nasser maleki
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مقدمه و هدف
شناخت محتوی رطوبت خاک و تغییرات آن در رویشگاه می تواند یک شاخص کمی بوم شناسی باشد. هدف پژوهش، ارزیابی دقت مدل توزیعی بیلان آبی تورک در برآورد رطوبت خاک در جنگل بلوط واقع در مله سیاه ایلام است.
مواد و روش هامطالعه حاضر طی مهر 1392 تا شهریور 1394 انجام شد. داده های ورودی مدل شامل نقشه های توزیعی بارش، دما و تشعشع خورشیدی ماهانه، نقشه ظرفیت نگهداری آب در خاک و 1DEM منطقه است. برای اعتبارسنجی داده رطوبت خاک حاصل از مدل بیلان آب، تعداد 33 سنسور 110 سانتی متری رطوبت سنج در نقاط مختلف رویشگاه نصب و اندازه گیری با رطوبت سنج 2TDR در گام زمانی ماهانه انجام شد. برای ارزیابی مدل از آماره های میانگین قدرمطلق خطا MAE)) و میانگین انحراف خطا (MBE) استفاده و در ادامه نتایج تحلیل گردید.
یافته هانتایج نشان داد که دقت مدل در برآورد رطوبت خاک در ایام مرطوب سال کم و حالت بیش برآوردی و در دوره خشک سال مناسب است. دیگر نتایج نشان داد در سال اول و دوم اجرای تحقیق، میزان بارش به ترتیب 680 و 383 میلی متر بوده که سهم تبخیر و تعرق از بارش به ترتیب 56 و 77 درصد است. همچنین در رویشگاه مورد مطالعه حداکثر ظرفیت آب در دسترس خاک 125 میلی متر در اسفندماه و حداقل آن در شهریور ماه به میزان صفر در شرایط خشکسالی ثبت شده است. دیگر نتایج حاکی است تنش خشکی در سال اول (نرمال از نظر بارش)، در دو ماه مرداد و شهریور و در سال دوم (خشکسالی)، به چهار ماه تیر، مرداد، شهریور و مهر افزایش یافته است. همچنین 73 درصد پایه های خشکیده بلوط در رویشگاه، منطبق بر محدوده هایی است که رطوبت خاک در ماه شهریور به کمتر از نقطه پژمردگی (15 درصد) رسیده است.
نتیجه گیریبنابراین کاهش رطوبت خاک در خشکسالی ها نقش مهمی در خشکیدگی پایه های بلوط داشته و اثر شدت و تداوم دوره های خشکسالی در خشکیدگی درختان بلوط نیاز به بررسی بیشتر دارد.
کلید واژگان: بلوط ایرانی، بیلان آب خاک، تنش خشکیIntroduction and ObjectiveRecognition of the available moisture content and its changes in the habitat can be a dynamic ecological indicator. The aim of this study was evaluating the soil moisture storage volume with the distribution model of the Turc in the oak forest located in the Meleh-Siah Ilam.
Materials and MethodsThe research was conducted from October 2013 to September 2015. Monthly rainfall and temperature data, monthly solar radiation, water holding capacity map and DEM of the region were used as input data. To validate the soil moisture data from the water balance model, 33 humidity sensors 110 cm were installed in different locations of the habitat. Then, soil moisture was measured with TDR moisture meter in monthly time step. To evaluate the model, the mean absolute error (MAE) and mean error deviation (MBE) statistics were used and the results were analyzed.
ResultsThe results showed that the accuracy of the model in estimating soil moisture in wet months is low and is overestimated, and Suitable in a dry month. Other results showed that in the first and second year of the study, precipitation was 680 mm and 383 mm, respectively and the share of evapotranspiration from precipitation is 56% and 77%, respectively. Also, in the study site the available water capacity of the soil is 125 mm, which the maximum in March and the downtrend continued until September and reached a minimum of zero. Other results indicate that the vegetation in the study area was drought tolerant in the first year (normal in terms of rainfall), in two months of August and September and increased in the second year (drought), in the months of July, August, September and October. The results also showed that 73% of the dried oak stands correspond to the areas that Soil moisture reached below the wilting point (15%) in September.
ConclusionTherefore, reducing soil moisture in droughts has played an important role in the drying of oak bases and effect of the intensity and persistence of drought periods on the drying of oak trees needs further investigation.
Keywords: Drought, Iranian oak, Soil water balance -
نظریه دریافت، بر این فرض استوار است که مخاطب، خود، تولید معنا می کند. در این نظریه هر مخاطب بر اساس موقعیت اجتماعی، تاریخی و تجربه ذهنی اش، از متن درک و برداشتی دارد که این برداشت، ادراک و توقع او را از آنچه هست، بالاتر می برد و او دیگر مخاطب قبل از خواندن آن متن نیست. یکی از روش های نویسندگی جیمز جویس (1882-1941م) و صادق هدایت (1281-1330ش)، استفاده از عناصر نظریه دریافت است. آن ها به خوبی توانسته اند، خوانندگان را با متن همراه سازند. هدف اصلی این مقاله، یافتن نمونه های از عناصر نظریه دریافت (فضای باز، فرجام باز، پایان دور از انتظار، زنجیره های نامطمین، اشاره به بخش هایی از متنی دیگر، نوشتن بر اساس بافت فرهنگی و طرح پرسش) می باشد که با استفاده از روش توصیفی- تحلیلی و به شیوه تحقیق کتابخانه ای انجام شده است. نگارندگان مقاله بر آن اند تا با ارایه مثال هایی از داستان های کتاب «دوبلینی ها» و مجموعه داستان «زنده بگور» شیوه های استفاده جویس و هدایت را از نظریه دریافت، بررسی و تبیین نمایند.
