امیر علی نجومیان

Authorization is a process in narration that according which the narrator constructs her/ his own legitimation and narration using the discursive articulations. The authors’ aim in this paper is to investigate the linguistic processes of development, maintenance and fixation of authorization which the female and male narrators use in the narrations. Hence, they provided a deconstructive reading of the authorization by Van Leeuwen (2007) based on Laclau and Mouffe (2001) and Derrida (1983). Then, in order to identify the linguistic tools of development, maintenance and fixation processes of the personal authority, they went through the “Se-Ketab” by Pirzad and “Solok” by Dolatabadi and purposefully examined those parts. Finally, it was found that Pirzad and Dolatabadi try to legitimize their own dimensions by using their selves and others’ positions, creating discursive nodes, and crystallizing around them. At the same time, they try to delegitimize by rejecting the meanings of the signs from others’ narratives. Also, on a larger scale, it was revealed that the two narrators’ self-representation was different; Pirzad constituted the discursive “We” and Dolatabadi an omniscient narrator. Neither of these two narrators could escape the paradox.

Looking back at the early 1970s socio-cultural upheavals, Thomas Pynchon’s Inherent Vice (2009) generates a discursive construct of Los Angeles that captures the transition from a Fordist culture to a Post-Fordist one. This essay holds that around this watershed moment, literary heterotopias specific to Southern California are being made. Michel Foucault defines heterotopias as realized utopias, emplacements that simultaneously represent, contest, and invert the normal space. This study reads Inherent Vice, using Foucault’s archaeological method of analysis to develop literary heterotopology. A discursive analysis of Pynchon’s novel reveals heterotopias’ discontinuous nature, which this study proposes as the seventh principle for heterotopology. Furthermore, Pynchon uses a new vehicle, Decompression Heterotopias, to reshape globalization in his retro-production of Los Angeles. Ultimately, the essay shows how the Fordist and Post-Fordist waves of globalization aspire to affect Angeleno’s lives by compressing the time-space spectrum. Pynchon’s decompression heterotopias, however, resist the status quo and propose reconfiguring globalization’s compression forces.

Using paradoxical spatializations, Raymond Chandler challenges the conventional representation of the Southern California region. The coexistence of heterogeneous elements in Chandler’s novels depicts a particular kind of mid-twentieth-century noir genre. These literary spaces, under epistemological tensions, move toward heterotopic descriptions. Finally, this paper calls the literary other spaces produced by Chandler’s stories Noir Heterotopias, and concludes that Chandlerian descriptions seek to induce a sense of suspense in their spatializations.Acknowledging that heterotopia theory is consistent with Foucault’s method of analyzing the discourse, the examination of Chandler’s novels reveal that the heterotopic spaces are intertwined with the dark spaces of the noir fiction. Furthermore, in the stories, the paradoxes do not reach a climax, therefore, this study suggests that the resulting spaces to be called noir heterotopias. Finally, since the stories conclude with a sense of nonfulfillment, and their heterotopic tensions remain unsolved, it can be said that suspension is the key to the new social order that noir heterotopias seek in their descriptions of Southern California.

The research was purposed to study social and cultural components of femininity in Shahrzad’s a thousand and one nights’ stories. The research universe consisted of all Shahrzad’s a thousand and one nights’ stories. The sample included the gendered stories. the research was designed as qualitative in terms of thematic analysis. The femininity concepts based on either effeminate content or the heroine of the romantic, fiction, journey, jinni and fairy, pedagogics, wisdom and virtue stories were reviewed and extracted by implementing the content analysis. The findings indicated that woman was the most crucial subject of a thousand and one nights’ stories; and played a significant role in all the stories. Also the more important point to be discussed was that the narration was attributed to be created by a woman, Shahrzad. Sharzad could express a new narration for femininity by storytelling and not only saved her life but also she could reconcilliated her homeland with femininity. In fact, she brought the femininity from text to context so to be heard.

own self dimensions and delegitimize the others’ elements; legitimation, from the semiotic-discursive point of view, is a process that hegemonizes power through discourse articulation. The authors’ aim in this paper is to investigate and identify the way in which the legitimating mechanisms of gendered discourses function in contemporary Persian story literature. Hence, they provide a deconstructive reading of the methodology of Van Leeuwen (2007) based on Laclau and Mouffe (2001) and Derrida (1983) and take advantage of a variety of linguistic tools. Then, in order to analyze the functions of these mechanisms, they go through the “Solok” and purposefully examine some of its parts. Finally, they respond to the research question about how the legitimizing mechanisms of gendered discourses operate and introduce four structures, i.e. simple, compound, complex, and chain, in those mechanisms. Moreover, they show that after gaining and achieving the legitimacy, the gendered discourses step forward to maintain and fix the legitimacy and delegitimize the other explicitly and implicitly- by the way of recontextualization.

