نشریه نقد و نظریه ادبی
سال هفتم شماره 1 (پیاپی 13، بهار و تابستان 1401)

The present article addresses the fundamental question of how the house chronotope, as a device for the analysis of text, opens up new interpretive possibilities. Basically referring to the continuum of time and space in literature and art, chronotope implies that time and space are not merely temporal and spatial categories but signify and have values attached to them. Following a descriptive-analytical method, the article has two sections: the first describes and defines the basic elements of the conceptual framework shaping Bakhtin’s discussion of chronotope, and the second examines Zoya Pirzad’s novel I Turn off the Lights in the light of the house chronotope. Moreover, the living room and kitchen chronotopes are examined in connection with the house chronotope (as the basic chronotope of the story). The article also shows that in the novel’s plot and interpretation, the house chronotope establishes a significant interaction with other important chronotopes, i.e., the threshold and encounter chronotopes. The article aims to demonstrate that the house chronotope reveals the characters’ mentalities and inner states by providing a proper space for the occurrence of events, and these events are expressed via temporal signs. Extended Abstract 1.IntroductionThe present article seeks to analyze the house chronotope in Zoya Pirzad’s I Turn off the Lights (Cheragh-ha ra Man Khamoush Mikonam) based on Bakhtin’s theory of literary chronotope. We will discuss how chronotope can serve as a tool for the analysis of the text, and will show the different ways in which it can be of help to the critic in analyzing a text. The house chronotope is of great importance in Pirzad’s novel, playing an important role in how the story develops. We have drawn upon Bakhtin’s definitions of different chronotopes and tried to identify their similarities in order study the house chronotope in this novel. 2.Theoretical Framework Chronotope is the interdependence among temporal and spatial relations, arranged through an artistic expression. In a literary or artistic work, different chronotopes and their complicated relationships can be identified. In this relationship, time and space do not exist independently and through specific instances of them, the experiences of characters can be defined in specific times and places. Therefore, it is through this relationship that a specific text offers a meaning to its creator or its readers. 3.MethodologyA qualitative study, the present article follows the descriptive-analytical methodology. Bakhtin’s theory of chronotope has been used here as a tool for the analysis of Pirzad’s I Turn off the Lights. The data was collected using the library sources. 4.Discussion and AnalysisThe house chronotope has been the basis for our analysis of Pirzad’s I Turn off the Lights. Throughout the story ‘house’ is referred to as a place that connotes various meanings, providing us with the possibility of analyzing different layers of the narrative in this novel. The everyday activities of the protagonist and her monologues occur within this chronotope, representing different aspects of her identity. Moreover, the relationship between this chronotope and other important chronotopes has been discussed in this article. 5.Conclusion In this novel, Pirzad strikes a balance between Clarice’s mental life and her inner life, thus making the arrangement of narration in the house chronotope possible. The representation of Clarice’s outer actions in this chronotope enables the reader to read into her mind. Pirzad creates the text based on her specific temporal and spatial conditions, while the readers recreate it based on their own spatial and temporal conditions. In other words, the chronotope turns into a tool for understanding the ways in which the spatial-temporal structures of the novel represent an independent world, the interpretation of which relies on the relationship between two worlds: the world of the text and the world of the meta-text. Select BibliographyPirzad, Z. 1380 [2001]. Cheragh-ha ra Man Khamoush Mikonam. Tehran: Markaz.Bakhtin, M. 1981. The Dialogic Imagination: Four Essays. Michael Holquist (ed.). Caryl Emerson and Micheal Holquist (trans.). Astin: University of Texas Press.Bakhtin, M. 1990. Art and Answerability: The Early Essays of M. M. Bakhtin. V. Liapunov and K. Brostrom (trans.).Texas: University of Texas Press.Bakhtin, M. 1993. Toward a Philosophy of the Act. V. Liapunov and M. Holquist (trans.). Texas: University of Texas Press.Bemong, N. and Borghart, P. (eds.). 2010. Bakhtin’s Theory of the Literary Chronotope: Reflections, Applications, Perspectives. Ghent: Academic Press. pp. 3-16.Heynes, D. J. 2002. “Bakhtin and the Visual Arts.” In: Smith, P. and C. Wilde (eds.). A Companion to Art Theory. Oxford: Blackwell Publishing. pp. 292-302.Holquist, M. 2002. Dialogism: Bakhtin and His World. London: Routledge.Keunen, B. 2000. “Bakhtin, Genre Formation, and the Cognitive Turn: Chronotopes as Memory Schemata.” CLCWeb: Comparative Literature and Culture 2/2: 1-15.Morson, G. S. and Emerson, C. 1990. Mikhail Bakhtin: Creation of a Prosaics. Standford: Standford University Press.

Nomination is a discourse-oriented structure rooted in the ideology of the speaker, showing his/her orientation towards different social actors, and sometimes helping to induce his/her thoughts. This study is conducted to examine and analyze this structure in Seyyed Ashrafuddin Gilani’s poetry, based on van Leeuwen’s (1996) model of the representation of social actors. The paper seeks to answer the following questions: 1. Which social actors are represented in his poems, using the discourse-oriented component of nomination? 2. What factors have influenced his application of this discourse-oriented structure to social actors? 3. What emotions and thoughts are induced by nomination in his poems? According to the findings, the poet represents contemporary and historical social actors (religious and national) using direct and indirect naming. Some of the factors affecting the application of this discourse-oriented structure to the above actors are Seyyed Ashrafuddin’s main audience, the general public, his religious worldview, and the social conditions of the time, which necessitated a reminder of Iran’s glorious past. Nasim-e Shomal uses a variety of names in his poetry to arouse the religious and national emotions of the people, express the attitude and orientation of the speaker towards the relevant actors, inform the people about Iran’s great past, and pay homage to the agents, among others.  Extended Abstract1.IntroductionAs a core component of culture, literature cannot be disconnected from the socio-political situations that affect it in different ways. The Iranian Constitutional Revolution had a remarkable influence on Iranian literature, making it reflect important socio-political aspects of the period. The present article seeks to study the socio-political aspects of the poetry of Seyyed Ashrafuddin Gilani, an important literary figure of the Constitutional era, based on van Leeuwen’s idea of the representation of social actors. Attempt is made to identify the social actors represented in his poetry through nomination, the factors influencing the poet in applying this discourse-centered structure to social actors, and the ideas and emotions evoked in his poetry through nomination. 2.Theoretical FrameworkThe present article adopts van Leeuwen’s semantic-sociological approach, in which the depiction of social actors is influenced by the social/intellectual views and the power relations governing society. Nomination, as one of the discursive structures in van Leeuwen’s theory, is focused on in the analysis of Ashrafuddin Gilani’s poetry.  3.MethodologyCritical discourse analysis is a text-based analysis of the qualitative type which deals with the study of language in social interactions, the relationship between ideology and language and how meaning is produced in discourse. In the present article, the quantitative method is used to examine nomination in the poetry of Ashrafuddin Gilani. Then the qualitative method is applied to the analysis of the data. 4.Discussion and Analysis In Seyyed Ashrafuddin Gilani’s poetry both direct nomination and indirect nomination have been used. The social actors represented through nomination in his poetry can be divided into two groups: contemporary social actors, including the poet himself, ordinary people and social and political figures, and historical social actors, including religious social actors and national social actors. Ordinary people play a greater role in his poetry as he has mostly addressed the common people. Of the historical social figure, religious social actors play a greater part, which is due to the religious worldview the poet has adopted in dealing with social and political topics. 5.ConclusionAs can be concluded from the analysis of the data, Ashrafuddin Gilani has used direct and indirect nomination to represent contemporary social actors and historical social actors. The main audiences of the poet were the general public, which made him pay more attention to them in his poetry. And because of his religious beliefs and the social situation of the time, religious social actors attracted more attention in his poetry. Different types of nomination have been used in his poetry to encourage the religious and national emotions of his audiences and make them aware of their glorious past. Select BibliographyAghagolzadeh, F. 1385 [2006]. Tahlile Gofteman-e Enteqadi. Tehran: Elemi va Farhangi.Fairclough, N. 1379 [2000]. Tahlil-e Enteqadi-e Gofteman. F. Shayesteh et al. (trans.). Tehran: Ministry of Culture and Islamic Guidance.Jorgensen, M. and Philips. L. 1395 [2016]. Nazaryeh va Ravesh dar Tahlil-e Gofteman. Tehran: Nay.Nafisi, S. 1385 [2006]. “Seyyed Asharafuddin Gilani.” In: Namini, H. (ed.). Kolliyat-e Javedaneh-ye Nasim-e Shomal. Tehran: Asatir.Namini, H. (ed.). 1385 [2006]. Kolliyat-e Javedaneh-ye Nasim-e Shomal. Tehran: Asatir.Vahida, F. 1387. Jame’eh-shenasi dar Adabyat-e Farsi. Tehran: SAMT.Van Leeuwen, T. 1996. “The Representation of Social Actors.” In: C. R. Caldas-Coulthard and Coulthard, M. (eds.). Texts and Practices: Readings in Critical Discourse Analysis. London: Routledge. pp. 32-70.Yarmohammadi, L. 1385 [2006]. Ertebatat az Manzar-e Goftemanshenasi-e Enteqadi. Tehran: Hermes.Yarmohammadi, L. 1391 [2012]. Daramdi beh Goftemanshenasi. Tehran: Hermes.

