احسان آجورلو

Humankind is always in the midst of everyday life, and to pass through this domain, he needs action or heroic action. Heidegger believes that humans are frequently subjected to a leveling pressure that causes them to become just as homogeneous as the congregation or convergence. This leveling pressure stems from modeling and social norms that language is the most fundamental factor in producing them. It does not make his actions independent and autonomous choices but are subject to public opinion; this eliminates originality from man and makes him part of the others. What gives humankind authentication is an autonomous and independent action that separates man from all social norms that concern them.The present paper, based on the bibliographic data and descriptive-analytical method, attempts to examine the drama "verb", and answers the question of how this drama’s formulation is based on the role of human choice in the direction of existential authenticity. It also describes how to consume the language as an equalizing factor and shows that in the verb drama, language creates a bunch of vague meanings and does not allow that characters express their feelings, and thoughts and intentions, but in the meantime, the character of Leila independently chooses to separate her from the rules of everyday language. It makes Leila find existential authenticity and accept death. In the same way, Farhad also faces this and returns to the course of the relationship between death and the originality of "self."

History is the product of the representation of memories. Paul Ricoeur divides memory into two categories, individual memory and collective memory, which represent the past. But part of the past is no longer available. This is due to forgetting parts of the memory that interfere with the representation of the past. Therefore, history is always different from a historical event. Social and political institutions also take advantage of this disorder and control and guide societies with their own ideology. How the memory and history are presented also depends on the policy of the provider. During the first Pahlavi era, the regime was able to use this memory policy to create a constructed history of ancient Iran, which was formed with the help of the art of theater in society. The present study, based on library data and descriptive-analytical method, intends to examine some important historical dramas of this period, how to implement the policy of memory and inject ideology to construct history in the first Pahlavi period through theaters. In this way, the prominent role of political systems and how to manipulate memory and history will be examined. This study also seeks to answer the question of how the government used the theatrical aspects of society to achieve this goal and intellectuals - willingly or unwillingly - played a helpful role in this ideology.

In the simplest definition, migration is a kind of displacement, and the concept of ‘Identity’ is highly important in migration studies. By entering a new place, the immigrant is always exposed to redefine his or her identity in a way that in the mechanism of intercultural translation, he may abandon his values and identity and transform himself to another person. Aiming to investigate the impact of migration on identity, the current study presents a reading of Stones in His Pockets play by Marie Jones and also answers the question of how the migration experience affects the characters of the play and changes their identities? Stones in His Pockets is a play that represents critical and different forms of the migration experience. This study has employed a descriptive-analytical qualitative method and has benefited from ‘Intercultural Translation theory’ by Farzan Sojoodi, ‘Third Space theory’ by Homi K. Bhabha. The results indicate how the experience of migration has affected the main characters of the play. This effect, in various types of migration such as ‘migration to secondary place’, ‘returning to the initial place’, and ‘spiritual migration’ causes the identity of characters to be unaccepted by others and also themselves. It has also caused their identities to be in a state of distortion and in-between.

Narratology combined with some theories on narration has been remarkably fascinating in the eyes of literary criticism theorists. “Manfred Jahn” is one of the theorists who completed the Focalization Theory from Gerard Genette and presented the Windows of Focalization theory. Focalization Theory in narration is a point of view that the narrator is focused on. Manfred Jahn, in his focalization theory, uses the phrase Windows of Focalization for the happenings and fictional occurrences in the narration. This deduction is seen through a lens that is grasped from the life experiences of the narrator and is called Umwelt. We know that Narratology is conducted in the field of fictional literature but, it seems that analysis of drama with various theories, even if not fully focused on drama, could be a way to understand dramatic works more enhanced. In this research, with a definable and analectic approach, inclined by written library documents with a focus on “Rosencrantz and Guildenstern Are Dead” by Tom Stoppard, Windows of Focalization was studied in the play’s narration and it was concluded that in the adaptation of the play “Rosencrantz and Guildenstern are Dead” from Hamlet, Windows of Focalization in a narration helped to create a new neoclassical narration in the modern world. Changes of the windows of focalization in the narration of “Rosencrantz and Guildenstern Are Dead” led the narration to a post-modern view with a deconstructive approach.