جستجوی مقالات مرتبط با کلیدواژه « گسست » در نشریات گروه « ادبیات و زبان ها »

By understanding the importance and position of "identity" in social relations and group interactions and considering the interdisciplinary position of this concept, this research tries to find out the position of the topic and the concept of the identity of the immigrant subject in the two works "Gosal" (1374) by Sasan. Hero and "My Name Is Leila" (2010) by Bita Malkuti. The works that are focused on the description of the individual and social conditions and challenges of the immigrants and express the commonalities and differences of their special conditions by selecting, organizing and separating the form of literary expression, lifestyle, positions of people, linear or intermingled life events. The purpose of the identity-based reading of these works is to study and identify the capacities and approaches of these works in nurturing and representing the basic biological elements of human beings and especially, to help solve the cultural and identity bottlenecks of Iranians abroad. Therefore, using a qualitative and historical reference research method, this study examines the characteristics and indicators of immigrants’ identity and self-awareness. It explains and analyzes multiple identities of immigrants, such as hybrid identity, Liminal identity, and Identity Disruption or Traumatic Identity. It also explores the complexities of the migration phenomenon and its relationship with transformations and common factors of overseas migrations, referring to societal realities and their connection with the status of immigrants.

The present research seeks to demonstrate that Julian Barnes in his “The Noise of Time” (2016) and Bozorge Alavi in “Her Eyes” (1998) have devoted meticulous attention to the emancipatory function of art as a truth generator. Both novelists, obsessed with the socio-political concerns in their writings, represent the confrontation between the subject and subjugation. The key claim is that these novelists deem militant art as one of the pivotal modes of disagreement with power wherein the subject-artist recognises the evental significance of art via a rupture and in his dialectics of subjectivisation manifests fidelity to this event through and through. Dimitri Shostakovich, the protagonist of “The Noise of Time”, preserves his personal and artistic integrity in struggle with Stalinist power despite the fact that some label him as a traitor. The master painter Makan, the hero of the novel “Her Eyes”, portrays the sufferings of the afflicted peasants oppressed by tyranny and injustice in his art gallery, and ultimately death terminates his militant life in exile. The theoretical basis of this comparative research is interdisciplinary, within a post-Marxist reading, and employs Alain Badiou’s core concepts including conditions, art as truth generator, dialectics, rupture, subject and subjectivisation, and the event.

Traditional societies had a patriarchal structure at the beginning of the modern era. The extent of patriarchal norms and the domination of what Michel Foucault called the "regime of truth" in the traditional epoch tried to consider women as an object and in this way to keep women under men's control. Women's resistance to patriarchal hegemony and the fate of women's resistance to the domination of this ideology in literary works has become a point of confrontation between the New Historicist Stephen Greenblatt, and Cultural Materialist Alan Sinfield. The former believes that women's opposition to the dominant discourse and patriarchal ideology is ultimately digested by the dominant ideology. On the other hand, Sinfield and other cultural materialists are optimistic about the outcome of this confrontation. According to them, women's resistance to patriarchal ideology demonstrate dissidence being incorporated, necessarily, with reference to dominant structures and it can ultimately lead to the discontinuity of patriarchal hegemony. This study aims to explore the consequence of women's resistance in the folklore tale of "Khaj and Siamand" based on the New historicism and Cultural Materlism readings. The former considers that women's resistance is suppressed by the ruling hegemony while the cultural materialists assert that challenging the patriarchal hegemony yields questioning the patriarchy. Thus, woman is no longer a passive object in the hands of male-dominated ideology, but she becomes an active subject. Women can make their own identity and rule their own destiny.