According to Roland Barthes, all texts employ five codes for creating textual signification: the hermeneutic code, the semantic code, the proairetic code, the symbolic code, and the cultural code. The meaning of a text can be understood through opening up these codes. In this article, “The Tale of the Lion and the Cow,” one of the most important chapters of Kalileh and Demneh, has been studied and analyzed based on the following three codes: proairetic, hermeneutic, and semantic. The article shows that the story, containing complicated semantic and coded layers, can be studied based on Bathes’ model, particularly through the three codes listed above. The findings indicate that from the perspective of the proairetic and hermeneutic codes, the narrative includes both a main sequence and a secondary sequence, which are closely connected. Moreover, in the semantic code, the story includes implied significations, with a significant relationship among the elements of the tale, the actions of the characters and the symbolic aspects of the tale. The examination of the semiotic elements help to identify covert layers in the allegories of this important work of Persian literature in which the most central actions are leaving and death, which are consistent with the political atmosphere of the story. Extended Abstract 1.IntroductionNew literary schools and theories can be effectively used to reveal hidden layers in texts and provide us the possibility of new readings of them. According to semiotics, which has been used extensively in the analysis of literary texts, meaning is produced through structures of interdependent signs, codes and contracts.  2.Theoretical FrameworkCodes are of vital importance in semiotics. They turn signs into significant systems and, thus, lead to the development of a relationship between the signifier and the signified. Codes represent the social aspects of signs. Narrative codes were first introduced by Roland Barthes in his reading of Balzac’s “Sarrasine.” He believes that every text is formed through five codes so that textual signification is created. In the present study, Barthes’ concepts are adopted to analyze the codes in “The Tale of the Lion and the Cow” from Kalileh and Demneh. 3.MethodologyUsing Barthes’ semiotic model, “The Tale of the Lion and the Cow” has been analyzed in the present study. For this purpose, instances of these codes were identified and three types of hermeneutic, proairetic and semantic codes were examined. 4.Discussion and AnalysisIn the present study, attempt has been made to examine the semiotic elements and analyze the signs in order to identify covert layers in allegories in an important work of Persian literature. Kalileh and Demneh is replete with political and social allegories. In this article, a semiotic approach is adopted to study the hidden layers and aesthetic signification of this story. Of the five types of codes discussed by Barthes, hermeneutic, proairetic and semantic codes have been focused on in the present article. 5.ConclusionDue to its labyrinthine semantic structure, “The Tale of the Lion and the Cow” has been examined based on Roland Barthes’ theory of codes. Three important codes can be detected in the story, with quite a similar frequency, a quality that is consistent with allegorical literature, in which each layer is closely connected with another layer. This makes it possible for every sign to be interpreted through all the three codes identified in this story. In the semantic code, the story includes implied significations, with a significant relationship among the elements of the tale, the actions of the characters and the symbolic aspects of the tale. In the proairetic code, the narrative includes both a main sequence and a secondary sequence, which are closely connected. The most important actions in this tale are leaving and death, which are consistent with the political atmosphere of the story. Select Bibliography Barthes, R. 1380 [2001]. Marg-e Moallef dar Sakhtargarai, Pasasakhtargarai va Motaleh’at-e Adabi. F. Sojoudi (trans.). Tehran: Pajouheshgah-e Farhang va Honar-e Eslami.Barthes, R. 1394 [2015]. Roland Barthes. N. Fakouhi (trans.). Tehran: Nay.Bruce-Mitford, M. 1394 [2015]. Dayeratolma’aref-e Mosavvar-e Namad-ha va Neshaneh-ha. M. Ansari and H. Bashirpour (trans.). Tehran: Sayan.Chandler, D. 1387 [2008]. Mabani-e Neshaneh-shenasi. M. Parsa (trans.). Tehran: Soureh-e Mehr.Chevalier, J. 1385 [2006]. Farhang-e Namad-ha. S. Fazayeli (trans.). Tehran: Jaihoun.Monshi, N. 1388 [2009]. Kalileh va Damneh. M. Minovi (ed.). Tehran: Amir Kabir.Pierce, C. S. 1381 [2002]. “Mantegh beh Masabeh-e Neshanehshenasi: Nazaryeh-ye Neshane-ha.” F. Sojoudi (trans.). Zibashenakht 6: 51-63.Scholes, R. 1383 [2004]. Daramadi bar Sakhtgarai dar Adabyat. F. Taheri (trans.). Tehran: Agah.Sojoudi, F. 1384 [2005]. Neshanehshenasi va Adabyat. Tehran: Farhang-e Kavosh.

