نقیضه

This article analyzes The Last Step by Ali Mosaffa, an Iranian cinematic piece that creatively appropriates and parodies elements from James Joyce's "The Dead" and Leo Tolstoy's "The Death of Ivan Ilych". Employing a qualitative-explanatory approach, the study explores the film's intertextual relationships with the source texts, juxtaposing it with parodies of the works by Joyce and Tolstoy. The analysis not only dissects the film's playful reinterpretation of themes and motifs from these literary works but also situates this subtextual parody within the rich tapestry of Iranian culture, incorporating traditional music and architecture. Nostalgia emerges as a central theme, bridging the subtexts of the film's written, cinematic, musical, and architectural elements. The study reveals how the film, as a work in progress, establishes intricate intertextual relationships with the original stories, offering a fresh and engaging perspective on the source material. Through a nuanced exploration of parodying intertextuality, the article sheds light on the film's postmodern narrative style and its unique contribution to the cinematic landscape.

Double-voiced discourse is a term that Bakhtin has introduced in his theory of polyphony. In this approach, the author’s voice is manifested in the text through literary techniques including stylization or style-switching, parody, oral discourse resonance, and hidden polemic discourse. Against this background, the present study examines two war novels: Mohammadreza Kateb’s Blue Mondays of the Month as well as Ernest Hemingway’s For Whom the Bell Tolls. The research method utilizes a descriptive-analytical approach, relying on library documents to analyze and compare the two aforementioned novels. The objective of this study is to discover the hidden voice of the text that the author displays using various techniques. The research demonstrates that characterization in both novels is achieved through the naming of characters. In Kateb’s novel in the form of the nonchalant behavior of the sniper in a war situation and in Hemingway’s novel in the form of the hero’s passionate behavior and words in a sensitive and extravagant situation. Oral discourse in the Iranian novel echoes Baba’s weaknesses within the text, while the American novel explores the devastating consequences of war and prioritizes political interests over regional security. Hidden polemical discourse is present in Kateb’s novel, as the engineer’s discourse reveals both Baba’s sympathetic and serious voices. Similarly, in Hemingway’s novel, Pablo’s commanding voice is subtly present in Pilar’s words, while Maria’s words reflect Pilar’s femininity. Furthermore, Robert’s voice carries the discourse of the Republican party.

Content for laughter and sarcasm, whether in the frame of comedy or in the context of ridiculous works, has a long history. The experiences of the practitioners in this field have had a great impact on the general thoughts and lifestyle of the people, and in recent centuries, theorists have examined the philosophy of its operation from various angles. The most significant theorization in this field is Bakhtin's dialogism, which is based on the language play he names as heteroglossia. after the concept has been discussed in the study of novel and other discourses of social and literary satires such as "Carnival,"  "parody," and so on. The interpretation and deconstruction of polyphonic conversational logic within the infrastructure of creative misreading and the humor in carnival discourse and parody can be conducted in terms of employing Russian Formalist notion of familiarization,  the disconnection and isolation of text from normal structure in French deconstruction and the psychological evolution of humor to creativity.The result of this descriptive study, an analysis based on library and internet sources, indicates that Persian parodies share intertextual features and borrow from polyphonic language of Carnival. These parodies are the same as literary comedies that has gone through a journey from the domain of humor to creativity with an intentional failure in the imitation of the content, language or style of serious works.

Abolhassan Yaqmā Jandaghi, is one of the poets of Qajar era that has criticized verbally the corruption of the times by using the technique of satire in his poems. One of the techniques he has used, is a parody of the antecedent poets of Khorasani and Iraqi styles. The Masnavi of Sokkal-Adal, a poetry that has been composed in 564 verses, satirizes one of his contemporary poets so that in its composition the poet has considered Shahnameh of Ferdowsi. According to the topic, this paper tries to investigate the form, the structure and the theme of Sokkal-Adal based on the components of Mock epic and it compares the Mock epic with other kinds of literary figures including parody and Burlesque. To benefit from the technique of parodying, Yaqma tries to replace the literary imitation with creativity in his poems and He partly achieved its goal, but sometimes changing the tone of poems from heroic tone to doctrinal tone and combining these two tones have kept the poetry away from the textual coherence

The greatness and fame of Shahnameh has not only had an undeniable effect on the wave of epic poetry in Iran and encourage poets to imitate Ferdowsi, but also it has caused some poets to have little ability to compose epics or In the presence of the Shahnameh, any other epic work was considered worthless by them, to mixing epic with humor and making “Naqise-ye Hamasi”. Based on it, Naqise-ye Hamasi as a suggested title for these works, which bears similarities and differences with mock-epic and burlesque in European literature, is a literary genre in which the supreme style of the epic is imitated to express trivial issues.The earliest examples of these artifacts can be seen in ancient Greece. By imitating the epic poems of ancient Greece and Rome, like Homer's Iliad and Odyssey and Virgilio's Eneida, in Europe in recent centuries prominent mock- epic Have been composed by Alexander Pope, Scarron, Trumbull and Barlow. However, in comparison with European mock-epics, funny epics in Persian literature are weak, but examples of Naqise-ye Hamasi Can be found in works of Obayd Zakani, Boshagh Atáme, Nezam Qari, Nazoki Hamedani, Yaqma Gandaghi etc. It was also natural that with the spread of new poetry in the last hundred years of Iran, Naqise-ye Hamasi be created in a new form. These parodies can be recognized as “Naqise-ye Hamasi Nimai” or “Naqise-ye Hamasi Azad”.

