نشریه پژوهش ادبیات معاصر جهان
سال بیست و هفتم شماره 1 (پیاپی 86، بهار و تابستان 1401)

William Carlos Williams’s poetry is known for the vividness of its imagery and the minimalism of its form. But what Williams achieves within just a few lines is nothing short of magic. The intimate bond he makes with his seemingly insignificant surrounding world gives an air of sublimity to his poems. The sense of indefinable awe that pervades Williams’s poetry, however, does not stem from a grand and boundless source. Williams finds an almost transcendent aura in the most familiar, mundane, and homely moments of everyday life. This quality of finding the extraordinary in the ordinary has been called the ‘trivial sublime.’ Drawing on theories of the sublime, as well as those of romantic transcendentalism and the genre of haiku, this paper attempts to examine the modality of such sublimity in the poetry of Williams. Such theories will include Edmund Burke's and Immanuel Kant's notions of sublime as well as the theoretical issues proposed by Williams himself.

What happened on September 9/11 in the USA led to many changes in the world. Radicalism and homegrown terrorism has been as disastrous as foreign radicalism and violent extremism and terrorism. Since 9/11 many books and studies were conducted in different fields of sociology, psychology, politics, and education. The world of arts and literature was affected as well and many novels, dramas, papers, and films were produced. In this paper Updike's novel, Terrorist, is discussed. Views of McCauley and Moskalenko with regards to individual, group and mass homegrown violent extremism are used to see how Ahmad is made into a would be terrorist under the guidance of Sheikh Rashid. It is argued that lack of father in his life, bullying in school, life style of his mother and his environment lead to his isolation and search for identity. However due to doubts he does not become a terrorist at the end.

One of the it̛s uses is to study emotions.The conceptual metaphor is one of the most important points of view of cognitive linguistics.which played a important role in understanding abstract one of it̛s uses is to study emotions. accordingly, the purpose of this study is to examine and compare conceptual metaphors of sadness and happiness in the works of contemporary writers is called Afghani and Ishiguru (Nobel prize winner in 2017).to carry out the research process, 114 case of the works of the two above mentioned authors were first extracted in all of them, the metaphorical concept of the area of sadness and happiness was used. From this series, 67 cases were associated with sadness, and 47 cases were associated with happiness metaphors. then the sadness and happiness of metaphors are grouped according to the model of kovecses,. After analyzing the data , attempts have been made to determine the most frequent metaphorical mapping and sourse domains.

This paper studies the dialogism in the two novels "Autumn is the Last Season of the Year" by Nasim Marashi and "Three Strong Women" by Marie Ndiaye with a discourse analysis approach. By reviewing Bakhtin's theories about dialogism and searching for concepts such as discourse contradiction, scattering of voices, the presence of the narrator's point of view, he narrator guides discourse with examples from two texts. There will also be a systematic description of th the functions of dialogism in these works. Also, this article, relying on Maingueneau's theories on the analysis of literary discourse, has tried to critique the relationship between the main characters of the two novels and their narrators with childhood, family, traditions, and modernity. This article shows that, unlike Ndiaye's female characters who are always trying to discover their multiple identities in an endless endeavor, Marashi's characterization is such that female characters live in the past. However, their minds are on the future; they are not dependent on the past traditions, nor have they become modern,.

Sociocritique which insist on accompaniment of form of expression and content is in contrast to classical method of sociological studies which implies literary work as a social statement. Sociocritique is a way to achieve content through the complexities of language. The works of Georges Perec, full of linguistic games, are valuable for sociocritique. Because they use language to deliver concepts of author. In seven works that are discussed in present paper, concepts will be considered through the mathematical rules, the rhetorical techniques and the intertextuality. All of these technics are considered like important structural elements in sociocritique. In this way, we will try to find reasons for using them in translating meaning by finding examples of three techniques mentioned. The purpose of this study is to achieve a common concept that has been expressed in all of these works : Perec’s social concerns, which are highly inspired by the War and the crisis of identity in a society with absurd values.

