سوژه

Characterization in the stories from Classic to postmodern course has been faced with many changes, entering postmodern, the theories of great- philosophers such as Foko has affected deeply the manner of anolysing personals of the stories. Since action and reaction of personals from the Story, forms the story.   So the Kind of Studying a Personal helps us to have a better understanding of the story. Each concept is a function of speech that comes from power and knowledge. Studying the kind of speech and the power coming from knowledge, we can knows these actions and reactions and even we can predict them. Provides fixed power for thinking of personalities and their operant. What foco puts forward as power does not have a negative meaning. this article from Foko’s point of view studied personalities and so studied the kind of power coming from speech and forces, we have studied his way of personalogy. So, the personals of the story have been studied to get more carefully their reactions. In this study, they resulted that personals won’t accept dominant speech or help it in some way or will be changed to a subject unconsciously. Subject is infact placing personalities in speech position

In this research, the mystical experiences of Bayazid Bastami in the narrative of Attar's Tazkira  Al -Awaliya were analyzed with a semiotic-semantic approach in order to explain the mechanism and how the meaning is formed in the text in question. In this discourse, Bayezid is cared for and chosen by God before birth. Then, in the process of development, there is an activism that does not reach the goal during austerities, worships, worldly travels and all the actions that are considered valuable actions in the ontology of Islamic mystics, including Attar as the narrator of the text. The outcome of these actions is being; Unsuccessful outcomes and shortcomings, failures and emotional stress, intense desire versus lack of necessity, and complete denial of what is right eventually cause him to dissolve his sense of self, transcend his limits, and unite with existence and God. The stronger and more intense the desire, the more severe the failure resulting from not being able to be and the more meaningful the emotional tension. A meaning that is full of emotion, perception and presence. The feeling and perception of the narrator, sometimes with an external phenomenon and sometimes by confronting the inner world, leads to the emergence of meaning. Some external experiences are the result of adaptation, reflection and some internal experiences are the result of attraction, co-presence and unity. The mention of Bayezid and his ascension is a mirror of the whole view of what mystics call mystical experience. An unexpected event, a passivity that brings with it an outburst of meaning and enthusiasm of the language. The research method is descriptive-analytical. The theoretical approach of the research is based on the theoretical foundations of semiotic-semantic knowledge in the analysis of mystical experiences. The scope of the research includes re-reading and reflecting on the mystical experiences of Bayazid Bastami in the narrative of Attar's Tazkireh Awaliya, which tries to analyze the formation of meaning in an emotional discourse, between the system of action, tension and excitement.

In Iranian folk short stories, there is a possibility for the existence of more than one subject. Without a shadow of doubt, these subjects, with regards to the Semantic horizon and their action process path, are in interation with each other. According to this matter, the question addressing the kinds of relations between subjects has been proposed. Furthermore, how the semantic horizon followed by subjects affect the relations among them. With that in mind, this research, imposing an analytic- descriptive method and affected by Semi-Semantic discourse approach in classical narratives, tries to consider and analyze the quality of relations among subjects in Iranian folk short stories by considering 661 present subjects in the collection of Iranian folk stories that include 201 collected stories by Seyyed Abolghasem Enjavi Shirazi in a collection of four volumes. The results of this research indicate that these stories have formulated 13 types of relations among subjects comprising; coexistence, confluence, divergence, confrontation, interaction, alignment, excellence/failure, object/subject, understanding, dialogue, imitation, self- sufficiency, and competition. According to the Semantic horizon component that determines the quality of the relations among subjects, these relations, in most cases, have changed and, as a result, 34 communication chains from one to eight rings have been formed among subjects.In Iranian folk short stories, there may be more than one subject. Undoutedly, these subject are in interaction with each other interms of the semantic horizon and their path of action process. According to this matter, it is proposed that the type of interactiosn between subjects and the way the semantic horizon followed by subjects impacts this interaction are the two subjects which turn out to be worth-mentioning.This research, having an analytic-discriptive procedure, is effected by the semi- semantic discourse approach in classical narartives in which the relations among 661 subjects (characters who want to possess an object, repossess, or protect it) in 201 stories from a four volume collection of Iranian folk short stories are considered. These stories had been collected by Seyyed Abolghasem Enjavi Shirazi. In this research, prior to anything, the kinds of relations among subjects and  their frequency are determined and, followed by that, the relation chains among subjects and their frequency are explained which are formed in these storeis.The results revea that in these stories 13 types of relations have been formed among subjects: coexistence, confluence, divergence, confrontation, interaction, alignment, excellence/failure, object/subject, understanding, dialogue, imitation, self- sufficiency and competition. According to the Semantic horizon component that determines the quality of the relations among subjects, these relations, in most cases, have changed and, as a result, 34 communication chains of one to eight rings have been formed among subjects.The result of this research reveals that object and possessing, repossessing, or protecting that, which causes to creation and forming the relations among subjects. This process causes to forming different relation chains among subjects.