Julia Kristeva is one of the theorists who have tried to establish a close connection between literature and psychoanalysis by proposing various theories in areas such as literary criticism, feminism, and psychoanalysis. She seeks to examine the relationship between language and the subject in dialectical and dynamic processes by proposing concepts such as the speaking subject, the symbolic and the semiotic, thus clarifying the connection between psychoanalysis and language with the notion of abjection. Abjection is a process through which the linguistic subject, by entering the symbolic realm, considers anything that threatens the boundaries of its subjectivity as the other and tries to reject, deny and repress it. In this paper, Houshang Golshiri’s novel Prince Ehtejab is read based on Kristeva’s theory. In this reading of the novel, we are confronted with Prince Ehtejab’s pain, wounds and the evils of his soul. After a futile attempt to rid himself of all that he assumes contaminated, and to gain purity, tired of rebuilding the past and achieving the desired individuality, he gives up exploring the corners of his mind and surrenders to death. In literature, abjection theory considers the text as the superior signifier of abjection. This process is illustrated in literature in a variety of ways, including the denial of the mother, negation of the mother-child relationship, a constant sense of controversy with the abject, an attempt to defend the privacy of subjectivity, and the emergence of unpleasant words and phrases. It turns the text into a place for exposing the subconscious and the darkness of the soul and whatever casts a shadow of that fear and terror over the subject, so that the individual may attain sublimation and purification. Extended Abstract1.IntroductionJulia Kristeva has tried to establish a close connection between literature and psychoanalysis. She has sought to clarify the connection between psychoanalysis and language through her theory of abjection. Abjection is a process in which the linguistic subject, by entering the symbolic realm, considers anything that threatens their subjectivity as the other and at the same time tries to deny and repress it. In the present article, Houshang Golshiri’s novel Prince Ehtejab has been studied based on Julia Kristeva’s theory of abjection. 2.Theoretical FrameworkKristeva introduced the concept of abjection into literary studies due to the cathartic role of literature. She believes that in literary texts, the writer is a subject that uses her/his work as a venue for talking about crises both inside her/him and in the world surrounding her/him. The present article studies the concept of abjection in Houshang Golshiri’s Prince Ehtejab in order to point out some of these crises. 3.MethodologyThe present article follows a descriptive-analytical method. First, some major concepts in Kristeva’s theory, such as ‘subject’, ‘the semiotic’ and ‘the symbolic’, are explained and the concept of ‘abjection’ is analyzed. Then, using the main components of this theory, Houshang Golshiri’s Prince Ehtejab is examined. 4.Discussion and AnalysisDifferent instances of abjection can be identified in Golshiri’s Prince Ehtejab. An important one can be found in the case of the mother who is constantly denied by the Prince, as are the other mothers in the novel. This might be because their presence is deemed to threaten the independent identity of the subject. The Prince also describes the crimes committed by other masculine subjects in order to distance himself from them and protect his identity. According to Kristeva, the subject finds the abject both repelling and attractive, both endangering and protecting her/his identity, examples of which can be the Prince’s description of his father, Monireh Khatun, and Fakhr-o-Nesa. 5.ConclusionIn Golshiri’s Prince Ehtejab, instances of impurity and sin can be detected in the character of the Prince. His attempt to exonerate himself is futile, making him finally surrender. The novel ends with the death of the Prince, the speaking subject. The present article offers a new reading of this novel and applies a theory through which we can delve into the inner being of humans and the world surrounding them. Thus, a literary text can be regarded as a signifier that reveals human pain, impurities and sins, and help to eliminate them. In this novel, the literary text is a venue for the identification and elimination of impurities and vices. Select BibliographyAliakbari, M. 1393 [2014]. “Nabarabari Sourati az Aloudehengari.” Zanan-e Emrouz 6: 1.10.Firouzi, A. and Akbari M. 1391 [2012]. “Mafhoum-e Ma’anakavi dar Andisheyeh-ye Julia Kristeva.” Shenakht 67: 111-131.Golshiri, Houshang. 1357 [1979]. Shazdeh Ehtejab. Tehran: Ghoghnous.Kristeva, J. 1982. Powers of Horror: An Essay on Abjection. L.  S. Roudiez (trans.). New York: Columbia University Press.Kristeva, J. 1984. Revolution in Poetic Language. L. S. Roudiez (trans.). New York: Columbia University Press.Kristeva, J. 1388 [2009]. Fardiyat-e Eshteraki. M. Parsa (trans.). Tehran: Rouzbehan.Makaryk, I. R. 1385 [2006]. Daneshnameh-ye Nazaryeh-ha-ye Adabi-e Mo’aser. M. Mohajer and M. Nabavi. Tehran: Agah.McAfee, N. 1384 [2005]. Julia Kristeva. M. Parsa (trans.). Tehran: Markaz.Mehraeen, M. and Hajizadeh A. 1393 [2014]. “Matn va Qodrat: Charchoubi Nazari Baraye Tafsir-e Enteghadi.” Naqd-e Adabi 27: 29-67.Payne, M. 1390 [2011]. Lacan, Derrida va Kristeva. P. Yazdanjou. Tehran: Markaz.Selden, R. and Widowson P. 1377 [1998]. Rahnama-ye Nazaryeh-ye Adabi-e Mo’aser. A. Mokhber (trans.). Tehran: Tarh-e Now.

As the most important mystical concept, Truth is the culmination of mankind’s contemplation of his relation to existence and its Creator (Haq). Since these general concepts cannot be articulated through a theoretical framework, they enter the realm of metaphors, which are images resulting from the relationship between the components of this whole. Employing Blumenberg’s metaphorology, the present article studies the mechanism whereby an idea is transformed into a metaphor, and examines its application in illuminating the two important motifs of mysticism, i.e., Truth and the Path (ṭaríqat). In Hans Blumenberg’s thought, an absolute metaphor starts with a fundamental primordial principle. Concepts move from the domain of objectivity to the metaphysical domain, and through repetition and making connections between the components of the concepts, an absolute metaphor is formed and becomes axiomatic. Emphasizing the significance of absolute metaphors in explicating mystical concepts, the article further investigates the concept of ‘progress’ (sayr) and its components in mystical allegories, studies the mutations of a concept by considering the history of metaphors, and discusses concepts such as asceticism (ryazat) which, due to repetition, have been fixated in the lexical domain. Extended Abstract 1.IntroductionCoding is the main mechanism of the metaphors of Truth. By analyzing the history of the metaphor of light, Blumenberg identifies a schema whose components form the metaphor of light. In the present study, we have focused on the characteristics of ‘sayr’ (progress) and concepts that can be collected within the framework of ‘tariqat’ (way) and Truth, and have concluded that the metaphors the ‘way’ and the ‘king’ in mysticism, which revolve around the concept of Truth, are based on the history and components of such a schema. 2.Theoretical FrameworkWhen using a metaphor to express a concept, we deal with all aspects of a specific phenomenon rather than just its metaphysical aspects. While in mysticism, the metaphysical aspect is of importance, Blumenberg stresses that the concept of Truth in the metaphor of light is associated with the whole nature of light rather than a part of it. Therefore, in metaphors such as ‘light’ (Truth), the ‘way’ (mystical journey) and the ‘king’ (Truth), an ontological explanation of this concept can be offered only through an objective, natural experience. 3.MethodologyTo study the metaphors the ‘way’ and the ‘king’ we drew upon Blumenberg’s concept of Truth and the use of metaphors connected with it, such as ‘light’. In the present study, these concepts have been compared with mystical concepts. 4.Discussion and AnalysisIn discussing the components of the allegory of the ‘cave’, Blumenberg points to components that form the metaphor ‘light’, such as the darkness inside the cave and the fire outside. Based on the concept of semantic cluster, we discuss how a number of concepts can be expressed through a single metaphor, and give two important metaphors in mystical texts as examples. Blumenberg believes that the concepts in a single semantic cluster are collected through a single main metaphor in a single structure, and referring to any single component can evoke all associated concepts. Drawing upon this idea, we examine the components of the semantic cluster of the metaphors the ‘way’ and the ‘king’, each of which refer to a specific topic in mysticism. 5.ConclusionThe presence of a semantic context or cluster is the main difference between absolute metaphors and decorative metaphors. Decorative metaphors are aimed at creating a piece of beautiful writing, while absolute metaphors are used to express concepts and develop specific terms. Absolute metaphors are important in that they help develop concepts through which ideas are expressed. Select BibliographyAttar, M. A. 1388 [2009]. Mantiq al-Tayr. M. Shafiee Kadkani (ed.). Tehran: Sokhan.Attar, M. A.1389 [2010]. Tazkirat al-Awliya. M. Shafiee Kadkani (ed.). Tehran: Sokhan.Blumenberg, H. 1957. “Light as a Metaphor for Truth.” J. Anderson (trans.). Studium Generale 10/7:  30-44Blumenberg, H. 2010. Paradigms for a Metaphorology. R. I. Savage (trans.). Ithaca, N.Y: Signale.Hafiz. 1387 [2008]. Divan-e Hafez-e Shirazi. M. Qazvini and Q. Ghani (eds.). Tehran: Yasavoli.Mohammad bin Monavvar. 1390 [2011]. Asrar al-Towhid fi Maqamat al-Sheikh abi Saeed. M. Shafiee Kadkani (ed.). Tehran: Agah.Mowlawi, J. 1373 [1994]. Masnavi Ma’navi. R. Nicholson (ed.). Tehran: Amir Kabir.Sanaee, M. 1329 [1950]. Hadiq al-Haqiqat va Shari’a al-Tariqa. M. Modarres Razavi (ed.). Tehran: Sepehr.Sontag, S. 1977. Illness as Metaphor. New York: Farrar, Straus and Giroux.Wetz, F. J. 1393 [2014]. Daramadi bar Andisheh-ye Hans Blumenberg. A. Nasri and F. Farnoudfar (trans.). Tehran: Cheshmeh.