The dystopia is imaginary society in which chaos has come to maximum and there is little hope of recovery. Nima Yoshij and Badr Shaker al-Sayyab, two well-known contemporary Persian and Arabic poets, against the poor state of society and efforts to improve things, are depicting the dystopia as "Towards a Silent City" and "city without rain".This article seeks to answer the following question by examining the manifestations of despair and hope in the words of two poets in a descriptive-analytical method. What are the main factors in the emergence of the city's ruined space. What is the ultimate winner in the battle of despair and hope? The author believes that both poets have tried to reform and awaken the nation by depicting the atmosphere of society and showing the main causes of the dystopia, which is the oppression and corruption of the rulers and the silence and frustration of the people of the society. in the struggle between despair and hope, choose optimism and hope a revolution in the society.

Today, it has been evident that without having a theory or a definite approach either to literature & history, writing a history of literature becomes totally impossible. Despite the initial contradiction between formalistic & historical methodologies, systemic formalism could be recognized as a pioneer movement which could formulate a definite methodological framework for history writing of literature. With such a perspective in mind, systemic formalism projected some terms as: evolution, change, historical dynamism, canonicity, dominant trait, system & so on. This approach, in spite of the criticisms made against it, took the first steps in bridging the gap between synchronic & diachronic studies in literature. Moreover, Literature which has been served until then as a covering to prove the assumptions of historians to interpret the flow of history became the main focus of historical studies. Following a critical approach, this paper seeks to answer these questions: first, what are the theoretical origins of systemic formalism? Secondly, what are its possibilities & limitations in compiling a history of literature?

The present paper, by the intellectual heritage of Osychoanalysis (Freud, Lacan and zizek) tries to give an interpretation of the work of Samuel Beckett. Based on the concept of the "das ding, or " the thing” Zizek provides a differentiation of modernism and postmodernism. Based on this division, zizek claims that the “waiting for Godot” is a Modernist works. We try to challenge him by suggesting that “waiting for Godot” is a postmodernist phenomenon. In this regard, the present paper does not intend to investigate among the previous literature about the “waitiong for Godot”, but we try to present a philosophical-psychoanalytic suggestion and challenging his interpretation about the play. By adopting such strategy, the present paper states that “Godot” is a name for "silent scream", because Godot is the name of nothingness, Goddo is the name of fundamental absent which can be considered as the spriteof Becket works. . .

Sherko Bekas The renowned Kurdish poet and Ma’arouf Rosafi the famous Arab poet are contemporary Iraqi poets of the twentieth century who have a particular interest in alienation in their poetic themes.  The two poets suffered from social, political, and consequently, they have suffered from the alienation of place In addition to the mental alienation of personal life. Since there is no independent study of comparative analysis of the phenomenon of alienation in the poetry of Bekas and Rosafi, so the authors aimed to do a comparative study of alienation in the poetry of two poets. The fundamental question of the present study is how the phenomenon of alienation and in what form is it expressed in the poems of the two poets, and with what implications is it linked? To study this issue, the authors have used a descriptive-analytical approach based on the sociological foundations of the poems of these two poets.    spiritual, social and political alienation resulted from the hegemony of aliens and the downtrodden, resentment of living at home, Failures and fractures, suffocation and lack of freedom, rampant corruption, destruction of moral and the original criteria, frustration at people's disregard for enlightenment, disillusioned by the public's disregard for the Enlightenment, the sadness of retrogression, the regret over the decline of the motherland, and the ancient archetypes, have led the two poets into isolation along with the time alienation caused by dissatisfaction with life and calamities of the time and the time alienation and the desire to return to the past. Compared to Rosafi, Bekas outlook on global issues arising out of grief and alienation is broader. Among the concepts associated with alienation, the home has a particular theme that overshadows other provocative elements of the alienation. Because the home is the focal point for all the social, political, time and place issues and the sense of alienation surrounds around it in the poetry of the two poets.