کلید واژگان: عناصر نظریه دریافت، خوانش متن، تولید معنا، بافت فرهنگیThe theory of perception is based on the assumption that the audience, itself, produces meaning. In this theory, each audience, based on their social, historical situation and mental experience, has an understanding of the text, which raises his perception, understanding and expectation of what is, and he is no longer the audience before reading the text. One of the writing methods of James Joyce (1882-1941) and Sadegh Hedayat (1902-1951) is to use the elements of the theory of perception. They have been able to engage readers well with the text. The main purpose of this article is to find examples of elements of perception theory (open space, open end, unexpected end, uncertain chains, reference to parts of another text, writing based on cultural context and question design) that has been conducted using descriptive-analytical method and library research method. The authors of the article intend to investigate and explain methods of Hedayat and Joyce's use of the theory of perception by providing examples from the stories of the book "Dublinians" and the collection of stories "Zandeh Begour".
Keywords: Elements of perception theory, text reading, meaning production, cultural context -
The present paper seeks to argue that the opposing roles Paul Auster has devised for his protagonists in Invisible</em> (2010) evolve around metamorphosic changes in their behaviors in terms of Deleuze and Guattari’s rhizome theory. While the protagonist undertakes a Deleuzian Bocoming to be a villain, the antagonist possesses a radical form of a Body without Organ. This study thus defines its main assignment to find the relevant Deleuze-Guattarian flickers within the novel. Deleuze and Guattari launch their notions of Becoming and BwO within their theory of Rhizome. To substantiate this, six principles of the rhizomatic expansion (including connection, heterogeneity, multiplicity, a signifying rupture, cartography, and decalcomania) are examined vis-à-visInvisible</em>. The story’s main characters would thus exhibit their rhizomatic and nomadic inclinations while the novel’s narration and setting would add to the multiplicitous dimension of the story. Ultimately, through such rhizomatic praxis, this paper identifies radical de-territorialization – or breaking free from social norms – as a major Austrian technique to portray the predicaments of contemporary American lifestyle.
Keywords: Deleuze, Guattari, Rhizome, de-territorialization, Paul Auster, Invisible -
در این پژوهش با استفاده از محصولات ماهواره متیوست و TRMM نقش هر یک از خصوصیات فیزیکی ابر در میزان بارش مورد ارزیابی قرار گرفت. برای بررسی از سه مدل GPR ، TDوMLPBR استفاده شد. محصولات مورد استفاده در این پژوهش از ماهواره متیوست(MSG) عبارتند از : فشار قله ابر ، دمای قله ابر ، عمق نوری ابر ، فاز ترمودینامیکی ابر ، میزان حجم آب موجود در ابر ، شعاع موثر قطرات ابر و نوع ابر. ابتدا محصولات در محیط نرم افزار متلب استخراج گردید و در مرحله بعد محاسبات با محصول بارش ماهواره TRMM انجام گرفت و ضریب خطا و ضریب تعیین بدست آمد. سرانجام میزان اثر بخشی هریک از مولفه های خصوصیات فیزیکی ابر در میزان بارش در غرب ایران از طریق روش آنالیز حساسیت محاسبه و مشخص شد. نتایج نشان می دهد که در بین مولفه های خصوصیات فیزیکی ابر نوع ابر بیشترین اثر بخشی را داشته و سپس شعاع موثر قطرات ابر و عمق نوری ابر به ترتیب در جایگاه دوم و سوم قرار دارند. در بین خصوصیات فیزیکی مورد بررسی کمترین اثر مربوط به فاز ابر می باشد.
کلید واژگان: ماهواره متئوست، TRMM، MSG، خصوصیات فیزیکی ابر، شبکه عصبی مصنوعی، غرب ایرانIntroductionFloods are a natural occurrence that causes casualties, livestock losses and damage to buildings, facilities, gardens, fields and natural resources every year. Therefore, rainfall estimates have long been considered by researchers in various fields, and along with the advancement of science and the emergence of new technologies, many advances have been made in the methods of rainfall estimation and evaluation and validation to achieve the best method. In the last twenty years, there has been a lot of progress in rainfall estimation methods. This advancement is due to the possibility of using a lot of information from different parts of the world, better understanding of atmospheric phenomena, exchanges and atmospheric rotations, improving the performance of models, progress in various surveillance tools such as radar and satellite and computer power. The methods used to estimate precipitation, especially in the short term, have shortcomings and are generally based on numerical forecasting models or the use of empirical analyzes, which are usually not very accurate for multi-hour intervals, so the use of satellite data It has been recommended as a supplement to address this problem, and doing so could greatly help increase the accuracy of numerical models for rainfall estimates.
