Ali Alizadeh portrait

Ali Alizadeh

is a lecturer in Literature and Creative Writing at Monash University.


About Ali Alizadeh

Ali Alizadeh is a senior lecturer in Literature and Creative Writing at Monash University. His books include The Last Days of Jeanne d’Arc (2017), Transactions (2013) and Ashes in the Air (2011).


Articles about Ali Alizadeh

Articles by Ali Alizadeh

Mark Dapin R & R cover

A Gigantically Obvious Wrong Thing: R&R by Mark Dapin

‘It’s my argument that, in dramatising and deprecating acts of direct physical violence – however menacing their perpetrators and however innocent their victims – a work such as this war novel and, perhaps by extension, many others associated with other genres in which grisly violence is central, such as horror and crime fiction, suppress the much more prevalent, far more significant instances of symbolic and structural violence that underpin and regulate our supposedly non-warring, peacetime societies.’

Poetic Slaves to Ideology

‘Capitalism has nothing to fear from an identity-driven struggle of any kind. As long as resentful white male poets feel entitled to assume the identities of the marginalised in a quixotic battle against political correctness, and as long as the marginalised wage their own equally quixotic battles in defence of cultural authenticity and identity fetishism, nothing will change.’ Ali Alizadeh on the Yi-Fen Chou fracas.

19thSept_ 244
The Practice of Value cover

Regimes of reading: The Practice of Value by John Frow

The Practice of Value: Essays on Literature in Cultural Studies articulates, with precision and clarity, the book’s argument and content. This is a book specifically about doing value or essaying – from a Latin root, which comes to English via Old French, meaning ‘weighing’ – the matter of literature from the perspective of cultural studies.

Art and Emancipation: Aisthesis: Scenes from the Aesthetic Regime of Art

According to Rancière, modern democratic politics and modern non-classical arts are two manifestations of the same new, revolutionary social space. In this space, sensibility or sense perception (aisthesis in Greek: the origin of the word aesthetics) is shared and distributed across social divides, providing the impetus for both a new egalitarian politics and a new democratic regime of artistic appreciation and practice, which Rancière has called the aesthetic regime of art.