پژوهشنامه ادبیات داستانی
سال یازدهم شماره 4 (زمستان 1401)

Cultures have heterogeneous and contradictory demands on each other in the model of Lutman's own and another's. Immigrants have a confrontational or interactive or accepting approach to the "unfamiliar" culture in the face of these approaches. Lutman explains the cultural interior and identity of the immigrant or immigrant writer and categorizes its codes, which are now commonly called Lutman's role models. The research on the migration novels of Reza Ghasemi (The Babylonian well and the Verdi sung by the Lambs) is based on Lutman's cultural semiotics, using concepts such as astrology (structural inequality, border, center and periphery), cultural duality (marginalization) and cultural shocks. The result of the research shows that cultural codes and symbols on the border, structural inequality and the center indicate the relationship between different texts and spaces, which has caused the defined border to prevent the intersection of one with the other. In fact, Ghasemi was able to apply the necessary filtering and protect his own culture within the border from "foreign / other" interference. In general, Reza Ghasemi has preserved his own culture in dealing with another culture despite the contradictions and contrasts of his own culture and the other, and has kept the other outside the boundaries of the components of his own culture, although this view is not absolute

Post-colonial criticism is an interdisciplinary research that is a very practical and effective approach to examining and analyzing literary texts in order to understand the colonial strategies embedded in them. Nader Ebrahimi's novel "On the Blue and Red Paths" is one of the prominent works of contemporary Persian literature in which, while narrating the history of Iran during the Afshariyyah and Zandiyeh periods, the presence of colonists in the southern parts of Iran and its aftermath. The main purpose of this study is to investigate the postcolonial components and analyze the colonial feedbacks in this novel and to use descriptive-analytical method. The findings of the study suggest that the main structure of the novel is the contradiction between the West and the East or the colonialist and colonized and Nader Ebrahimi portrays the most important components of post-colonial literature in a critical and different way: such as European-centered and decentralized, colonized and colonialist, himself and others, the violence of the colonial system against indigenous violence, the dictatorship and the dictatorship of the West, colonialism, the Rift Between East and West, Civilization human rights inequality.

Diaspora literature is literature that narrates the voice of the margin in an ambiguous way. In this literature, immigrant characters do not belong to their own land, nor to the host land. The immigrant intellectual, because he has experienced "otherness" in the host land, start literary creation from their observations and experiences in what happened to him and other immigrants. Mohammad Asef Soultanzadeh, an Afghan writer, is one of those Diaspora intellectuals who migrated to Iran and then to Denmark in 1365 following the insecurity of Afghanistan due to the communist coup. By expressing what happened to Afghan immigrants in Iran, Soultanzadeh shows the immigrants' self-deprecation, fear and worry, nostalgic feeling and their mixed identity. The current research aims to address the elements of diaspora literature in Soultanzadeh's works, especially "Nowruz is only in Kabul with purity" and "You who are not here, your land is not here", to answer the fundamental question that Afghan immigrants, in the land how have others looked at the issue of immigration? It has been done in a descriptive-analytical way. The conclusion of this research is that the author considers himself the silent voice of Afghan immigrants and shouts out their despair. In these two works, he depicts the black atmosphere of his own land and the land of the host, the unequal status of the host and the guest, and the full face of shame and failure of the immigrants. Because for immigrants, the atmosphere of the host country is different from the atmosphere of "their" identity, they turn to their suppressed past with despair of achieving the future that they had built in their minds, and after the experience of living in the host country, the discourse of philanthropy and they challenge the trans-ethnic and racial view. On the other hand, the title of both stories clearly reveals its diasporic atmosphere; because the desire to return to the homeland is very strong in the writer, and it is only the atmosphere of Kabul that creates peace and intimacy for him, and any place other than there is not considered his homeland.

This article is an attempt to study the question of death and how it is truly reflected in five prominent works of contemporary fiction published before the Islamic Revolution, including " The Madhouse" by Mohammad Ali Jamalzadeh, " The Blind Owl " by Sadegh Hedayat, "The Mourners of  Bayal" by GholamHosseinSaedi, " The First Night of the Grave " by SadeghChoubak ,and "Kelidar" by Mahmoud Dowlatabadi. Using the analytical-descriptive method, this study provides the readers with the perspectives of the mentioned writers toward the death and the world after it. These works have been studied based of four concepts including psychological, philosophical and cultural-historical, and it showed that showed that "death" and "end of life" was one of the most important concerns of the writers in this era and even had a mainly negative reflection on their works. This reflection is much more originated in cultural and social concepts than others. Taking different point of view into consideration, it should be said that the concept of "death" in Kelider has the same meaning as "martyrdom", and unlike other works.

