صادق هدایت

Sadegh Hedayat’s The Blind Owl, recognized as one of the most prominent works of Persian literary modernism, deeply engages with the existential crises of the modern human. This article analyzes the technique of ekphrasis in the novel through the lens of Martin Heidegger’s philosophy, demonstrating how Hedayat employs this tool to portray existential anxiety, alienation, and death. Concepts such as Dasein, being-toward-death, and temporality, implicitly inspired by Heidegger’s philosophy, are embodied through vivid sensory and visual descriptions. An analysis of key ekphrastic scenes in the novel reveals how Hedayat, through precise descriptions and multisensory imagery, depicts the protagonist’s philosophical and psychological crises. From the embroidered curtain and headless shadows to the misty house and the painting of the dead woman, Hedayat establishes a connection between literary aesthetics and existential philosophy. By adopting an interdisciplinary approach, this study highlights The Blind Owl’s position as a philosophical work within Iranian modernist literature and unveils its connections to global existentialist movements.

Dash Akol, the renowned hero of Shiraz, is one of the most prominent figures in Iranian folk and formal literature, with various narratives about his life and character in the local folklore of Shiraz. Inspired by these narratives, Sadegh Hedayat wrote the short story "Dash Akol" in 1932. Hedayat’s storytelling prowess and widespread reputation led his version to gradually become the dominant and established narrative of Dash Akol, ultimately overshadowing and erasing other local accounts. The alterations Hedayat introduced into the story profoundly shaped a new image of Dash Akol, transforming him into a flawless hero embodying ideals of masculinity and moral chastity. These changes not only reinvented the character but also reflected the cultural and social transformations in early 20th-century Iran, which were widely championed by intellectuals and writers. This study seeks to distance itself from Hedayat’s established narrative and instead examine alternative accounts of Dash Akol found in local Shirazi sources. These narratives often fundamentally differ from Hedayat’s version, offering distinct portrayals of Dash Akol’s physical traits, romantic relationships, and his death. The paper explores the cultural and literary motivations behind Hedayat’s revisions, demonstrating how his idealization of Dash Akol constructed a new mythical hero that aligned with the era’s cultural shifts and was likely influenced by Iran’s mystical, mythical, and intellectual discourses. This reconstruction not only reveals the interplay between dominant narratives and cultural change but also provides fresh insights into the adaptation of folklore into modern literary frameworks.

IntroductionCarnival is one of the components of Bakhtin's dialogic theory. Carnival is a critical subculture that ridicules prevailing rituals, customs, and morals and prevailing norms. Bakhtin repeatedly reminds us that during carnival, people laugh at themselves, and this is where the humor of carnival comes into play. On the other hand, humor is one of the techniques of social and political criticism in society. Therefore, we can conclude that humor and carnival have a multi-directional relationship. Following the threads of humor, the blending of voices, the breaking of boundaries, and the inversion of roles in the works of Sadegh Hedayat allow us to look at them from a Bakhtinian perspective; Therefore, in this research, first, all the components of carnival are extracted from the stories "Haji Murad" and "Buried alive" by Sadegh Hedayat, and then we will explain and analyze the most important and frequent of them based on Bakhtin's thoughts, in order to reach an answer to these questions:-Are the stories "Haji Murad" and "Buried alive" by Sadegh Hedayat considered works with carnival elements?-What are the most prominent components of carnival in the stories "Haji Murad" and "Buried alive " by Sadegh Hedayat?  Research MethodologyThis research was conducted based on a descriptive-analytical method and using library resources.  DiscussThe Dictionary of Literary Criticism states: "Carnival refers to popular and public celebrations in which social classes are transformed. Clowns, kings, fools become wise, and saints are ridiculed. "Campus and hell, heaven and earth, good and evil, joke and seriousness, are mixed together, and the relativity of all claims is displayed with sweet humor" (Moqdadi, 1999: 389).Carnival is not separate from everyday life; carnival should not be considered an event that only occurs on holidays and special occasions; in short, during carnival, life itself is played out, and over a period of time, play becomes life. In fact, carnival is life itself presented in the form of a show. Among the most basic components of carnival, we can mention carnival polyphony, carnival humor, carnival folklore, carnival laughter, and so on.  ConclusionConsidering Sadegh Hedayat's tense era, examples and instances of this theory can be seen in his stories. Components such as humor, death, laughter, folklorism, polyphony, etc. One of the components of Carnival is the discussion of dialogue and polyphony in the stories, through which the author refers to the expression of the characters' attitude and the treatment of their intellectual and spiritual atmosphere, as well as to the explanation of the intellectual atmosphere prevailing in the work. He provides the audience with the information needed to develop and expand the story without the direct intervention of the author; All dialogues have a simple and unadorned language in accordance with the characteristics of the characters in the story, whose tone and linguistic features are completely appropriate and compatible with the characters. On the other hand, the author describes their lives and problems by processing different characters with different thoughts and opinions. In the grotesque elements section, Sadegh Hedayat has mostly explained and described dark and disgusting spaces, among which the story Buried alive is in the first place compared to the story of Haji Murad. In the following, the creation of strange scenes and grotesque confrontations, grotesque caricatures, comic elements, grotesque atmosphere, etc. are seen in the stories; Because these matters require a comic atmosphere, while in most of the stories of the director, a violent, serious, and sometimes terrifying atmosphere and atmosphere prevails. The reaction of folk literature, through the boundary-breaking it creates between the main world and the secondary world (fantasy), turns the results of carnivalism, which involves the destruction of defined boundaries, onto itself.