Migration and particularly migrant’s identity occupy a special place in post-colonial studies. Separation from homeland and living in an alien culture make the migrant develop a “hybrid” identity that undermines the self/other binary opposition and other oppositions which have served as the basis of different forms of colonialism throughout history. Migrant’s “hybrid” identity, accordingly, questions the traditional views on identity and serves as an agent of change and resistance against fanatical nationalist and racist ideologies. In this study, the viewpoints of Edward Said and Homi Bhabha, two of the leading thinkers in postcolonial studies, have been studied to see the points of convergence and divergence in their views about the anti-colonial potentialities of the migrant’s hybrid identity and his capacity for showing agency and resistance. This investigation shows that whereas Bhabha relies on poststructuralist principles in his upholding of the migrant’s hybrid identity, Said adopts an eclectic approach and discusses the potentialities of the migrant’s hybrid identity mainly from a humanistic viewpoint.

The objective of the present study is the psychological analysis of fictional characters in Majid's Tales by Houshang Moradi Kermani and Little Nicholas by René Goscinny. Relying on the psychoanalytical theories of the structure of the mind: "Id", "Ego", "Superego", "Ego ideal ", "Ideal ego" and Identification, we achieve a deeper understanding of the characters in these stories. The Id", "Ego", "Superego" form the human personality and are always in conflict. "Id" seeks pleasure and "Superego" seeks to suppress the requirements of the "Id". The "Ego" controls the conflicts between "Id" and "Superego". "Ideal ego" means the conscious evaluation of the individual, but "Ego ideal" is the part of the person's being that he wants to achieve. Identification is a defense mechanism to deal with internal and external stresses. The main characters of these stories correspond to these parts and can represent the functions of the components of the structure of the mind. This research is dedicated to the analysis of these two sets of narratives from this approach.

A contemporary French philosopher, Jacques Rancière, believes that literary democracy originated in the nineteenth century, especially in connection with the novel genre. This study studies this concept in The Songs of Maldoror, one of the poetry books in the second half of Nineteen Century, relying on the definition of democracy by some contemporary philosophers. The study shows that this text topples down what types of notions, highlight and bold which ones and what are the consequences. In fact, this text can be a clear example of a democratic literary text that ends the power of many ideas of the literature of the "elite" minority, and it starts a new literary plan. Dialogue becomes the fundamental notion of this modern text, and it delineates between literary genres, on the one hand, and the common and elite literature, on the other hand. The Songs of Maldoror needs an active reading without any previous horizon of expectation.

The study of the commonalities of human thought in works of different societies with the help of comparative literature is known as one of the most significant types of literary criticism today. In the present study, we will comparatively examine the romantic perspective of the two works "Aida in the Mirror" by Ahmad Shamloo and "Elsa Eyes" a collection of love poems by Louis Aragon from his various works, along with poetic evidence.The similarity between some romantic themes reflects the concerns, emotions, and feelings similar to the poets; Shamloo's familiarity with the works of Aragon has caused a similar language observed in expressing the poets' feelings towards the beloved, which leads to the manifestation of similar themes such as: the lover's hope, the lover's long-standing expectation, the lover because of the poet's poetry, etc.The similarities indicate the unity among human thoughts and express the influence of poets of different nations on each other's thought, which is sometimes due to adaptation in its correct meaning "imitation" and sometimes inflection.

Generally, when studying texts, reference to other texts is obligatory and this is what intertextuality and the interconnectedness of texts means. One example is Rhys’ Wide Sargasso Sea, influenced by Bronte’s Jane Eyre, though Rhys with her twentieth century point of view has created a new world. David Herman knows the creation of this new world as the result of Rhys’ use of “weighing” technique based on which the occurrences of Jane Eyre’s exist in Wide Sargasso Sea, but Rhys’ point of view for evaluating the occurrences differs and the result becomes Wide Sargasso Sea. Wolfgang Iser believes that, while reading a literary text, the reader provides the parts not provided by the author. The present article, by referring to Rhys’ reading of Jane Eyre and her providing needed information not brought by the author, attends to the creation of Wide Sargasso Sea and Rhys’s weighing of Jane Eyre’s occurrences.