MethodologyThe study used the physical properties of a cloud of five waves between 2011 and 2015. The data of the second generation of MSG meteorological satellite has good coverage on different regions of Iran. The satellite has 12 channels on the region and produces accurate products. Some of these products are in line with the physical properties of the cloud used in this study. These products are produced daily every 15 minutes and include cloud peak pressure (CTP), cloud peak temperature (CTT), cloud light depth (COT), thermodynamic cloud phase (CPH), and the volume of water in the cloud. Density (CWP) are the effective radius of cloud droplets (REFF) and cloud type (CT). Was obtained. The criterion for the accuracy of the calculations was the two MAE statistics Equation 1: Equation 2:
Results and discussionIn this study, TRMM satellite data was considered as control data. After receiving TRMM images in MATLAB software environment, programming was performed and precipitation data were extracted from NETCDF files. After extracting TRMM satellite data, Meteosat satellite products were prepared through the CMSAF database and their data were extracted using MATLAB software code. In the study of waves, the coefficient of determination in the GPR model was 0.72 in the experimental section and 0.77 in the training section. In the TD model, the determination coefficient is calculated in the experimental section 0.64 and in the training section 0.87. However, in the neural network model, the coefficient of determination is 0.68 in the experimental section and 0.72 in the training section. The results show a good relationship between the components studied. Investigating the Effects of Cloud Physical Properties: One of the methods for determining the effectiveness of each of the physical properties of the cloud in estimating rainfall is the sensitivity analysis method. After calculating the coefficient of determination and the error coefficient, the sensitivity of each of the physical properties in estimating the precipitation was performed by the method of calculating the sensitivity analysis. Sensitivity analysis was calculated for all waves. Calculations show that the cloud type is most effective, followed by the effective radius of the cloud droplets and then the optical depth of the cloud in the second and third positions, respectively. Among the physical properties studied, the lowest effect is related to the cloud phase. To investigate the relationship between the physical characteristics of the cloud and the amount of precipitation, five waves of pervasive precipitation were selected between 2011 and 2015. Rainfall data from the region's stations were extracted. In order to validate the TRMM data, a comparison was made between the precipitation data of the selected stations and the precipitation of this satellite. Metoost satellite products were used to extract the physical properties of the cloud. After extracting the data, the physical properties of the cloud were matched to the time scale of the data and evaluated using TRMM satellite rain as a control.
ConclusionThe selection criteria were such that the waves lasted for at least two days and covered the entire area. On the day of the operation, the precipitation information of the meteorological stations of the region was obtained and also the precipitation information of TRMM satellite was extracted. In order to validate the data of TRMM satellite, the information of meteorological stations was compared with TRMM precipitation and obtained the necessary correlation. In order to get a better result, the matching of numbers was done in terms of time scale. In the next step, using the meteosat satellite products, the physical properties of the cloud were obtained for all waves. Data were extracted at all stages for each pixel. Then the data correlation matrix was performed with three models of GPR, TD and MLPBR, the results of which are given in Table One. Due to the use of different models as well as the study of 8 physical properties of the cloud, the results show a high relationship between the components of the study, so that the coefficient of determination in the GPR model for the experimental and training sections was 0.7 and 0.77, respectively. These coefficients for the TD model in the experimental and training sections are 0.64 and 0.87, respectively. In the artificial network model (MLPBR), the coefficients obtained in the experimental and training sections are 0.68 and 0.72, respectively. The numbers obtained indicate a relatively good relationship between the components. Sensitivity analysis was performed. Sensitivity analysis results show that the cloud type feature has the greatest effect on precipitation and then the effective radius of cloud droplets and then cloud light depth are in the second and third positions, respectively. Among the physical properties studied, the lowest effect is related to the cloud phase.
Keywords: Meteosat Satelite, MSG, TRMM, cloud physical components, Artificial neural network, West of Iran -
The present study intends to examine the reconstruction of truth through unreliable narration in Julian Barnes’ The Sense of an Ending (2011). In the process of seeking a fiction in which the narrator is manipulated by the authorial voice to self-refutation, it finds Barnes’ fiction to the purpose. As such, we contend that Barnes resorts to unreliable voices to make his readers suspect the truth of his narrative. In addition to the unreliability of the narrator, the reader is also aware of a cunning voice that is not present in the fiction as the voice commenting on the narrator’s words, but as a scheming intelligence distorting the narrator’s integral sequence of events. This study wants to argue that such a voice can itself be established within the novel as unreliable. To this end, a narratological analysis will be conducted in two stages. The first will focus on the level of the story, mainly on the position of the narrator, to suggest that the narrator gives us three main reasons to doubt his reliability: his age, dementia, and addiction to alcohol. The second stage is going to concentrate on the level of the text to examine the role of the implied author. It will ultimately show that the implied author is an unreliable voice that further twists the narrator’s accounts.
Keywords: Unreliable Narrator, Implied Author, Narration, Voice, Readerly, Writerly -
ارتباط و نقش مادر و کودک و هویت یابی او همواره ذهن پژوهشگران را به خود جلب نموده است. ژاک لاکان، روانکاو مشهور فرانسوی نیز در این خصوص، الگویی سه گانه را مطرح کرده است. این الگو که به نظم های سه گانه معروفند، عبارتند از؛ «نظم خیالی» ، «نظم نمادین» ، و «نظم واقع». با تجزیه و تحلیل این نظم های سه گانه که به عقیده ی لاکان به شکل گیری ضمیر نا خودآگاه می انجامد، می توان کنش و واکنش شخصیت ها را به خوبی تفسیر کرد. او همچنین معتقد است، که شکل گیری این سه نظم در ضمیر نا خودآگاه، متاثر از نقش «دیگری» در تکامل ذهنی انسان است. سریال امپراطوری بادها، شخصیتی را به تصویر می کشد که به گونه ای متفاوت این سه دوران را تجربه می کند، تا سرزمینی را بسازد که اکنون با نام کره از آن یاد می شود. در این مقاله، سعی بر آن است تا ضمن تحلیل این نظم های سه گانه و همچنین مفهوم «دیگری» در شکل گیری این نظم ها و تاثیر آن بر شخصیت اصلی داستان، نشان دهد که چگونه فضای مرد سالارانه ی این سریال مغلوب تحقق آرزوی مادر برای فرزند می گردد.