This article analyzes the narratives in Sadegh Hedayat's short stories through a psychoanalytic lens based on Freudian theory. In this study, selected works of Hedayat, particularly stories such as "Three Drops of Blood," "Alive to the Grave," and "Dash Akol," are analyzed using key Freudian psychological concepts, including the unconscious, repression, the Oedipus complex, and dreams. The analysis focuses on the impact of the unconscious on character development and the narrative structure. The findings of the study reveal that Hedayat, through the use of symbols and metaphors such as blood, death, shadow, and mirror, indirectly alludes to the hidden layers of the characters' and author's minds. These symbols and images reflect the psychological conflicts, repressions, and inner anxieties of the characters, influenced by the unconscious. Additionally, the article demonstrates how Freudian psychoanalysis can contribute to a deeper understanding of Hedayat's works and enhance the understanding of psychological interactions in Persian literature. Finally, the article offers suggestions for future research, which may lead to further development of psychological analysis in the critique of contemporary Persian literature.

Romanticism is an artistic, literary and intellectual movement in Europe that reached its peak in the first half of the 19th century. The main components of romanticism are emphasis on imagination, emotionalism, individuality and praise of the past and naturalism and criticism of civility. The purpose of this article is to investigate and explain the examples of the school of romanticism in the short story of the stray dog, the work of Sadegh Hedayat, which is done with a descriptive-analytical method. The current research is formed in response to this question: does the Iranian story of the stray dog conform to the definitions and characteristics of the European school of romanticism or not? If so, what characteristics in this story are consistent with the mentioned components in the school of romanticism? The scope of the study is the story "Stray Dog" from the collection "Stray Dog" by Sadegh Hedayat, published by Amir Kabir Publishing House. Referring to some findings, it can be said that the ambiguous message in Pat's eyes is the turning point of the story in the intuitive perception of the romantic writer. A message that shows the meaning of "individuality" in the depth of his gaze. Also, his fear of human society and his helplessness and excessive need for caress are consistent with the "sentimentalism" of romanticism. The emotional transformation of "Pat" in his non-stop running to escape from the unloving atmosphere until standing up and gradual death is also a reflection of the "emotionalism" component in the story. In fact, his moving away from the atmosphere of Varamin Square is a way of transferring feelings from the restraints of caution and reason. Just as the basic principle of romanticism is the preference of feeling over reason. The main feature of the story is "criticism of civility". The author considers humans as lacking the understanding of sufferings and oppression. From the point of view of Hedayat, humans did not need to express his feelings. The descriptions of Hedayat in the criticism of brutality are for the purpose of punishment and awareness of the human kind regarding the right to life and the importance of animal feelings.

