The Middle Eastern American Theatre: Negation or Negotiation of Identity
Özet
Nazila Heidarzadegan'ın \"The Middle Eastern American Theatre: Negation or Negotiation of Identity\" adlı kitabı, Orta Doğu kökenli Amerikalı tiyatrosunun kimlik üzerindeki inkar veya müzakere etme sürecini ele almaktadır. Kitap, üç oyun üzerinden Bhabhaian postkolonyal bir okuma sunmaktadır.Kitabın giriş bölümünde, postkolonyalizm ve Orta Doğu kökenli Amerikalı tiyatrosu arasındaki ilişki incelenmektedir. Ayrıca, Homi Bhabha'nın postkolonyalizm teorisi, kadınlar ve postkolonyalizm, Orta Doğu kökenli feministler ve 11 Eylül olayının temsili gibi konular ele alınmaktadır. Browntown, Nine Parts of Desire ve Ten Acrobats in an Amazing Leap of Faith adlı oyunlar da kitapta analiz edilen eserler arasındadır.İkinci bölümde ise, Bhabha'nın postkolonyal kavramlarının The Location of Culture adlı eserdeki okuması yapılmaktadır. Kolonyal güç, klişe ve fetiş, taklitçilik, melezlik ve üçüncü mekan gibi kavramlar üzerinde durulmaktadır.Bu kitap, Orta Doğu kökenli Amerikalı tiyatrosunun kimlik üzerindeki etkisini anlamak isteyen okuyucular için önemli bir kaynak olacaktır.
Nazila Heidarzadegan's book \"The Middle Eastern American Theatre: Negation or Negotiation of Identity\" explores the process of negation or negotiation of identity in Middle Eastern American theatre. The book offers a Bhabhaian postcolonial reading through the analysis of three plays. The introduction of the book examines the relationship between postcolonialism and Middle Eastern American theatre. It also discusses topics such as Homi Bhabha's postcolonial theory, women and postcolonialism, Middle Eastern feminist perspectives, and the representation of the September 11th attacks. The plays Browntown, Nine Parts of Desire, and Ten Acrobats in an Amazing Leap of Faith are also analyzed in the book. The second chapter focuses on Bhabha's reading of postcolonial concepts in his work \"The Location of Culture\". It delves into concepts such as colonial power, stereotypes and fetishization, mimicry, hybridity, and the third space. This book will be a valuable resource for readers who seek to understand the impact of Middle Eastern American theatre on identity.
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