فصلنامه نقد ادبی
پیاپی 62 (تابستان 1402)

While the quality of women's lives and their status and position can be indicative of the prominent cultural and civilizational features of a society, in most societies, especially in our patriarchal society, we witness a kind of liminality, insignificance, and "persistence" of women in the face of both tangible opportunities and imaginary constraints and stereotypes. Since the genre of the novel is one of the most significant mediums that indirectly reflect the symbols of this situation, this study explores the representation of women and the dominant but implicit assumptions in the selected novels of the First Pahlavi era (Mohammad Hejazi's trilogy) from a sociological perspective, using a critical discourse analysis approach. The data analysis was conducted thematically, with the unit of analysis being the "sentence," and utilizing previous research as a foundation for credibility assessment. The results of this study showed that women in Hejazi's stories in the trilogy of Superior Spear and the Religion-Tradition-Modernism trilogy are represented in binary and ternary categorizations. Contrary to the prevailing mental stereotype of the "oppressed woman," the role, characteristics, caricature, and narrative have not been reduced to a single attribute for all women. Based on this, we observe a commitment to both discourse patterns, both conservative and progressive, fuzzy and middle-ground, oscillating between religion and modernity, conservatism and progressivism, which has sometimes led to a "discourse conflict”.

Myths and rituals are fundamental elements of human life and culture, reflecting people's desires and fears. The confrontation with death and the consciousness of death is one of the most fundamental themes of mythology and its rituals. Contemporary narratives are one of the most prominent formats that can be used as vehicles for mythological and ritual themes, including death consciousness. This article is based on the mythological approach, using a descriptive-interpretive method and aiming to reveal the inner effect of confronting death and reaching the consciousness of death formed by the ritual of initiation, in order to examine the structure and depth of the story "Fal -e Khoon" by Dawood Ghaffarzadegan. the story "Fal -e Khoon", which highlights the theme of death consciousness, is obviously based on the structure of initiation; Expulsion, mystery learning and mystery education. The main character of the story, a budding soldier, is confronted with various phenomena and events on his mission to achieve his goal. These events form the basis for the rookie to pass his most difficult and final test. The most difficult test of the main character in the story is to become aware of death and to accept death as part of one's existence. This theme, which was one of the first and constant concerns of mankind, is juxtaposed in the story with mythological elements such as mountains, trees, numbers, cows, names and huts, so that it gives a mythical tinge to a modern story and conveys an ancient ritual. In this way, modern art, literature, and ideas cannot only be separated from ancient mythological and ritual strains; ; Rather, these strains, by blending with human's constant reflections, such as death, provide the context for the richness and brilliance of today's narratives.

The subject of literary criticism has been of great importance in the subcontinent, and many critics have written criticism on both poetry and prose. Many critics and their works have been introduced or even published, but some are still preserved in manuscript form in various libraries. Generally, the written reviews are in prose, but among the existing works, reviews are also written in poetry, which is interesting in its own way. Sheyda Fathpouri, Munir Lahori and Abdul Baghi Sahbai are among the prominent critics of the subcontinent who have tried to experience criticism in the form of order, which seems to have been remarkably successful. Although the regularity of their criticism has caused some limitations. Despite the very valuable works that have been written in the field of literary criticism in the subcontinent, with the identification and discovery of different and innovative works in this field, the scope of literary criticism in the subcontinent becomes wider and more obvious every day, and it shows that this category is of great importance among writers, scholars and writers of that country have been blessed. In this article, we have first introduced the critical accounts of the poem, and then we have pointed out the motives of some of these critics in writing their criticisms, and then we have examined and analyzed these criticisms.

