Alireza Fakhrkonandeh
Biographic Data
| ID | 3087855 |
|---|---|
| NAME | Alireza Fakhrkonandeh |
| GIVEN NAMES | Alireza |
| FAMILY NAME | Fakhrkonandeh |
| SIGNATURE | FAKHRKONANDEH A |
| AFFILIATIONS | University of Southampton |
| ORCID | 0000-0001-6500-6647 |
| VERIFIED | Yes |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2018 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
‘The global choir of the dead and living turning into oil’
Whilst the studies of the representations of oil in works of world drama have been proliferating recently, there has been a dearth of engagement with one of the earliest and most salient sites of oil extraction in the world: Iran. This essay is an attempt to fill this lacuna. It explores one of the most complex dramatic representations of oil in a recent play: Wonderwomb by Amir Gudarzi. The thrust of the argument here is that Wonderwomb evinces …
Towards a poetics of the pipelines
Whilst the studies of petrofiction have been proliferating over the past decade, there has been a dearth of engagement with one of the earliest and most salient sites of oil extraction in the world: Iran. This essay is an attempt to fill this lacuna. Its crux comprises the demonstration of how pipelines are depicted as critical junctures where not only the uneven relational dynamics between the local and the global are revealed, but also where th…
Worlding a Peripheral Museum, Evental Time in the Middle East, and the Fabulation of the People-to-Come
Museum-building as a violent act of world-making constitutes the allegorical crux of Hannah Khalil’s A Museum in Baghdad. This article, accordingly, explores the aesthetic, ethical, ontological, and political aspects of the treatment of nationhood, identity, and time/history in Khalil’s work by critically engaging with various theories of time/temporality elaborated by some of the prominent thinkers working on the philosophy of event—including Ba…
Re)Building a Museum, (Re)Worlding a Nation, (Re)Writing History
The premiere of Hannah Khalil’s A Museum in Baghdad (2019) marks a critical juncture in the history of contemporary British drama. The play is informed by a decolonial dynamic, a longue durée vision, and an evental mode of memory; and renders the museum as a multivalent allegorical space. The complicities of culture, imperialism, and resource extractivism are revealed
Crossing the Mirror into Maternal Waters
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 pol…
Oil Cultures, World drama and contemporaneity
Oil is unanimously recognised as the most vital, ubiquitous, yet paradoxically invisible, commodity of modern global economy and history. However, scant critical attention has hitherto been paid to the question of oil and oil culture in the context of contemporary Anglo-American drama. Ella Hickson’s Oil is one of the first works that takes oil and its implications as its sustained focal point. This essay ponders and probes the epistemic, ethical…
Art as Symptom or Symptomatology? Performative Subjects, Capitalist Performativity, and Performance-Based Therapy in Duncan Macmillan’s People, Places and Things
What a survey of contemporary British drama reveals is a plethora of plays concerned not only with psychological and medical issues, but with precarious individuals, whose symptomatic condition is presented in terms of schizophrenia or schizoid states. Duncan Macmillan’s People, Places and Things (2015) can be considered as a distinctive play in this trend, where not only a rehabilitation center features as its setting, but its main character is …
Displaced Metaphor as Madness? A Critical-Clinical Study of Schizophrenia in Joe Penhall's Blue/Orange
No other trope captures the perceived complexity of schizophrenia 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 t…
Noli Me Tangere
This study is the first to consider the prominent role and significance of the skin in Howard Barker’s work. It demonstrates that, for Barker, the skin embodies a twofold function: the symptomatic-pathological and the aesthetic-ethical. The phenomenon of skin, however, is inextricable from that of pain and jouissance. Indeed, this dyad of skin and pain finds an emblematic illustration in The Europeans. In The Europeans, pain features as the main …
The Ethics of Representation
Howard Barker (1946-) is a versatile artist. Not only is he a long-standing dramatist (more than 100 plays) and poet (6 volumes of published poetry since 1985), he is also a professional painter and photographer. Significantly, Barker has also come to assume increasing responsibility for the production of his own plays as director and dramaturg (including sound and costume design). This multi-mediality and poetic style is vividly reflected not on…
