نشریه پژوهش ادبیات معاصر جهان
سال بیست و دوم شماره 1 (پیاپی 76، بهار و تابستان 1396)

In recent years the concept of space in the comparative studies has become more important than ever. Comparative Literature also has been influenced by the space-based approaches. One of the most possible subject in this matter could be the study of a city and its multiple spaces. But, there has not been enough literary researches about the city of Tehran (we appreciate nevertheless ÇÓØæÑå ی ÊåÑÇä the myth of Tehran by Jalal Sattari). One of the newest approaches in space-based comparative literature is the geography criticism. Its Special features give it the aspect of an original approach and make it our selected research method in this article. In this paper, the stranger point of view towards Tehran will be examined in Le turban et la rose, written by François Nicoullaud, the former french ambassador in Iran. The purpose of this research is to find the particular look that the writer has had to this city.

One of researchers in the semiotics of poetry is ýRiffaterre. Developing his structuralist ideas, Riffaterre devoted his later career to the reception theory and is known as a ýhermeneutic structuralist. Using Riffaterre's model in reading poetry, ýilluminates important notes about the creation of poetic texts as well as its recreation by the ýreader. Hence, this article is based on a reading of poem by Shamloo. Analysis of ýthis poem indicates that it is a result of an expansion of a matrix and its ýsignificance is consequently dependent on this matrix. This matrix, which signifies the ýtransference of human being from this world to the other world, is firstly divided into three ýdistinct topics, i.e. transference, this world, and the other world. Each topic is then expanded ýthrough such techniques as accumulation, descriptive systems, and textual space. This ýresearch, also, reveals that poetry, in the process of reading, transcends from a mimetic level ýto a semiotic level where the significance of the poem could be ýunderstood. ý

Jackdaw Summer by David Almond, is one of the stories that were returned into Persian during the period of increasing children's literature translation in the eighties, a story is about juvenile violence and those impressionable from environment . author by using of different symbols, show the crisis of puberty in adolescence, and by showing contrasts and contradictions provides admission to fictional characters achieve to cognitive maturity with balance.
This study is to show how can be by using the process of individuation Jung and relying on symbolic emphasis, represent the main character's conscious encounter with neglected elements of his unconscious, leads to recognize the identity of the juvenile.
Thus, has been paid to psychological analysis this story.by analyzing archetypes like Shadow, Oldwise and Anima and symbols used in the story,such as knives, snakes, jackdaw and six and… , to be presented the field and Suitable pattern to achieve rebirth and self-knowledge.

The narrator in a text (fiction or non-fiction) may narrative of events, the characters are presented and narratee, more or less away. Although this is the kind of narrative fiction Maaz expect the following type (narrative event after origination), but focus on the narrative structure of stories based on the theory of narrative distance Shlvmys staff Raymond suggests that all these not. In the novel "Great Expectations" by Charles Dickens, the narrator at the beginning very civet distance events, while at the end of the story is precisely at the heart of events, as well as Balzac's novel "Babagvrof events, as well as Balzory has already happened? Why narrator says Ms. Vakvr now that narratee reading the text, is still in Paris Pensions? Analytical and research methodology utilizes a library based on the theory of narrative distance Shlvmys staff Raymond seeks to examine the structures of narrative fiction narrator's distance and saw limited examples (but smarter ) and based on scientific principles distance between the narrator and narrative structures discovered.

This paper explores the ways in which Ireland and the Irish as the very last locus of European coloniality underwent and then embraced an internal deconstruction of postcolonial ethos. The modern Irish identity, this paper argues, emerges as an outcry of a generation whose dreams are torn between a neocolonial State with atavistic vision of the island and a culture of compliance and submission. Where the former assigns a territory for the Irish to develop, the latter observes an agrarian, if not retrospective, sense of development. The protagonists will be punished and then banished from the public memory should they seek social and psychological mobility outwith the given framework. By drawing on Deleuze and Guattari's specificity of postcolonial territorialization, postcolonial reality Vs personal memory, and Theodor Adorno's Negative Dialectics, this paper examines the onset of an internal implosion prevalent in the modern Irish novel, which was materialized in the late 1940s up to the 1960s.

Biological fictions are among the most prevalent writing genres in contemporary European literature. Being based on the life of a real person, these writings try to reproduce it through various forms. Although very few books of this kind have been published in Iran, studying them can help us comprehend the special subtleties and capacities of the genre. A good example in this regard is a fictional trilogy by Jalaleddin Kazzazi: Iran’s Son (2013), Iran’s Father (2013) and Iran’s Prophet (2014) which have been respectively inspired by the life and adventures of Ferdowsi, Cyrus, and Zoroaster. A close examination of this trilogy can make us have a better understanding of some features of biological fictions and what distinguishes it from historical biographies. With this view and in order to acquire a better understanding of this literary genre, the present article tries to establish a categorization of some of the known features of this literary genre based on generic studies done in France.