In this article, we try to examine the parallel between the form of Houshang Golshiri’s novel Christine and Kid and the social construction of consciousness in its time. At first glance, the novel seems to be a personal account that cannot be sociologically analyzed; however, this article seeks to show the inherently social nature of this novel’s form. The theoretical part is the historical formulation of Lukács’ thought based on his five major works on the sociology of literature. The article tries to show that the social construction of consciousness at the time of writing Christine and Kid was centered around the issue of “the encounter with the West”; In terms of this issue, we have distinguished three social groups in Iranian intellectual society: on the one hand, pro-Western and anti-Western groups, that have dealt with the issue through an “essentialist” approach, and, on the other, a third group that has tried to discard this dualism and consider the “contingent” nature of the issue. The purpose of this article is to explain how the form of this novel is connected with the construction of the consciousness of the third group. The findings show that the form in this novel is shaped by the combination and interplay of several components: the process of knowledge, contemporaneity, interruptions, compositional aspect, suspension and the dialectic of reception and rejection. Moreover, this form is in line with the main construction of consciousness in the third group, which considered the issue as “open,” “present,” “plural,” “subject of cognition,” and “in process.” Extended Abstract1.IntroductionThe present article studies the relationship between form and the social construction of consciousness in Houshang Golshiri’s novel Christine and Kid. While the novel appears to be a personal, formalist work, defying any kind of sociological analysis, attempt has been made to examine the inherently social nature of the novel’s form. Throughout the article, both in the theoretical and practical sections, the focus of discussion is on the ‘form’ rather than the ‘literary content’ or the ‘social content’ of the novel. 2.Theoretical FrameworkThe historical formation of Lukács’ ideas in the present article shows that he focuses on form, which, according to him, is the composition that directs how a work of art is received. Mimesis is based on the selection, assessment and formation of elements of reality, represented in form. The present article draws on Lukács’ ideas in this regard to study Golshiri’s Christine and Kid. 3.MethodologyThe present study adopts the qualitative methodology and is a case study of a literary work. It is based on Lukács’ methodology in the sociology of the novel and attempt has been made to analyze the relationship between this literary form and the social construction of consciousness. 4.Discussion and AnalysisIn Christine and Kid, the East/West dichotomy, as one of the most fundamental issues in the structure of the contemporary Iranian society, has been dealt with. A Lukácsian study of the novel reveals that there is a consistency between the form of the novel and the social construction of consciousness. 5.Conclusion The form of Golshiri’s Christine and Kid is made up of some major elements: the process of understanding ‘the other/the Western’ and consequently ‘the self/the Eastern’; the development of form in the present time based on the development of the present moment; the development of characters in the process of the development of ‘events’; the fragmentation of events, characters and ideas; and the endless suspension in ‘attracting/repelling’ the other and the self. The form of this novel is consistent with the construction of consciousness in the third group in dealing with the ‘issue of the West’.  In other words, the form of this novel, in its totality, reveals the construction of the third group and challenges the Western/anti-Western dichotomy. Select BibliographyAmanat, A. 1400 [2021].Tarikh-e Iran-e Modern. M. Hafez (trans.). Tehran: Faragard.Ashouri, D. 1387 [2008]. “Houshyari-e Tarikhi.” In: id. Ma va Moderniyat. Tehran: Serat: 13-43.Lukács, G. 1373 [1994]. Pajouheshi dar Realism-e Oroupayi. A. Akbari (trans.). Tehran: Elmi va Farhangi.Lukács, G.1377 [1998]. Tarikh va Agahi-e Tabaqati: Pajouheshi dar Dialektik-e Marksisti. M. J. Pouyandeh (trans.). Tehran: Nasl-e Qalam.Lukács, G.1380 [2001]. Nazaryeh-ye Roman. H. Mortazavi (trans.). Tehran: Qesseh.Lukács, G.1388 [2009]. Roman-e Tarikhi. Sh. Behyan (trans.). Tehran: Akhtaran.Lukács, G.1397 [2018]. Jan va Sourat. R. Rezaee (trans.). Tehran: Mahi.Nabavi, N. 1388 [2009]. Roshanfekran va Dolat dar Iran: Siasat-e Goftar va Tangna-ye Esalat. H. Fesharaki (trans.). Tehran: Shirazeh.Shadman, F. 1382 [2003]. Taskhir-e Tamaddon-e Farangi. Tehran: Gam-e Noe.Ziaebrahimi, R. 1397 [2018]. Paydayesh-e Nasionalism-e Irani: Nejad va Siasat-e Bijasazi. H. Afshar (trans.). Tehran: Markaz.

