نشریه پژوهش های ادبیات تطبیقی
سال نهم شماره 4 (پیاپی 30، زمستان 1400)

According to the opinion of Aristotle, mythos or tragic plot has some aspects analyzed and compared with utilizing documents on an analytical-descriptive method based on the elements through the tale of Jamshid and the play of Oedipus Tyrannus. The most important results including: the three aspects of the mythos of tale – transformation and recognition and catastrophe – are in descriptive category shaped with the morality of protagonist and in the case of the play it should be shown in two types of mixed – on transformation and recognition – and grievous – on catastrophe –. The complexity of mythos that is established of solidarity and its relation to transformation and recognition, indicates the tale in a simple mythos – because of rupture of actions and absence of recognition – and the play in compound one – on solidarity with continuity of dependent actions and transformation and recognition –. The tale is not regarded in a complete mythos; because of its affiliation to the out; but the play conversely is embedded in complete one. Referring the tale to an epic, which is narrated, prohibits to show it as the play which based on visual actions. Both of two works have the surprising conditions of mythos; hence everything has two sides of reasonability and unpredictability. The end of both composed in the way dedicated from their own. The referential myths are about the upper class human being and it is obviously shown the next imitative ones were patterned on them.

The Oriental culture, literature and myths have long been the focus of Orientalists and Western scholars. William Morris is a British poet who was interested in Persian poetry and literature. He was familiar with Persian culture and literature, and wrote “The Man Who Never Laughed Again” based on “The Black Dome” in Nizami Ganjavi’s Haft Peykar. He imitated the character, atmosphere of the story, the symbols, the colors, the costumes and other elements of the story from Haft Peykar. Haft Peykar or Haft Gonbad is one of Nizami’s lyrical poems that symbolically portrays the spiritual transformation of King Bahram of Iran. Bahram proposed to marry seven princesses from seven countries, and made them the first ladies of the seven palaces. He was the guest of one of them every night to spend time and rejoice when he heard stories. Finally, at the end of the week, when he was the guest of the Black Dome, Dorsati the Persian princess told a story about the Persian culture that influenced Bahram. This research, like other researches, has examined the impact of Nizami’s “The Black Dome” on William Morris’ work through the analysis of the content of the texts. It is based on library studies. In conclusion, this research is going to prove that William Morris’ work in terms of structure and content, like a refreshing seedling, is originated under the shade of the thick tree of Haft Peykar, then it has borne fruit in European literature.

This study focuses on the effective aspects of the audience's belief in characters as crechers in the selected works from narrative literature and animated films. In this regard, the collective memory and the factors affecting its memory and its communication function are investigated in the personality components of the animated feature film that are aimed at the cognition, belief and interest of the audience. In addition, given the need to find a suitable place for the personality of Iranian animated filmmakers who can compete with popular characters from a global audience point of view, the researcher needs to study and understand the personality components and factors influencing personality. It examines and recognizes the main characteristics of personality belief in the audience and its process in memory. The question of how personality is processed according to the collective memory of the audience is examined and answered qualitatively by content analysis with a descriptive-interpretive approach based on theories of psychologists such as Carl Gustav Jung, Alfred Adler, as well as researchers such as Victoria Grace Walden. given. In order to address the issue of collective memory functions in dealing with audience believability, it is necessary to analyze the narratives and visual works in this field by examining and analyzing the selected characters in the story and then the nature of the personality and the factors affecting memory.

The recent approaches in comparative literature are looking to do a more in-depth study of the encounter of the various discourses, compared to the past. One of the most essential aspects of the Postcolonial discourses is the dialectic of “self” and “other”, a contrast that can appear in various forms, in one of which the enlightened can reappear as the “other.” The plays Small a, Capital A, and No-Good Friday are emblems of the Postcolonial discourse that have been penned in order to expose the colonial discourse ruling over its society and era. The protagonists of the two plays (Willie and the man on the terrace) are some of the enlightened people who rise against the ruling colonialism, despite living in the margins of the discourse dominant on their society. This research aims to study these two Postcolonial discourses using the comparative approach and based on Edward Said’s definition of the enlightened, and considering the existing ideological discourse in order to shed light on the similarities and differences of these two discourses regarding the definition and function of the enlightened person and to introduce a more sensible definition and image of the enlightened, compared to other existing characters. The findings of this research show that although there are differences between the two protagonists of the plays, these two enlightened people accept the popularity of the anti-colonial discourse as an ethical matter. Resistance against oppression, resilience, and seeking the truth are a number of actions adopted by the two enlightened people.

In this article, what is the definition of comparative literature from the perspective of Pierre Brunel et al in the book Comparative Literature? Another method of research has been proposed for this type of study, which is a confrontation between the image of the text and the image of the work from the researcher's point of view. In this way, one of the potential images of the work is revealed to a number of researchers from different cultures. The process of this research is as follows: by studying the literary text, the formal changes of the work are shown and in the process of description and analysis, it is decoded. This decoding leads to the revelation of the meanings of the work, which are not necessarily the meanings of the author. And because the meanings do not have the same form. This form of meaning is the image, and thus, the image of the work as its meaning, expands to the number of researchers and advanced and experienced readers of literature. Examples of short stories and Kafka's designs have been used to develop such a method in the study of comparative literature, which focuses on only one work. This method of research provides a new capacity for the unipolar study of comparative literature, based on a view of the classical definition of Pierre Brunel et al. An attitude considering the theoretical origin of comparative literature.

Every countrychr('39')s literature, in one hand is a mirror to itchr('39')s ideologies and thoughts and on the other hand is a reflection of that countrychr('39')s minoritychr('39')s views. Therefore; in international literature domain, novels, as a form of literature, gives the writer the ability to make a harmony between his own ideas and inner emotions and to transfer them to the reader in the end. Between the worldchr('39')s most famous writers there are some writers with similarities -however small- in the writing method and ideology. In the following essay we tried to compare and analyze the works of two female writers - one Iranian and one Turkish- after pointing out the basics of feministic critique. Zoya Pirzad between Iranian writers and Elif Shafak between Turkish writers are two novelists who seem to value and emphasize on the position of women. By going through this fact, in this essay we find out the attitude and views of the two writers regarding feministic critique barometers. Therefore in the following desk based research, using inductive methods, founded in analysis and characterization, wechr('39')ll analyze the works of these two great writers as well as getting to know the critics opinions on them.