کلید واژگان: لاکان، نظم های سه گانه، مادر، امپراطوری بادها، کودکIntroduction and Problematic of the Research:A woman is basically responsible for the birth and growth of her children. The mother-child relationship shapes the manly or womanly, masculine or feminine, feelings of an infant. But the masculine self-centeredness of the boy occurs very early in infancy by rejecting his mother. This rejection is caused by a masculine sense of supremacy. A woman as a mother also gives birth to a daughter who has motherly potentialities. Similarly, the motherly feelings originate from the mother-daughter relationship. Nonetheless, the girl is able to give birth to sons who have fatherly potentialities. The femininity of a girl is shaped by her union with her mother; however, she grows into an independent person after they are separated. The boy's masculinity opposes this primordial form of unity, yet, the mother's psychological influence remains with the boy until his adulthood. A father's authority as someone who teaches and trains his son blocks the boy's way for independence. The mother nurtures the physical growth of the younger children and the father provides for the spiritual growth of the older ones. The father is the symbol of law and order. Although mothers usually spoil their younger children with too much care and attention, they lose their central role as soon as the infants grow and are exposed to the law and education of the father. Thus, the son learns that companionship with the father brings power and strength whereas that with the mother causes weakness. Eventually, masculine sense overtakes the feminine sensibility.
The mother-child relationship and the process through which the child gains identity have always attracted the researchers to investigate into its nature. With the advent of psychoanalytic theories and criticism and their utility in the study of character and personality, the study of the characters in fictional works has also become quite a vogue among scholars. Among these psychoanalytic theorists and critics, Sigmund Freud and his concept of Oedipus Complex and Jacques Lacan and his theory of "three orders" and their effective roles in shaping the unconscious mind along with his ideas about the Other and Othering must seriously be taken into consideration when analyzing the characters' unconscious actions and reactions.
Jacques Lacan has offered a pattern which is known as the three orders such as the "imaginary, " "symbolic, " and the "real". By analyzing these orders which according to Lacan shape the unconscious, one can study the characters' actions and reactions. He also believes that the formation of the unconscious mind is influenced by the role that the "Other" plays in the perfection of the "self".
The Empire of the Winds TV series portrays a character who experiences these three orders in a rather different way to shape and construct a region which is now called Korea. By concentrating on the main character of the series as a suitable model for the Lacanian orders, these three orders have been investigated for a better understanding of his personality. In addition, by analyzing the role that the Other plays in the formation of the three orders, the authors have tried to show how patriarchic atmosphere of the series has been undermined by the mother's wishes and dreams for her son.
Theoretical Framework:The article uses Jacques Lacan's psychoanalytic theory of the formation of the human psyche and the parent-child relationship. In Lacan's opinion, the human psyche is patterned according to three orders; these three orders are as follows: "imaginary order, " "symbolic order, " and the "real order". The "imaginary order" which is about the development of man's psyche occurs between the time of birth and the first six months of the age. During this stage, man's psyche records the repressed images, dreams and desires and understands the surrounding world accordingly. The infant is one with the mother and cannot differentiate between his own imagination and the real world. That is why this phase is called imaginary order. In the next phase called "the symbolic order", the infant learns the language. He discovers everything through making differences. In this order, the father instead of the mother sits on the throne and rules. In this way, the patriarchal language is formed and the father is introduced as the guardian of laws and principles. Thus, the law of the father is interpreted as the transcendental signified (Evans, 1996, p. 84). The "real" order introduces realms and areas of life that man is unable to know and understand. In fact, the real order is the very universe prior to being fragmented by language, the scope that is outside the linguistic realm and does not yield to symbolization to be known easily. Hence, there is no access to it (Evans, 1996, 162). In Lacan's opinion, there is a central core in the real order that escapes symbolism and all the representations, images, and significations are attempts to fill in this gap. The real order is an order in which the nostalgia for a return to the mother is established. Therefore, it implies a permanent separation from the mother as well as being eternally conscious of this lack (see Farsheed, 2012, p. 141).MethodologyIn this research, we have deployed and utilized the psychoanalytic criticism of Jacques Lacan; that is to say, his theory of the three orders which acts as a means of identifying the process that involves character development. This theory has made it possible for the readers to understand better the actions and reactions of the characters, especially the protagonist of the series who has been compared to King Oedipus taking into consideration the theory of Oedipal Complex. This study has to answer the following questions to accomplish itsobjectives1. How does each phase of the Lacanian three orders occur in the series?