This research aims to answer the question, to what extent can a real (objective) description of the world be achieved with quantum physics? In other words, how did the concept of nature change in the subatomic world? It seems that the concept of the word "nature" has changed so much from the stories of the past that all of our relationships with nature must be grounded in new principles and redefined.The situation in the macroscopic world (classical Newtonian physics) is quite clear. But the question is, how is our understanding of nature in the microscopic (subatomic) world? With the invention of quantum physics at the beginning of the 20th century, the situation changed completely. According to the Copenhagen interpretation of quantum physics, which was presented by Niels Bohr and Karl Werner Heisenberg, two of the founders of quantum physics, the natural sciences (physics) do more than describe and explain nature. In fact, the natural sciences are part of the confrontation between nature (object) and ourselves (subject). Therefore, our science is part of the human-nature interaction. We should also talk about the profound effect of technology on the relationship between man and nature.When we in the age of quantum physics talk about the image of nature (object) from the point of view of the exact natural sciences, instead of "the image of nature", the topic of conversation is the image of "our relationship with nature", which describes them and "explains" them in mathematical language.

The issue of the “subject” is the most important factor in the distinction between classical and modern literature. The word “I” is often general and abstract in classical literature, while in contemporary literature, following modern philosophy, it is an individualized and concrete “I” or, in other words, an active subject. Perhaps the most obvious manifestation of this paradigm shift - especially in poetry - can be seen in the type of encounter with the “subject”. Contemporary poetry, from its most superficial romantic facet to its most complex philosophical aspect, expresses a self-sufficient subject whose origin is human centrality. Ahmad Shamlou is one of the poets whose poetry subject is “I”. This research deals with the hermeneutics of “self/subject” in his poetry using qualitative content analysis and critical reading of the collection of Shamlou's poems along with selecting indicative examples. Since this “I/self/subject” has been subjected to turmoil and transformations during his six decades of writing poetry, the theoretical framework of the discussion is also based on these developments and deals with both the philosophical subject which emphasizes individual thought and consciousness and to a subject that is a social construct. Hence, the theoretical framework of the study is based on a triangulation of Michel Foucault’s discussions about the hermeneutics of the self and governing oneself and others; the theory of symbolic interactionism, which deals with the individual and social “self”; existentialism that focuses on freedom, choice, and responsibility; and ultimately Althusser’s perspective on the subject i.e., subject with s (small letter) and subject with S (capital letter). "I" in Shamlou's political poetry is an ideological pseudo-subject (subject) due to his attachment to the Toudeh party, whereas in his philosophical poetry, it is the result of knowledge and awareness based on his own lived experience, and reflection on existence, human, life, and death, as the supreme subject (Subject).

The present research is a rereading of the poem Continuity evolution" from Tahira Saffarzadeh's collection "The Second Office" based on Lacan's psychoanalytical approach. The question in this research is whether the poet (as the subject) in this poem has been able to relate to the desire of desire (the object) The big other (in the symbolic field) replaces the mother (the object of the small other) in the imaginary field and achieves the peace and comfort that he enjoyed in the imaginary field in the mother's safe embrace? Kurdish, has saved the subject from wandering in the symbolic field? The current research method is library based and based on rereading and collecting the data obtained from it. The findings of the research showed that the subject in relation to another big object which he refers to as "Tawaul" He has not achieved the first peace and happiness he enjoyed in his mother's arms. Therefore, at the end of the poem, he continues toHe has mentioned his confusion and confusion (in the symbolic field) after connecting. 

