A Study of Post-Revolutionary Diasporic Iranian Literature in English
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! Sanaz Fotouhi School of the Arts and Media, Faculty of Arts and Social Sciences University of New South Wales NSW, Australia A thesis submitted in fulfillment of the degree Doctor of Philosophy. Supervised by: Professor Bill Ashcroft & Dr. Michelle Langford March 30th, 2012 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Fotouhi First name: Sanaz Other name/s: Abbreviation for degree as given in the University calendar: School: Media and Arts Faculty: Arts and Social Sciences Title: Ways of Being, Lines of Becoming: A Study of Post- Revolutionary Diasporic Iranian Literature in English The 1978/9 revolution was a turning point in Iranian history. It led not only to drastic regime changes in Iran, but it was also the cause for the migration of millions of Iranians. Ever since then, Iranians have continually migrated and have created their own pockets of communities globally. But like any migratory group, they too have experienced difficulties of migration. Ever since the early days of Iranian migration, many began to write about their experiences. While among them, many wrote in Persian, some began to write in English. Gradually, over the last several decades Iranians have authored nearly two hundred books of fiction and memoir in English. Formed at the junctions of Iranian culture and experience and the English language and Western cultures, this body of work has formed a unique literary space. Not only is it a reflection of diasporic Iranian experiences, but it is also a body of work which draws on and adds to elements of English literature and as such deserves special attention in the so-called category of World Literatures in English. This thesis, Ways of Being, Lines of Becoming, is a study of this body of work. Its aim is two fold. On the one hand it introduces existing and emerging Iranian writing in English into the arena of World Literatures in English. While it situates them alongside other diasporic writing in English and examines them through existing diasporic literary frameworks and theories, such as postcolonialism, it also argues for their distinctiveness. On the other hand, it identifies this body of work as a unique creative discursive space that is reflective of the diasporic Iranian experience. In short, drawing on various psychological theories of the importance of narration and identity, it argues that this literature can be a site through which the Iranian diaspora can reconstruct, maintain and negotiate their individual and communal identities. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). S Fotouhi ……………………………………..……………… ……March 28th, 2012...…….… …………………………………………………………… Witness Date Signature The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: THIS SHEET IS TO BE GLUED TO THE INSIDE FRONT COVER OF THE THESIS ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed ………………S. Fotouhi…………………………….............. Date ……………………………………………..............March 30, 2012 i This thesis has been in the making for six year. It has traveled with me from Sydney, through to the streets of Kabul, where I witnessed young women’s deaths, destruction and poverty. It traveled with me to Europe, and to Tehran, and Hong Kong, where it almost dropped out of my life. That this study has come to a completion alongside so much in my life is a miracle that would not have happened without generosity of the universe that conspired in my favor time and again. In this process, more than anything else, it has been the kindness of the people who have helped me, and to all them I owe a huge thank you. This thesis germinated with the generosity of the Australian National University, and with Dr. Jacqueline Lo’s trust in this project. It was there that I was given one of the few International Student Scholarships where I began this study. Although circumstances moved me away from Canberra and from Dr. Lo’s supervision, I still owe her thanks for helping me in the early stages of this project. But without a doubt, I owe my biggest thanks to my current supervisor Professor Bill Ashcroft, who truly revived this thesis when I was ready to let it go. Had it not been for our timely encounter at the University of Hong Kong in 2008, and his generosity in accepting to be my supervisor when I got back to Sydney, this thesis would never have been finished. So, I thank him greatly for all his help. But in gaining the courage to present my thesis to Professor Ashcroft, I also have to thank Dr. Page Richards. It was her belief in my work and encouragement that made me work up the courage to approach Professor Ashcroft, knowing that there might be a chance of rejection. In this process, I also owe a huge thank you to Dr. Michelle Langford, who so kindly accepted to be my co-supervisor. Her meticulous supervision and patience made the process of writing this thesis so much more enjoyable. And our encounters in the corridors, and lovely chats about Iranian culture, made for a lasting friendship. Finally, I need to thank my family for all their support during this process. My parents’ emotional support from thousands of miles away and their faith in me made me feel stronger in this process and gave me the extra energy I needed to finish this project. While my mother ensured I ate the right foods to sustain my energy physically, my father guided me through his spiritual wisdom. Also, a big thank you to my family in Australia too who been there for me in this process. Specially, I need to thank my husband, Amin Palangi for all his emotional, financial, and psychological support. While everyone else saw me for the seemingly composed person that I am, he was the wall behind me who saw (and hid) my days and nights of tears, anxieties, and stresses, and who always found a way of making me laugh, and continue the numerous times that I attempted to quit this project. I apologize for putting him through this, and thank him truly for his kindness. Although submitting a thesis might appear to be the end of a journey for the scholar, it is only the beginning of the life of this work. I hope that in the next stages of its life, this thesis would be beneficial for all those who refer to it. 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