2. How does the protagonist demonstrate the three orders, and in what way his character is influenced by them?
3. What is the term "Other" and how does it affect the character development of the protagonist?
4. How does the series demonstrate both the terms patriarchy and matriarchy?
5. How is the protagonist compared with Oedipus? Is he an Oedipal or anti-Oedipal character?
Findings andDiscussionThe study of The Empire of the Winds series from Lacanian psychoanalytic perspective shows that the series has a central personage who undergoes a different experience of the three orders. He becomes a different person compared to other similar characters such as Oedipus by overcoming his otherwise catastrophic fate. In this way, his maternal instead of paternal authority as well as the wish for his growth is realized.Keywords: Lacan, The Three Orders, mother, The Empire of the Winds, Child -
آنچه امروز به مثابه مکتب نقد روانکاوی در حوزه ادبیات مطرح است ریشه در تحقیقات و کاوش های فروید در زمینه ناخودآگاه انسان دارد. دستاورد او در زمینه شناخت و نحوه کارکرد ذهن، الگوهای جدیدی در زمینه تجزیه و تحلیل آثار ادبی معرفی کرد. الگوی ساختاری از برجسته ترین نظریات او در تبیین ماهیت ذهن و نحوه کارکرد آن است. بر اساس این الگو، ذهن به سه بخش «نهاد»، «من» و «فرامن» تقسیم بندی شده است که هر بخش کارکرد به خصوصی دارد. تحقیق حاضر، که جزو پژوهش های کتابخانه ای و کیفی به شمار می آید، خوانشی روان کاوانه از داستان «گرگ» اثر هوشنگ گلشیری است که به صورت مشخص با استفاده از الگوی ساختاری فروید و انطباق آن با سه شخصیت محوری داستان یعنی گرگ، اختر و دکتر، کنش های این شخصیت ها را تحلیل کرده و جنبه های جدیدی از این داستان را نمایان سازد. تحلیل این داستان با رویکرد روان کاوانه فروید، سفری به جهان ذهن گلشیری در مقام مولف اثر است. رخدادهای عجیب و بی پاسخی که در پیرنگ داستان از رهگذر تقابل و تعامل اختر با گرگ و دکتر پدید می آید، جان مایه اثر گلشیری است که پرسش هایی را در ذهن مخاطب ایجاد می کند و در این پژوهش رمزگشایی می شود.کلید واژگان: گرگ، گلشیری، نهاد، من، فرامنAbstractWhat is today known as the school of psychoanalysis criticism in literature is rooted in the studies and researches of Sigmund Freud on the human unconscious. His findings regarding cognition and brain functions introduced new models for literary analysis. His structural model is one of the most significant theories in explaining the whatness of the mind and its workings. According to this tripartite model, the mind is divided into three parts each of which has a unique function. The present study is an attempt to analyze the interactions between the three characters of the short story Wolf by Hooshang Golshiri based on the Freudian model in order to reveal new aspects of the story.
Several researches has applied psychoanalytic criticism to study the works of Golshiri. However, they were too general and did not include this very story in specific. This is the first attempt to read Wolf within the framework of structural model of Frued.
Methodology and Critical ApproachIn his oeuvre, Freud has divided the human mind into three parts "id", "ego" and "superego". Id is the unknown and unconscious part of the mind which includes destructive thoughts. Id is after fulfilling the pleasure principle. What attracted Freud's attention was the unknown and hidden part of the human psyche, ego. The autonomy of the ego is indicative of the real structured goal in individual's life. In other words, Freud considers the ego as a rebellious drive in the human life. Furthermore, Freud mentions "instinct" as related to the ego. Instinct in a way is the main factor in the emergence of the ego. If ego is the life drive, instinct is the drive for the ego. He believed there are two kinds of instinct in human: Eros or the sexual instinct and libido, and the destructive instinct. These propel individuals towards success and are insatiable. Taking this model as the theoretical basis for this study, the present researcher considers Akhtar, Doctor and the Wolf respectively as ego, superego and the id.
Findings and DiscussionAkhtar's spouse is anonymous in the novel and he is called Doctor. He has a very insignificant presence as the superego beside Akhtar as the id. Thus, the void for a reliable spouse is filled with an aggressive, insatiable and destructive instinct like a wolf which stands for the ego in the story. Akhtar is a woman who is always standing by the window in front of a huge wolf with two jade black unrelenting eyes which stands for hours staring at Akhtar's window. The most significant challenge of the story is Akhtar's inner challenge. This includes a contradiction between the wolf as force against the love of Doctor and Doctor's interest in his social life.
The wolf is seeking after Akhtar's solitude, submission and destruction and its posture and gaze has caused some kind of dominion and possession over Akhtar. This is very obviously visible in the final parts of the story. In the beginning of the story, the wolf's presence gives her anxiety yet in the middle of the story, this fear changes into some kind of curiosity and serenity. The wolf's domineering feature mesmerized her and this is the realization of wolf's libido which could gain her trust through some spiritual connection. This duality can be seen in Akhtar's drawings which represent something between a dog and a wolf. Dog and wolf are different not only in looks but also in personality. If wolf represents aggression, dog represents security. What is more, a herding dog, as mentioned in the story, is more loyal and responsible than an ordinary dog. Golshiri has wisely pointed to this feature to show that the wolf is turning into a dog in Akhtar's mind. The ending of the story is the confrontation of Akhtar, the Wolf and Doctor, id, ego and superego, in a snowy scene. In this confrontation, Doctor does not leave the car out of fear while no fear is seen in Akhtar.. She has accepted the wolf and has given up id to ego and thus superego's attempts to oppress ego are in vain.
Therefore, superego is defeated and ego overcomes id. Akhtar gets out of the car and walks towards the wolf and disappears in the snow. The findings of this research based on Freudian model provide a new reading of this story and reveal new aspects in analyzing its elements. A deep understanding of the characters of the story is accessible once their interactions with each other as well as their surrounding is studied. This approach is another one of the findings of this study which examines these elements in a psychoanalytic discourse.