The historical Battle of Dimdim Castle, occurred between Shah Abbas Safavi and Amir Khan, a Kurdish commander, has been narrated differently in Tarikh Alamaraye Abbasi and the novel Dimdim. The main question here is that what issues have led to the difference between the two narratives. This study tried to analyze the discourse of two narratives. It focused on the role of discourse in showing emergence of a specific stance in the narratives; that is, how discourse help determine the semantic and value relationships between different elements of the narratives. The analysis showed that the different narratives in the two works are the result of two opposing discourses, each depicting a specific type of politics and power attitude. Although none of the two narratives directly or explicitly points out the power element, the major discursive issues of both narratives are power and governance, manifested in two opposing discourses: The governance-oriented discourse dominating the narrative of Tarikh Alamaraye Abbasi is based on the centralization of power; and the minority-oriented discourse that exists in the narration of the novel Dimdim. Amir Khan as an activist subject is described in Tarikh Alamaraye Abbasi as a rebel who stands against the government, but the same person bears the role of a national hero in the novel Dimdim.

The present study identifies the features of postmodern subject in Samuel Beckett’s Krapp’s Last Tape (1958), Sam Shepard’s Buried Child (1978), and Tom Stoppard’s Travesties. These three plays beautifully showcase the sense of belonging and non-belonging of modernist subjects toward essentialism, and that is how such subjects moves toward postmodernism’s belief on lack of commitment to neither absolute belonging nor non-belonging. Dislocated memories, textual and constructed nature of memories, schizophrenic characters, and their inclusive belonging to discursive oppositional points of binaries are the features around which the study will pursue its discussions. While discussing these features, the study utilizes critical insights proposed by two key figures in literary theory and criticism: Linda Hutcheon when it comes to postmodernism in A Poetics of Postmodernism (1988) and Politics of Postmodernism (1989), and Nick Mansfield when one wishes to discuss the issue of subjectivity in Subjectivity: Theories of the Self from Freud to Haraway (2000). Amir Ali Nojoumian’s A Brief Introduction to Modernism in Literature and A Brief Introduction to Postmodernism in Literature would be utilized to enrich study’s take from modernism and postmodernism too. Absence of even an abstract unified understanding of the past, the uneasy and hectic juxtaposition and superimposition of a series of contradictory narratives out of the past experiences of schizophrenic subjects, and lack of belonging to – or inclusive belonging to – either sides of binaries are the key titles of the study’s findings while it reviews the transitional status of the subjectivity of the plays’ characters.

The present research examines physical metamorphosis, how the subject transforms from “body” to “heterobody”. It also examines the situation in which the system of meaning is produced by accident in the novel “The Clown and the Other Insects” based on physical stylistics. It is hypothesized that the principal factor for the physical metamorphosis of a subject in the process of transformation from “body” to “heterobody” is the episodic, elusive and paranoid existence of the subject which results in varieties of states for the subject in discourse from subject to quasi-subject and finally to the No-Subject. The main reason for the physical metamorphosis of the subject is the realization of self “I”. Afghan fiction has metamorphosed since the 1380s, so one can straightforwardly find traces of the metamorphosis in all domains such as discourse, narrative and semantic systems. The novel The Clown and the Other Insects manifests the characteristics of this situation. From the semiotics perspective, the discursive state is transgressed from the closed structural subject by the act and movement of post-modernist subject for the realization of self and other. It is metamorphosed into the other via the consciousness process. It then starts to realize oneself “ego” by distancing from self “I”. The result indicated that, through transgression from self to other, the body is metamorphosed, which has enabled the subject to realize oneself “ego” Here, we are dealing with text-based/non-subject, which is interconnected and produced synchronously with the text through a collection of contradictory and unrealistic illusions.