The isolationist hero in the romantic work has a bright front. The Romantic hero explores the inside by exploring the world and contacting nature. This action is not necessarily in the face of modernity, but rather reflects the nostalgia of humanity far removed from its roots and nature. In the twentieth century, under the influence of writers like Proust and Joyce, the hero's isolation and introspection again came into being, which was quite different from romantic isolation. Here, the quest for identity in the modern world becomes a major challenge for the hero and writer. In this article, we seek to elucidate the style of isolation of the hero with the modern world and to show how isolation has enabled a resistance to the modern world and its imposed values, by examining the narrative and enunciative analysis of the two novels, Cursing of the Land by Al-e Ahmad and the Interrogation by Le Clézio.

Attributing human traits to non-human is the traditional description of personification. In this article we want to go further than the limits of this definition. We hypothesized that personification is a process which is formed by many factors in a context and without considering these factors, we can’t get into right conclusion that matches up with the real nature of discourse. A short-Persian story called ” Boof-e- Koor”, by Hedayat, a famous Iranian writer, is chosen to be studied on the basis of discursive-semiotics, to show how the process of personification forms. It was estimated that socio-cultural factor and mythical, ecstatic and nostalgic-function affect the formation of the process of personification also discontinuance is a crucial factor that can change the subject to an object and causes another kind of personification happen. At last, the results certified our hypothesis. If attributing human traits, decrease, personification process is lead to the minimal side.

Early feminist criticism was by large exclusionary. Educated, middle-class white women initiated theories about members of their own status and ignored women’s varied ethnic, cultural racial and class identities. Although white feminists’ sexual and social self-concept stood in opposition to the dominant male-centered canon, the issues of race and class were briefly mentioned. That is why there has been an attempt in the recent years to form a feminist theory which investigates notions of race, class and gender along with the universal female problems. This project began with the necessity of developing a parallel tradition located in the unique shared political, social and economic experiences of black women. Alice Walker’s womanism is such a project aimed at the reconstruction of black female identity. Her womanist stance is a universal, non-separatist approach which explores the importance of community, wholeness and female restoration. But womanism is just the preliminary point of departure. She carried on her female empowering project and introduced eco-spirituality as an embodiment of dynamic energy, separate from the physical body, which is essential for the individual’s well-being. As part of the argument presented in this paper is to address the process of the reconstruction of the imposed identity and subjecthood of the black women, Judith Butler’s notion of “agency” is also used by the researcher to scrutinize black women’s potential for subversion and re-signifying the regulatory gender constructions to achieve agency. The present paper seeks to address Alice Walker’s 2005 novel, Now Is the Time to Open Your Heart in terms of three basic critical concepts: womanism, eco-spirituality and agency. The newly-acquired agency promoted the characters to destabilize the symbolic, oppressive order, survive trauma and revive the transformative energy to work against fragmentation.

Mohammadreza Mirzadeh Eshghi in Persian Literature is comparable to Percy Bysshe Shelley as one can compare the reign of terror that emerged in Iran after the Constitutional Revolution to the reign of terror that existed in England after the French Revolution. Mirzadeh Eshghi and Shelley composed poetry and drama in response to the ruling powers of their eras. They both showed resistance and questioned the ruling discourses of their time in order to make their voices heard. This can be interpreted from the point of view of Cultural Materialism. Allan Sinfield, a notable figure among cultural materialists, suggests dissident reading of texts and talks of faultlines in texts that challenge the ruling discourses. This study argues that the difference between the poet’s voice and the ruling discourses of the era depicts faultlines in such discourses and thus challenges them.

Hafez poems have complex and depth aspects. According to this feature everyone analysis the semantic structure of his poems differently. Structural study of Hafez narrative lyrics shows that not only different verses of lyric are not separate and disconnected but appear in a continuous and dynamic chain. Semantic integration of these lyrics and narrative structure of it provide the strong basis for semiotic study. For a better understanding of internal relations of narrative lyrics and its continuity and discontinuity, it is necessary to pay attention to the structure of narrative. The most widely used type of discourse in these poems is cognitive discourse, however sometimes the interaction between cognitive and emotional discourse is established in lyrics. In this way, Hafez destroys the common cognitions and suggest new and uncommon cognitions that are apparently against Islamic law and thereby criticizes the hypocrites of time and invites them to passion and drunkenness. In narrative lyrics, Cognition is associated with discourse discontinuity. The discourse of these lyric supports the integration of verses is established until the end of poem. So in this article we will survey the structure of Hafez Narrative lyrics and discourse discontinuity and continuity.