Displaced Metaphor as Madness? A Critical-Clinical Study of Schizophrenia in Joe Penhall's Blue/Orange
No other trope captures the perceived complexity of schizophrenia 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 t…
The Ethics of Representation
Howard Barker (1946-) is a versatile artist. Not only is he a long-standing dramatist (more than 100 plays) and poet (6 volumes of published poetry since 1985), he is also a professional painter and photographer. Significantly, Barker has also come to assume increasing responsibility for the production of his own plays as director and dramaturg (including sound and costume design). This multi-mediality and poetic style is vividly reflected not on…
Noli Me Tangere
This study is the first to consider the prominent role and significance of the skin in Howard Barker’s work. It demonstrates that, for Barker, the skin embodies a twofold function: the symptomatic-pathological and the aesthetic-ethical. The phenomenon of skin, however, is inextricable from that of pain and jouissance. Indeed, this dyad of skin and pain finds an emblematic illustration in The Europeans. In The Europeans, pain features as the main …
Art as Symptom or Symptomatology? Performative Subjects, Capitalist Performativity, and Performance-Based Therapy in Duncan Macmillan’s People, Places and Things
What a survey of contemporary British drama reveals is a plethora of plays concerned not only with psychological and medical issues, but with precarious individuals, whose symptomatic condition is presented in terms of schizophrenia or schizoid states. Duncan Macmillan’s People, Places and Things (2015) can be considered as a distinctive play in this trend, where not only a rehabilitation center features as its setting, but its main character is …
Displaced Metaphor as Madness? A Critical-Clinical Study of Schizophrenia in Joe Penhall's Blue/Orange
No other trope captures the perceived complexity of schizophrenia 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 t…
Crossing the Mirror into Maternal Waters
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 pol…
Oil Cultures, World drama and contemporaneity
Oil is unanimously recognised as the most vital, ubiquitous, yet paradoxically invisible, commodity of modern global economy and history. However, scant critical attention has hitherto been paid to the question of oil and oil culture in the context of contemporary Anglo-American drama. Ella Hickson’s Oil is one of the first works that takes oil and its implications as its sustained focal point. This essay ponders and probes the epistemic, ethical…
Re)Building a Museum, (Re)Worlding a Nation, (Re)Writing History
The premiere of Hannah Khalil’s A Museum in Baghdad (2019) marks a critical juncture in the history of contemporary British drama. The play is informed by a decolonial dynamic, a longue durée vision, and an evental mode of memory; and renders the museum as a multivalent allegorical space. The complicities of culture, imperialism, and resource extractivism are revealed
Towards a poetics of the pipelines
Whilst the studies of petrofiction have been proliferating over the past decade, there has been a dearth of engagement with one of the earliest and most salient sites of oil extraction in the world: Iran. This essay is an attempt to fill this lacuna. Its crux comprises the demonstration of how pipelines are depicted as critical junctures where not only the uneven relational dynamics between the local and the global are revealed, but also where th…
Worlding a Peripheral Museum, Evental Time in the Middle East, and the Fabulation of the People-to-Come
Museum-building as a violent act of world-making constitutes the allegorical crux of Hannah Khalil’s A Museum in Baghdad. This article, accordingly, explores the aesthetic, ethical, ontological, and political aspects of the treatment of nationhood, identity, and time/history in Khalil’s work by critically engaging with various theories of time/temporality elaborated by some of the prominent thinkers working on the philosophy of event—including Ba…
‘The global choir of the dead and living turning into oil’
Whilst the studies of the representations of oil in works of world drama have been proliferating recently, there has been a dearth of engagement with one of the earliest and most salient sites of oil extraction in the world: Iran. This essay is an attempt to fill this lacuna. It explores one of the most complex dramatic representations of oil in a recent play: Wonderwomb by Amir Gudarzi. The thrust of the argument here is that Wonderwomb evinces …
Literature (7 works) · Aesthetics (6 works) · Art (6 works) · Drama (5 works) · Epistemology (4 works) · History (4 works) · Psychoanalysis (4 works) · Psychology (4 works) · Philosophy (3 works) · Philosophy (3 works)