One of the important factors that distinguishes mankind from other creatures is the recognition of moral virtues and vices, which are consistently used as standards for judging human behavior. Due to the importance of this topic, many poets and writers from different nations have used these two elements as the basis of their literature to draw the attention of their audience to this issue. Deception is one of these vices which due to its negative effects on both individual and society level, has been condemned by authors. Hedayat in one of his stories called "The man who killed his passion" and Hariri in "Sanaaniyeh" maqama, shared the harms of this immorality with their readers in the form of two different genres of literature (namely Maqama and story) by focusing on a hypocrite character and his behaviors. In this study, we are doing comparative criticism of deception in the two mentioned texts which, although they are far apart in terms of time, seem to have similarities worthy of attention in terms of substance, characterization, and ambience. The difference between utilizing the motif of deception can be seen in their endings, which shows the difference between Hariri's and Hedayat's worldviews. The author of Maqam in his theological worldview shows that villainies characters can finally achieve repentance, and on the other hand Hedayat end his story with the suicide of a character who has lost his trust in mystical characters. The data is provided in a documentary way and our approach is comparative-analytical.

The image of women in Sadegh Hedayat's short stories has gone through various stereotypes and in each story, depending on the status of women's presence in different fields, there have been different representations of them. The upcoming research has been done with the aim of finding out how the social role of women is represented in the short stories of Sadegh Hedayat and to know the hidden ideology behind these representations. This research, using a descriptive-analytical method, tries to answer the question of how women are represented in Sadegh Hedayat's short stories and what is the hidden ideology in these works. The findings indicate that the representations of women in Sadegh Hedayat's short stories have taken a step towards consolidating and stabilizing gender stereotypes and have a face in line with the traditional beliefs of the society. In most of these stories, traditional men and passive women are shown, and the colorful role of tradition and its influence in the decisions of their characters can be seen well.

Art and aesthetics are broad components through which the world is interpreted, affecting imagination, creation and expression in a perceptual process. Aesthetic experience and knowledge challenge new methods and perspectives of the mind. "Nadia" by Andre Burton and "Three Drops of Blood" by Sadegh Hedayat serve as clear examples of objective and mental beauty elements that reveal the hidden reality of the deep mental state of man in his subconscious mind. They possess an ontological reality of which our consciousness has only grasped a small part. The purpose of analyzing the aesthetic elements of these works, which represent the needs of different areas of human life through intuition, reflection and attention to the transcendental world, is to create an interactive connection between human feelings, thoughts, wisdom and imagination. The goal is to understand how these works are written and why they hold value. In this research, using a descriptive and analytical method and the approach of comparative literature, we rely on the American critical school for qualitative analysis of the surrealistic aesthetic aspects of the works. We have concluded that the beauty of language and imagination in the superstructure part, and the beauty of the content in the deep construction part using the techniques of surrealism, are the constructive foundations of the beauty of these works that lead to the creation of spaces that is a rebellion to free the mind from limitations.

The educational concepts and components expressed in the ancient Persian works in two ways: either directly in the form of preaching, advising, and forbidding, or indirectly covered by the stories and the anecdotes. With the advent of the Constitutional Revolution and then, with regard to the political, social, cultural, and moral conditions of the era, the concepts and ideas of teaching found a more different manifestation than the past. In this period, especially in the Persian prose works, the educative concepts were stated indirectly, tacitly, and implicitly in the hidden layers of the stories, novels, humor, and social criticism laterally. Sadeq Hedayat is one of the most celebrated writers of this period, who by means of presenting facts and examining the social conditions of his day in his stories, introduces vices and opposing behaviors with human and social values to the audience, and indirectly makes them realize that, with the knowledge and intelligence of avoiding individual and social inaccuracies, they can recognize the proper path to reaching the highest levels of humanity and the peaks of happiness, hereby, move along the path to moral and social virtues. In this paper, several examples of various aspects of the educational concepts and components of Sadeq Hedayat's works and their application are investigated in an analytical-descriptive manner.

