University of Tehran Research in Contemporary World Literature 2588-4131 27 1 2022 07 23 Tracing Partial Enunciations in Robert Alan Jamieson’s Da Happie Laand Tracing Partial Enunciations in Robert Alan Jamieson’s Da Happie Laand 460 479 86041 10.22059/jor.2019.282817.1860 FA Seyed Mohammad Marandi Professor, Department of English Language and Literature, Faculty of Foreign Languages and Literatures, University of Tehran, Tehran, Iran 0000-0003-3600-1008 Parisa Fathali PhD Candidate in English Language and Literature, Department of English Language and Literature, Faculty of Foreign Languages and Literatures, University of Tehran, Tehran, Iran Journal Article 2019 06 09 Contemporary literature pursues within the anxieties of the present, a paradigm for being in this world. Robert Alan Jamieson negotiates a similar initiative amidst the collage of narratives comprising Da Happie Laand. Matters political, social and cultural mingle indiscriminately in this novel, proposing a complex multiplicity that relies on the reader for its articulation of plot arcs, themes, and resolutions. The co-creative approach adopted by Jamieson bears affinity with Félix Guattari’s writings on ‘partial enunciations’. Deferred and subsequently entrusted to readers, the arrangement of meaning becomes a creative endeavor. Tracing familiar uncertainties through partial enunciations, therefore, invokes not just another inspired reading of the status quo, but a creative confrontation with the lack inherent in social and personal expressions. The plights of the present, then, find mediation in the midst of yet another narrative; the stories told this time, however, are laced with the potency of multiplicity and the promise of emancipation. Contemporary literature pursues within the anxieties of the present, a paradigm for being in this world. Robert Alan Jamieson negotiates a similar initiative amidst the collage of narratives comprising Da Happie Laand. Matters political, social and cultural mingle indiscriminately in this novel, proposing a complex multiplicity that relies on the reader for its articulation of plot arcs, themes, and resolutions. The co-creative approach adopted by Jamieson bears affinity with Félix Guattari’s writings on ‘partial enunciations’. Deferred and subsequently entrusted to readers, the arrangement of meaning becomes a creative endeavor. Tracing familiar uncertainties through partial enunciations, therefore, invokes not just another inspired reading of the status quo, but a creative confrontation with the lack inherent in social and personal expressions. The plights of the present, then, find mediation in the midst of yet another narrative; the stories told this time, however, are laced with the potency of multiplicity and the promise of emancipation. https://jor.ut.ac.ir/article_86041_8cd70749a3c7207c1217b74a80c155e2.pdf