نشریه پژوهش های ادبیات تطبیقی
سال یازدهم شماره 1 (پیاپی 35، بهار 1402)

According to the “Theory of Abjection”, the subject, upon entering the domain of the symbolic order, considers what he recognizes as alien and dangerous object for the borders of his subjectivity as “abjection” and tries to reject it. Julia Kristeva considers the literary text as a superior sign of abjection, a place where the author displays the contamination of people's souls and whatever causes these contamination, so that people can achieve exaltation and purification by using words and phrases and creating a suitable atmosphere. The present study, with descriptive analytical method, investigates and compares abjection in two works of The Beauty Queen of Leenane and Prince Ehtjab from two different countries in order to investigate the root of traumas and abjections of the Prince and Maureen’s soul through symbolic order. These two characters are looking for their innocence and removing the abjections from their lives, and they imagine that they are trying to join the pure order. In this regard, they use various methods such as denying the mother-child relationship, denying the mother as an abjection, trying to defend the privacy of subjectivity, struggling to remove the abjection and using unpleasant words. But in the end, their efforts are useless and they themselves have somehow become abjected, their hands are bloodstained and they drown into nothingness.

This article examines the connection of national literature with the concept of world literature. From Goethe's point of view, national literature is the opposite of the literature that he calls "world literature". But are national literatures in general and other literatures "against", "opposite", or "contrary" to the view of "world literature" or "next to" and “complementary" to world literature? It is obvious that world literature owes its life, maturity and development to national literature, if a work does not first enter the domain of national literature of a country, it is less likely that it can become the domain of world literary works. Of course, there is no direct connection between national literature and world literature, that is, there is no requirement that the work must be national in order to be included in the cycle of world literature. However, being national means achieving the necessary indicators and qualities at the national level, may provide the ground for the national effect to enter the national and international level. In fact, the richness of world literature may depend on the richness of national literature and vice versa. However, if there is no mention of national literature, there will be less news about world literature. This article tries to examine the relationship between national and world literature from a theoretical perspective.

As an effective instrument in functional linguistics for examining the factors affecting the inference of meanings, situational context probes the relationship of words and sentences to instances outside the language system. The study of this context leads to an understanding of the meanings of literary techniques, including epithets. epithets are the artistic use of adjectives in the speech that has different meanings in the context of literary speech. With a descriptive-analytical method and the American school of comparative literature, the study seeks to analyze the semantics of epithets in the poetry of Hafez Mousavi (1954), the contemporary Iranian poet, and Wadī‛ Sa‛ādah (1948), according to Halliday’s Functional Linguistics. The results showed that the meanings of the epithets in two poets’ poetry could be divided into two categories-- dark and light. The frequency of dark epithets was higher than light ones due to the depiction of social issues. However, there is often a glimmer of hope throughout their poetry. Narrativity and appropriate verbs are the most prominent features of the stylistic epithets in the two poets’ poetry. The poets’ choices as the prominent participants in the clauses caused their direct presence in the poetry space. The Notification mood is frequent in the clauses, inducing the concept of probability and commonality in the form of the dependency aspect element because the two poets choose epithets as an arena to express their biographies and societies.

Computer games, due to being new and overlapping with cinema and literature, exhibit two different aspects of themselves that deserve comparative studies. In this paper, elements of modern art and the history of modern literature are studied in the formation of video games, and then similar ones are analyzed and adapted in James Joyce's novel Ulysses and Hidetaka Miyazaki Dark Souls Games. The purpose of this research is to investigate the effect of modern art characteristics on modern literature and video games and also to express the change in the nature of their common elements. The sub-purpose of the research is to compare these games with other titles in the media of computer games and to answer the question: How can games, and new media in general, form a classic and modern identity at their core? And where is the place of the studied games in this arena? The research method is analytical and adaptive. The research findings show that the novel Ulysses by "James Joyce" and the games of the "Dark Souls" series by Hidetaka Miyazaki in the elements of "rejection of the novel's narrative method", "rejection of the traditional hero", "rejection of incident", "new linguistic experiences", "Freedom from time and freedom of time", "giving importance to the association of meanings", "not giving importance to conventions", "tendency to illusion and fantasy", "participating the reader in the novel", "proposing the issue of truth" and "discussion of opinions" and philosophies" are similar and compatible

A word in the source language has different implicit and indicative meanings, in such a way that it is difficult to choose words with the same meaning and equivalent, even in a foreign language. Also, if this word has a special cultural value, it becomes much more difficult to transfer all its semantic layers to another language, especially about culturally heterogeneous languages and because different languages have different cultural, social and religious aspects, there are countless criteria in the translation of such cultural elements.