ResultsIn the present paper, based on Freudian concepts, a psychoanalytic reading of the story, The Wolf,was carried out in which three main characters, Wolf, Akhtar and Doctor, were compared to ego, id and superego respectively and their functions were studied according to Freud's structural model. Wolf in this story represents both Eros and Thanatos. Representing ego, Akhtar is the central character in the story who is the target of the Wolfs desire. The doctor plays the role of the superego as the controlling agent for ego. The main struggle of this story is the confrontation among these three characters. The contrast between the love for Doctor and the instinctual tendency towards the Wolf has made Akhtar's life chaotic and ends in her destruction.Keywords: School of psychoanalysis criticism, structural model of the mind, unconscious, Wolf short story -
هدف این مقاله شناخت صناعات به کار رفته در فیلم ستاره است به عنوان یک اثر پسامدرن است. این فیلم به نویسندگی و کارگردانی فریدون جیرانی دارای ویژگی هایی است که آن را از فیلم هایی که به سبک و سیاق فیلم های مدرن ساخته شده اند متمایز می سازد. این ویژگی ها قالبی به این فیلم بخشیده اند که نگارندگان را بر آن داشته تا آن را از نمایی نزدیک تر مورد کاوش و ارزیابی قرار دهند تا بدینوسیله اثبات کنند که این فیلم نمونه ای قابل قبول از ساختار و صناعت یک اثر پسامدرنیستی است. فیلم ستاره است نمونه ای قابل قبول و نه تمام عیار از این ژانر خاص می باشد که با برجسته ساختن جنبه های خاصی از این قالب همچون ویژگی های فرا داستانی، دور باطل، نوسان بین استعاره و مجاز، آشکارسازی تمهید، حضور نویسنده در داستان، پارانویا، درآمیختن ژانرها و مرگ اقتدار مولف به برخی جنبه های دیگر کمتر می پردازد. اما، در هر حال، این نقصان از ماهیت پسامدرنیستی این فیلم نمی کاهد چرا که هر بیننده ای به راحتی متوجه تفاوت ویژه ی این اثر با آثار ساخته شده در شکل و قالب مدرن می گردد. این تفاوت حاصل همان صناعاتی است که نویسنده و یا کارگردان در این فیلم برجسته ساخته و در واقع عناصر غالب این اثر را تشکیل می دهند. علاوه بر این، خوانش پسامدرنیستی این اثر با ارائه ی نمونه ای از یک اثر پسامدرنیستی در صنعت سینما، جهت خوانش های نقادانه ی آثار دیگری از این قبیل راه گشا خواهد بود.کلید واژگان: ستاره است، فریدون جیرانی، پسامدرن، فیلم، رمانIntroduction and Problematic of the ResearchHer we will use some well-known literary techniques in the critical theories of postmodern novel in order to study novels of the postmodern era. The authors here, select the movie Shes Star and base their analysis on Payandeh's book entitled Postmodern Novel and Film where he claims that novel and film are two comparable genres (Payandeh, 2007, 29). As he argues, both of these artistic genres have narrative structures and provide the reader/audience with a story or narrative which seems to be an interpretation of reality. He also argues that the comprising elements of these two genres are also similar . . . . (Payandeh, 2007: 29-3).
Shes Star is novel and a movie written and directed by Fereydoon Jeyrani that has some qualities which distinguish it from the movies made in the modern era. These qualities have given the movie a special position that has made the authors of this study to have a closer look at it. If there is a claim here that Shes Star is just an acceptable and not a perfect example of postmodern film, it is because a postmodern work in its perfect form includes all the multiplex qualities that are found in this type of literary or artistic works. Shes Star deploys some of the major techniques dominant in a postmodern genre such as meta-fiction, vicious circle, metonymy-metaphor polarities, öauthors presence in the story, paranoia, mixing the genres, and the death of the author (s authority). Though not a perfect example, it owns enough postmodern features to make it an interesting piece of work to be scrutinized for analysis and for the discovery of how these qualities have been employed to distinguish it from the works produced in a previous era.
Cinema as a visual text, in the sense that poststructuralists such as Roland Barthes and Jacques Derrida have depicted, includes techniques that are also traceable in a written text. It is, therefore, not wrong to claim that Intertextuality of Jeyranis movie is related to this interconnection between visual and written texts, i.e., the ones that use signifiers as the sole means of their signification. A written script for Cinematic production and the eventual moving picture is therefore not different from the stock words in a novel and they are open to the same kind of scrutiny. Thus, by deploying the devices that are common in postmodern novel, it is possible to analyze a film and bring the contemporary theories of criticism to the help of film studies. It is not, therefore, surprising to find studies as part of the programs offered by the departments of literature and cultural studies. Besides, this paper introduces an analysis of a postmodern Iranian movie in order to pave the way for other critical analyses of the contemporary movies. This analysis makes a connection between film industry and postmodern fiction, demonstrating the technical and philosophical congruity of the two forms of art.Theoretical FrameworkIn order to study Fereydoon Jeyranis Shes Star we employed the postmodern theoretical perspective, in which ideas of such critics as Patricia Waugh, David Lodge, Barry Lewis, and Jean Baudrillard were taken into consideration. Waughs ideas about meta-fiction, Lodge and Lewiss short circuit (vicious circle) and Baudrillards ideas of hyper-reality and simulacrum have been some of the parameters by which Jeyranis film has been analyzed.MethodologyIn this study, the authors have deployed the postmodern theories of fiction in order to elaborate on the postmodern features of the Jeyranis movie, Shes Star. By comparing the postmodern critical theories of fiction and applying them to a film, we made an attempt to make a connection between film industry and postmodern fiction, demonstrating the technical and philosophical congruity of the two forms of art. Thus, this research has to answer the following questions in order to reach itsResults1. What are the postmodern techniques that Jeyranis Shes Star gets use of in its depiction of its story line?
2. How will the comparison made between the film and postmodern theories of novel help develop the film industry in Iran? In other words, how can the film producers and directors or film script writers benefit from the critical theories of postmodern fiction?
