Lions and roses: An interpretive history of Israeli-Iranian relations

This multi-disciplinary research project explores the religious and cultural foundations within the "master commemorative narratives" that frame Israeli and Iranian political discourse. In articulating their grievances against one another, Israeli and Iranian leaders express the tensions between religion, nationalism, and modernity in their own societies. The theoretical and methodological approach of this dissertation is constructivist-interpretivist. The concept of "master commemorative narratives" is adapted from Yael Zerubavel's study of ritualized remembrance in Israeli political culture, and applied to both Israeli and Iranian foreign policy. Israel’s master commemorative narrative draws heavily upon the language of the Hebrew Bible, situating foreign policy discourse within a paradigm of covenantal patrimony, exile, and return, despite the unrelenting hostility of eternal enemies and "the nations." Iran’s master commemorative narrative expresses Iranian suspicion of foreign encroachment and interference, and of the internal corruption that they engender, sacralizing resistance to the forces of evil in the figurative language and myths of pre-Islamic tradition and of Shi'a Islam. Using a constructivist-interpretive methodological approach, this research offers a unique interpretive analysis of the parallels between these narratives, where they intersect, and where they come into conflict. It highlights both the broad appeal and the diverse challenges to the components of these "master" narratives within Israeli and Iranian politics and society. The conclusion of this study explains the ways in which the recognition of religious and cultural conflicts through the optic of master commemorative narratives can complement the perspectives of other theoretical approaches and challenge the conventions of Security Studies. It also suggests some of the potential practical applications of this research in devising more effective international diplomacy.

Dulce Maria Loynaz' Jardin: Subversive tropological discourse

The purpose of this dissertation is to analyze how the tropes or figurative discourse in Loynaz’s novel, Jardín, becomes a means by which she involves the reader within a text that subverts socio-cultural conventions. Through textual analysis, it explains how the poet communicates her views of the world as a conflictive space where existence is the will to live, life being a human construction like a garden, and a woman’s decision –often frustrated by men– to seek self-realization.^ By tracing some critical studies focused on polarities allegedly present in Jardín, such as: poetry/prose, lyric poetry/novel, word/silence, life/death, character novel/space novel, civilization/barbarism, posmodernismo/vanguardismo, and femininity/feminism, this essay explores Loynaz’s esthetic and ideological codes to demonstrate how opposition can be seen in her novel as part of her arrangement of an artistic philosophy.^ This research refers to three main sources: the semiotician Umberto Eco’s notion of the text’s indeterminacy as an opera aperta, reception theory, and Mikhail Bakhtin’s concept of dialogism. By applying these theories to the analysis of this novel, I seek to show Loynaz’s literary modus (tropological language) and ideological dictum , which correlate oppositions and transform them as a point of departure to reconsider civilized life. The poet is presented as an esthetic force that compels the reader to question some false values, by creating an implicit but intelligent dialogue between him/her and a lyrical text. To describe such literary procedure, I coin in this study the term dialirismo (dialyricism). ^ My essay is centered on the tropes through which Loynaz creates her dialyrical text. By focusing on metaphor, symbol, synecdoche, and metonymy, I examine Jardín as a convergence of the following conceptual aspects: intertextuality, primitivism, and feminist discourse. I argue that Loynaz’s novel is a creative response to the literary tradition, as well as a proposal to understand writing –and reading– as an open, interactive process in search not only of artistic values but also of critical knowledge.^ This exploration shows how the novelist faces a so-called civilized world through the eyes of her fictional character, Bárbara, who confronts patriarchal discourse. It celebrates Loynaz’s poetic representation of this inquisitive woman, in her fenced garden, as a human being who can see, above and beyond an iron curtain, the possibility to overcome an aggressive male-centered civilization.^

Teoría y práctica del neobarroco en Severo Sarduy

This dissertation analyzes the theory and practice of the Cuban postmodern writer Severo Sarduy (1937–1993) from his early adult years in Cuba to his exile period in Paris, France, where he lived until his death. By studying his narrative through the light of his theoretical essays, this paper demonstrates that the author created his own type of reading model—from and for Sarduy. His literary work is influenced by three major elements: (post)structuralism, psychoanalysis, and Buddhism, which combined form what Sarduy himself called the Neobarroque style. The Sarduyan writing is a transgressive exercise expressed through his concept of simulación. This style breaks with the traditional art concept of mimesis (the representation of reality in the western world), and therefore with the correspondence between the signifier and the signified. Sarduy does not intend to represent reality but to go beyond it, achieving by his technique of signifying exhaustion to represent absence itself. The Neobarroque of Severo Sarduy is an aesthetic of the empty signifier based on the reckless expenditure, and ultimately exhaustion, of the artifices of language that precipitates in a signifier chain towards the infinite. His language does not transmit a message but it signifies itself, that is, a means without an end. Paradoxically, this signifier chain produces an excess of metaphors beyond the material limits of language and its support, the page. The space beyond language is the hipertelic technique inherited by Sarduy from his literary master, José Lezama Lima. This is also the empty space of no signification or nonsense in which occurs the depersonalization of the speaking subject; in Buddhist terminology this becomes the dissolution of the ego. The Sarduyan language is determined by a Lacanian psychoanalytic erotic drive (pulsion) known as the Barroquean desire, a death drive which directly relates to the exile condition of the author. But the genesis of this desire lies in a primordial desire of encounter with his origin: mother, maternal language, paradise, God. That is the reason why Sarduy not only poses an aesthetic question but also an ontological one. This other dimension of the Sarduyan writing is based on a liberating drive that permeates all his work—an ontological liberation expressed through language. The empty space created in the text provides the subject with the possibility of fusion with the all. Ultimately, Sarduy strives for a language that goes beyond the symbolic limits towards a place of constant dissolution, evanesce, and death-horror vacui. This corroborates the Sarduyan statement: “la simulación enuncia el vacío y la muerte.”

Lions and Roses: An Interpretive History of Israeli-Iranian Relations

This multi-disciplinary research project explores the religious and cultural foundations within the “master commemorative narratives” that frame Israeli and Iranian political discourse. In articulating their grievances against one another, Israeli and Iranian leaders express the tensions between religion, nationalism, and modernity in their own societies. The theoretical and methodological approach of this dissertation is constructivist-interpretivist. The concept of “master commemorative narratives” is adapted from Yael Zerubavel’s study of ritualized remembrance in Israeli political culture, and applied to both Israeli and Iranian foreign policy. Israel’s master commemorative narrative draws heavily upon the language of the Hebrew Bible, situating foreign policy discourse within a paradigm of covenantal patrimony, exile, and return, despite the unrelenting hostility of eternal enemies and “the nations.” Iran’s master commemorative narrative expresses Iranian suspicion of foreign encroachment and interference, and of the internal corruption that they engender, sacralizing resistance to the forces of evil in the figurative language and myths of pre-Islamic tradition and of Shi‘a Islam. Using a constructivist-interpretive methodological approach, this research offers a unique interpretive analysis of the parallels between these narratives, where they intersect, and where they come into conflict. It highlights both the broad appeal and the diverse challenges to the components of these “master” narratives within Israeli and Iranian politics and society. The conclusion of this study explains the ways in which the recognition of religious and cultural conflicts through the optic of master commemorative narratives can complement the perspectives of other theoretical approaches and challenge the conventions of Security Studies. It also suggests some of the potential practical applications of this research in devising more effective international diplomacy.