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

Literature is one of the most important fields that has a completely two-faceted face in influencing and being influenced by social phenomena. Events such as war have been shown in many literary texts of different nations, and writers and poets have reacted with a sympathetic attitude to the nation's resistance or protest against the beginning and continuation of the war. From the total literature of a country, there are stories or poems that can be classified as military fiction based on the subject. This type of literature often occurs during a war whose history has also passed" (Hanif, 2009: 293). Looking at the poetry of the Islamic revolution in Iran, it can be determined that after the end of the eight-year war and the country's entry into the atmosphere of general reconstruction, art and literature also experienced a new stage and new conditions (Kafi, 2005: 185-187). At the macro level, naming events such as war has a meaningful relationship with the quality and strength of nations in facing hardships and victories and preserving national identity. While war as a part of human life is a platform for the creation of artwork and it cannot be considered apart from the flow of life. On the other hand, with the change of generational objects, the methods of transferring concepts and ideas also change. One of the ways to investigate and analyze the change in discourses and approaches in the transfer of thought is "descriptive analysis" of the works published today for the current generation. Unlike the "Historical" method, this descriptive method does not pay attention to the evolution of the literary work throughout history, but tries to describe the functional angles of the work based on linguistic actions.

In this article, the poem "Tehran, Tehran" written by "Andisheh Fooladvand" in the collection "Shoot Buddy" (2013) is analyzed with a descriptive analytical method and from the perspective of "cognitive discourse". In this approach, the relationship between discourse, conversation and cognition, that is, the relationship between textual discourse structure on the one hand and the mental activities of processing, storing and retrieving information on the other hand, is described by using discourse knowledge and "cognitive applied science" analysis.

In order to introduce the metaphorical context of the poem "Tehran, Tehran", we discussed how concepts such as patriotism, war, resistance, etc. are constructed in the field of sustainable literature. The purpose of this study is to show the capacities of text representation in the discourse of the participants in the discourse. A discourse that has been from the first generation of revolution and war and is considered a narrator of contemporary historical events.Following Chief (1994), Tomlin and others (1997) relied on a kind of epistemology of dialogue by raising the issue of conversational discourse. which deals with the study of linguistic realms, existence, dimensions of knowledge and human linguistic capacities to control the flow of information and understand the truth of the world. Diane Pontrotto, (2013) in an article titled "Cohesive role of cognitive metaphor in conversational discourse" pointed out the speaker's ability to control the flow of information at four levels. According to Tomlin and Pontrotto, the conversation and flow of information exchange is placed in the field of cognition. In other words, the concepts during the production and reception of conversational discourse are based on mutual understanding (going back and forth) that appear in the four levels of information flow. These four levels are 1. Rhetorical level, 2. Referential level, 3. Thematic level, 4. Focus level. In these four levels, the narrator (poet) uses hidden correspondences in language to create ontological concepts and intellectual knowledge with the audience (Pontroto, 2010: 335-335). His goal is not the mere significations of "in time", in other words, he does not simply refer to the generational relations and values of his time, but rather speaks of a category that has an active and fruitful member in the context of the audience's society. Because he knows that the reduction of verbal communication causes a disruption in the identification process, a reduction in emotional commonalities, a lack of commitment to one's own culture, and generational intolerance (Sharfi, 2003:112).

The social world is a product of discourses, and every discourse is trying to establish its meanings; Which signifier wins depends on the signifiers that are used in various discourses. The analysis and analysis of Tehran's poetry with the approach of conversational discourse shows that "Foolavand" has created a two-way interaction of metaphorical and musical concepts due to the appropriate use of natural language and the right knowledge of the way of knowing and talking for the third generation discourse and has produced stable hegemony by advancing certain signs. The narrator of the poem, who has understood the period of eight years of stability, as a representative of a generation that has sent its childhood to "quarantine", understanding the social context of today's society, he speaks knowingly about the troubles of the age, including chaos, doubt and crisis, smoke and prosperity, etc., to make the audience agree with him. By expressing these signs in the social context of the poem, he takes the reader to the artistic context so that all generations who are in a new discourse space, have the same ideals as the first generation. Linguistic signs in the use of spoken language, such as: There, the question, I know, etc., have distinguished poetry from the formal context of language. Using music, imagery, rhyme and tone, the poet has brought the style of today's discourse to the stage in order to create the audience's connection for discourse empathy.