A large part of artistic creativity, especially in classical texts, is merely the creation of poems that shows the power of creation, imagination, and storytelling of poets. In the present study, considering Seven Bodies, Eight Heavens by  Khosroudhalvi, Yusof and Zoleykha and Leyli and Majnoon of Jami.  The results show that confirmation of acceptance, cause and effect relationships, story-by-story creation, and surprise a ending  are the characteristics of the plot in the Seven Bodies. Conversely, the stories of the Eight Heavens have strong causal and effect relationships, and the plot of the stories is to plot something and ultimately decipher it. There is no insistence on creating a knot in the plot of Jami's stories. The central characters of these poems are women, among whom the women of the week are very witty, fearless and thoughtful, and in contrast, the women of the eight heavens are lustful, cunning and treacherous. Women in Jami Collection are also passive and obedient to the power of men (kings, ministers, fathers, etc.). The Collection is given to describe the nature and setting of a special story in a picture in which Amir Khosrow pays more attention to the description of women and their betrayals. Jami's poems are the boundary between these two poets, and Jami's setting is proportionate and very effective in inducing the concepts desired by the poet.

Phenomenology began with Husserl's research; From that time, it began its evolution and was expanded by other philosophers. This evolution continued and reached its peak with Heidegger's efforts. One of the prominent positions of the study of existence, everyday life and space in the field of phenomenology is in the examination of the personality of novels; Especially in the personality of Iranian women, who have been subjected to everyday life due to the duties of being a wife and housekeeper, they have forgotten their original existence. In this research, which was carried out by analytical-descriptive method, Zari's character as a housewife has been investigated. The research results indicate that Zari's existence goes through three stages from the beginning to the end of the novel. 1- the stage of neglect and degraded human reality; 2- The stage of fear and awareness, emptiness and despair as a result of internal and external factors; 3- The stage of transformation from degraded human reality to authentic human reality. Therefore, Zari's existence as a result of everyday life is full of emptiness, sadness and self-doubt; The hadith of the soul, which Heidegger refers to as conscience, after Yusuf's death, causes Zari to release himself from the degraded human reality and finally realize his original existence

Gender is one of the most important topics in the sociology of language. Many linguists and sociologists do not believe that there are differences between the speech of women and men. One of the literary categories that receives the most influence from the linguistic elements of gender is fiction literature. In this research, the linguistic differences of the male and female characters , in the novels of Shovhar Ahookhonum  and Soushon (1940s) and Nimeh Ghayeb in Bammad Khomar (1970s) are considered by the following elements: color words, swear words, intensifiers, modifiers, proverbs, polite language, supplementary questions, unfinished sentences, and apologies. The novels of different eras were selected, in addition to the analysis of linguistic differences, the speech type of the characters in different genres will be compared. In order to answer the question, "Can you find a difference in the language of sexuality in the novels of the 1940s compared to the novels of the 70s?" First, the components were extracted from the novels, then they were analyzed by taking statistics and frequency and drawing a table. The findings of the research show that there are similarities between the gender of novels of one decade and differences between novels of twenty. The two basic differences in the novels used are swear words.

Shahnameh is considered as one of the noble and valuable works of Persian literature and it is always mentioned as a document of Iran's national and cultural identity. Introducing national and mythological figures in rewriting the stories of the Shahnameh is necessary for the children's age group. It helps the child audience to well identify national and epic heroes. The interesting point in these rewritings is that although Ferdowsi's art of storytelling and illustration is one of the prominent features of Shahnameh; Is it necessary to illustrate Shahnameh stories for children and teenagers with various images and methods? How can the audience find out their true character and identity among the different and diverse images of the heroes? And imitate them? In the rewritten stories of the Shahnameh, various depictions of national and mythological heroes have been presented; but they have not been able to introduce them to the audience as befits the Shahnameh and the mythological characters. Presenting the faces and physical and internal characteristics appropriate to the mythical characters is an important issue that should be more addressed in the rewritings. The purpose of this research is to review the rewritten story of Zal and Roodabeh from the perspective of text and image by analyzing the content of the text and examining library documents. The results of the research showed that the type of clothing, the color of the clothes and the design of the appearance of the characters do not match the original text and illustrations of the Shahnameh, and the children's audience is faced with different images of Zal's character in the stories.