_ Renaissance and Baroque Literature
_ Speculative Fiction, Science Fiction, Utopian/Dystopian Fiction, and Posthuman Fcition
_ Literary Criticism and Theory (especially Affect Studies, Posthuman Studies, Ecofeminist Studies, Cognitive Poetics, Adaptation Theories)
_ Comparative Literature (specially between Persian and Egnlish)
_ Adaptation Studies (Dramatic, Cinematic, and Game Adaptations)
_ Renaissance and Baroque Literature
_ Speculative Fiction, Science Fiction, Utopian/Dystopian Fiction, and Posthuman Fcition
_ Literary Criticism and Theory (especially Affect Studies, Posthuman Studies, Ecofeminist Studies, Cognitive Poetics, Adaptation Theories)
_ Comparative Literature (specially between Persian and Egnlish)
_ Adaptation Studies (Dramatic, Cinematic, and Game Adaptations)
- Bachelor, English Language and Literature, University of Isfahan [Isfahan - Iran]
- Master's degree, English Language and Literature, University of Shahid Beheshti [Tehran - Iran]
- Ph.D., English Language and Literature, University of Tehran [Tehran - Iran]
_ BA Level: A Survey of English Literary History; Drama; English Poetry; Literary Schools; Literary Criticism; Contemporary Persian Literature; World Literature.
_ MA Level: Renaissance Literature; Modern European and American Drama; Twentieth-Century American Literature.
_ PhD Level: Baroque Poetry and Prose; Modernism in English Literature; Literature of Minorities in the US.
Articles
Publication Date: 2023
ANQ - Quarterly Journal of Short Articles Notes and Reviews (0895769X)36(2)pp. 270-272
Publication Date: 2022
Orbis Litterarum (01057510)77(5)pp. 299-313
Through its impossible and grotesque form, the monstrous expresses an original sense of the Dionysian philosophical critique of rationality. Challenging the epistemological authority of form, structure, and identity, the monster guides the mind toward a new understanding about the nature of things. Presenting Rousseau and the rider of the chariot of life as a deformed monster, Shelley's The Triumph of Life challenges the poet's previous identity as an alienated self and paves the way for a new understanding and a restoration of his communal self that provides the basis for the New Jerusalem as the opposite of the Tower of Babel, that is, the biblical prototype of the Citadel. Using the concept of monster and applying Abraham Akkerman's myths of the Garden and the Citadel, this article will attempt to explore the modality of the transition from the Tower of Babel (the Citadel) to the New Jerusalem (the Garden) in Shelley's The Triumph. © 2022 John Wiley & Sons A/S. Published by John Wiley & Sons Ltd.
Publication Date: 2021
Neohelicon (3244652)48(2)pp. 695-718
We discuss Geiogamah’s dramatic depiction of the evolving train of thought within the indigenous society through a joined study of his Body Indian, Foghorn, and 49—three full-length, independent works. Application of cognitive poetics strategies highlights the potential within these plays to enlighten the immediate past and contemporary indigenous society and illustrates how storytelling functions as a resuscitating tool within indigenous communities. If read together as a trilogy, these plays reveal Geiogamah’s artistic maneuvers: having depicted the historical trauma which has afflicted the contemporary indigenous society through the textual actual world of Body Indian, he exposes the long-established ideologies at work for Indigenous peoples’ subjugation through spatio-temporal re-locations and ‘conceptual blends’ in Foghorn and, finally, puts forward a sketch of the ideal indigenous possible world in 49. © 2021, Akadémiai Kiadó, Budapest, Hungary.
Publication Date: 2020
Critique - Studies in Contemporary Fiction (00111619)61(5)pp. 518-533
Associated with feelings of woe and wonder in the face of something that is too complex to comprehend, the sublime is still a highly relevant concept in contemporary fiction. Philip K. Dick’s speculative novels are filled with high-tech entities and futuristic worlds, as manifestations of posthumanist discourses, that instill a sense of bewilderment in the readers. Dick’s “fictional” domains and characters progressively challenge our very definition of humanity and reality providing us with an updated transformed version of the sublime we will refer to as the posthuman sublime. The novels are saturated with baffling worlds within worlds that are home to beings who can no longer be easily categorized as either human or non-human. Dickian posthuman entities, then, are located not so much in a borderless dimension but on the very borders themselves. An encounter with such indeterminacies that defy human understanding leads to an overwhelming feeling of awe, wonder, and even parodic confusion, characteristic of the kind of sublime we find in Dick’s world. This article attempts to explore the modality of the posthuman sublime in one of Dick’s well-known, yet under-researched, novels Flow My Tears, the Policeman Said in the light of theories of the sublime and posthumanism. © 2020 Taylor & Francis Group, LLC.