In the contemporary period, there has been a deep connection between literature and philosophy and existentialist philosophy. Sadegh Hedayat and Bint Al-Hoda Sadr are among the writers who, each with a different point of view, use the story as a means to express themselves and influence the public opinion of the readers. The reader of these two characters, in the midst of the events of the story and from the language of different characters, faces many existential questions and concerns that prompt his mind and thoughts to struggle.In this article, an attempt has been made to analyze the existentialist ideas in the works of Bentalhedi Sadr and Sadegh Hedayat in a descriptive-analytical way. there are differences and similarities in these. Bint-ul-Hoda adopts the criterion of choice from the holy texts and the order of religion, but "Sadiq Hedayat" sees man as free in every choice. According to "Sadegh Hedayat", a traditional and especially religious woman is a superstitious creature and is satisfied with the status quo, but Bent Al-Hoda considers religious beliefs as a factor in women's empowerment and dynamism. From the point of view of "Sadiq Hedayat", the category of death is a gift that leads a person to originality, while from the point of view of Bint Al-Hoda, death is a means of freedom from attachment and a path to a life of faith.

Zinde Bagor Sadegh Hedayat is one of the realist stories in which the narrator not only portrays himself but also others as black and ugly. The narrator then justifies his negative characteristics through the social and psychological context and in this way uses psychological defense mechanisms. has been introduced and the narrator has portrayed the main character as hateful and ugly in order to show his anger towards the existing situation at the same time as representing social realities.In this research, the authors will examine and analyze the two stories of Zinda Bagor and Haji Murad with a descriptive-analytical method and relying on Van Dyck's ideological square theory. Among the results of this research in the story of Zind Begour is the narrator's discriminating view of the foreign culture and finding out the personality disorders of the people in the story, as well as confronting the hypocrisy and patriarchal society among the achievements of this research in the story of Haji Murad river.

The following research examines the representation of identity in the Persian play Parvin, Sasan’s Daughter, written by Sadegh Hedayat. The purpose of this research is to identify and investigate the role of language in representing identity in Persian historical plays and to provide a linguistic perspective on the issue of identity in the writing of Persian plays and scripts. The work under study was selected based on its depiction of a specific historical period, when the Iranian identit`y was threatened with extinction. This work was analyzed according to the framework of Stuart Hall’s representation theory (1996, 2003). The results obtained from the analysis of the work showed that identity representation was mostly used in the intentional and constructive approaches, and the least in the reflective approach. It was also observed that among the levels of identity, individual identity had the highest frequency in both plays, followed by national identity and historical identity, respectively. The author also encountered a case that was not compatible with the identity of that historical period and categorized it as a fake identity. The author suggests that the inclusion of fake identity cases in the text is due to the author’s lack of familiarity with the language, culture, and beliefs of the people of that historical period. Moreover, the findings of the research indicate that among the identity-forming parameters, sentence and word were the most influential ones, followed by clause and group, respectively.

Mikhail Bakhtin's theory of dialogue logic is one of the prominent theories in the field of literature that can be analyzed and analyzed in any literary work, especially novels and stories. In Sadiq Hedayat's works, it can be claimed that his works can be adapted to this theory in order to answer the question of what propositions and methods Hedayat used to spread his words and project his philosophical and social views. works before him with the intertextual method, had a remarkable skill in processing his works, so that in criticizing and analyzing his works, getting to know his mental space requires more precision and effort in different sciences.With the approach and method of content analysis and library study, the dialectic between me and myself, as well as the confrontation between myself and the society, and how to use rhetorical statements and the confrontation between me and the other have been examined. The works of Hedayat can sometimes be seen as arising from the action resulting from the confrontation between oneself and the community, and sometimes from the dialectic between oneself and oneself. The result of this research, by analyzing the components of me and the other, intertextuality, narrative style and interrogative, exclamatory and imperative statements, shows that the guidance between self and society and the dialectic between self and self is in Ceylon and he uses any method to express his opinions. He has benefited from his life and society and his philosophical thoughts.