In the study of the nature of art and literature, the discussion of the ‘object of mimesis’ has always been of particular importance. In fact, Aristotle in Poetics, by distinguishing the object, the method and the means of imitation, initiates debates that have continued until the contemporary era. In the meantime, the issue of the object of mimesis as an artistic object was raised before Aristotle in Plato’s philosophical tradition. Of course, unlike Aristotle, who tries to recognize imitation based on the empirical ideal, Plato, due to his involvement with the transcendental ideal, considers imitation to have no epistemic value. Accordingly, scholars of the Renaissance and later on in the contemporary period, thinkers such as Lukács or Auerbach, have described the object of mimesis from different perspectives. In sum, these thinkers suggest that when an artist turns to the creation of a work of art, the object of mimesis may include the ideal, tradition, nature, state of affairs, general principles of human nature, or merely external reality. Therefore, the present study tries to examine these arguments on the object of mimesis, and explore their theoretical points of strength and/or shortcomings. Finally, the paper suggests the possible world as the object of mimesis and thus tries to open up a new perspective, which seems to have more analytical power in this regard. Accordingly, it is suggested that phenomena and events in the literary work as a possible world function on the basis of the internal logic particular to the work of art. In this way, even the non-realistic types of representation can be interpreted on the basis of the verisimilitude principle.  Extended Abstract1.IntroductionAccording to the theory of mimesis, art is the product of representation. In the present article, mimesis is studied as the artistic object. The article studies the definition of mimesis and discusses whether, in the ideas of thinkers such as Plato and Aristotle, mimesis is merely concerned with the representation of inanimate objects or deals with a wider range of issues. The arguments put forward by major thinkers in this regard, their epistemological origins, and weaknesses and strengths will be discussed. Finally, the article will propose the idea of the world as the object of mimesis.  2.Theoretical FrameworkIn the present study attempt is made to discuss some important ideas on the idea of mimesis and explore their theoretical capabilities and shortcomings. A critical reading will be offered in order to find out to what extent the hypotheses put forward about the concept of mimesis can be employed to explain works of art.  3.MethodologyIn the study of mimesis, scholars have tried to discuss what artists imitate in their aesthetic imitation and have formulated different hypotheses. In the present study, attempt has been made to analyze some major hypotheses in this regard and provide answers that can be of help in the analysis of works of art and literature.  4.Discussion and AnalysisIn a work of art or literature, different elements should be arranged in a way that all events seem probable or possible without necessarily being consistent with the realities of the world. In such a possible world, the form of thinking and the logic governing it follow specific rules. Although this form shares some similarities with scientific ideas, it is dominated by different rules in terms of objectivity, time, space, and causality. 5.ConclusionBefore Aristotle, mimesis was discussed in Plato’s philosophical tradition. However, unlike Aristotle, who recognized imitation based on the empirical ideal, Plato, because of his involvement with the transcendental ideal, found imitation to have no epistemic value. Contemporary thinkers have discussed mimesis from different perspectives and suggest that in creating a work of art, mimesis may include the ideals, traditions, nature, general principles of human nature, or merely external realities. While works of art or literature have undeniable similarities to the real world, they extract the object of mimesis out of a possible world that depends on the real world. This possible world might be strikingly similar to the real world, which might suggest that the work of art is an exact imitation of the real world; however, when this possible world is recognized, it can be claimed that the events and phenomena in this possible world are based on the independent rules of the same possible world. Thus, surrealist works, for instance, can be considered to be imitating a reality. Select BibliographyAbrams, M. H. 1953. The Mirror and the Lamp. Oxford: Oxford University Press.Aristotle. 1991. The Complete Works of Aristotle. J. Barnes (ed.). Princeton: Princeton University Press.Auerbach, E. 1953. Mimesis: The Representation of Reality in Western Literature. Willard R. Trask (trans.).  Princeton: Princeton University Press.Halliwell, S. 2002. The Aesthetics of Mimesis: Ancient Texts and Modern Problems. Princeton and Oxford: Princeton University press.Melberg, A. 1995. Theories of Mimesis. Cambridge: Cambridge University Press.Potolsky, M. 2016. Mimesis. New York and London: Routledge.Tousi, M. 1355 [1976]. Asas al-Eghtebas. M. Razavi (ed.). Tehran: University of Tehran.Wellek, R. 1377 [1998]. Tarikh-e Naqd-e Jadid. S. Arbabshirani (trans.). Tehran: Niloufar.Zarqani, M. 1390 [2011]. Boutiqa-ye Kelasik: Barresi-e Tahlili-Enteqadi-e Nazaryeh-ye She’r dar Manebe’-e Falsafi. Tehran: Sokhan.

In “The Pear Tree” from the collection Elsewhere (2000), Goli Targhi presents a first-person narrative about a writer and university professor who struggles to overcome scientific stagnation, face the past, and reassess his achievements and losses. In the background of these struggles, there is the Damavand garden and the pear tree which symbolize the flourishing and static contradiction within the narrator-character. The present article reads the narrative in terms of Eric Erikson’s psychosocial theory to analyze its crises of character development. The significance of this study is in explaining the roots of the narrator’s motivations and feelings which can lead to a better understanding of the complexity of the role of social and psychological concerns in overcoming his personality crises. Since the narrator is in his late sixties, the range that can be considered as the end of middle age and the beginning of the period after it, the 7th and 8th stages of Erikson’s development are used in the analysis of his personality. These stages are characterized by the binaries of “generativity vs. stagnation” and “ego integrity vs. despair” and can lead to the acquisition of the moral virtues of “care” and “wisdom.” This study concludes that while the narrator-character succeeds in passing through the 7th stage and acquiring the virtue of care, he is somewhat unsuccessful in the struggle for the acquisition of ego integrity and wisdom, although at the end of the story he evidently tries to achieve them. Extended Abstract1.IntroductionPsychological mechanisms, such as projection, association and stream of consciousness, play an important role in Goli Taraghi’s “The Pear Tree,” which revolves around the emotions and motivations of the protagonist. The present study draws on Erik Erikson’s psychosocial theory to analyze the middle-age concerns of the protagonist from a psychoanalytical point of view in order to arrive at a better understanding of the protagonist. 2.Theoretical FrameworkErik Erikson’s psychosocial theory has been adopted as the theoretical framework of the present study. The focus of the study is on the 7th and 8th characteristics of Erikson theory of development, which cover middle age and later. This period is characterized by “generativity vs. stagnation” and “integrity vs. despair.” 3.MethodologyIn the present article, Erik Erikson’s psychosocial theory has been used to analyze the concerns connected with a specific period of the protagonist of Goli Taraghi’s “The Pear Tree.” The characteristics of the 7th and 8th stages of Erikson’s theory have been focused on in the study of this text.  4.Discussion and AnalysisThe pear tree symbolizes ‘generativity vs. stagnation’. Numerous references to this tree make the narrator remember his sterility. Throughout the story, the protagonist struggles in his mind with his sterility and middle-age crisis, with the outside world being symbolized through the garden. He finds himself destined to fight the stagnation and achieve generativity through writing, which in a way makes him isolated in the story. He shows signs of the emotional crisis associated with the end of the middle age, which according to Erikson is the 7th stage of development. His inability to write can symbolize crises associated with the 7th and 8th stages of development. 5.Conclusion“The Pear Tree” is packed with descriptions of the psychosocial condition of the protagonist. The protagonist experience two crises throughout the story. The first half of the story mostly deals with ‘generativity vs. stagnation’, while the second part revolves around ‘integrity vs. despair’. The protagonist successfully overcomes the ‘generativity vs. stagnation’. The virtue of ‘wisdom’ can be gained for him after encountering the ‘integrity vs. despair’ binary opposition. Select BibliographyErikson, E. H. 1968. Identity: Youth and Crisis. New York and London: W. W. Norton and Company.Erikson, E. H. 1977. Childhood and Society. London: Paladin Books.Fani, K. and Dehbashi, A. 1380 [2001]. “Naqd-e Adabi: Goftegou ba Goli-e Taraghi.” Bokhara 19: 30-54.Hammak, Ph. 2015. “Theoretical Foundations of Identity.” In: McLean K. C. and M. Syed (eds.). The Oxford Handbook of Identity Development. Oxford: Oxford University Press. pp. 11-30.Lachman, M. E. and Bertrand, R. M. 2001. “Personality and the Self in Midlife.” In: Lachman, M. E. (ed.). Handbook of Midlife Development. New York: John Wiley and Sons. pp. 279-309.Lachman, M. E. and James, J. B. 1997. “Charting the Course of Midlife Development: An Overview.” In: M. E. Lachman and J. B. James (eds.). Multiple Paths of Midlife Development. Chicago and London: University of Chicago Press. pp. 1-17.Taraghi, G. 1379 [2000]. Jayi Digar. Tehran: Niloufar.

