فهرست مطالب جواد یعقوبی درابی

The present research examines Greenblatt's theories on the improvisation of power and tyranny in Shakespeare's play Richard III, considering Hayles and Slethaug's ideas of chaos theory. The focus is on the nonviolent psychological control achieved through empathy using displacement and absorption. The study explores how chaos is manipulated to establish a new order and analyzes how the tyrants, specifically Richard III, use it to employ oppressive strategies to dominate others. The consequences of disrupting the established order are also explored, as Richard III tries unsuccessfully to establish control through tyranny.

Background of Study:

Scholars have analyzed Shakespeare's historical plays, adding depth to this essay. Edward Lorenz's chaos theory, explored by Catherine Hayles and Gordon Slethaug, provides an interdisciplinary viewpoint. Stephen Greenblatt's article "The Improvisation of Power" and his book Tyranny (Shakespeare and Politics) explore the connections between English autocracy and modern tyranny like Trumpism in Shakespeare's works. Slethaug 's Beautiful Chaos and Hayles' Chaos Bound explore contemporary American fiction and the relationship between literature, theory, and chaos science.

In Daniel Lerner's work "Passing from Traditional Society: Modernization of the Middle East," the development of empathy is discussed as a psychological skill in western societies, attributed to migration caused by war and famine. Stephen Greenblatt expands on this concept in his idea of power improvisation, which highlights the destructive potential of empathy. The improvisation of power involves pursuing a goal while adapting tactics based on the current situation, psychologically dominating the target through displacement and absorption. Greenblatt's work Tyrant (Shakespeare and Politics) explores the relationship between Shakespeare's plays and the political climate of Renaissance England, focusing on the rise and fall of tyrants and the role of the people. The research also explores chaos theory, which uncovers hidden patterns in seemingly random sequences, applicable in both scientific and literary contexts.

The essay delves into the consequences of the improvisation of power and tyranny on hierarchical relationships and political equations, utilizing the theories proposed by Stephen Greenblatt. It analyzes the manner in which the improvisation of power can reorganize and reconstruct identities in Shakespeare's historical plays, emphasizing the significance of psychological dynamics and empathy. Shakespeare's authentic depiction of characters captivates readers, challenging the established historical narratives through the improvisation of power at another level. The essay also examines the impact of Catholic religious fundamentalism during the Middle Ages, acknowledging its role in the improvisation of power. The presence of dual centers of power creates a psychological duality within the characters. By harnessing chaos to their advantage, power improvisation has the potential to disrupt governmental systems and manipulate existing orders.

Repetition in fiction is a very common device that many authors employ to bring forth motifs and themes into their works or as a means of creating emphasis. Therefore, it is quite expectable to observe many works with repeated sentences, phrases, and even words in various periods, which either are repetitions of a character’s own words or the repetitions of a character’s utterances by another character in the narrative in a small scale and the repetition of the whole work in larger scale. Through the use of Genettian repeating frequency type (nN/1S), authors are able to stress particular events, provide themes and motifs, and make use of prior narration, simultaneously. By means of scrutiny of repetitions in Mary Shelly’s Frankenstein; or, The Modern Prometheus, George Eliot’s The Mill on the Floss, and Charles Dickens’ Hard Times as three canonical works of British literature through Genettian nN/1S frequency type, this study could elaborate on the crucial emphatic role this frequency type plays in emergence of specific effects in these narratives.

New Historicists believe that a literary work should be evaluated in its historical context. It means that a work of art is written under the impacts of social conditions, formed in a particular context, impressed by various discourses, and it impacts on them mutually. On this ground, power as a set of relations (and discourses) is available at all times and has an intimate relationship with the dominant discourse and other narratives. So through written workes belong to a given era, critics will be able to find out power relations in that era and this helps them to achieve its meaning. Ahmad Shawqi in his verse play, under influences of social conditioning, embodied power relations. And his picture of power meets Foucault's terms regarding power. Foucault, as a new historicist, pursues power everywhere. As he says "Where there is power, there is resistance, and yet, or rather consequently, this resistance is never in a position of exteriority in relation to power", he crystallizes a binary operation between power and resistance. Furthermore, by evaluating this work, I show power relations among characters e.g. Cleopatra and Romans, Cleopatra and Caesar, Egypt and Rome. In the following, I illustrate the ways characters resist in the chain of power relations. Attendance of Eastern women in power positions is another matter which will be shown respectively.