A multidimensional approach in encountering with Literary and artistic chef-d’oeuvre reveals us several and more extensive aspects of this chef-d’oeuvre. The discipline of Architecture, itself has a multidimensional nature that provides the possibility of reflecting on common space between Architecture and other disciplines related with it. One of the most important of these disciplines is Literature. A literary work is hardly intelligible without an architectural and place-based perception, and mutually creating a long lasting and outstanding architectural work, without attention to this profound and intrinsic relation with recondite meanings contained in literary works is hard to imagine. Our purpose in this article is to discuss about Proust’s encounter with the concept of place in À la Recherche du Temps Perdu, through studying the concept of place from an architectural point of view and finding its implications in his novel. This contemplation along with discussion about remembrance and memory can pave the way for architects to create an original place containing deeper meaning.

Poems' content demonstrates poets' personality which comes out of their feeling and imagination, and reflects their persona. Therefore, analyzing poems' content may reveal some angles of poets' persona beyond political and geograghical borders, so in comparative literature, poets' content can be compared so that we can grasp homogeneity and heterogeneity of their persona. Eniagram school introduces nine types of personality and elaborates on their features. According to Eniagram school's principles, everybody can own only one of these types. Malekoshoara-bahar, an Iranian literate, and Fadavi Touqan, a Palestinian poet, devoted many of their poems to resistance literature based on political and social issues and problems. The present study aims at analyzing the imprisonment poems of above-mentioned poets especially aspects regarding fighting, exile and prison through an analytical-comparative method and based on Eniagram school. As indicated by the results of the present study, the most common contents of their imprisonment subjects refers to litigation, anti-authoritarianism, making awareness, and honorong symbols and martyrs; and this indicates the accountability, persistence, realism and collectivism in

Contemporary literature pursues within the anxieties of the present, a paradigm for being in this world. Robert Alan Jamieson negotiates a similar initiative amidst the collage of narratives comprising Da Happie Laand. Matters political, social and cultural mingle indiscriminately in this novel, proposing a complex multiplicity that relies on the reader for its articulation of plot arcs, themes, and resolutions. The co-creative approach adopted by Jamieson bears affinity with Félix Guattari’s writings on ‘partial enunciations’. Deferred and subsequently entrusted to readers, the arrangement of meaning becomes a creative endeavor. Tracing familiar uncertainties through partial enunciations, therefore, invokes not just another inspired reading of the status quo, but a creative confrontation with the lack inherent in social and personal expressions. The plights of the present, then, find mediation in the midst of yet another narrative; the stories told this time, however, are laced with the potency of multiplicity and the promise of emancipation.

The function of these mechanisms is done unconsciously and causes the person to be deprived of his true cognition. Examining defense mechanisms, in addition to providing the basis for inner self-awareness, is an opportunity to understand the reasons and sources of each person's behaviors and outward speech. Rijal fi al-Shams is a novel about the events of the occupation of Palestine by the Zionists and Nakba in 1948 and the resulting psychological pressures, and it can be examined from the perspective of Freud's psychoanalysis. The novel describes the tragic effects of Nakba Palestine and the characteristics of war and defense, such as fear, anxiety, and defense mechanisms against the enemy. In this article, in addition to introducing Freud's theory and proving the function of this approach on the analysis of the novel Rijal fi Shams, the descriptive-analytical method has tried to examine the psychological text and measure Ghassan Kanfani's storytelling ability in shaping the narrative system and structure of the story.

This study is concerned with interrogating the short story of "Landscape with Flatiron" by Haruki Murakami in the context of trauma theory and identifying the ways of representing the process and consequences of trauma. For Caruth trauma occurs when the traumatic event is experienced a moment too late, before the self can realize it. Indeed it is experienced, but not understood. Traumatic event is fully comprehended in connection with another place and in another time and through repetitious imposition of its memory. Trauma deviates the mechanism of experiencing and effects an incision in the self, splitting the psyche into two halves: before and after trauma. Different people show various reactions to trauma, but Žižek believes that any confrontation with traumatic events ends into the birth of posttraumatic subject. Posttraumatic subject is a new subject who is a stranger. In "Landscape with Flatiron" Murakami represents the process of trauma through symbolism and displacement. He also represents the consequence of trauma by depicting posttraumatic subjects concerned with death.