The ‘literary revolution’ planned by the Iranian constitutional intelligentsia and carried out by figures such as Ali Asghar Taleghani and Taghi Raf’at, rather than making new forms of poetry embracing the revolutionary content, proved itself to be an opposition to the classical tradition. The socio-political revolution had also influenced the Iranian literary field but did not lead to genuine literary theorization. The present article is based on Foucault’s archeology, but to expand the notion of the subject in his theory of discourse, the role of the subject will be further discussed through concepts such as the “logic of equivalence,” “discursive otherness,” the “subject position,” and  the “pre-given subject,” as proposed by Laclau and Mouffe. The supporters of the traditional trend in poetry, like the poet-laureate Bahar and the poet-critic, Vahid Dastgerdi, attempting to canonize a neoclassical perspective, interpreted the literary revolution as an evolution or opposition against literary conventions. Employing Foucauldian archeology, the present paper tries to show that the notion of literary revolution goes back to the French Revolution and the later Ottoman and Russian practices, rooted in the zero degree of the emergence of literary revolution in Victor Hugo’s discourse which formed a romantic opposition to the classics. The genealogy of the concept shows how the literary traditionalists and conservatives used discursive strategies such as “destroying the meanings proposed by literary revolutionaries,” “focusing on literary figures from the past,” and “separating the political domain from the literary domain” to develop peripheral meanings and marginalize the definition of literary revolution proposed by the modernists. Extended Abstract1.IntroductionThinkers such as Fathali Akhoundzadeh and Aghakhan Kermani deemed fundamental changes in Iranian literature essential due to the absence of critical expression in classical Persian literature. Later, Aliasghar Taleghani and Taghi Raf’at, influenced by French literature, especially Victor Hugo, and the Russian Revolution, articulated the literary revolution discourse in Iran. Taleghani sought to bring about a literary revolution in Persian literature and criticized classical literature represented by poets such as Hafiz, Rumi, Sa’di, a movement that was resisted by more conservative literary figures such as Rashid Yasami, Abbas Eqbal Ashtiani, Saeed Nafisi, Taghizadeh and Malek-o-Shoa’ra Bahar. 2.Theoretical FrameworkThe present article draws on Foucault’s theory of discourse analysis, particularly his idea of genealogy. To further explain the status of the subject of Foucault’s theory, we have employed the concepts and strategies developed in Laclau and Mouffe’s discourse theory. 3.Methodology The present article employs the qualitative content analysis methodology. Foucault’s theory of discourse analysis has been used to study the ‘literary revolution’ supported by some important literary figures in Iran. 4.Discussion and AnalysisA careful study of reports by literary journals and associations in the final decades of the Qajar era can clarify some ambiguities in the literary revolution in Iran. The present study examines French, Ottoman and Russian influences on the ‘literary revolution’ in Iran and describes both revolutionary and conservative attitudes toward the literary revolution discourse. Our semiotic and genealogical study of the concept of literary revolution identified hegemonic signification employed by subjects in the articulation of discourses. 5.Conclusion Literary figures in Iran reacted differently to the ‘literary revolution’ in Iran. Rather than develop new forms of poetry that embraced the revolutionary content, the revolution was an opposition to Iranian classical poetry because it did not result in genuine literary theorization. The idea of a literary revolution draws heavily on French, Ottoman and Russian literary movements. The genealogy of this idea reveals that literary traditionalists and conservatives employed discursive strategies such as “destroying the meanings proposed by literary revolutionaries,” “focusing on literary figures from the past,” and “separating the political domain from the literary domain.” Advocates of the literary revolution, on the other hand, tried to focus on their central signifier, i.e., “revolutionary dissent.” Select BibliographyAdamiyat, F. 1349 [1970]. Andisheh-ha-ye Mirza Fathali Akhoundzadeh. Tehran: KharazamiAryanpour, Y. 1346 [1967]. “Tajadod-e Adabi.” Jahan-e Noe 4-5: 108-126.Bahar, M. T. 1393 [2014]. Bahar va Adab-e Farsi. M. Golbon (ed.). Tehran: Elmi va Farhangi.Foucault, M. 1387 [2008]. Dirinehshenasi-e Danesh. N. Sarkhosh and A. Jahandideh (trans.). Tehran: Nay.Foucault, M. 1977. “What is an Author?” In: Bouchard, D. F. (ed.). Language, Counter-memory, Practice. D. F. Bouchard and S. Simon (trans.). Ithaca: Cornell University Press. pp. 113-38. Hugo. V. 1834. Littérature et philosophie mêlées. Bruxelles: L. Hauman.Jørgensen, M. and Philips. L. 1389 [2010]. Nazaryeh va Ravesh dar Tahlil-e Gofteman. H. Jalili (trans.). Tehran: Nay.Rafa’at, T. 1297 [1918]. “Yek Osyan-e Adabi.” Tajadod 70: 25-34.Taleghani, A. A. 1296a [1917a]. “Maktab-e Sa’di.” Zaban-e Azad 6: 1-2.Taleghani, A. A. 1296b [1917b]. “Shagerd-e Maktab-e Sa’adi.” Zaban-e Azad 7: 1.Vahid Dastgerdi, H. 1299 [1920]. “Enqelab-e Adabi, Adib-e Enqelabi.” Armaghan 4: 109-113.