 

The Iranian time and the Persian language concepts have been condensed and accumulated by the plurality and accelerated events of the last hundred years. The semantic chaos is manifested in a lexical field of a concept where apparently synonymous words compete. Understanding these semantic ambiguities and latent relationships of power and ideology in discourses generating these words require analyzing different semantic layers accumulated in various temporal layers of contemporary history of socio-political concepts of Persian language. As such, the present study aims to develop a theoretical model to show how a particular concept in a particular historical period is signified by different words and how these words experience semantic changes and how situations accelerate the emergence, spread and wane of a word or concept. Additionally, the theoretical model attempts to understand the struggle and convergences of words in a field and their intertextual relationships in order to reach those conflicting moments in the contemporary history in which a discourse wins and in the light of that victory, makes a particular situation hegemonic. In the present paper, we propose an analytical model in which Fairclough’s critical discourse analysis plays the main role but two complementary approaches from semantics and history, i.e. lexical field by Jost Trier and conceptual history by Reinhart Koselleck, are applied as well to explore contemporary socio-political concepts. We believe that applying this model could clarify the ideologies behind each concept and word and make the “present” more understandable.

The concept of time is integral to the discussion of Bergson and Heidegger. As Bergson observes, time is not a spatial quantity but an inner quality and it constitutes the "duration" comprising the modes of the individual's consciousness and confirms their change and variety. Similarly, Heidegger explores the origin of authentic time within Dasein's consciousness and attaches Dasein's originality and authenticity to the originality and authenticity of his "temporality". To Heidegger, Dasein's perception of his future and his death constitute the most significant elements of his "temporality". But the two philosopher's emphasis on the individuality of the origin of time jeopardizes the relation between authentic time and presence of the Other. To put another way, as Bergson and Heidegger both claim, the truth of time is merely obtained in solitude and the time experienced in Other's proximity is essentially spatial, public, and objective. Are we, therefore, to concede that ethics and the truth of time are essentially asynchronous? The present study pursues the philosophy of Emmanuel Levinas for an answer. To Levinas, understanding his philosophy of ethics depends upon understanding time in its authenticity and originality. Nevertheless, the understanding of time Levinas calls original fundamentally defies that of Bergson and Heidegger. As he maintains, time does not evolve in solitude but in relation with the Other. Attempting to observe the most crucial differences between Levinas' understanding of time and Bergson's and Heidegger's, and also trying to illuminate the ambiguities of the relation between temporality and alterity in Levinas' thought, the present research attempts to clarify how the latter's innovative attitude has shed a new light on the relation between time and otherness.

This article examines the reproduction of gender identity in Dowlatabadi’s short story “The Man” in the light of Judith Butler’s theory of Gender Performativity. It investigates the cultural function of identity and the way language discursively reflects the role of the unestablished identity in the story. It also presents new outlooks towards language performativity of the male/female dichotomy. What this article focuses on is an individual's identity, and language, exploring the concept of gender performativity. Butler asserts that performativity is a ritualized production and a constrained reiteration of cultural intelligibility under the compulsory prohibition pressed by the power regimes. The culturally-acquired gender is crafted based on the socially recognizable standards, which form the directionality of the self-representation. A Gender is an act that requires a repeated performance in ritual and social dramas. She declares that one is not born but rather becomes a subject whose gender is a discursive construction that defines his/her body. Moreover, the gendered subjects were subordinated to the language that interpellated them, so that each individual became a linguistically stylized occasion. Dowlatabadi’s main character in this story undergoes transfiguration from childhood to adulthood affected by the social upheavals leading him towards his crafted and gendered identity formation. His father’s roles are resignified through the reiteration and imitation of the gendered and naturalized regulations. Surveying “The Man” elucidates that gender identity is an imitation, which leads the character to resignify and recontextualize the parodic gender reproductions. Therefore, the established discourses gave the agent the feasibility to establish his intelligible social existence. Springing from the discussion about gender performativity of Dowlatabadi’s character, the article concluded that identity is a phantasmatic construction. What an individual performes is a non-intrinsic parody of the culturally constructed regulations. It can be concluded that identity is established by the power of language that interpellates the subjects.

This paper examines Kamila Shamsie’s Home Fire (2017) as a faithful transposition of Sophocles’s Antigone into a contemporary novel that addresses the diasporic subject’s encounter with sovereign politics of life and death in the post-9/11 backlash against Muslims. A survey of the notion of the embodied subject as set in the complex network of power relations and biopolitics in the diaspora space where new forms of bio- and necro- power (as expounded by Postcolonial thinker Achille Mbembe) are at work towards enforcing subjugation of diasporic bodies forcefully synthesises with the question of belonging, the right to soil, and post-mortem identity in Shamsie’s Home Fire. For Aneeka Pasha and other British diasporics, burial of British citizens by birth in the British soil is a natural and legal right, whereas to the representatives of the Islamophobic State, the diasporic subject’s rights to soil is as evanescent as their liminal identities. Just like Polyneices in Antigone, the dead body of Parvaiz – a remorseful ISIS member seeking a way back home to rest in peace – functions beyond the biological borders of his body and proves to challenge the body politic of the state and question their necropolitical decisions.