Location is an indelible element in any narrative text, because every action or description in the story and every development in the plot takes place in a real or imaginary place, whether you like it or not. The place element in the story is sometimes just a silent background and context for events to take place; But sometimes it also plays a role as a living and dynamic element in the formation of events. In this study, Persian urban novels of the seventies to nineties, the events of which took place in Tehran, have been studied with the approach of cultural studies. The results of this research show that the place in these novels is sometimes an objective place (such as highways, streets, passages, etc.) that show the manifestations of progress and civilization of the capital; But due to the heterogeneity with the culture and emotions of the citizens, it does not create a discourse continuum. The result of living in these places is boredom for the native citizens and cowardice, sadness and confusion for the immigrant (city) citizens. Sometimes space dominates the citizens and the descriptions of the place are influenced by the wishes, nostalgia, fears, or ideals of the character. These spaces are generally out of reach, present in the memories or wishes of the characters and create a sense of nostalgia for them.

Detecting constituents as independent syntactic units having syntactic and semantic coherence on which the structure of the sentences is based is vital both for the prevention of ambiguity and for a correct reading and analysis of syntactic processes. To this end, some tests have been introduced in syntax which help the linguist in diagnosing the boundaries of constituents. Within a Minimalist framework, this study aimed to analyze the efficiency of eight constituency tests, namely: coordination, ellipsis, question formation, sentence fragment, replacement, clefting, pseudo-clefting and topicalization. These had the highest frequency in important syntactic sources as means for diagnosing seven selected important constituents of the sentences, i.e., VP, DP, PP, AP, AdvP, CP and TP. We applied the tests to these categories in Persian to see which ones are most efficient and can cover a wider range of constituents. The results suggested that pseudo-clefting and topicalization are more effective and have the capability of identifying more constituents in English than in Persian. It was also concluded that, given the large number of exceptions, in general, the tests mentioned above cannot be considered as absolute tools in identifying constituents.

This study is aimed at investigating how Tehran is represented in the context of Iranian Novels. The study considers novels as epistemic components, shedding light on the contribution of these components to a general phenomenon named modernity, which is manifested by the city. To this end, the following novels were selected theoretically and purposively: Half Invisible (Hossein Sanapour, 1999), Tehran, a city without sky (Amirhossein Cheheltan, 2001), We'll get used to it (Zoya Pirzad, 2004). These novels were analyzed, using Lefebvre's maxims and critical analysis. From Lefebvre's perspective, there is inherently no space. He maintains that space is produced socially. Explaining how social space is produced, Lefebvre refers to the following three dimensions, which have internally dialectic interrelations: Spatial practices, spatial representations, representational spaces. The results of the study show that the novels at best only represent one of the three dimensions, failing to represent the city emerging from the dialectic relations among these spaces. Being unaware of the dialectic nature of the city, the authors have represented an image of a suppressive city rather than a dynamic polyphonic one in their novels. In fact, the adoption of a romantic approach to novel writing dating back to the First Pahlavi resulted in a regressive, anti-urban society, depriving the authors of the opportunity to view the city from a dialectic perspective.

In his book, pour une géographie littéraire, after presenting a general overview of the current trends in the field of literary geography, Michel Collot examines the works of some writers and poets of the 19th and 20th centuries. In all countries and at all times, faced with the diversity and complexity of questions that the literary text raises, the contributions provided by Geocriticism benefit from being confronted with other reflections. In the context of Farsi poetry, Mohammad Ali Sepanlou is among the few poets who have considered the theme of space and city as an important element in poetic imagery and has places his hometown, Tehran, as the main theme of his works. Sepanlou is a poet of Tehran. He has written some poems about Tehran and in his other works, he mentioned his hometown with great poetic affection. In this paper, based on the ideas of Michel Collot about literary geography and trying to apply them to certain poems of Sepanlou, we are going to study the presence of Tehran in the work of Sepanlou and the way he approaches this city.