If we consider language not as a mirror reflecting struggles, but as the subject and tool of struggles, then we should use the signifier of discourse, which makes the concepts of power and language understandable in a continuous and inseparable conceptual entanglement. This article aims to analyze the text of Tarikh-e Beyhaqi as one of the most influential classical texts of Persian literature with a discursive method. In other words, by placing this text in its discursive context and its dialectical relationship with power, and understanding this text as the field of conflict between powers and conflicting discourses of society, a new understanding of it can be achieved. In order to achieve this goal, Fairclough's critical discourse analysis method is used to perform micro-textual analysis, and Laclau and Mouffe's discourse theory is used to perform macro-discourse analysis of Bayhaghi era. The text of Tarikh-e Beyhaqi, as shown, does not reflect the true struggle, but itself, is part of the struggle process. This text is influenced by the chain of ruling discourses and is used against peripheral discourses. Tarikh-e Beyhaqi, under the influence of the discourse that pulls the bipolar mind of the text to a directional representation of the flow of affairs, highlights the ruling discourses and marginalizes the peripheral discourses.

"Fairy tales" are considered one of the popular narrative and literary genres in the world. The global spread of these stories is such that reaching a convinced and comprehensive theory about the origin of fairy tales has been associated with many challenges and difficulties, as well as the views expressed in this field also face many challenges and problems. The widespread popularity of these stories in Indo-European cultures, and the existence of similar narrative patterns, elements and functions in these stories are other issues that show the necessity of research to explain the narrative and historical origins of fairy tales. In this article, in order to analyze the narrative and historical origins of the formation of fairy tales; the problem of the ancient spread and dissemination of these stories in Indo-European cultures; ritual and epistemic functions of these stories in these cultures and its connection with the cultural and ritual foundations of the Indo-European peoples, relying on the narrative, ritual and mythological evidence, we investigate and analyze the origins of the formation of fairy tales. The results of the research show that the primary origin of the formation of fairy tales goes to "the second millennium BC"; That is, it goes back to the period of confrontation between the Indo-European peoples in Iran, Asia Minor and Europe with the native cultures and rituals of the lands they migrated to, as a common narrative and epistemological system can be seen in these stories, which had an educational function with a political-ideological approach for their audience and in connection with the young or adult audience, they have had their own special narrative and cultural form and function. Also, the long-term and ancient continuation of these stories has been the source of the formation of some narratives such as exogamy.

One of the parts of the stories of One Thousand and One Nights is the story of the "Jewish tailor and the hunchback". In this section, it is mentioned that a Jewish person was worried about unintentionally causing the death of a hunchback and was afraid that if the Muslims found out about his work, they would "remove the Jewish generation from the earth". "Violence" can be observed in this passage. In a comparative approach, in order to find the roots of this phrase, this article has gone through several versions and translations of the stories of the Thousand and One Nights and has come to the conclusion that the sentence in question did not exist in its Persian root before it was translated into Arabic, and when it was translated again from Arabic to Farsi has been added to it. When the version of One Thousand and One Nights was under Arab control and Harun al-Rashid took possession of it, this sentence was also added to it sooner or later; That is, there was no such sentence in its original version.

The centrality of psychoanalytic criticism is the interaction between the field of art, especially literature, with psychoanalytic subjects, in this method, the subject of the text becomes a platform for recognizing the signs, roots and factors of psychosis in the three axes of the author, the text (structure and characters) and the audience; And in rare cases, it will become a method of overcoming crisis and a tool for psychotherapy. In this field, the category of anxiety and obsession is one of the important topics that have been discussed in psychology with different cognitive approaches, and it can be one of the practical topics in the text-oriented analysis of literary works. On the other hand, Golshiri's works have a high capacity for psychoanalytical analysis due to his knowledge of psychology and the conscious application of its techniques and important features in processing and strengthening personality. Therefore, this research has investigated the category of anxiety in the collection of stories " Namazkhaneye Kochake Man " with a descriptive-analytical method and has concluded that the root of anxiety in the characters of these stories is the fear of an accident. Unfortunate is in the future and the characters often turn to the basic response of avoiding the situation and basic defense mechanisms. Most of the characters are suffering from depression, anger and isolation in the face of anxiety, which will represent this crisis in various behavioral signs such as alcohol consumption, insomnia and restlessness, aggression and screaming. In general, anxiety and depression can be considered as the dominant aspect in this collection.