Volume 17, Issue 68 (2025)
LCQ 2025, 17(68): 41-82 |
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Jannessari Ladani Z. Remembrance and Recreation of Human Lost: Reading Humanoid through Memory Studies. LCQ 2025; 17 (68) :41-82
URL: http://lcq.modares.ac.ir/article-29-76891-en.html
URL: http://lcq.modares.ac.ir/article-29-76891-en.html
University of Isfahan , z.jannessari@fgn.ui.ac.ir
Abstract: (318 Views)
This article examines Zoha Kazemi’s novel Humanoid through the lens of memory studies and pursues two goals: first, to delve into the effects of advanced technologies on the dystopian society depicted in the novel, particularly their effects on characters’ memories and the transformation of their human identity; second, to examine the interplay between narrative, memory, and its functions, as well as their role in shaping political action and social reform. This research is necessary as Humanoid came into being in an era of rapid technological change whereby the impact of these developments on mind, memory, individual and collective identity, and culture is inevitable. Thus, the investigation of these concerns in the crucible of literature is a timely response. This study adopts theories from the field of memory studies and provides a close reading of parts of the novel whenever required. This study explores key issues, including declarative and procedural memory, the relationship between memory, technology, and identity formation, as well as the intersection of memory, politics, and narrative within the novel. The results show that modern technologies in the field of biology in the dystopian society of Humanoid are tools to control and shape the human identity, steering it toward a post-human state. Conversely, narrative emerges as a tool for preserving human identity whereby it leads to political action, and moves the society towards awareness, resistance and change.
Keywords: Humanoid, memory (studies), narrative, politics, Zoha Kazemi, technology, identity.
Introduction
Zoha Kazemi (b. 1982) is a distinguished Iranian sci-fi author known for her acclaimed novels Humanoid (2010), The Juliet Syndrome (2019), and Death Industry (2020). Her works blend local Iranian culture with dystopian themes, critically examining futuristic scenarios. Humanoid raises the question: “What if memory manipulation and immortality technology became biopolitical tools?” Kazemi’s dystopian worlds reflect warnings for humanity, merging science fiction with critical thought on social, political, and human issues. Her achievements include the 2019 Noufeh Prize and Golden Dragonfly Medal for Rainborn and the 2020 award for Death Industry. This study analyzes Humanoid’s key theme—memory’s role in shaping identity and its socio-political use as a tool for control and transformation. It investigates: 1) how advanced technologies reshape characters’ memories and identities; and 2) how storytelling fosters political action and change.
Review of Literature
Considering the stated objectives and questions, the search for relevant sources to address these inquiries revealed that no academic research has been conducted on this work. Therefore, this study is regarded as the first scholarly examination of the novel Humanoid.
Methodology
This study adopts a qualitative, analytical approach, utilizing interdisciplinary methods to examine the themes of memory and identity in Zoha Kazemi’s novel Humanoid. Drawing on theoretical perspectives from memory studies and speculative fiction, the research emphasizes the dynamic interplay between advanced technologies, memory manipulation, and narrative construction within a dystopian context. To explore the research questions, the analysis integrates concepts of episodic memory and its reconstructive nature (Tulving, 2002; Campbell, 2014). The study also references the overlap between memory and imagination, which is crucial in understanding utopian/dystopian narratives (Hansen, 2020). The approach considers Kazemi’s depiction of memory as both a tool of domination and a means of socio-political change. Primary analysis focuses on Humanoid’s portrayal of biopolitical technologies and their impact on the characters’ memories and identities. Narrative structures within the text are evaluated to understand their role in fostering collective consciousness and political transformation. By combining traditional, progressive, and moderate views from memory studies, this methodology ensures a comprehensive understanding of the novel’s thematic complexity. Through close reading and textual analysis, the study highlights how Kazemi’s work engages critical discourses on power, identity, and the human condition within speculative literature.
