Manifestations of Fichte’s Subjectivity in Sarah Kane’s Phaedra’s Love

Being concerned with invalidity of language, the postmodern writer produces elusive, fragmentedliterature which illustrates parameters essential to interpret literary works of the ۱۹۶۰s to the present.Since theatre is a means of delivering, it needs to be in ceaseless contact with realities of this shapelessworld. Representing the union of art and reality through the body as a final resort to verify theauthenticity of self, Kane’s play Phaedra’s Love provides a ground for exploring such parametersaccording to Fichte’s idea of subjectivity, moral community and plurality of selves. Fichte investigatesSelf-consciousness structures toward world, as the product of the “I,” explicating what it is to be an “I,”and to make a subject a subject with a self-positing structure. Fichte and Kane believe that individualcomprehends the world through actions. If not aligned with individual's gaining consciousness of self,others and world, these actions become destructive. To compensate, the characters adopt aimlessactivities, transfiguring them to shocking images of sexually graphic and violent scenes and self-inflectedpain. Not being able to apply language for expressing themselves, characters have no effect oninter/subjectivity between the “I” and the “Other” and cannot gain consciousness. It leads to thecharacter’s paralysis and death, guaranteeing his/her existence as a real, living being

کلیدواژه ها:

“Absolute I ، ” “Fichte ، ” “Subjectivity ، ” “Intersubjectivity ، ” “Kane ، ” “Phaedra's Love.”