The Persian text of the novel Doord Mirrors is expressive of customs and full of cultural elements. For this reason, we analyzed the cultural elements of this novel by relying on the descriptive-analytical method. The aim is to identify cultural differences and how to reflect changes in the context of speech in narrative works and to examine the translation of cultural words and expressions based on intercultural and interlinguistic differences. Evir's classification is based on words and since cultural elements appear first at the level of language vocabulary, we have chosen this model to investigate the translation of cultural elements in Doord Mirrors. For this purpose, based on Newmark's classification and Hashemi and Ghazanfari- Moghadam's portfolio, we extracted cultural elements and showed their number in the form of a diagram. Then, we evaluated its translation method based on the model of Evier (1987) and showed it in the form of a table and the questions put forth are: What are the basic strategies of the translator and the level of success in transferring the cultural elements of the novel Aineh Darar to the target language? Which one of the strategies of the Ivir model is used more frequently in the translator's translation?

Peter Newmark has divided the cultural elements into five categories according to the patterning of Naida's cultural vocabulary and Ivir proposed seven methods for translating cultural elements. It is believed that the translator tries to bring these two languages and two cultures together with one of the following strategies: 1. Transference, 2. Definition, 3. Literal translation, 4. Substitution, 5. Lexical creation, 6. Omission, 7. Addition. Hashemi and Ghazanfari-Moghadam (2013) in the article "Indigenization of Newmark's five-fold model of cultural elements" have pointed out that in the analysis of some data. There are cases that do not fit into any of Newmark's classification. They added four more classes to this classification, which are:A. colloquial phrases and idioms ;
B. units and figures ;
C. Address titles and items ;
D. Visual, auditory, tactile and fragrance items .
They both believe that there is no suitable branch to address titles in Newmark's classification and in the Persian language. The use of these items is more varied according to the degree of importance and adherence to religious and political issues, for this reason, the use of these forms can be categorized as "geographical and social dialect and accent”. We also put units and figures in the category of political and administrative affairs regarding the "phrases and terms" that Hashemi and Ghazanfari-Moghadam added to this classification, we can place it together with the "ecology" class under the main class group entitled Environment and Place. Therefore, in the classification of the desired samples in this research, we used the

Salim Abdul Amir Hamdan stayed in Iran for a long time, learned the Persian language and because of her interest in contemporary Persian literature, published translations of the works of writers such as Hoshang Golshiri, Mahmoud Dolat-abadi, etc. For this reason, in some cases, she was able to pass the cultural elements of the novel through the cultural filter. He based her equivalence on substitution and tried to recreate the message approach in the form of the target language. In this novel, according to the amount of use of cultural elements, the component of idioms with 95 items has the highest frequency and the component of cursing and swearing has the least frequency with no items. Substitution with a frequency of 50% and 57% and borrowing with a frequency of 20% and 23% are the most used solutions by translators in translating cultural elements. And this shows that Salim Abdul Amir Hamdan did not use the combined method of borrowing with definition and did not define (clarify) the phrases for the reader in the text or footnote, but the positive point of her translation is the little use of literal translation and the negative approach of removing and not using the addition component.

Mohammad Rasoul Havar, an Iraqi Kurdish poet, is a contemporary poet in the 20th century, that her life time was contemporary with the dominance of fascist regimes and the shadow of imperialism's hegemony over Iraqi Kurdistan in order to advance the strategic policy of colonialism. In such a situation, Havar, as a committed poet, has turned his poems into a representation of the political-social and economic damages caused by imperialist policies. In the background of the poet's critical and anti-imperialist attitude, in addition to the occupation and colonization of the motherland, there are fundamental factors that have led the poet to anti-colonialism and anti-imperialist approach. Since an independent research has not investigated the factors of Havar's tendency towards anti-imperialist thought, the author is determined to investigate this phenomenon in his poems. The fundamental issue of the current research is that how and in what formats are the underlying factors of the anti-imperialist approach manifested in the poet's poems and with what concepts are they connected? In order to investigate this issue, the author has used the descriptive-analytical method based on the sociological investigation of the poet's compositions. War-mongering and commercial attitude towards the fate of colonized nations, depriving the colonized and paying attention to imperialist-capitalist interests, the trade and spread of narcotics in the colonies, the false claims and propaganda of imperialism about human rights, The silence of Western imperialism against the slaughter of the Kurdish people and their role in ruining the fate of the Kurds in cooperation with