Findings andDiscussionAs mentioned earlier, Shes Star deploys some techniques which are very common in the world of postmodern fiction. These techniques will be elaborated in detail. The meta-fictional features are the first quality that will be discussed. Patricia Waugh has designated the postmodern novels as meta-fiction. She believes that meta-fiction is that kind of fiction or fictional narrative that self-consciously and quite systematically attracts the attention of its reader to its artificiality so as to pose question for the connection between fiction and reality (Payandeh, 2007, 54). Shes Star uses meta-fictional elements in order to reflect on how the movie focuses on its own artificiality and eventually makes its audience quite aware of the artificiality of life itself erasing the borderline between reality and fiction. The second quality to follow meta-fiction in this research will be what commonly known as vicious circle/short circuit (to use Barry Lewiss terms) or the presence of the author/film maker inside the story/film. According to him, short circuit in the postmodern fiction happens when both the text and the world are insinuated or when they are vulnerable to the presence of the other in the self when the self and other are indistinguishable. This combination of reality and fiction is made through the presence of the author in the text/film or the presence of real (historical) people inside the fictional world of the story/film. When these two opposing concepts, i.e., reality and fiction, merge with one another, the literal and the metaphoric intertwine (Payandeh, 2004, 104). There are other interesting means by which the authors construct a short circuit in their works and Jeyrani has also been very good in creating it in his fascinating movie. They are the metonymic-metaphoric polarity and baring the devices. There are also other techniques which are examined and scrutinized in detail in this study, such techniques as paranoia, mixing the genres, and the death of the author or his authority.Keywords: She's Star, Fereydoon Jeyrani, post, modern, Iranian film, novel -
فردریش اشلایر ماخر، نخستین پژوهشگری بود که نظریه ی عام تفسیر را مطرح نمود. از نظر او هرمنوتیک براساس دوشاخص موازنه و تنزیل استوار است، موازنه به قیاس مفاهیم وکلمات می پردازد وتنزیل به معنای تجسم جسمانی هرچیز در عالم مکان می باشد. در حقیقت، تنزیل تجسم عینی آن چیزی است که در عالم معنا تجلی دارد. در هردو مفهوم نوعی نونگری به مفاهیم وتعینات گذشته مشهود است. به عبارت دیگر، این شیوه های جدید نگریستن به عالم طبیعت و اشیاء راه را برای مشاهدات و دریافت های تازه ای هموار می سازد که اگرچه به سرعت تحقق نمی یابند، لیک خوانندگان را بر آن می دارد تا با تامل بیشتر در مفاهیم جدید به درک بهتر آنها نائل آیند. از این حیث، درنگ و تعلل در درک مفاهیم جدید از ویژگی های اصلی نظریه تفاوط ژاک دریدا به حساب می آید. لذا این مقاله می کوشد تا نشان دهد هرمونتیک ، کنش کلامی و تفاوط به چه شیوه هایی با یکدیگر ارتباط دارند وچگونه در اشعار کیتس نمایان شده اند؟کلید واژگان: کیتس، تفاوط، تضاد، بودن، وجود داشتن، معنا، تفسیر، اشلایر ماخر، مفاهیم، تعلل، نگرش، شعرFriedrich Schleiermacher was the first who introduced hermeneutics in two branches including comparison and association, the former is based on comparison of concepts, and words, and the later is physical objectification of concepts. In fact, it is association of ideas, a new method to get rid of the traditional concepts. Therefore the new method leads to the innovative interpretations and illustrations which are suspended to be revealed, hence it produces what Derrida called Difference, Privileging here the hermeneutics of suspicion, the function of differences or contrasts refers to what Derrida extrapolated as Differance or to differ. These innovative ways of looking at the world, pave the way for new perceptions which are not revealed promptly, instead, challenges and penetrates the readers to discover the new conception which further makes some lingering in the new perception. In this sense, the slowness of new perception can become the other manifestation of Derridaian term, Différance(defer). Considering such a postmodern prospective in mind, this study is to illustrate these manifestations in some of the poems by John Keats. The authors of this paper believe that the essence or the motifs in most of the artistic works of these two poets respond to a dualistic notion which is or might be an ongoing process in literary criticism. This study tries to compare hermeneutics and Différance in some of Keatss poems and it shows the relation among speech act theory and hermeneutics and Différance in his poems.Keywords: Keats, concept, Différance, contrast, being
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نویسنده این مقاله بر آن است با توجه به مستندات تاریخی زندگی امیر تیمور لنگ در نمایشنامه تیمور لنگ اثر کریستوفر مارلو (و مرجعش سیلوا) به بررسی تطبیقی ماتریالیسم فرهنگی بپردازد و نشان دهد آنها از لحاظ تاریخی چه تفاوت ها و شباهت هایی دارند و ماتریالیسم فرهنگی چه تاثیراتی در نمود اثر داشته و چرا مارلو به نوشتن چنین اثری مبادرت کرده است. همان طور که می دانید کمتر کسی است که با جهان گشایی و قساوت تیمور لنگ آشنا نباشد. او با این اشتهای سیری ناپذیر، جان بسیاری از مردم را گرفت تا به اهدافش در سرزمین های مختلف برسد. اروپاییان آن زمان کوتاه، این میل را نادیده گرفته بودند زیرا آنها تیمور را به سبب از بین بردن دشمنانشان می ستودند. از آن میان می توان به دولت اسپانیا اشاره کرد که حتی سفارتخانه ای در شهر سمرقند دایر نمود. این مسئله باعث شد تا نویسندگان و مورخان اسپانیایی به نوشتن کتاب های تاریخی درباره زندگی تیمور مبادرت کنند که از آن جمله می توان به کتاب سیلوا اثر مخیا و نمایشنامه تیمور لنگ اثر کریستوفر مارلو اشاره کرد که مورد توجه نویسندگان و نمایشنامه نویسان قرن شانزدهم (دوره الیزابت) قرار گرفت. چنین می نماید که مارلو با این کار زمینه را برای ماتریالیسم فرهنگی فراهم آورده است.