Storytelling and storytelling in Indian land has a long history. The works of the "Five Tantra", which are considered important stories in ancient Indian history and have world renown, are of this category. Persian prose, although after poetry emerged in Persian literature, but until contemporary For various reasons, he has fallen behind the poem. The first reason why in Iran prose is less poetic from the point of view of poetry Perhaps that which in the literature of other peoples is often devoted to prose, and beliefs and ethical teachings, stories and stories, is manifested in Iran in poetry, and works such as Boostan and Masnavi Lili and Majnoon, Khosrow and Shirin , Are signs of the promise of the work of the poetry, and since these poetic works have had considerable mental health Persian prose has been left out of attention to such works, and inevitably in comparison with the poetry of the limited realm

This paper introduces the novel concept of “Virtual Fictional/ Factual Positioning” (VFP) in the dialogical relationship between the author and his/her hero in literary works. VFP originates in Hermans’ contributions to psychological studies in Dialogical Self Theory (DST) and the dialogical view of the relationship between author and hero in aesthetic forms by Bakhtin. VFP evaluates self-narratives and identifies the dialogical coalition of the protagonists’ positions as “I-the-artist/novelist” and “I-the-hero-of-my-story” in the novel. This study presents a textual analysis of Paul Auster’s Man in the Dark (2008). The results indicated that similar positions are interconnected in the actual world of the author and the fictional world of the hero, which influence one another in a dialogical manner. Finally, through this dynamic course of positioning and repositioning, the postmodern self of the protagonist/author as “I-as-artist” demonstrated a significant degree of dialogical self by letting go of the past, dealing with the present and generating a perspective for the future – hence responding to his conflicting situation in a quite innovative way

Thinking that the concept of «void» described by Antonin Artaud and Sohrab Sepehri reveals the idea of nonentity is out of question. In fact, this void is a placeless and timeless space full of virtuality of being where a pure possibility of becoming can replace the absurd certainty of existence; the very same space that the «Epoche» of phenomenology offers to provide the occasion of an authentic encounter with the essence of each phenomenon in this world. But Artaud is a psychopath and it means, based on Lacan’s theories, that the place of the principal signifier of the «Name of Father» is hallowed in his psyche and so he’s condemned to experience the void within his mind and throughout his life, when Sepehri choose it deliberately in order to undo all the prejudgments and to see the world as it is in its essence.

Whenever it has discussed about combining literature with painting we have observed simultaneous attendance of literature and painting side by side; for instance, in Persian Miniatures or illustrating literary books. But, the combination that Marcel Proust presents by both is different. All over the “In Search of Lost Time” novel is full of painting though there isn’t any painting in that. He combines literature with famous paintings and refers the text to them and creates intertextual relationship between text and painting in order to take control reader’s faculty of imagining, without bringing any picture in his novel. Conclusions show that Marcel Proust tends to close reader’s free imagination path when he is reading the novel because Proust proposes reader images the same thing in his mind that Proust wanted to. This article is descriptive-analytical research by nature and method and has based on Laurent Jenny’s thoughts about Intertextuality in particular “Collage Intertextual”.

The paratextual elements are the thresholds to the world of text. They are considered among indicators which are the key to understanding and receiving of text. In this paper, we aim to evaluate the effect of paratextual elements and their implications in the process of meaning reconstruction and receiving by the reader. In other words, in the light of study of these paratextual elements such as preamble and prose titles of Mathnawi Manavi, we stand for the hypothesis about the reasons of this employ of paratextual elements by Mowlana Jalal ad-Din Muhammad.
In our opinion, the paratextual elements of Mathnawi Manavi play a role of completing and orienting in the general meaning of original text. These elements are available in order to organize and structure the whole narration and the other components of Mathnawi's text, which seem apparently disheveled. In fact, the presence of paratextual elements in Mathnawi, is justified by a compensatory mechanism to its outward ruptures.

To explain how lie functions as prosthesis, first we need to define prosthesis and its function in the domain of discourse. According to Eco's theory of prosthesis and its function in discourse, We show that lie as a discourse has common characteristics with prosthesis. This article examines how discourse functions as prosthesis and as a result lie as a prosthesis makes the exit of discourse out of its mainstream and creates an event and imaginary space which is meta-action. According to the above mentioned matters, these two hypotheses will be studied; discourse with the use of lie changes horizontal system of story to vertical system and as a result, the action plan change into a meta-action one. This survey has been done in three folk tales; the crow and fox, boy who cried wolf and the milk seller girl and milk jug.

Biography is the genre that is contour between the reality and the imaginative, between history and literature and constantly in fluctuation and, according to the author's obsessions, inclined to this side or that side. In the two biographies of Mansour Hallâj, Life of Hallâj (first volume of the Passion of Hallâj collection) wrote by Louis Massignon and the Flame of Tour wrote by Abdolhossein Zarrinkoub, we see the French writer made himself write objectivist and scientific and in opposite Iranian writer has literary and imaginist approach in his work. But it seems that is purely impossible for them to create absolute scientific or literary biography. This study shows that both authors, for creating fact, have to use elements that have turned in apparently. Titles on the cover, the method of chapterization, narration and references to the literature are the items that bring heterogeneous elements to the author's original intentions in their texts.