The purpose of this article is to study the myth of father and son from Freud’s point of view in the novel of the dead father written by Donald Barthelme and its comparison with the tale of Rostam and Sohrab in Shahnameh. To reach this end, Freud’s approach regarding Oedipus Complex in analysis of the relationship between father and son in two stories been used. This relationship is formed in the heart of family overtly portrayed in Barthelme’s novel. First Donald Barthelme is introduced, then Oedipus Complex from Freud’s point of view is discussed in order to provide the theoretical basis for the research. Next, this concept in the novel of the dead father, and the tale of Rostam and Sohrab is presented and finally both works from Freud’s psychological approach are studied. The aim is to focus on the myth of father and the son applying Freud’s psychological approach to portray the nature of this myth based on the text of the novel and Shahnameh. The method of research is a descriptive analytic one and the method of study makes use of library approach.

This article is an attempt to study subject formation in relation to gender in Margaret Atwood's (1939-    ) Surfacing (1979) and Bodily Harm (1983) within the frame of the uncanny. The issue of gender has been discussed in Atwood's novels from different perspectives but this article claims that what have been rarely discussed in Atwood's novels are the unrepresentable realities in relation to gender which can be foregrounded by dislodging the uncanny. The uncanny which was once a rather  minor issue in Freudian oeuvre has been reconsidered in the contemporary era by prominent thinkers, such as Jean-François Lyotard and Julia Kristeva whose ideas are used in elaborating the unrepresentability of gender in this article. The idea of the female sublime is the most significant issue in the context of the uncanny in this article which challenges any representational system of gender formation and problematizes our preconceived hence familiar perceptions of gender formation and reevaluates them in an unfamiliar, dynamic and unrepresentable space.

The Uncanny whose presence at least refers back to Freud's 1919 essay of the same title has been reconsidered by critics in recent century. The uncanny is no more attributed merely to the realm of aesthetic or psychology as Freud attempted to explain. It is rather an interdisciplinary issue to discuss our modern anxieties such as migration, gender, history, etc. Margaret Atwood (1939- ) is a contemporary Canadian writer who has reconsidered history. What makes her different from other writers is the way she rereads history. This article is an attempt to study The Handmaid's Tale, her 1985 novel through the uncanny. In her novel, history is a narrative whose uncanny reading foregrounds the unrepresentable realities in relation to subject formation. Through the uncanny, history which has been taken for granted as a familiar, clear and unchangeable "fact" becomes a strange, ambiguous and alternate "sign". The theories of Sigmund Freud and Jean-François Lyotard are mainly consulted to delineate the uncanny and history and their tendency to foreground the unrepresentabilities of subject formation. In Atwood's novel, Language and memory function as two significant uncanny issues whose indecisive and abeyant nature shun any historical "fact" to actualize as a familiar, clear and unchangeable given. This in turn, keeps the reader incessantly in the state of indecision and ultimately renders the process of subject formation as unrepresentable.

The present article is based on the hypothesis that immigration, in all shapes or forms (either as a forced exile or a voluntary displacement), is an unsettling and traumatic experience which leads to the formation of traumatized subjectivities. This trauma (also referred to as "diasporic trauma" or "trauma of displacement") is, like many other types of trauma, transgenerational: that is, it affects not only the lives of the first-generation diasporic subjects but also the diasporic experience of their descendants by problematizing any illusory sense of a coherently hybrid self. Since from the view of many trauma theorists, literature (from autobiography and testimony to fiction and poetry) highlights the problematics of the representation and the narrativization of trauma; the present article, then, aims to explore the possibility and the means of the literary representation of trauma of displacement in diasporic literature. Employing the Post-Freudian psychoanalytic theory of trauma within a diasporic context, it thus opens up new avenues to offer a psychoanalytic study of the diasporic trauma in Lahiri's trilogy of "Hema and Kaushik" (including, "Once in a Lifetime," "Year's End," and "Going Ashore") from her Unaccustomed Earth (2008) through the lens of Nicolas Abraham and Maria Torok's theory of hauntology—particularly their notion of the phantom, the two processes of introjection and incorporation, and the crypt. Drawing on the dead-mother metaphor around which the whole trilogy revolves as well as underlining the notion of afterwardsness which is circuitously performed within the unconscious structure of the whole text, it thus argues that trauma of displacement whose psychoanalytic pain amounts to that of being ripped off the mother's womb and a life-long exposure to the phantom of an absent/present mother is so disconcerting and deep that it takes it about a generation (if not more) to be resolved and to be possibly put to rest. This possibility, of course, can be only opened up if the diasporic subject has, often transgenerationally, acknowledged, claimed, and confronted the phantom of the loss of the motherland and has even begun a belated mourning process for it. This process, however, as Lahiri's texts suggest, does not often run smoothly since the diasporic subject constantly, though unconsciously, incorporates (rather than introjecting) that constitutive element of loss at the core of his/her subjectivity by activating a series of defense mechanisms, erecting dysfunctional crypts, and getting stuck in a vicious circle of acting-out (rather than working through).