کلید واژگان: تیمور، ماتریالیسم فرهنگی، مارلو، تاریخ، اسلامNamaeh Farhangistan, Volume:14 Issue: 3, 2015, PP 163 -179By investigating the historical documents related to Emir Tamburlaine's life, the researchers carry out a comparative analysis of cultural materialism in Tamburlaine the Great, a play by Christopher Marlowe and Silva by Mexia. The objective of this research is to show the similarities and differences between the two plays from a historical perspective, elucidate the manner in which cultural materialism has influenced literary representations and explain why Marlowe has chosen to write Tamburlaine the Great. Tamburlaine has international fame for his conquests and atrocities. With his unquenchable thirst for power, he put many into death in order to achieve his goals in various lands across the world. Tamburlaine's vast bloodsheds were treated with the connivance of his European contemporaries because he demolished Europe's adversaries and was hence praised by Europeans. Spain, for instance, established an embassy in Samarkand. This led to the publication of historical books on Tamburlaine's life by Spanish writers and historians. Silva by Mexia and Tamburlaine the Great by Christopher Marlowe can be cited as examples that captured the attention of many writers and playwrights throughout the 16th century or the Elizabethan era. Thence, Marlowe has paved the way for the inauguration of cultural materialism.Keywords: Tamburlaine, Cultural Materialism, Marlowe, History, Islam -
اشعار سبک هندی به سبب عناصر خیال انگیز و ایماژ پردازی های آن، در خور تامل شناخته شده است؛ و از لحاظ تبیین کلام، سروده های این سبک به اشعار متافیزیکی شاعران قرن هفدهم انگلیس می ماند. این نوع شعر از ایجاز، دقت و معنای خاصی برخوردار است و در عین اختصار سرشار از معانی بدیع و عمیق می باشد. در این گفتار پاره ای از اشعار جان دان و صائب تبریزی مورد مقایسه قرار می گیرد، و به نمونه های برجسته ای از ویژگی های سبکی آن ها می پردازد.
کلید واژگان: سبک هندی، صور خیال، اشعار متافیزیک، صائب تبریزی، جان دانPoems in Indian style are worthy of note due to their rich images، as in terms of word concept they are similar to the English metaphysical poems of the 17th century. Such poems have brevity، delicacy، and are predictable by complex concepts. Hence، having a powerful structure and a recurrent philosophy، they are considered to possess complex stylistic features matched with the mystic secrets of life. This style is the product of the thoughts and feelings of poets with profound scientific and philosophical knowledge; therefore it requires a distinctive audience. The main features of this style are profound philosophical contemplations، vernacularism، an addressing tone through such devices as simile، metaphor، personification، antithesis، and pun، whose manifestations are noticeable in the literary vocations of John Donne and Saeb Tabrizi، that is to say، these two poets hunt the reader’s mind. This article comparatively studies the selected works of John Donne and Saeb Tabrizi for some of the eminent instances of the above stylistic features.Keywords: Figurative language, Indian style, John Donne, Metaphysical poetry, Saeb Tabrizi -
اشتراک عینی فنی است که در آن، شاعر با انتخاب مجموعه ای از اشیاء، موقعیت ها، موضوعات، حالات یا زنجیره ای از حوادث، به نحوی موثر واکنشی عاطفی در خواننده به وجود می آورد. در این حالت، شاعر نیازی به بیان صریح احساسات ندارد؛ بلکه آن ها را در قالب اشیاء، موقعیت ها و غیره در ذهن خواننده تداعی می کند. در اشعار نیما یوشیج و احمد شاملو نمونه های بسیاری از فن اشتراک عینی را می بینیم. به نظر می سد تاکنون تحقیق برجسته و قابل توجهی از اشتراک عینی از این دو شاعر دیده نشده است؛ بنابراین هدف مقاله این است که به مقایسه این فن در برخی اشعار این دو بپردازد. از اشعار نیما می توان به شب پا، بخوان ای همسفر با من، شب همه شب، هست شب و از اشعار شاملو به رانده، گل کو، سخنی نیست، او را صدا بزن، مرثیه، وصل، ابراهیم در آتش اشاره کرد.
کلید واژگان: اشتراک عینی، نیما، شاملو، شعر، احساساتObjective correlative is the non-vocal expression of emotions through a set of sophisticated situations, events which bring to the reader the same emotions. In other words, the writer instead of direct expression of emotions, illustrates them by object, situations and events in order to influence the reader. This disinterested or impersonal theory of foregrounding emotions or experiences in art and poetry is also being used in the poetic vocations of both Nima and Shamloo. So the present comparative study intends to show the manifestation of the term objective correlative in some of the poems by these two poets, which does not seem to have received so far a significant attention by the researchers. Of Nimas poems, the authors have selected: Guard of night, Night whole night and Night, Call him, and of Shamloo’s poetical vocations they have chosen: Rejected, Where is the flower, There is nothing to say, Euology, Connection, Ibrahim in the fire, and Plan.Keywords: Objective correlative, Nima, Shamloo, Poem, Emotions -
Sam Shepard is one of the foremost living American Playwrights. He has always been concerned with the problem of identity, specifically the fragmented identity of man living in the postmodern era. Such characterization is evident in his plays: True West, Fool for Love, and A Lie of the Mind. Thus, the present article is to demonstrate the fragmented identity of Lee and Austin, Eddie and May, and Jake and Beth, in the three plays respectively. Fredric Jameson asserts that the reason for the fragmented identity is lack of any coherent relationship with the past. The mentioned characters are depicted as being lost in the perpetual images, with no clear bond to past.Keywords: Postmodern, identity, play, Sam Shepard
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TREATMENT OF RELIGION IN THE DRAMATIC / WORKS OF T.S. ELIOT
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