فصلنامه ادبیات نمایشی و هنرهای تجسمی
پیاپی 4 (بهار 1396)

The stream of consciousness as a narrative mode is one of the most important specifications of modern novels. As an idea, this mode of storytelling has developed most effectively under the influence of Sigmund Freud and Karl Gustave Jung’s theories at the beginning of the last century. However, in literature, the stream of consciousness is, in fact, a narrative device which deals most of all with the subjective experi ences of characters. These experiences, in turn, consist of a mixture of perceptions, memories, fantasies, and associations in all sorts. As both a narrative mode and narrative device, the stream of consciousness has another device, namely the interior monologue, at its service, and does the practice of weaving an inconsis tent narrative with just a consistent end. In the meantime, what is expected from the reader is to put together all these scattered pieces to reconstruct the story for herself. Furthermore, it must be noted that time and how it represented and perceived, is a, if not simply the, key element in the stream of consciousness narra tive as a whole. So, the unique approach of the stream of consciousness toward time in its all manifestations is a pivotal element to understand it. Beyond its successful employment in modern literature, this narrative device also has been employing in ‘art films’ in varied forms. In modern Iran, the stream of consciousness appeared, firstly, in the literature but its effects on film can be traced back to movies as early as the 1960s. Thus, the intertwined nature of new wave of Iranian film and its association with the modern literature of Iran led those early filmmakers to experience with new narrative forms.

The tragic play “Romeo and Juliet” with its literary nuances has attracted the world’s attention. Positive and negative human traits such as love, sacrifice, honesty, fair play, loyalty, prejudice, hatred, and betrayal are the motifs of the play. This drama is a good example of the artistic works of Shakespeare. Given that the human’s natural uniqueness causes the appearance of works with similar motifs among different ethnic groups, it is tenable to see this play is comparable with other literary masterpieces in terms of plot and theme and motif. The story “Ashiq Gharib and Shahsanam” is a literary masterpiece of “Ashyqlar” (romantic) stories among Turkish-speaking nations, and is considered as one of the stories compatible with “Ro meo and Juliet”. Both works, despite having different outcomes, and due to their literary aesthetics, are the origin of artistic the works such as plays, ballets, and feature films, including the film “Romeo and Juliet” directed by Baz Luhrmann and “Ashiq-Gharib” by Georgian director Sergei Parajanov. This article explains analytically and descriptively how two masterpieces, despite happening in differences time and location, have similar plots and shared motifs. The paper is based on the analysis of the corresponding characters in the two works.“Prince Ehtejab” on the basis of interaction between words and images.

Manichean painting has established its underpinning in Persian painting by the acquisition of the artistic ethnic elements and symbols of its country’s religions as well as becoming inspired by the mythical motifs of the other ethnic groups. Then, it remained in the mind of Iranian painter via its own particular symbolic and mystic discourse. According to Yung, the shared memories of previous ethnic groups emerge in the present human’s subconscious as archetypes or the primary pictures and are re-manifestation of a symbolic language in artistic work. Relying on their tradition and mysticism achieved from the diverse lands, Mani cheans stated concepts which were of common roots with their previous traditions. These internal concepts change into the symbol within the subjects concerning the immense and abstract concepts. Manicheans’ symbolic language is manifested within the pictures in two ways: the conceptual and pictorial symbols. The present article aims to identify and analyze the conceptual and pictorial symbols utilized in Manichean pic tures as well as the role of shared subconscious toward the development and continuance of Manichean art.

Titus Maccius Plautus, commonly known as Plautus, is one of the ancient Roman playwrights. Plautus and Terence, as another famous ancient Roman comedy writer, have had a large influence on Moliere, the well-known comedy writer in seventeenth century in France. The evidence suggests that Plautus’s very successful plays satisfied the audience more than Terence’s. One distinguishing feature of Plautus’s works is the use of Meta-theatre. Five characteristics of Meta-theatre are: play within the play, ceremony within the play, role-playing within the role, literary and real-life reference, and self-reference. In this paper, after a brief introduction of Plautus and his play ‘Pseudolus’, the concept of ‘Meta-theatre’ is briefly discussed and its features are enumerated. Then these features are discussed in the play by ‘Pseudolus’ Plautus. The study attempts to show how Plautus, while employing the drama features of Meta-theatre in ‘Pseudolus’, attempts to provide the audience with a delightful experience. This study id descriptive-analytic and uses library resources and authentic online databases.

This article is a comparative archeological study of the troupe carnival of carrying divine statues in ancient Elamite and symbolic coffin-carrying ritual of post-Islamic era. This paper describes troupe carnival of carrying Elamite divine statues in a religious ceremony on the basis of carvings of “Kol Farah Malmir” & “Korangan”. Carvings No. 3 of Kol Farah Malmir show the religious ceremony of carrying divine statues on the shoulders of Elamite people. On these rock carvings, an Elamite king along with numerous Elamite people is carrying a statue to dedicate it to a holy place. The carvings also show some animals in front of the crowd that are going to be sacrifices by king’s hunters at the sacrificing place while musicians are playing and singing probably religious songs with special formality, and also there are divine sculptures carved on the rocks. The people, marching and carrying a divine statue, are heading for the pilgrimage of a holy place such as Korangan temple. The religious ritual of coffin-carrying such as the Nakhl (a symbolic coffin for Shi’a) shows a remarkable similarity with carnivals of carrying a statue. To analyze these carved illustrations, the iconography method of Erwin Panofsky, performance theory of Shekner and nine-category formations of Nazerzadeh-Kermani have been implemented. Carnivals for carrying the statues in ancient Elamite not only are one species of the nine-category of Iranian formations, but also have similar theatrical aspects with symbolic coffin-carrying ritual (Tābūt Gardānī).

Evidence provided in this article shows the epic tragedy of ‘Rostam and Esfandiar’ is considered a great tragedy for Iranian educators, storytellers and thoughtful people. In this paper, ideological and religious roots of this tragic conflict and its complications will be discussed to clarify that lust and passion are not the causes of war between these two famous heroes. Investigating the characters of this tragic disaster proves warmongers behind the battle scenes rooted in religious beliefs and modern claims to power. Victimization of human dignity against the lusts and desires of the power seekers has always been manifest in the history of Iran. This diversity of meaning and multiplicity of concepts in literary epic, has put tragedy of ‘Rostam and Esfandiar’ in a privileged position and value. In fact, the magnitude of and the scholars’ particular at tention to the everlasting ‘Shahnameh’ (Book of Kings) is due to the beautiful descriptions of “misery of power” among elites by Hakim Ferdowsi. Illustrating the unavoidable fate, and crisis and conflict over ac cess to power by religious or mundane means has been the challenge motifs of Iranian and Greek tragedy. Goshtasb wants kingdom from his father Lohrasb; when he fails to do so, he flees to Rome to assist the en emies of the monarchy, and Lorasib becomes hermit. Goshtasb imprisons his son, Esfandiar, who possesses divine miracle in body and soul, and then consciously puts his invulnerable son against Rustam to make sure the prince fails to seize the crown. Wisdom and Art of Ferdowsi in Shahnameh stories is visible and spectacular for thoughtful people. Dedicating Shahnameh to King Mahmoud is indicative of Ferdowsi’s wisdom.