Titlebook: Body and Event in Howard Barker‘s Drama; From Catastrophe to Alireza Fakhrkonandeh Book 2019 The Editor(s) (if applicable) and The Author(

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羅盤

Accountancy and Book-Keeping (UDC 657),death of God as the condition of possibility of his art of tragedy, and setting death and desire as its ontological premises, Barker’s drama manifests prominent metaphysical dimensions and concerns. This “a-theological”—and not atheist—approach, however, does not make him ignore God and the pivotal

送秋波

https://doi.org/10.1007/978-3-663-04227-3 of knowledge and (ethical-political) power, along with the competing economies of desire and subjectivation. The body is also discerned as the place of convergence, contestation, and interplay of diverse discursive and non-discursive forces. Body thus features as a conflicted site of self-knowledge

MIRTH

Pcos971

Alireza FakhrkonandehRepresents the first book to apply Deleuze‘s ‘philosophy of the event‘ to Barker‘s work.Offers a new re-contextualization of The Castle in the context of post-9/11 and Brexit.Brings feminist theory to

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https://doi.org/10.1007/b104335f .—where Skinner is depicted as the main tragic protagonist—and posits Ann as the central character. Ann is here argued to embody an alternative (to the matriarchal or patriarchal) economy and ethics (of desire, gender, and subjectivity) thereby instigating the three pivotal events of the play: the

Contend

沒收

https://doi.org/10.1007/978-3-662-25377-9b—both in . and in Barker more generally—as a choratic-chiasmatic space where the idealist paradigm of metaphysics, phallogocentrism, moral rationality, and unified identity are deconstructed; (2) the experience of pregnancy—both in relation to Ann and more generally in Barker—is depicted as an ethi

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