A «signifying ensemble» can be studied from two perspectives: in one hand from the perspective of «generative»، which refers to the process of production and its schematization، and on the other hand from the perspective of «interpretation»، which refers to the structure of this significant ensemble. Semiotics of discourse refers to the both of these perspectives، because the discourse implies the process of utterance producing correlated to its structure. In this paper we have studied the discourse of Surat al-Qariah from this point of view. On method، this study is based on «tensive semiotics» (or tensive model)، which is introduced in the post-Greimasian semiotics. First، the tensive model has been described in brief، second، the «tensive schemas of discourse» and «instance of discourse» as homologous analytical tools have been introduced. The tensive schemas represent intensive (emotive) and extensive (cognitive) valencies of the discourse، and the instance of discourse represents the trajectory of the discourse generation by two fundamental discursive actions: engagement and disengagement. In semiotic analysis of the discourse of surat al-Qāriah based upon the tensive model، it is depicted that the tensive schema of surat al-Qāriah is correspond with decadence model. But the the verse 10 is considered as an unexpected event in the discursive trajectory of the Surah: its ascending tensive discourse and the gegement discursive act in returning to the enunciative domain schematize this discursive unexpected event.

Nima Youshij، the founder of modern Persian poetry، composed several poems challenging conventional Persian meters، forms and contents. He manipulated rhyme، rhythm، and length of a verse. Similarly، Walt Whitman، the father of free verse in American literature، published Leaves of Grass to challenge conventional forms and contents of poetry. They both showed resistance and questioned dominant literary discourses of their time in order to make their voices heard. This can be interpreted from the point of view of Cultural Materialism. Allan Sinfield، a notable figure amongst cultural materialists، suggests dissident reading of texts and talks over faultlines in texts that challenge dominant discourses. This study argues that the difference between the poet’s voice and the ruling literary discourse of the era depicts faultlines in such a discourse and thus challenges it.

Literary works are good sites for cultural energies; to live، negotiate، and challenge the dominant discourse and each other، sometimes this presence is reproduced and sometimes، if is challenged. P. Machery’s “The Unconscious of the Text” and A. Sinfield’s theory of Faultliness show that how literary works trouble the dominant discourse. Some women – in Shakespeare’s tragedies- revolt against the dominant discourse of Elizabethan patriarchal ideology; they question its basic assumptions and its very ideology. On the other hand، S. “Greenblatt in Circulation of Social Energies” states that the dominant social energies or discourses are continually reproduced in the literary works. In Safarbeygi’s poetry – although the socio-political ground-works have been changed in the favour of women rights – the patriarchal ideology is reproduced in a circular movement; men have constructed that ideology centyries ago، then it came into their collective unconsciousness، and finally، via the help of literary works، it entered the society again

Nazim Hikmet (1901-1963), Turkish poet and a true believer of Marxism, spent 12 years of his life in prison and nearly 20 years in exile, an experience that profoundly changed his perception of space and influenced the horizon structure of his literary work. As Michel Collot explains, horizon structure considers the phenomenological idea of “existence-in the world” and seeks the life character or subject matter in the literary work; the character as an existent which is always placed (positioned) in a certain location, from where it evokes the world. This method assumes that each statement is built from three components: World, Language and Me. With regards to Nazim Hikmet and his horizon structure, we will see how the break in the perception of the prisoner from space is visible in his poetry. This study will examine the traces of this rupture in the structure of the poetry of Hikmet. How does its spatial descriptions differ from others in the literature in which his poems are rooted? And how does he reconcile this terminology of space with Marxist tendencies as a universal human being? These are the questions we will try to answer. Next we will try to draw the structure of horizon in the poetry of this poet.