In the contemporary world, by passing the universal epistemological-disciplinary system and the aristocratic/class belief of the classical world, it became possible to pay attention to the individual world and the individuality of individuals, and the identity of textual subjects based on their lifestyles and types of personal and social capitals is the subject of representation, Literary narratives were placed. Based on this, the lack of some capitals or a defect in them, which is supposed to be a form of stigma of the subjects, was narrated. Among the contemporary Persian novelists, Sadegh Hedayat is one of the most prominent representatives of the forms of stigma and the discourse of rejection associated with it. In this writing, the stigma of the subjects and the discourse of rejection associated with them have been guided and interpreted in several honest short stories. The result shows that the narrator of Hedayat's stories in the representation of the textual subjects has represented their grief in the form of three physical, personality/psychological and tribal/kinship forms, which are the basis for the formation of some of them such as The noble status of the story of Bonbast and Davood Ggozheposht is seen as a historical or philosophical matter, and in some cases, the basis of the disgrace of subjects such as Abji-khanom, Ismat-al-Sadat, Hassan and Haji Murad is a historical matter; It is the result of unbalanced social relations. What is important is that the representation of the mentioned cases, on the one hand, indicates the desperation of the current human being along with individuality and independence arising from contemporary individualism, on the other hand, it contains aspects of philosophical and social questions/objections that were previously They are not formulated in this way; Although, in some cases, the position of the hidden author of the stories and in continuation of that, the narrator's personal view has also had an effect on the intensification or frequency of the mentioned questions/objections.

1381 coincided with the hundredth anniversary of Sadegh Hedayat's birth, and on this occasion, celebrations were held in Iran, Europe, Canada, and America.The first step was to print and publish the books of Sadegh Hedayat or related to him. The publication of the album of Hedayat's photos was done. The exhibition of Hedayat's photos was held in Sihon Gallery. At the same time, Sadegh Hedayat's short story literary competition was planned and the first round was held. This year, about 500 writers competed by sending 600 stories. For the competition winners, a statue of Hedayat was made and a number of them were made available. In addition, a poster was made for the competition. The first conference of criticism and review of Hedayat's works and thoughts at the university...

The complete list of Sadeq Hedayat Literary Award winners from 1381 to 1402 is attached.

Modernism can be considered one of the most important schools of contemporary fiction literature. The main difference between modernism and the schools before it, including realism, is the refuge of the characters in the story to the inner world, to the extent that it can be said that instead of narrating the external world and surrounding events, the modern writer focuses on the spiritual and mental changes and conflicts of the characters in the story. It gives and shows, and by breaking the narrative and linear structure and with the help of the fluid flow of the narrative, the plurality of narrators, etc., the story in the line of the past novels, the components of dissociation, wandering, death thoughts, originality of the individual, change in moral principles and so on. The main purpose of this essay is to examine the components of modernism in the intertextual approach Two fiction works are Buf-e-koor by Sadegh Hedayat and The nocturnal harmony of the wood orchestra by Reza Ghasemi.

The research method in this article is descriptive-analytical based on finding the modernist components of the intertextual approach in the comparative study of the two novels The nocturnal harmony of the wood orchestra and Buf-e- koor in a library format and using the content analysis technique.

Two modern stories of the Buf-e-koor and the nocturnal harmony of the wood orchestra have used propositions such as the originality of the individual, absurdity, loss of identity, the separation of the narrative system, the fluid flow of the mind.

In the story of Buf-e-koor, Hedayat is interested in breaking the linguistic and spatial system of events, using techniques such as the fluid flow of the mind, nesting and vicious circle, mental associations and the integration of memories and time of the past, present and future in a delirious way, among his story tricks in Buf-e-koor. In a textual analysis, this narrative design can also be seen in the story of The nocturnal harmony of the wood orchestra.

Some feminists believe that Foucault has not specified which gender dominates the other and which gender is dominated in the genealogy of power. Accordingly, by combining the Foucauldian concept of power with feminism, they have created Foucauldian feminism to give a convincing answer to the issue of domination in gender relations. The theorists of this approach believe that gender is not essential or biological; Rather, it is produced and induced by subjects by authorities of society. For this reason, after accepting the constructed ideals of femininity as true discourses, the subjects voluntarily engage in self-disciplining which is obedience to the patriarchal system. Therefore, feminists try to resist internalized norms of femininity and give freedom to women. In fact, this study attempts to introduce the basics of Foucauldian feminism to those who are interested in literary criticism and increases the audience’s awareness of the modernization of patriarchal power. It also demonstrates that Sadegh Hedayat in “The Doll Behind the Curtain,” has also drawn the characteristics of the ideal woman of the modern patriarchal society by describing the fascination of the main character, Mehrdad, towards the statue woman. In addition, with the characterization of a girl, named Derakhshande, he displays that the women seek to discover gender discourses produced by powers and to apply disciplinary techniques to themselves so that they can attract men’s attention.