ادبیات داستانی ایران

The content of grotesque is a way of expressing wonders, in general, anything that has three strange, disgusting and at the same time funny qualities. so the main target of this study is finding equivalent capability of ancient Iranian fiction literature and selected animations in presenting the grotesque character and atmosphere , in base on Philip Tompson`s theory. And it seeks to answer the question of what are the equivalent capabilitys of ancient Iranian fiction literature and selected animations in presenting the grotesque character and atmosphere in base on Philip Tompson`s theory? The approach of this research is qualitative and the method of doing it is descriptive-interpretive. And it researchs the grotesque character and atmosphere in literary works of Alexander the Great and the Koosh nameh , and animations of the City of ghosts and the Meeting in Belleville. The results showed that grotesque characterization for Elephant tooth Koosh is imaginary-fantasy. It’s equivalent to the City of ghosts because of having disgusting, scary, abnormal and at the same time funny qualities. And characters like Horse faces and Elephent tooth himself are a kind of combination of human with animals wich is seen in the most of the City of ghosts animation`s characterization. In Alexander the Great the metamorphic, funny, scary and disgusting characterization is equal to the Meeting in the Belleville animation. So grotesque elements in ancient Iranian literature can offers plenteous source of ideas for making animation based movies.

In his narratological theory, Gerard Genet examines the narratives in different texts based on five principles: the voice of narration, the time of narration, the level of narration, the time of narration and the landscape of narration, and his theory is considered the most prominent and comprehensive theory of narratology. Is known. The present research was carried out using a descriptive-analytical method with the aim of examining the collection of stories "Crystal Pendants" by ShahrnoushParsipour from the narrative aspect and showing the different levels of narration in it, and in this study, Genet's theory of narratology was emphasized; In this regard, the main question of the research is that in this case study, which elements of the narrative were used and to what extent? The research results showed that there are different levels of Genet's narratology theory in this collection of stories. In examining the voice of the narration, the author used a total of 12 short stories of this work, in seven stories the narrator is inside the event and in five stories the narrator is outside the event, and seven stories are narrated in the post-event style and the other five stories are narrated simultaneously with the event; Seven stories had constant internal focalization, two had external focalization, and the other three had no focalization or zero-degree focalization. Six cases of singular frequency, five cases of repeated frequency and one case of narrator frequency were obtained in the processing of stories. In the analysis of the narration time of the stories, nine cases of use of staging as a way of establishing dialogue between the characters of the stories, five cases of time sequence, two cases of prolongation and two cases of interruption or pause in the narration of the story were observed.

Subject and subjectivity are among the elements which can help determine a story as modernist. The modern subject reflects on itself, thus many characters in the modernist fiction think about themselves and their life and thoughts are the focus of the story. Concentration on ‘characters’ and their thoughts are of great importance in modernist fiction, which is less noticeable in pre-modern fiction. In Persian modernist fiction, there are two works in which such a concentration can be particularly observed, i.e. Sadeq Hedayat’s The Blind Owl and Bahram Sadeqi’s The Heavenly Kingdom. In both of these novels, the characters and their thoughts are central. In this study, first, the characteristics of the subject are listed, then a relatively precise definition of the subject is provided, and finally it is shown that the main characters of these two novels are subjects and the features of subjectivity are discernable in them. Consciousness, agency and individuality are the main features of subjectivity which are all studied in relation to the main characters of these two stories. 

In the past century, a number of Iranian writers have produced stories that can be viewed as examples of modernist fiction. One of the most important features of characters in modernist fiction is their subjectivity. In the present study, Hedayat’s TheBlind Owl and Sadeqi’s The Heavenly Kingdom, as two prominent modernist works of Iranian fiction, have been examined, with the subjectivity of their major characters being the main focus of attention. Both of these works are character-centered and the stories revolve around the minds of the characters. In other words, everything is filtered through the minds of the characters and there is no objective reality in them.

The definition of modern fiction is closely associated with the definition of modern personality, resulting in the development of different ideas about the modern personality. Subjectivity, as highlighted by modernist critics, is an important feature of modernist fictional characters. While the subject is defined in different ways, in the present study we have relied on the definition accepted by the majority of modernist critics. The subject, according to scholars in this field, is characterized by awareness, freedom, and individuality.

In the present study, first, by drawing on the ideas of scholars in this field, a definition is offered for subjectivity, based on which the subjectivity of the main characters in Hedayat’s TheBlind Owl and Sadeqi’s The Heavenly Kingdom will be analyzed. Then the most prominent features of these characters will be examined.

The main characters of two important Iranian modernist novels were examined and it was found out that both characters share their ideas about subjectivity with the reader and enjoy their free will and individuality.

In The Blind Owl, the narrator knowingly speaks about the characteristics of subjectivity, shares his ideas with the reader and even analyzes them. He examines every idea rigorously and refuses to accept any idea as a presupposition. He questions the ideas instilled into him by society and tradition and tries to redefine them. His ideas about life and death are the result of his individual awareness. He tries to protect his free will and freedom and influence people surrounding him, even by inflicting violence on them. In The Heavenly Kingdom, Dr. Hatam has devised a plan through which the characteristics of subjectivity can be found in this personality. He sometimes speaks about these characteristics directly and reveals subjective awareness in his ideas in his solitude. He thinks about his own life more than anything else and is aware of the differences between himself and others. Dr. Hatam uses his free will and freedom to joyfully torture and even kill others. He cannot view others as human beings similar to him, and by disregarding all presuppositions he starts to think about himself and others.

Naturalism was a literary movement taking place from the 1880s to 1940s that used detailed realism to suggest that social conditions, heredity, and environment had inescapable force in shaping human character. Naturalism is the outgrowth of literary realism, a prominent literary movement in mid-19th-century France and elsewhere. Naturalistic writers were influenced by Darwin’s theory of evolution, philosophical-literal ideas of Taine and experiments of a physiologist named Claude Bernard. Also, philosophical opinions of Kant and Taine which were based on interpretations of social life and relationships influenced the principles of naturalism importantly. Thus, Naturalists believe that people’s behavior has the tendency to be objectified and treated like a machine and it would be impossible to judge it morally because of heredity, environment and moment is inevitable. Hence, we can have knowledge of the mechanisms of natural phenomena in man to define rational and emotional parts of his being which are under the influence of heredity, environment, and the moment. This paper aimed at identifying and describing the naturalistic aspects of Mahmoud Dowlatabadi stories. Naturalistic analysis of his stories can help us to have better in depth insight of his ideology.

The ‘diachronic approach to narrative studies’ may take different directions، one of them being a typological research on narrative texts، and the other، a genealogical enquiry into the modern ways of storytelling as to see how they have historically originated from a certain group of folktales. Assuming، in the same vein، that some relics of Persian formulaic oral narration should have survived—through functional modification، or even obliteration— into the Iranian literary fiction، this article introduces just one instance of these Persian-folktale-specific formulae، drawn out from a bulk of more than 270 texts whose inscription dates back at least to 70 years ago. Then the question is whether the formula has completely vanished away، or simply alternated between a number of functions.