To challenge the authority of Grand Narratives is a dominant feature of postmodernism and, naturally, postmodern writing. Amongst these grand narratives is History. Historiographic metafictional novels – as postmodern works of fiction – challenge the objectivity of History and reinterpret (or, better said, demystify) the historical record. The writers of these novels seek to show the multiplicity and textuality of history. Therefore, history in these works of fiction is a discursive construct and has an intertextual nature; and as a discourse it is constructed in and through language and is thus open to rewriting and recontextualization. The present paper examines two historiographic metafictional novels in both English and Persian literatures, namely, Graham Swift's Waterland (1983) and Hamidrezā Shāhābādi's Dilmāj (2006), in order to reveal the extent these novels have transformed the conventions of historical fiction.

Farzand-nameh is one of the most important and ancient genres of didactic literature that parents have written with the aim of teaching science and religious and moral education to their children. Advice is the most important part of this Literary genre. Because the audience of this literary genre is mostly young people - and young nature tends to be rebellious and disobedient- they may not like it. Hence, there are always Rhetorical restrictions in front of them. Hence, authors and composers of these works are looking for rhetorical tools to solve these problems. Parody can be a rhetorical tool that has a deep effect on the audience by breaking the norms of the traditions of Farzand-nameh. In this paper, the contradictory functions of this literary genre are examined by studying the case of the manuscript of the Sheikh al-Maqamerin's advice book. This manuscript is a parody of Qaboos Nameh written by Ibrahim Khorasani for his son. Sheikh al-Maqamerin criticizes the two age-old traditions in Farzand-nameh: Pay attention to the personal benefit and people's judgment. In addition, the author has used parody to describe the turmoil and corruption of his time with his son in order to turn him away from moral vices by turning him upside down.

In Bakhtin’s opinion, the term ‘play’ is the suspense of everything in a hierarchical structure and addresses all the forms of terror, reverence, piety, and etiquette connected with that structure. Although the Attar's works are closed-off discourse in the form of monologues and his words expect no answer, by the use of play element, one may detect instances of polyphony in those works. With irony, Socratic dialogue, Menippean satire and parody, Attar trespasses the level of monologues and projects himself as a social and religious authority. The Mosibatnameh is fraught with such play features as free and familiar contacts, sublime and cheap as well as serious and comic utterances, carnivalistic mésalliances, naked posing of ultimate questions on life and death, profanation (playing with the symbols of higher authority), mock crowning and subsequent decrowning, inappropriate speeches and performances, and so on. Using a descriptive-analytical method and according to Bakhtins opinions, this study analyzes the various features of play in Mosibatnameh.

Abolfazl Zarroi Nasr Abad is one of the most successful and most celebrated figures of satire after the victory of the Islamic Revolution and raised the school of GOLAGHA. In this research by analytical and descriptive method the stylistics of his satirical works has been studied. The findings of the research indicate that the irrational and irony are two comrades of very high frequency. The humor of his first writings disruptions in the situation of urban services influenced by the political and social contexts and the imprint of the popular manner in which his periodical journals the marriage of youth criticized such issues as: economic problems and expensive. Over the course of time Zarroi has achieved personal use of his creative comedy talent in a personal style resulting in a philosophical satire extending to meaning and content whose scope is not condemned to time and place. The use of historical language to express contemporary human concerns the choice of the language of conversation which are sometimes his own works the combination of popular discourses through controversy the expression of popular culture are one of the most important features the archetypal look of the issues surrounding it and the use of proverbs.

Abolfazl zarooi Nasrabad is one of the most famuse satirist ofter the Islamic revolution of iran. his wrightings in satire involve  both  prose  and  verse.  Zarooi start  his  work  in  satire  press  for  the  first  time  especially  in Golagha. One of the most important characteristics of his  style  is  the  apt and  adept  use of  parudi technique.this study answers this question that if parodi is the stylistic characteristic of zarooi? Zaroodi parudies are important from the view of form  cotent and word. Zarooi apply  this  technique to criticize political and  social  matters  and  also  to convey his thoughts to the readers. Because of his sufficient mastery in classic and contemporary  Persian  literature he was able to make the most use of parodi in both verse and prose. However  in same of his first writings especially in "tazkeratol maghamat" he used parudi to deal with politic and social famous people of  particular period of time for this reason we can notice that these writhings gradually became  ambiguous  for readers  and  they  are  now  old-fashioned. Other  parodies that  he  tried to  explain  and  convey  the  content  and  atmosphere of  satire was  more  successful  and  permanent. Another  point  is  that  zarooi has considered  specific  writings  of  classic  texts  as well as  forms  in his parudi and his parudi is more neare to "Sadi" and "Hafez" than other poets.