Discussion
Zoha Kazemi’s Humanoid presents a compelling narrative examining the entanglement of memory, identity, and political power within a speculative dystopian framework. Through the lens of key theories in memory studies, the novel interrogates the dynamics of explicit and procedural memory (Tulving, 2002; Antze, 2003), cultural memory (Jan Assmann, 2010), and the ethics of memory (Ricoeur, 2004), illustrating their significance in shaping human identity and resisting oppressive regimes. At its core, Humanoid explores the dual nature of memory as both a source of individual agency and a target for control. Kazemi portrays memory as deeply embodied, aligning with Katherine Hayles’ (1999) posthumanist perspective that cognition and memory extend beyond the brain, integrating with embodied and technological systems. The novel reveals the vulnerability of explicit memory – representing conscious recollection of events – to erasure and manipulation by Churchill’s authoritarian government. However, Atwood’s retention of procedural memory, which encompasses unconscious skills and emotional responses, underscores memory’s resilience and its role in preserving core aspects of identity despite external attempts at control. Aligned with Pierre Nora’s (1984) concept of “sites of memory,” Kazemi critiques the weaponization of memory for state interests, as seen in Churchill’s systematic erasure of pre-Horse history to sever citizens’ connection to their cultural past. This act also aligns with Edward Said’s (2000) assertion that memory and its representations are inherently political, intertwined with identity, nationalism, and power. In Humanoid, the government’s monopolization of historical archives highlights the suppression of collective memory as a tool of domination, while characters like Luther and Atwood represent counterforces, preserving suppressed cultural practices and counter-narratives. Kazemi’s emphasis on narrative’s role in organizing and giving meaning to memory draws on the ideas of Singer and Blagov (2004), who describe “narrative processing” as a means of integrating sensory, cognitive, and motivational subsystems into coherent autobiographical stories. Atwood’s storytelling becomes a political act, challenging official narratives while fostering solidarity and alternative visions for the future. His utopian and dystopian writings resonate with Marianne Hirsch’s concept of post-memory (2008), transmitting the emotional resonance of past traumas across generations. Furthermore, Kazemi aligns with Ricoeur’s notion of the ethics of memory, advocating for fidelity to the past as a measure of responsible action in the present and future (Ricoeur, 2004). In Humanoid, the interplay of cultural memory, embodied knowledge, and procedural memory underscores memory’s multifaceted nature, revealing its critical role in resisting dehumanization and envisioning emancipatory futures. Ultimately, Humanoid bridges theoretical insights with literary imagination, exemplifying dystopian literature’s ability to confront pressing ethical and sociopolitical challenges. Through its nuanced portrayal of memory’s contested terrain, Kazemi’s novel underscores its moral and political imperatives, inviting reflection on humanity’s resilience in the face of technological and ideological threats.
Keywords: Humanoid, memory (studies), narrative, politics, Zoha Kazemi, technology, identity.
Introduction
Zoha Kazemi (b. 1982) is a distinguished Iranian sci-fi author known for her acclaimed novels Humanoid (2010), The Juliet Syndrome (2019), and Death Industry (2020). Her works blend local Iranian culture with dystopian themes, critically examining futuristic scenarios. Humanoid raises the question: “What if memory manipulation and immortality technology became biopolitical tools?” Kazemi’s dystopian worlds reflect warnings for humanity, merging science fiction with critical thought on social, political, and human issues. Her achievements include the 2019 Noufeh Prize and Golden Dragonfly Medal for Rainborn and the 2020 award for Death Industry. This study analyzes Humanoid’s key theme—memory’s role in shaping identity and its socio-political use as a tool for control and transformation. It investigates: 1) how advanced technologies reshape characters’ memories and identities; and 2) how storytelling fosters political action and change.
Review of Literature
Considering the stated objectives and questions, the search for relevant sources to address these inquiries revealed that no academic research has been conducted on this work. Therefore, this study is regarded as the first scholarly examination of the novel Humanoid.
