کاوش نامه ادبیات تطبیقی
پیاپی 51 (پاییز 1402)

Literary texts and more particularly, "the narrative text", assume pivotal roles in expressing culture. Therefore, the translation of these texts demands accurate conversion of any language’s cultural elements. The study at hand, through a descriptive-analytic approach, intends to analyze the Arabic version of Jalal Ale-Ahmad’s Modir-e Madrese based on Newmark’s cultural theory, in order to derive the most important cultural elements of the story and the challenges in their translation. Also addressed by the study, is presenting practical methods of accurately translating and transforming the cultural parts and parcels according to Newmark’s theory. The story of Modir-e Madrese helps the manifestation of a lucid view in the social, cultural, and administrative institutions of the author’s temporal and local milieu. Evaluation of the quality of transmitting local and cultural elements in lieu of translation, indicates the entanglement of cultural and linguistic elements which has impelled the translator to utilize diverse strategies of translating them in Arabic. A number of the untranslatable cultural elements have been conceptually translated. Functional equivalents and the explanation of the cultural elements’ conceptualization in the translation of the story, is the dominant and challenging concern of the translator. He has undertaken efforts to assimilate the story appropriately to the target language in his translation.

Magic realism is one of the characteristics of realism in the second half of the twentieth century. Kamal and Saedi are among the pioneers of this style. Al-Marhoum</em> and Azadaran-e Bayal</em> are prominent examples of this style. In this paper, the writer's methods are analyzed with a descriptive-analytical method based on the American school of thought. The need to know the content and elements of magical realism with regards to the social, cultural, and political problems of the two countries (Egypt and Iran), myths, and beliefs is the necessity of research in this respect. The results show that the authors used magical realism to express the political and social problems in their society. The element of "magic", "illusion", and "imagination", after the element of "reality", forms the foundation of these two stories. The background of both writers' tendency towards magical realism style should be considered through the psychological aspects of the characters in their stories and common individual characteristics. In Al-Marhoum</em>, the components of magical realism; Such as "symbolization", "mystery", "sound and smell" have a more prominent presence, and more examples of the elements of "duality", "myth" and "sound and smell" can be observed in in this novel.

Literature and cinema, as the outermost layers of reflecting and producing social values, are not disentangled from each other. Comparative literature, as a reading strategy, compares and contrasts different readers’ comprehension of the given works in different contexts. The reader might ask himself a sequence of questions whenever he is exposed to a work, including ‘why has he chosen this particular text?’, ‘what factors have led to his current identity formation?’, ‘How has he managed to access this work?’ and, in sum, ‘how do all these factors affect his reading of the given wok?’ What is of prime importance to this research is not merely the historical and geographical situation of the production of the text; rather, it tries to assess these factors in different socio-cultural contexts with respect to the readers. Unfortunately, in the past few decades, the main attention in comparative literature has been paid to either the texts or the authors, ignoring the much more important stance of the reader. In the new era, different readers’ need-assessment alongside the creation of universalized works can be the only solution for the attraction of readers and the survival of literature and cinema.

Comparative literature is a kind of interdisciplinary research that talks about the interaction between the literatures of nations. Cognitive semantics is one of the methods of studying language and includes a set of theories, among which the visual schemes are the most pivotal. Omar Khayyam is well-known for his literary position and quatrains in this respect. Precisely, due to his poetic taste, he has expressed his philosophical insights in the form of quatrains. Elia Abu Madi, who is known as a unique poet in Arabic literature, has been influenced by Khayyam's worldly viewpoint in philosophical matters. The present study, after providing general definitions on the subject of cognitive semantics in the framework of visual schema theory in a descriptive-analytical manner with a comparative approach of the American school, is an attempt to study the effect of philosophical and mystical themes on the movement schemas of the Iranian poet "Omar Khayyam" and "Elia Abu Madi". The results of the research show that the thoughts of the two poets on the movement scheme of the concepts like death and the instability of the times are similar in multiple cases. On the other hand, Nothingness and instability are the hallmarks of Khayyam's movement schemes, but Abu Madi believes in the movement scheme of moving from one place to another. The movement schemes condemn the fear of death and the need to use the moments of life and the philosophy of well-being in the poems of both poets.

Saeed Alloush, a critic and a Maghrebi translator, is considered as one of the prominent researchers of comparative literature in the Arab world. His works in this field have played a major role in introducing prominent schools of comparative literature and bibliography of this knowledge in the Arab world. In contemporary comparative literature, Alloush has mostly moved in the direction of achieving five basic goals; A: Introducing the history and criticism of the famous schools of comparative literature. B: Cultural criticism of comparative literature. C: Examining the current state of comparative literature in the Arab world and the challenges facing it. D: Emphasis on the Islamic theory of comparative literature. E: The role of translation in comparative literature. This descriptive-analytical research, therefore, aims to introduce Saeed Alloush and analyze his views on Arabic comparative literature, which ultimately led to the conclusion that Alloush has undertaken the aforementioned goals and highlighted the role of Arabs in comparative literature. The West has had many flaws and mistakes in its works and statements, however, Alloush did not do anything new after writing his doctoral dissertation and publishing it, and all his published works are repetitions of the contents of his doctoral dissertation. Accusing the Journal of Literary Studies and Mohammad Mohammadi's efforts of trying to strengthen the Amal movement is one of the mistakes of the book "Makunat al-Adab, al-Maqarn, and Madrasah al-Adab al-Maqarn", which is not compatible with the scientific spirit. Also, the author's trouble in using exaggerated words such as Slavic and Arabic school is another problem of his work.

Women writers in Iran and Arab countries have always been able to express their stance in writing their fictional works and were welcomed by the public in this respect. Story writers emphasized that women show the reader a special meaning of the female experience that male literature is not able to reveal. Accordingly, they tried to write works directly related to the experiences of women. The current study was conducted in the fields of formation and development of women's writing in the fictional literature of two countries based on the American School of Comparative Literature and the descriptive-analytical method. The results of the research indicate that the first period of women fiction writing in Persian and Arabic literature expresses the feelings of oppression, suffering, and deprivation. The second stage, is the period of restoration of women's identity and raises the issue of the right to choose, women's freedom, and discrimination of women's identity. Getting out of negativity and promoting the acceptance level of the women's role from the home environment to different levels of society, including political, economic, social, and cultural features, and choosing the hero among women, are among the most important features of women’s fictional works in the third period of women’s writing in Persian and Arabic literature. The women writers' efforts to show a female narrative and represent women's identity are presented in different ways at different levels of the text such as the use of words, characterization, and the choice of the female hero and narrator.

Nowadays, digital technologies have strongly influenced all aspects of our daily life via redefining our communicative practices and habits of text reading and textualizing. Accordingly, a need to change the role of literature and literary discourse in the contemporary media space of Iran and the Arab world has been felt and steps have been taken in this respect. By adopting a descriptive-analytical method, the present study sets out to make a scholarly account addressing the experience of Iranian and Arabic digital literature, exploring certain works produced by them comparatively, and discuss their degree of aesthetic creativity in terms of form and content. As the findings revealed, despite the historical precedence of Iranian digital poets and writers over Arabs, there is a significant digital division between Iran and Arab countries. Although the Arab countries are highly distant from digital literature of the West, they have produced aesthetically more creative literary works, compared to Iran. These works more actively follow the processes of participatory or collective creation, and being aesthetically creative in form and content.