Immigration is one of the most familiar notions in the contemporary world, which has changed the lives and narratives of many people. The quality of this experience is quite different for young adults in comparison with the adults. This study examines the representations of immigration and diaspora, and issues related to them, in Iranian young adult novels. As the findings show, forced immigration due to war and insecurity, refuge, exile and transnational immigration are present in Iranian young adult novels. Metaphorically, moving to a world of fantasies can also be seen as a form of immigration. The presence of immigration is sometimes shown through the absence of immigrants; moreover, the effects of immigration on their relatives should be noticed. The Iranian young adult novel has only recently begun to pay attention to diaspora and the multicultural literature. In most of these narratives, the experience of diaspora is tied to war. Immigration inside Iran is more reflected rather than emigration to other countries and turning to multicultural challenges. In these novels, the host society mostly accepts immigrants as an inferior other if they accept the host culture. Young adult diasporic narratives attach particular importance to creating and redefining identity, and show the efforts of immigrants in finding the borders of the self in a new condition. Violence, abandonment, displacement and the challenges of young adult immigrants are represented as well. Extended Abstract1.IntroductionThis study examines the representations of diaspora and issues related to it in Iranian young adult novels. Different kinds of diaspora have been investigated in these novels as well. Diaspora is not a single word or just an event. It includes diverse basic notions. Immigrants not only travel from one place to another, but also travel across cultures, and all material and mental relations of their lives are redefined due to this departure. They need to tie their identity to new things, find a rational relation between homeland and the host country and fix their place in a new land. Clarifying the borders of the self and the other and making an effort to deal with a new culture in the absence of the former identical elements lead to many challenges for immigrants. 2.Theoretical FrameworkYouth is a strong metaphor for moving through cultures and places. In contrast to adults, young adults react in a different way when facing diaspora as they might have different feelings and experiences. On the one hand, their challenges and difficulties seem greater, and on the other, their flexibility, acceptance of the other, being on a border line and having less experience and nostalgia, enable them contact more efficiently with other cultures. The process of adaptation to a new place is associated with constructing a new life and identity. Confusion and the concern with an unconstructed new identity put the immigrant in a threshold situation. In a world in which migration, asylum and displacement due to geographical, political and economic urgencies, as well as the search of a better life, are on the rise, teens need a literature that can oscillate between different cultures, similar to the fluctuation of immigrants between homeland and the host country and the ambivalence of young adults in relation to multiple identities. Young adult literature is of use to diaspora in different aspects. By reflecting the situation, difficulties and possibilities of immigration, diaspora literature, which can be included in the category of multicultural literature, helps young adult immigrants to know their new situation better, to deal with it more appropriately and to know that they are not alone in this experience. In addition, it portrays the feelings, thoughts and difficult condition of immigrants and can arouse the empathy of the host-society’s members and change their views about immigration. This type of literature familiarizes young readers with a new range of experiences and teaches them intercultural dialogue, or at least being tolerant in their encounter with the other. 3.MethodologyUsing a descriptive analytical approach, this article has categorized the types of diaspora in Iranian young adult novels by analyzing all available young adult diasporic narratives. Through classifying the types, the paper discusses the distinction between the approaches of young adult and adult narratives to diaspora. 4.Discussion and AnalysisMost Iranian diasporic narratives are tied to the Iran-Iraq war and can be put in the category of internal migrations. Displacement, loss of home, belongingness and being isolated in the host country due to ethnicity and race are the most dominant themes of these novels. The analysis and interpretations of the novels have been arranged through subtitles like forced immigration due to war and insecurity, refuge, exile, transnational immigration, presence of immigration in the absence of immigrants, gypsies’ diaspora and emigration to a world of fantasies. Migration is a threshold situation and many people may experience it by force or choice. Adolescence is also a threshold situation and trying to stabilize one’s identity and status happens for both teenagers and immigrants similarly. The immigration of adolescents doubles the threshold situation, even though the fluidity of identity facilitates living in a new place for adolescents. Young adult novels reflect identity challenges in the confrontation with the other, and introduce the experiences of immigrants, and the difficulties and possibilities of immigration to young readers. One of the most prominent challenges is how to deal with love. Adolescent relationships usually involve romantic love and sexual attraction. Emotional relationship with someone in a similar condition seems like a haven for teenagers to survive mental health crises and traumas caused by diaspora. 5.ConclusionAlthough multicultural narratives and different types of diaspora, including displacement, transnational diaspora, and refuge have become a common theme in European and American young adult literature in the twenty first century, Iranian young adult novels have only recently begun to pay attention to diaspora and multicultural literature. Immigration inside Iran is more reflected rather than migration to other countries which represent multicultural challenges and the gap between homeland and the host country more deeply and clearly. Translated literature in Persian compensates for the deficiency of diaspora narratives to some extent, but the most common type of diaspora in Iranian young adult literature is internal forced migration due to the Iran-Iraq war. The more recent migrations to Iran from Afghanistan and Pakistan and the increasing emigration of Iranians to other countries have been missed as a trend. In some of the few novels which reflect migration out of Iran, a negative image of leaving the homeland has been presented, and the narratives of several million Iranian emigrants have been ignored in a discursive silence. Representing internal migration during the war has also ideological justification. In this type of migration, displacement, ethnic and racial inequalities, and estrangement make the migrants suffer, so their main concern is to return to the home they have been forced to leave. Iranian young adult literature has reluctantly accepted immigrants to Iran, including Afghans and members of other nationalities. Gypsy travelers, migrants forever, have been marginalized totally and their different life-style has not drawn the attention of writers for young readers. Diaspora studies are new in Iranian children and young adult literature and the present can be a point of departure for broader and even comparative studies in this field. As diaspora narratives form in fluctuation and fusion of the self/other cultures, studies on migration inevitably fluctuate between cultures. Select BibliogrphyAkbarkermaninejad, Ali. 1397 [2018]. Jadou-ye Hezar Parandeh. Tehran: Elmi-Farhangi Publishing Company.Akrami, Jamalodin. 1395 [2016]. Shab be Kheir Torna. Tehran: Institute for the Intellectual Development of Children and Young Adults.Baxter, Kent. 2011. “Immigration Narratives in Young Adult Literature; Crossing Borders.” Children’s Literature Association Quarterly 36/4: 482-484.Clifford, Elizabeth and Maya Kalyanpur. 2011. “Immigration Narratives: Power, Difference, and Representation in Young-Adult Novels with Immigrant Protagonists.” International Journal of Multicultural Education 13/1: 1-20.Hasanzadeh, Farhad. 1389 [2010]. Hasti. Tehran: Institute for the Intellectual Development of Children and Young Adults.Jahangirian, Abbas. 1391 [2012]. Jang keh Tamam Shod Bidaram Kon. Tehran: Ofogh. Kalra, Virinder S., Raminder Kaur and Johan Hutnyk. 2005. Diaspora and Hybridity. London: Sage Publications.Kartiningsih, Rindrah. 2017. “Am I a Christian yet?: A Diasporic Persian Liminality Portrayed in Pary Mansouri’s ‘No, I Was Not Dreaming’.” Proceedings of Literary Studies Conference (LSC5). Universitas Sanata Dharma. 88-90.Khanian, Jamshid. 1389 [2010]. Asheghaneh-ha-ye Yunes dar Shekam-e Mahi. Tehran: Institute for the Intellectual Development of Children and Young Adults.Nel, Philip. 2018. “Migration, Refugees, and Diaspora in Children’s Literature.” Children’s Literature Association Quarterly 43/4: 357-362.