Tadhkira Yakhchalieh (a biography), written by Mírzá Muhammad ` Alí Mozahhab Isfahani whose pen-name was Farhang (in his youth) and Bahar (in his old ages), is one of the detailed parodies of Persian literature created in the form of Tadhkira Atashkadeh of Lotf ‘Ali Bayg “Azar” Baigdeli. Mirza Mozahhab creates 30 characters in his work to criticize claimants of poetry who drooled in his living period. His characters, who are disgusting on one hand and humorous on the other hand, incite a multiple sense of hatred, anger, fear and humor in the audience. These Grotesque characters can be traced in many famous literary works. Presenting a definition of parody and its functions, it has been tried in this paper, to analyze Grotesque characters of Tadhkira Yakhchalieh. Findings show that the characters in Tadhkira Yakhchalieh are mostly malformed and suffer from sexual disorders (Pederasty, Pedophilia, Sodomy, etc.). In other words, the Grotesque theme of this work is initially unreasonable sexual issues and then moral vices such as greed, covetousness, theft, people abuse, etc. It can be mentioned that the main function of Grotesque in this work is to scandal the true nature of author's time.

Postmodern novelists use parody to recreate art works and criticize social matters. Story “A Goat with Bell” by Mohammad Ali Oloomi is a content parody which general concept of traditional text is splashed and story is changed to a challenging place for conflicting discourses. Some of postmodern contents in this story are as follows: reflection of urban life style, domination of discourses in characters behavior, breaking away from traditions, substitution of total idealism by individuality and role of tech in daily life. Author enters from real world to imaginary one via shortcuts and breaks the border between story and reality and emphasize on work’s being dummy. Shortcut beside other components such as writer’s Lack of authority, Fluctuations of perspective, nested narrations and free ending are factors that lead to uncertainty in stories. Existing various intertextuality in story and mixing poem and parody, also narrating memories has developed the text. Also reader is facing different worlds located in text. Intertextuality relations and shortcut play an important role in highlighting ontological content of story as it moves and changes borders between different texts. Here, with an analytical-descriptive method, we try to answer the following questions: 1- which postmodern components are observed in story “a goat with bell” ? 2-which methods did author use to highlight the ontological contents?

In the decades of 1320 and 1330 HJ, the heavy burden of defeat, agony of retracing the past, and feeling of anxiety for future events led Iranian intellectual authors to variety of escapes. The authors of this lost generation attempt to console their readers by seeking refuge to mythical narratives and allegorical stories. In this period, authors pay particular attention to myths because of their unfamiliarity and vagueness. In order to recreate character and boost the spirit of the repressed society myths are retold and reinvented. Ehsan Tabari is a contemporary Persian author whose musings in the field of philosophy and his preoccupations with political activities has cast a shadow over his literary creations hence his works are less analyzed in terms of literary theories. Philosophically speaking, he belongs to a realist movement. In his narrative works alongside showing reality he utilizes irony. The tendency towards irony is due to the harsh political climate in Pahlavi era and for this reason the manner of expression in his stories becomes allegorical. Whenever irony is injected into a literary work, one can anticipate the presence of contradiction and contradictory thoughts. Contradiction can be regarded as a device among the variety of insulting ironies which appear in many kinds of literary devices. The purpose of this article is to examine the manifestations of contradiction in the story of Yousht Fryan by Tabari. Yousht Fryan is a legendary tale which appears in Tabari’s book of Magic Journey. In this work, the author by defamiliarizing mythical concepts turns to contradiction. Since this story lends itself to different interpretations, after defining contradiction and its characteristics using the analytic method, the standpoint of this story from the perspective of literary theories such as structuralism, deconstruction, and also discourse logic is examined

To have a definite term for a special expression seems to be one of the most important problems in Persian literary criticism. Although Naghizeh is considered to be accepted as an equal term for parody, it assumes different names in various researches, at times quite irrelevant to Naghizeh. On the other hand, the relation of some expression like pastiche and Grotesque to parody has, sometimes, been disregarded. This study is a comparative examination of the terms Naghizeh in Farsi and parody in English. The aim of this comparison is to determine the boundaries, to find proper synonyms, and, finally, to arrive at a consensus regarding criticism and analysis of literary texts. Relevant texts are briefly presented to exemplify each term.