Animal is viewed in traditional literature as a tool and symbol that shows the human attitude. In the new perspective, however, especially in Deleuze's view, the animal is no longer a tool in hands of humans but humans must submit themselves to the animal and get close to animality. Considering the new concept, this study used the ideas of such thinkers as Deleuze and other related postmodernist thinkers to examine the characters and features of Suvashoun novel from the perspective of animality. The main themes that this study discussed are animality, childhood, madness, humanity. Regarding animality, we see Suvashoun a dialectic, where antithesis appears in Yusuf's humanity. Madness and prison are means used for liberating man from his subjectivity in prison. That is why Zari takes her vow to the madhouse and distributes it among the prisoners. Desire and body, childhood and femininity, Kelo’s personality and MakMahon's poetry, and Dr. Abdollah Khan's mysticism leaves no room for human humanity of Yusuf. He should be the contemporary Siavash, whose head is innocently cut off in the bowl of his mythical innocence. Such a Suvashoun not only ensures the liberty of his soul but accomplishes the animality of Zari.

If we consider language not as a mirror reflecting struggles, but as the subject and tool of struggles, then we should use the signifier of discourse, which makes the concepts of power and language understandable in a continuous and inseparable conceptual entanglement. This article aims to analyze the text of Tarikh-e Beyhaqi as one of the most influential classical texts of Persian literature with a discursive method. In other words, by placing this text in its discursive context and its dialectical relationship with power, and understanding this text as the field of conflict between powers and conflicting discourses of society, a new understanding of it can be achieved. In order to achieve this goal, Fairclough's critical discourse analysis method is used to perform micro-textual analysis, and Laclau and Mouffe's discourse theory is used to perform macro-discourse analysis of Bayhaghi era. The text of Tarikh-e Beyhaqi, as shown, does not reflect the true struggle, but itself, is part of the struggle process. This text is influenced by the chain of ruling discourses and is used against peripheral discourses. Tarikh-e Beyhaqi, under the influence of the discourse that pulls the bipolar mind of the text to a directional representation of the flow of affairs, highlights the ruling discourses and marginalizes the peripheral discourses.

Investigating the entanglement of subjectivity and discourse, knowing the various aspects of power relations that lead to the construction of these discourses, and limiting subjectivity and agency, are some of the necessities of life in the present era. This is especially for adolescents who are at the beginning of social interactions. Meanwhile, gender is one of the issues that plays a decisive role in constructing the individual subjectivity, and a part of these discourses occur through the gender of individuals. This research targets the adolescent subjectivity and seeks to find out whether subject agency addresses freedom from discourse networks or not? Foucault’s point of view on the social and discourse subject, which has examined the individual subjectivity as a product in discourse processes, is utilized in this respect.This research is a qualitative research in which the method of social semiotics is utilized to examine different dimensions of subjectivity. Signs have been studied in two contextual contexts (linguistic and aesthetic signs) and social contexts (speech acts, communicational behavioral and body). The findings of this study indicate that the subject of boy in this novel, despite having action and agency, plays a role in the heart of tradition and gender discourse and can be considered as the object of the masculinity discourse. In general, it can be claimed that the subject of this novel is the subject of discourse, and what seems to be about him in terms of subjectivity and agency is only a role as a masculine object.

The story of Orwell Animal Castle is a socio-political theme in which one can see the interaction of the main characters in the formation of a specific goal (independent animal society), which in turn led to the emergence of a revolution and the creation of an independent animal community. In the shadow of a series of paradigms becomes mandatory in the field. But in the continuation of the narrative, each of the characters exhibits specific characteristic actions towards the independent animal community, which challenges the same expectation of lifestyle and how it is approached in this story. For this reason, the present study, which is written using the analytical-comparative method, seeks to be based on the lifestyle model of Eric Landowski; The French social semiotics analyzes the issue of how the lifestyle in the story of the Animal Castle, while identifying the integrated or different lifestyle discourse in this story; How to approach it, which can include things like: static, dynamic, repetitive, and whether or not it is a process; Explain. The findings of this study indicate that according to the researcherschr('39') predictions in this article, the lifestyle discourse in this story is different, with chameleon and reference lifestyles and bear lifestyle having the highest and lowest frequencies, respectively. And in most cases, the lifestyle approach in this story is a static and non-process approach

