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| 1 |
ID:
098433
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2010.
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| Summary/Abstract |
This article analyzes the surprisingly consistent way in which Sadeq Hedayat's novella, The Blind Owl, represents the concept of eternal recurrence. Hedayat employs repetition in a unique manner. Neither narrator ever remarks upon or seems to notice that events, motifs, and similar or identical epithets and phrasings which arise in their own thoughts and utterances are repeating, but they rather encounter every repeated event or thought as if it had only just occurred for the first time. While I do not claim that Hedayat was in any meaningful way a 'Nietzschean' thinker, philosophical ideas from Nietzsche's works and those of the French thinkers who came after, most notably Klossowski and Deleuze, interact strikingly with The Blind Owl and seem to bring hitherto unnoticed dimensions of this important work to our attention. Notably, Hedayat depicts a struggle with nihilism that is informed by the philosophical questions surrounding what came to be known as existentialism, but in a manner that is not merely derivative of European models.
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| 2 |
ID:
124459
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2013.
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| Summary/Abstract |
In feminist theory, the "female gaze" is a reaction to the imbalance of power created by the "male gaze". Yet, since the concept lacks sound grounding in theory, it solely poses "a simple (antagonistic) response" to male voyeurism. This article traces the manifestations of the female gaze in Lost Highway and The Blind Owl, a film noir and a novella. It is concluded that instead of offsetting the imbalance of power, the female gaze only reverses it, turning the concept into yet another catchphrase of patriarchal hegemony to further commodify and subjugate women.
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| 3 |
ID:
128567
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| Publication |
2013.
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| Summary/Abstract |
As an acclaimed work of twentieth-century Persian fiction, Sadeq Hedayat's The Blind Owl has stirred much scholarly contemplation. Identical characters obscure the work; the resemblance amongst them seemingly originates in some mysterious old man. The paper first demonstrates how every male character resembles this old man. Thereafter, he is argued to be non-existent; all the characters, therefore, become Baudrillardian simulacra bound together through family resemblances. A language-game is then fashioned to represent the family. The metamorphosis of the narrator is followed to manifest how this language-game haunts the characters-other language-games. The paper hopefully sheds some light on an ambiguous aspect of the work and provides a model as to how one language-game takes over another.
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