逃避的美学:莎迪·安吉利娜·巴齐吉的《流动》中的挪用、见证与战争

Pub Date : 2023-04-03 DOI:10.1080/08038740.2023.2192960
L. Allouche
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引用次数: 0

摘要

摘要在这篇文章中,我调查了莎迪·安吉利娜·巴泽吉在她的诗集《Flowmatic》(2020)中是如何写两伊战争的。巴泽吉在Flowmatic中汇编了几种不同的文本,其中一种文本是一名伊朗士兵工程师的证词,他是一名程序员,负责建立识别阵亡伊朗士兵尸体和身体部位的系统。士兵证词的文字以及编程和数据处理的行为都融入了这首诗;作为恰当的文本和诗歌的总体美学模式。以士兵的目击者描述为棱镜,我将看看诗集的三个方面:1)证词是如何被挪用的,2)巴泽吉是如何通过挪用来见证的,3)她是如何从女性的角度写战争的。我认为,巴泽吉通过回避的美学和Flowmatic中高度的挪用,挑战了女性如何见证和书写战争。
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An Evasive Aesthetics: Appropriation, Witnessing and War in Shadi Angelina Bazeghi’s Flowmatic
ABSTRACT In this article, I investigate how Shadi Angelina Bazeghi writes about the Iran-Iraq War in her poetry collection Flowmatic (2020). Bazeghi assembles several different kinds of texts in Flowmatic, and one of these texts is a testimony by an Iranian soldier-engineer who worked as a programmer setting up at system to identify the bodies and body parts of fallen Iranian soldiers. Both the words of the soldier’s testimony and the act of programming and data processing have found their way into the poem; as appropriated text and as the poem’s overarching aesthetic mode. Using the soldier’s witness account as a prism, I will look at three aspects of the poetry collection: 1) how the testimony is appropriated, 2) how Bazeghi is witnessing though appropriation, and 3) how she writes about war from a feminine point of view. I argue that Bazeghi through the evasive aesthetics and the heightened appropriation in Flowmatic challenges how women can witness and write about war.
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