Postcolonial intertextuality is a new intertextual theory that aims to analyze the intertextual relations between the texts of the colonized countries and the Western texts.The central core of these studies is culture and cultural hegemony. Spy literature is one of the types of texts produced in the Western countries adapted from the West.“Diamond Shine” is an example of an Arabic story in the spy genre, with evidence evolving from an English story “Diamonds are forever”. The present study has attempted to describe how Homi-baba's post-colonial relationship with the Western text was established by its author as an analytical-descriptive method, based on post-colonial theory. The results show that, firstly, in the context of this story's serious implication, the dominance of imitation is dominated by imitation; secondly, this eastern author's adaptation of the Western spy style was conscious and not only did not lead to blind imitation but also a factor in the emergence of power. He produced new texts along with preserving and introducing Eastern-Arab culture and inviting other cultures.

Review:Bara Masa in Hindi means twelve months Bara Bara means number twelve and Masa means month of the year. Bara Masa is a literary poem in Hindi that is composed in various forms and forms of poetry. This type of poem is the first time. It has emerged in the indigenous literature of northern India. One of the characteristics of this type of poetry is that the poet expresses his desired content based on the sequence of months and each verse of the poem is dedicated to days and months.Conversation in the months of the year Is composed. In her research, Charlotte Woodville refers to the various masses of Bara Massa in the Urdu language. Other Persian-style Indian poets inspired by the indigenous literature of northern India are clearly seen.This study deals with the comparative study of "Bara Masa" and its literature in Indian and Persian literature.

Ignorance is one of the elements of a poetic image that expresses the poet's view the world of creation. Ilya and Maulana, the poets of Linani and Iran, sought to express it. The need to know the theme and their common and different concepts and the impact of each other is the main necessity of research. In this article, with descriptive-analytical approach and relying on comparative literature, some aspects of the sharing and differentiation of the poem "Talasem" by Elijah and Ghazal "I do not know this porch of yours" are discussed. The results show that is no influence between them, and both were influenced by the poets before them in their philosophical poetry. Both worldviews are based on philosophy and seek to find the truth and were able to lead man to existence by creating doubt; it can be said that Rumi's faith is stronger than Abu Mawazi's. Elijah's concepts are more complex because he pays special attention to cryptography, but Rumi's poetry is far from obligatory and mystical.

In the contemporary period, due to the prevalence of modern ideas, especially in Eastern societies, a confrontation between traditional and modern ideas about the concept of love was formed and various groups, especially novelists, took approaches to this issue. They undertook a variety that reflects their approaches and attitudes can be recovered in their novels.. according to this, in this article, with a comparative look at the study of various views, attitudes and aspects of love in the novels of Body memory by Ahlam Mostaghanemi and the Island of Wandering by Simin Daneshvar based on the American School of Comparative Literature and Method An analytical description is given to show which manifestations of love are represented in their works? What are the differences and similarities in this regard? The issue of love of homeland and romantic nationalism, and in the novel The Island of Wandering, more attention is paid to modern love as a criterion for marriage and mystical love

After the victory of the October Revolution in 1917 and the establishment of the communist regime in the Soviet Union, this land became the utopia of many intellectuals. Among them André Gide, who was invited by the Union of Soviet Writers in 1936 to visit the land of his dreams. But what he saw and wrote in his return entitled Return from the U.S.S.R (1936) and Afterthoughts on the U.S.S.R. (1937) expressed his regret and despair for the realization of the great human aspirations of the twentieth century. This apparent disillusionment in Gide's text, however, is not simply achieved, but at the same time conveys the effects and factors that, according to Michel Foucault, shape the discourse of power in a particular period and influence the individual and collective choices of the author. In this article, we try to figure out the interaction of central discourses of power and their relation to the possibility of communism disillusionment by Gide, using the historical research methodology and relying on new historicism theories.