This essay denotes the context for observation of cultural behavior of the sixth decade according to cultural formation and discourse analysis of this decade, those groups into the same historical era who have the same experience from the particular social occurrence - the WAR and holy defense. In this analysis of generation dependencies, theories, judgments and common values are studied about stable phenomenon, common meanings which is in the field of experience from the hidden generation, and transfer in this decade narrative stories. In this present essay to understand the interrelation of generations for narrative authors, we assist two terms: 1. the qualification that bring social sources and areas for this changes, and 2- the qualifications that come to form the content and ideological setting, and shows that traditional revolutionary ideological discourse creates a vast array of new ideas through the production processes, selection, and institutionalization which in significant way deployed the ideology of official and cultural deep-seated institutions. This discourse is a function of cultural formulations of sixth decade that is created in order to the crisis in moral system, resources mobilization, and the formation of chains of interaction among the cultural elites. In this cultural context, narrative authors advocated dominant discourse with their new ideas and provoked the answers of the other actors in the present social environment. The Cycle of “idea- answer- idea” is one of the methods and mechanisms of action that acts through the chains of action with formation of repeated dominant discourse. In this way, social experiences of the authors in this period, are as same as the ideological elements with positive and negative elements were recorded and written.

Employing a theoretical model that combines elements from phenomenology and smiotics, the present article analyzes the respresntation of the immigrant’s life style in a literary work. After introducing the semio-phenomenological model, a new definition is proposed for “life style”, which is formed in the “intentional” relation between the subject, on the one hand, and objects and actions, on the other, and, thus, imparts signification, value and identity to both sides of the exchange. Accordingly, in order to analyze the life style, the proposed model points to the following four actions: difference, similarity, connection and translation. Next, via a semio-phenomenological analysis, these four actions are traced in Jhumpa Lahiri’s collection of short stories Interpreter of Maladies. Finally, it is concluded that in the inteactive or phenomenological relation to others and objects surrounding him/her, the immigrant experiences different life styles. He/She establishes his/her difference from the other by virtue of preserving the life style in his/her homeland; yet, at the same time, by imitating the host country’s life style, he/she attempts to identify with the other, mixes with the other, creates a hybrid life style and makes an engrafted identity. Most importantly, contitnually passing through the significations of the homeland’s and host country’s life styles, the immigrant repeatedly translates his/her own identities.

This article endeavors to analyze how de-mythologizing the image of war hero as dominant hegemonic masculinity is staged in David Rabe’s play, The Basic Training of Pavlo Hummel, and therefore takes into its ambit Louis Althusser’s views of ISAs (Ideological States Apparatuses) and theory of hegemonic masculinity concerning social discourses and gender construction. Hegemonic masculinity emerges and develops from the social and cultural settings and has its own defining. The influences of family, pop ular culture and media as an organization which create systems of ideas and values are very noteworthy in The Basic Trainig of Pavlo Hummel. Hegemonic masculinity acts as an ideology and therefore is shaped and constructed through ISAs, institutions such as family, arts, and media that produce ideologies and individuals internalize and act in accordance with. In The Basic Training of Pavlo Hummel, male subjects are depicted as figures who try to act according to the dominant discourse and a set of masculine traits attributed to traditional macho male but their attempts are in vain and ineffective since the myth of American values concerning manliness is put into question or deconstructed in this play.

In addition to the economic advantages of globalization, it also causes some challenges in the field of culture. As a major challenge raised by globalization, homogenization drives aside the heterogeneous local cultures, replacing them with the homogenized global culture. Ireland has also been challenged by such homogenizing global cultural flows and Brian Friel reflects such a challenge and a solution to it in his Faith Healer. For Friel, the form of monologue play is an expression of his glocal solution. Possessing the prominent features of the concept of glocalization such as interpenetration of the local and the global, heterogeneity, transcending the borders, increasing the agency of the local, monologue play provides the glocal condition for the transaction of Irish culture with global culture. Investigating Faith Healer and its performances, the present study exposes the affinities of glocalization and monologue play in Faith Healer.