The dominant approaches in the study and criticism of myths are often based on a kind of presupposition regarding the neutrality of the discourse. In the meanwhile, it is possible to provide a new understanding and reading of them by moving from such views and by removing myths from suspension and then binding them to power structures. On this basis, first in the present article, the myth of creation and its parallel mythologies are separated from the suspension and placed in the framework of a type of power structure; then the current logic in the process is explained, and finally, the function of such a matter is discussed. The results of receiving and describing some selected works in the Greek-Iranian tradition indicate that the function of these mythological narratives is aimed at the production and reproduction of essentialist ideas related to deterministic traditions, which has flowed in a range from an ontological approach and function to an ideological organization for suppression and deprivation of agency from the subject. From this perspective, mythological systems based on the logic of essentialism have formed a center of power and conservatively suppressed the exposure of human subjects to these centers in various ways.

On this basis, this research is looking for mythological themes in one of the valuable collections of Iranian folk tales named Mashdi Galin Khanum's stories. In this research, after identifying mythical elements and characters among the stories, it is determined that the process of transferring myths into the folk tales of this book has changed them. Among other things some components of mythology have been removed or changed in their folk definition, or other details have been added to them and some ancient myths are reflected in the bodies of other characters. The total evolution of myths in the stories of this book, based on the pattern given by Mehrdad Bahar, has been studied under four headings: transformation, fracture, integration, and the entry of foreign elements. In the end, it is concluded that based on the evolving nature of myths, mythical characters and phenomena in folk tales are also narrated with changes to make them believable or in harmony with the new space. It is also possible to find out some neglected aspects of mythology by examining folk tales.

Literary discourse analysis refers to the analysis of linguistic and meta-linguistic data of a literary text to reach different concepts and interpretations. This research is based on a descriptive-analytical investigated and analyzed Sherzad Hassan’s The Yard and My Father’s Dogs from the perspective of the dominant discourse. The necessity of conducting this research is that it also shows that the literary text is not only linguistic and aesthetic data, and different interpretations can be obtained through linguistic and meta-linguistic data. In terms of discourse, this story can be classified into three parts: dominant discourse, new discourse, and failure of the new discourse. The discourse of power, by monotonizing language and society and suppressing dialogue and other communication, takes a step towards expanding power and consolidating it as much as possible, which itself has a great impact on the construction of society and homogenous subjects. Finally, since no discourse can fully establish itself, a new discourse emerges in opposition to the prevailing discourse, which is represented by the first character of the story. With the production of a new discourse, one of the requirements of which is a new identity, the subject finds a new identity and gradually the previous discourse goes to the sidelines, but in the end the new discourse does not lead anywhere.

Semiotics, in a transformational process, moves from object-oriented semiotics to subject-oriented and then toward phenomenology, resulting in the formation of a relation in accordance with the challenge or adaptation among the subject, the object, and the world. In so doing, it influences objects and subjects. As a result of the object-subject entanglement, meaning is transferred from one to the other. Objects interact with or challenge each other in an inter-objective context, affecting the performance and cultural and social behavior of human subjects and determining the type of their interactions. In fact, with its legitimizing and authoritarian aspect, the object could reestablish or collapse the subject's presence. This article tries to understand how and through which features and discourses this process is completed. The present research investigates two central questions: what are the fundamental qualities and requirements in the transition from the sign system to the object system and its discourse functions in Golshiri's Shazde Ehtejab and what are the positions of the object’s semantic process and its role in the presence of the subject. The main goal of this article is to examine the transition from a sign system to an object system, its establishment, and its semantic processes. The result shows that in the transitional process from the sign system to the object system, the objects find an authoritarian, prosthetic, spatial, active, representational, ironic, referential, cultural, historical, and legitimizing position.