Methodology
This study adopts a qualitative, analytical approach, utilizing interdisciplinary methods to examine the themes of memory and identity in Zoha Kazemi’s novel Humanoid. Drawing on theoretical perspectives from memory studies and speculative fiction, the research emphasizes the dynamic interplay between advanced technologies, memory manipulation, and narrative construction within a dystopian context. To explore the research questions, the analysis integrates concepts of episodic memory and its reconstructive nature (Tulving, 2002; Campbell, 2014). The study also references the overlap between memory and imagination, which is crucial in understanding utopian/dystopian narratives (Hansen, 2020). The approach considers Kazemi’s depiction of memory as both a tool of domination and a means of socio-political change. Primary analysis focuses on Humanoid’s portrayal of biopolitical technologies and their impact on the characters’ memories and identities. Narrative structures within the text are evaluated to understand their role in fostering collective consciousness and political transformation. By combining traditional, progressive, and moderate views from memory studies, this methodology ensures a comprehensive understanding of the novel’s thematic complexity. Through close reading and textual analysis, the study highlights how Kazemi’s work engages critical discourses on power, identity, and the human condition within speculative literature.
Discussion
Zoha Kazemi’s Humanoid presents a compelling narrative examining the entanglement of memory, identity, and political power within a speculative dystopian framework. Through the lens of key theories in memory studies, the novel interrogates the dynamics of explicit and procedural memory (Tulving, 2002; Antze, 2003), cultural memory (Jan Assmann, 2010), and the ethics of memory (Ricoeur, 2004), illustrating their significance in shaping human identity and resisting oppressive regimes. At its core, Humanoid explores the dual nature of memory as both a source of individual agency and a target for control. Kazemi portrays memory as deeply embodied, aligning with Katherine Hayles’ (1999) posthumanist perspective that cognition and memory extend beyond the brain, integrating with embodied and technological systems. The novel reveals the vulnerability of explicit memory – representing conscious recollection of events – to erasure and manipulation by Churchill’s authoritarian government. However, Atwood’s retention of procedural memory, which encompasses unconscious skills and emotional responses, underscores memory’s resilience and its role in preserving core aspects of identity despite external attempts at control. Aligned with Pierre Nora’s (1984) concept of “sites of memory,” Kazemi critiques the weaponization of memory for state interests, as seen in Churchill’s systematic erasure of pre-Horse history to sever citizens’ connection to their cultural past. This act also aligns with Edward Said’s (2000) assertion that memory and its representations are inherently political, intertwined with identity, nationalism, and power. In Humanoid, the government’s monopolization of historical archives highlights the suppression of collective memory as a tool of domination, while characters like Luther and Atwood represent counterforces, preserving suppressed cultural practices and counter-narratives. Kazemi’s emphasis on narrative’s role in organizing and giving meaning to memory draws on the ideas of Singer and Blagov (2004), who describe “narrative processing” as a means of integrating sensory, cognitive, and motivational subsystems into coherent autobiographical stories. Atwood’s storytelling becomes a political act, challenging official narratives while fostering solidarity and alternative visions for the future. His utopian and dystopian writings resonate with Marianne Hirsch’s concept of post-memory (2008), transmitting the emotional resonance of past traumas across generations. Furthermore, Kazemi aligns with Ricoeur’s notion of the ethics of memory, advocating for fidelity to the past as a measure of responsible action in the present and future (Ricoeur, 2004). In Humanoid, the interplay of cultural memory, embodied knowledge, and procedural memory underscores memory’s multifaceted nature, revealing its critical role in resisting dehumanization and envisioning emancipatory futures. Ultimately, Humanoid bridges theoretical insights with literary imagination, exemplifying dystopian literature’s ability to confront pressing ethical and sociopolitical challenges. Through its nuanced portrayal of memory’s contested terrain, Kazemi’s novel underscores its moral and political imperatives, inviting reflection on humanity’s resilience in the face of technological and ideological threats.
Article Type: Original Research |
Subject:
Contemporary Contemporary Criticism
Received: 2024/09/6 | Accepted: 2025/03/8 | Published: 2025/02/28
Received: 2024/09/6 | Accepted: 2025/03/8 | Published: 2025/02/28
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