بهی حدائق

This study pursues a study of radicalism in Hare’s most radical play, Fanshen, and in Foucault’s mode of radicalism within his theory of power relations. From a specific perspective, this study borrows from the new wave of reevaluating and reinterpreting Foucault, which is concerned with irrationalism in his mode of radicalism. This analysis helps us comprehend the changes in the social trends and the specific pattern of radicalism in both Hare and Foucault. What concerns this study gravely, is the absence of the other side of reality or possibility in Hare’s Fanshen and in Foucault’s claims on power relations. The aim of the study is to depict how adopting radicalism and revolution by Hare and Foucault results in the justification of malfunctioned experiments. Furthermore, the way political tendencies are manifested to the audience is proved to be a key factor in the analysis of British political theater and in the shaping of British society. Finally, it is found that a Foucauldian reading of Fanshen results in the recognition of Hare’s specific pattern of radicalism which is in line with Foucault’s.

The consumer culture of late capitalism is more than ever associated with the concept of urban space. Prevalent in the late capitalist society is abstract space that homogenizes and flattens out the differences, conflicts and contradictions on the social scene. This process of homogenization acts as a mechanism of control to preserve the current status quo. In Bret Easton Ellis's Less Than Zero, abstract space, by homogenizing and fragmenting the body and lived experience, makes the characters comply with the consumer culture and suppresses the potentials for the difference and the emergence of alternative spaces. In this paper, the role abstract space plays in Ellis's novel is analyzed in the light of Henri Lefebvre's theory of space. The present study argues that abstract space numbs the potentials for difference and heterogeneity in Ellis's novel. Instead, it imposes homogeneity on social relations, pushing the characters to the brink of invisibility and nothingness.