Deterritorialization and territorialization, key dichotomies in the thought of Gilles Deleuze and Felix Guattari, have emerged from within their philosophy of immanence. Deterritorialization is an escape from the territory with a body of fixed and definite principles, and it rejects any ideological and predetermined contracts. Territorialization, on the other hand, has a transcendental character that always desires “being.” Relying on the theory of deterritorialization, the present paper seeks to answer the question whether contemporary Persian poetry as the deterritorialization of classical poetry is still deterritorial in its approach to fundamental binary oppositions. The study of contemporary poetry shows that the deterritorialization of classical poetry is absolute and positive, and the internal divisions of modern poetry indicate its fertility and dynamism. Nevertheless, it has a territorialist approach in some political and social traditions that have reciprocated in the historical process. Nima Yushij territorially prefers the countryside to the city and poetry to philosophy. Akhavan Sales and Naderpour prefer the Persians to the Arabs. In a transcendental manner, these oppositions tend to maintain territory in a definite direction because centrifugal lines and deterritorial processes have remained closed to conceptual reconfiguration in the works of these poets. Extended Abstract1.IntroductionTerritory can be defined as a space with specific borders under specific ownership. Grosz believes that “territory frames chaos provisionally, and in the process produces extractable qualities, which become the materials and formal structures of art.” According to Deleuze, territorialization, both as physical and intellectual concepts, leads to monopolization and stagnation, while deterritorialization rejects any ideological and predetermined contracts. 2.Theoretical FrameworkTheoretically, the present article revolves around territorialization and deterritorialization as key concepts in Deleuzian philosophy. Deterritorialization occurs when a subject or phenomenon escapes from its territory. The two notions of movement and escape are among the main elements of Delueze and Guattari’s deterritorialization. The present study draws on the theory of deterritorialization to find out whether contemporary poetry, as the deterritorialization of ancient poetry, is still deterritorial in its approach to binary oppositions. 3.MethodologyThe present article has adopted a descriptive-analytical methodology. Data has been collected using the library research method. First, territorialization and deterritorialization have been explained based on Deleuze’s philosophical theories. Then, contemporary poetry has been analyzed based on the concepts of territorialization and deterritorialization.  4.Discussion and AnalysisNimaYushij deterritorializes classical Persian poetry by introducing she'r-e noe (i.e., “new poetry”). His poetry, as poetry deterritorialized of classical poetry, leads to movements in Persian literature that are based on principles of movement and connection. Although he tried to break free of all the constraints of classical poetry, at times he had to follow some traditions in Persian classical poetry. His criticism of philosophy is an example of his territorial method, resulting in his finding literature superior to philosophy. 5.ConclusionIn its totality, she'r-e noe can be explained through the absolute deterritorialization of classical Persian poetry. This is because this kind of poetry never returned to classical poetry and developed no similarities to it. Dynamism and change are among the main components of contemporary Persian poetry, making it possible for different forms of contemporary poetry to develop. Despite the deterritorial quality of contemporary poetry, traces of territorialization can be seen in some political, intellectual and social positions taken in contemporary poetry. Attaching more importance to the countryside rather than the city, and poetry rather than philosophy in NimaYushij’s poetry are instances of territorialization. Select BibliographyAkhavan Sales, M. 1356 [1977]. Az in Avesta. Tehran: Morvarid.Deleuze, G. and Guattari, F. 1987. A Thousand Plateaus: Capitalism and Schizophrenia. B. Massumi (trans.). Minneapolis: University of Minnesota Press.Deleuze, G. and Guattari, F. 1994. What is Philosophy? H. Tomlinson and G. Burrchel (trans.). New York: Columbia University Press.Deleuze, G. and Guattari, F. 2000. Anti Oedipus: Capitalism and Schizophrenia. R. Hurley et al. (trans.). Minneapolis: University of Minnesota Press.Grosz, E. 2008. Chaos, Territory, Art: Deleuze and the Framing of the Earth. New York: Columbia University Press.Grosz, E. 2000. Deleuze and the Political. London: Routledge.Patton, P. 2010.The Deleuze Dictionary. A. Parr (ed.). Edinburgh:  Edinburgh University Press.Tambling, J. 2010. Allegory. London: RoutledgeYushij, N. 1393 [2014]. Majmou’eh-ye Kamel-e Asha’ar. S. Tahbaz (ed.). Tehran: Negah.Yushij, N. 1398 [2019]. Darbareh-ye Honar-e She’r va Sha’eri. S. Tahbaz (ed.). Tehran: Negah.

The form of language or the way we speak about the (past) world is not neutral and insignificant. A formalist critique, of the kind put forward in the present paper, will show that, beyond the themes, purposes, methods, and approaches of our historical inquiry, the form of speaking chosen by, or often imposed on, us is decisive. The present article introduces two basic forms of speaking about a period in the human past: the theoretical and the story-based. This formalist study recognizes the forceful fascism of language and takes it most seriously. Nevertheless, it seeks to find a form appropriate to historical study, that is, a linguistic form which is able to avoid the excessive and innate desire of the human mind and language for appropriating the other and, ultimately, killing her/him. Employing the views of phenomenological and existentialist thinkers, the article introduces a story-based form that is able to speak about the sensory and primordial experience of man, and her/his being-in-the-world. Extended Abstract1.IntroductionThe present article studies the main forms of speaking about a situation – more specifically about a situation in the past – and tries to find out what forms of language can depict the specificity of a concrete social or material situation. Since language, according to thinkers such as Roland Barthes, is by nature fascist, speaking about a specific temporal-spatial condition is difficult, if not impossible. Since a historical representation of the past is, by definition, impossible, and the subject – i.e., the historian or researcher – is inevitably trapped in her/his subjectivity, such a representation becomes even more difficult. But a revolt in language against the nature of language is possible. The present paper seeks to study such a possibility through the ideas of phenomenologists and existentialists such as Merleau-Ponty, Heidegger and Gabriel Marcel. 2.Theoretical FrameworkTwo basic forms of speaking about a specific situation in the past have been identified in this paper: the theoretical form and the story-based form. Drawing on phenomenological-existentialist theories, the present article tries to show that unlike the theoretical form, the story-based form has its formal characteristics, consistent with the materiality, corporeality and specificity of the human condition, which can stand against the nature of language. 3.MethodologyThe present article has adopted a formalist approach. It compares two important linguistic forms in speaking about a specific situation and illustrates their characteristics by drawing upon phenomenological-existentialist theories.  4.Discussion and AnalysisThe present article reveals that unlike the theoretical form (either conceptual or narrative), the story-based form is able to realize historiographical ideals. We cannot speak about the existentialist experiences of concrete humans through an anti-existentialist, anti-concrete form. The story-based form is able to speak about the sensory and primordial experience of individuals and describe their being-in-the-world. This form can resist the human desire to appropriate the human beings living in the past. Therefore, this linguistic form, which relies on phenomenological-existentialist principles, is able to speak about the other. 5.ConclusionThree important conclusions can be drawn from the present study. First, to find out how successfully a specific situation (in the past) can be described, the form of narration is of paramount importance rather than content-related issues, such as the subject in question, the writer’s objectives, and her/his worldview and interests. Second, two fundamental, irreducible linguistic forms can be identified for the description of a specific situation: the theoretical form and the story-based form. Third, only the story-based form, because of its formal characteristics, is able to help realize the other-oriented ideals of the phenomenological-existentialist approach. Select BibliographyBarthes, R. 1393 [2014]. Dars. H. Noghrehchi (trans.). Tehran: Niloufar.Blackham, H. J. 1399 [2020]. Shesh Motafakker-e Existansialist. M. Hakimi (trans.). Tehran: Markaz.Gabriel, M. 1395 [2016]. Falsafeh-ye Existansialism.  Sh. Eslami (trans.). Tehran: Negah-e Moa’ser.Heidegger, M. 1386 [2007]. Hasti va Zaman. S. Jomadi. Tehran: Qoqnous.Merleau-Ponty, M. 1966. Sens et Non-sens. Paris: Les Éditions Nagel.Merleau-Ponty, M. 2004. The World of Perception. O. Davis (trans.). London and New York: Routledge.Merleau-Ponty, M. 1391 [2012]. Jahan-e Edrak. F. Jaberolansar (trans.). Tehran: Qoqnous.Pietersma, H. 1398 [2019]. Nazaryeh-ye Ma’refat dar Padidarshenasi. F. Jaberolansar (trans.). Tehran: Kargadan.Primozic, D. T. 1388 [2009].  Merleau-Ponty, Falsafeh va Ma’na. M. R. Abolghasemi. Tehran: Markaz.Said, E. 1377 [1998]. Sharghshenasi. A. Govahi (trans.). Tehran: Pazhohheshgah-e Farhang va Andisheh Eslami.Todorov, T. 1394 [2015]. Adabyat dar Mokhatereh. M. M. Shojaee. Tehran: Mahi.