Essay is a genre of modern world and modern relations that can be considered as an independent genre. The origin of this type dates back to the Renaissance and the attention to the individuality of the thinking man. Due to the fact that the essay is close and related to some other genres, it has caused it to be named with its common and family genres, regardless of its form and nature. In this article, after reviewing essay writing in the West, the issue of form in essay, its prose and its relationship with the structures of the new world has been considered. By studying the related types of this type of writing and the formal and qualitative analysis of the research, its types are classified under two general headings of personal research and official research with subheadings and the ratio of research with similar types is discussed. Finally, in order to approach the definition of an essay, by studying various essays, relative components such as: prose, self-painting, flexibility, generalizability, self-regulation, simple literature, thoughtfulness and contemplation have been expressed as common features of essays.

Julia Kristeva is one of the theorists who have tried to establish a close connection between literature and psychoanalysis by proposing various theories in areas such as literary criticism, feminism, and psychoanalysis. She seeks to examine the relationship between language and the subject in dialectical and dynamic processes by proposing concepts such as the speaking subject, the symbolic and the semiotic, thus clarifying the connection between psychoanalysis and language with the notion of abjection. Abjection is a process through which the linguistic subject, by entering the symbolic realm, considers anything that threatens the boundaries of its subjectivity as the other and tries to reject, deny and repress it. In this paper, Houshang Golshiri’s novel Prince Ehtejab is read based on Kristeva’s theory. In this reading of the novel, we are confronted with Prince Ehtejab’s pain, wounds and the evils of his soul. After a futile attempt to rid himself of all that he assumes contaminated, and to gain purity, tired of rebuilding the past and achieving the desired individuality, he gives up exploring the corners of his mind and surrenders to death. In literature, abjection theory considers the text as the superior signifier of abjection. This process is illustrated in literature in a variety of ways, including the denial of the mother, negation of the mother-child relationship, a constant sense of controversy with the abject, an attempt to defend the privacy of subjectivity, and the emergence of unpleasant words and phrases. It turns the text into a place for exposing the subconscious and the darkness of the soul and whatever casts a shadow of that fear and terror over the subject, so that the individual may attain sublimation and purification. Extended Abstract1.IntroductionJulia Kristeva has tried to establish a close connection between literature and psychoanalysis. She has sought to clarify the connection between psychoanalysis and language through her theory of abjection. Abjection is a process in which the linguistic subject, by entering the symbolic realm, considers anything that threatens their subjectivity as the other and at the same time tries to deny and repress it. In the present article, Houshang Golshiri’s novel Prince Ehtejab has been studied based on Julia Kristeva’s theory of abjection. 2.Theoretical FrameworkKristeva introduced the concept of abjection into literary studies due to the cathartic role of literature. She believes that in literary texts, the writer is a subject that uses her/his work as a venue for talking about crises both inside her/him and in the world surrounding her/him. The present article studies the concept of abjection in Houshang Golshiri’s Prince Ehtejab in order to point out some of these crises. 3.MethodologyThe present article follows a descriptive-analytical method. First, some major concepts in Kristeva’s theory, such as ‘subject’, ‘the semiotic’ and ‘the symbolic’, are explained and the concept of ‘abjection’ is analyzed. Then, using the main components of this theory, Houshang Golshiri’s Prince Ehtejab is examined. 4.Discussion and AnalysisDifferent instances of abjection can be identified in Golshiri’s Prince Ehtejab. An important one can be found in the case of the mother who is constantly denied by the Prince, as are the other mothers in the novel. This might be because their presence is deemed to threaten the independent identity of the subject. The Prince also describes the crimes committed by other masculine subjects in order to distance himself from them and protect his identity. According to Kristeva, the subject finds the abject both repelling and attractive, both endangering and protecting her/his identity, examples of which can be the Prince’s description of his father, Monireh Khatun, and Fakhr-o-Nesa. 5.ConclusionIn Golshiri’s Prince Ehtejab, instances of impurity and sin can be detected in the character of the Prince. His attempt to exonerate himself is futile, making him finally surrender. The novel ends with the death of the Prince, the speaking subject. The present article offers a new reading of this novel and applies a theory through which we can delve into the inner being of humans and the world surrounding them. Thus, a literary text can be regarded as a signifier that reveals human pain, impurities and sins, and help to eliminate them. 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