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William Shakespeare, the English bard of Avon, inaugurates a Feminist approach in Love’s labour’s Lost which is comparable with the Holy Quran’s mandate and Hadith. He reminisces Muslim association through deeply-seated words of the Elizabethan era including Ethiop, black, moors, Africans and so on in order to signify in his work the Islamic concern for the Muslim women in terms of respect, love, and revival of rights. Riffat Hassan’s theology of honor killing and progressive Islam could be argued to be in thematic affinity with Gayatri Spivak’s concepts of ethical responsibility of the agents and subalterns. The area of concern in Shakespeare’s encompasses men’s sanction in shunning women, intellectual men vs. slave, black and inferior women, and love, marriage and infatuation with women. This is in line with Quranic principles namely poor Muslim lifestyle vs. the affluent pagan hegemony, Muslim’s faith, migration to from Ommat, reception by the hegemonic pagans, Muslims’ conquests and Islamic enhancement. The area of concern in Shakespeare’s play includes men’s sanction in shunning women, intellectual men versus the black and inferior women, love, marriage, and infatuation with women. This approach is in line with the life style of the poor Muslims as opposed to the affluent pagan hegemony, and includes faith, migration, and toleration for the sake of Muslims’ conquests.

The present paper seeks to argue that the opposing roles Paul Auster has devised for his protagonists in Invisible (2010) evolve around metamorphosic changes in their behaviors in terms of Deleuze and Guattari’s rhizome theory. While the protagonist undertakes a Deleuzian Bocoming to be a villain, the antagonist possesses a radical form of a Body without Organ. This study thus defines its main assignment to find the relevant Deleuze-Guattarian flickers within the novel. Deleuze and Guattari launch their notions of Becoming and BwO within their theory of Rhizome. To substantiate this, six principles of the rhizomatic expansion (including connection, heterogeneity, multiplicity, a signifying rupture, cartography, and decalcomania) are examined vis-à-vis Invisible. The story’s main characters would thus exhibit their rhizomatic and nomadic inclinations while the novel’s narration and setting would add to the multiplicitous dimension of the story. Ultimately, through such rhizomatic praxis, this paper identifies radical de-territorialization – or breaking free from social norms – as a major Austrian technique to portray the predicaments of contemporary American lifestyle.

The present article aims to analyze the notion of metatheatricality in Peter Shaffer’s Equus and to investigate the functions of such metatheatrical notions as self-reflexivity and fictionality in the overall structure and theme of the play. The central questions of this survey include: In what ways are typical metatheatrical techniques employed in Peter Shaffer’s Equus, and what are the structural and thematic functions of these elements? The present dramaturgical study first reviews the basic tenets of the concept of metatheatre as a postmodern genre in the theatre and then contextualizes them in the structural fabric of the play, focusing on two important metatheatrical elements, namely, play within a play and breaking the fourth wall. The present research shows that there are inner plays in the narrative structure of Equus, which are aligned with the characteristic features of metatheatricality as delineated by Richard Hornby in Drama, Metadrama, and Perception (1986). These plays within a play, which belong to the so-called “the inset type,” construct two sharply distinguishable structural layers. As metatheatrical plays within a play, they self-reflexively call attention to the fictional nature of the play as well as to the possibilities of narrative diversity. Equus breaks the fourth wall of the realistic drama when its lead character directly addresses the spectators, thereby getting them physically and mentally involved in the action. The spectators, as a result, step into the fictional world of the play and start to interact with the characters as the characters start to interact with them. Judgment and interpretation become reciprocal as both the audience and the performers take part in the process of narration and meaning-creation.