treatment of schizophrenia in terms of the
“sublime” can be found in Joe Penhall’s two dramatic works: Some
Voices (1993) and Blue/Orange (2000). This essay will argue that
Penhall’s treatment of schizophrenia is distinguished by two salient
features: its method (the critical-clinical) and its simultaneously
symptomatic and symptomatological treatment of schizophrenia.
What further distinguishes Penhall’s critical depiction of
schizophrenia is his insistence that the cultural is as crucial as the
clinical in the experience, representation, and perception of
schizophrenia. This is attested by his acute inclusion of such crucial
issues as race, class, discourse, and gender as highly determining
elements in the experience, perceptions and diagnosis of
schizophrenia. This essay, accordingly, will demonstrate how Blue/
Orange presents a critical-clinical account of the limits of various
discursively-determined treatments of schizophrenia (including
both psychiatry and anti-psychiatry) thereby accentuating the
necessity of developing a more holistic method in the cultural and
clinical treatments of schizophrenia.