پژوهشنامه ادبیات داستانی
سال نهم شماره 4 (زمستان 1399)

According to the French thinker Michel Foucault, power is so pervasive that it can overshadow many areas of human life. This influence penetrates even in the language of literary texts and it manifests itself in the form of metaphors, signs and symbols. Lyrical Story in a Footnote is written by Mahsa Mohebbali is one of the stories of technique-oriented and form-based, which shows the author's familiarity with philosophical approaches and also his mastery in the field of storytelling. But one of the most challenging points in the text is the non-desirable image of the female character in the story. Despite the femininity of the narrator and the writer, the question arises as to why such an idea is portrayed by the female character in the story? In the present study, based on Michel Foucault's theory of power, one can point to the penetration of masculine power in the language of the story. Of course, the concepts such as the protesting and rebellious bodies, as well as some of Nietzsche's views, such as the ethics of masters and slaves, show that some seemingly fragile images of women are themselves are in opposition to masculine language, but in the end it can be proved that this story is one of the concrete examples of Michel Foucault's theory of power: because masculine power is present in many linguistic elements. They have penetrated and overshadowed it.

Bayhaqi’s History, in term of the narration of historical anecdote, instructive description, etc. is one of the works that has visual and dramatic capabilities and themes. At first glance, this book is a story with a historical narration in the sequence of time, and each of its anecdotes has a coherent structure. The strong texture of the story of “Afshin and Bodelaph”and the detailed descriptions in the narrative space, by presenting a specific time and place in five acts, have a clear tendency towards the dramatic image. The characters of this story are introduced in various ways through action and dialogue, and the audience becomes acquainted with their physical characteristics and behavior. In this anecdote, Beyhaqi with objectivity and extraversion in describing, activating relationships, visualizing situations, spaces and conversations, visual and emotional attractiveness, frequent debates of fictional characters, etc., show some of his talents and abilities in the process of turning into dramatic works, and allows the playwright to adapt the story to present a visual style and a multi-act play.

The topic of narratology is the methodology of structure and narration. The narration involves the concept of movement. Dialectics also discusses the subject as a method in the fields of sociology and history. The narratology and philosophical method of dialectics imply the concept of time and move the subject with the research approach. The present article tries to focus on the type and manner of narrative movement in its Chashmhaiash novel and to analyze the narrative style in this novel with Gurvitch's methodology. It also demonstrates how the narrative moves with a variety of dialectical modes. In this case, the artistic value is determined in the narrative art of Bozorg Alavi. The narration of Chashmhaiash was created by the dialectical method of motion. The method of compensatory reciprocity and the method of interconnection in the continuity or delay of the novel. Creating excitement and narrative suspense also affects the dialectical style with ambiguity in this novel. This type sometimes becomes symmetrical and sometimes polarized. The relationship between characters and situations becomes a form of polarization. In this regard, the dialectical opposition to the scene is gradually taking on a polar dimension, and the main characters reject each other.

Contemporary feminism challenges the traditional theories in areas that do not take women's interests, concerns, and identities seriously and deny their effectiveness, intellectual independence, and independent personality compared to men. In protest of the traditional patriarchal movement, modern feminism attacked and criticized the structural possibilities of society and the growing trend of bourgeois patriarchy, and formed the women's liberation movement with the priority of changing and eliminating discrimination in their social relations. These thoughts gradually penetrated the works of male and female writers and formed the basis of many literary works. Shahrnosh Parsipoor, a contemporary female writer, is one of the people whose stories used this concern for equality, the social status of women, in her stories. The story of the Blue Wisdom, as a clear manifesto, represents the author's feminist mentality and tendencies. The signs such as the dominant feminine view, de-traditionalization and modernism, reliance on individuality, rationalism, responsibility and authority are some of the most obvious feminist propositions are visible in the story of “Blue Wisdom”. In the following article, Shahrnosh Parsipoor's feminist tendencies and concerns are discussed in this story.

Pokhestan is a science fiction novel with an allegorical texture, written in 1884 by Edwin Abbott. The author engages in a profound critique of his contemporary world by creating people in one-, two-, and three-dimensional forms. In this article, an attempt has been made to extract the data, symbols and signs used by Abbott through analytical-descriptive method and library collection way in order to reveal their relationship with the processing era. The result shows that although these elements criticize the social, political and cultural dimensions of the author's time with bitter and satirical language; but the structure of the work is based on the journey in the land, underground and extraterrestrial travels that are still traditional. Also, the author's attitude towards the world of his fictional characters and their relationship with each other, especially the square narrator of Pokhestan and the people of Hajmestan concerns the recognition of the hidden dimensions of objects and phenomenon, tends towards a style in painting called Cubism.

Humanity today seeks its whole existence in a logical and rational framework, and he is unaware of the fact that systematic rational methods are just one of the ways in which humans are aware of the world around them. This neglect itself is the basis for cognitive misunderstandings of his past existence. Folk literature is one of those culture that, despite being pervasive, many of the Folk literature is one of those objects that, in spite of being pervasive, many of the characteristics embodied in them are not so much in line with the logic that governs the rational consciousness of modern man; the main question in this study is the search for a cognitive sample governing the constituent components of the legendary “Pari-Čehel Gisū (= Fairy with forty hairs)” of the folk and oral literature of the Fars region. The research method is descriptive-analytical, and the used analytical way that is Ernest Cassirer's which has been obtained from the study of his various and numerous works in the field of epistemology. By adapting these irrational themes and patterns to the content of the components of the Pari-Čehel Gisū myth, it was determined that there are seven characteristics associated with irrational cognition and myth in various ways in the form of places, time characters, actions and frequencies are present in this narration, the most of which include “mythical number” and “destiny-orientation”.

War fiction is a term for those stories which are written of war, for war or about war. Among the authors of war fictions is Esmail Fasih which is considered among this group for writing two stories called “Surayya dar Eghma” and “Zemestan 62”. Considering the fact that authors of war fiction in literature are divided tothree groups based on their attitudes (negative attitude, positive attitude or neutral), in this research we study these two publications and the consequences of war in them as well as the attitude of the author towards the imposed war. In this study which is conducted in a descriptive analytical method using library work, by reviewing the literature and related studies, we reached a different stance than any other authors about analyzing Fasih’s attitude towards his war fiction publications. Accurate and detailed study on these two publications indicated that Fasih does not have a negative and pessimistic attitude towards war, and he depicts the true nature of war and by considering two parallel streams (positive and negative) continues his stories.