فصلنامه نقد ادبی
پیاپی 28 (زمستان 1393)

In this study we have tried -to comment on the importance of text in social and literary research - to provide a theoretical framework for critical interpretation. Question of this research is: H ow text power does. To answer this question، we will review the theories of power in the humanities and social sciences. Two main theories have been proposed in this field. Rule-based theories in which emphasize power as a physical or class or governmental force. Other theories emphasize power as the discoursive or the lingual that applay Through subjective and desubjective processes. at For this purpose will read the votes of four of the most important contemporary theorists، Ernesto Laclau and Chantal Mouffe، Slavoj Žižek and Julia Kristeva until will be given research question. Finally، the responses of these theories will be presented.

Genology or genre theory is one of the oldest، most controversial and most problematic branches of literary theory. Approximately two thousand four hundred years in the life of this theory، many controversies surrounding the concept of genre has been and in these controversies، different problems and issues have been raised. Among the many topics of the theory، this article will talk about the issues that need attention in generic studies of Persian literature; such as the definition of the genre، genre and literary works، types of genres (the main forms)، generic conventions and expectations، measure of regard to conventions، genre and intertextuality، genre and time، genre and cultures، genre and literary history، the vicious circle in the selection of genres، and definition and naming of genres. The article also criticizes the traditional approach to genre theory in Persian literature and notes the necessity of retrospective component approach to literary genres.

The Novel Noghreh، daughter of Kabul River، written by Humaira Qaderi، one of the young and proposed Afghanistan novilist that it is one of the most important novels of contemporary Afghanistan. Here social and political issues have been addressed from the standpoint of women، with a focus on women. The purpose of this article is to study the status and role of Afghan women in contemporary Persian fiction in this country and explore this novel via Critical Discourse Analysis. After the introduction of research methods and theoretical bases of Norman Fairclough، we will analysis the text in three stages. The results of our analysis show that context of novel representations two types of conflict: the Conflict between traditional patriarchal discourses and discourses of femininity (feminist) and the contrast between the intellectual discourse and the discourse of power. The author represents all events of the story about political and social issues in a particular period of history; thus، the method of analysis components of Critical Discourse Analysis، besides to the specific and targeted approach to the representation of the events of the story in author perspectives، introduced reader with some of the developments in this story that its role is played by the women in Afghan society. Author''s emphasis is on a particular period of history than any other time also reflects national trends and anti-authoritarian and colonial. Due to the presence of foreign forces and interference potential and secretly warns and in addition to the design of social and emotional issues of women، her apparent bias against traditional patriarchal discourse shows.

There is a tradition in Persian poems which poet at the beginning of his poem express his beliefs and answer to his opponents. Some poets represent these beliefs as tales. These parts mostly are out of the main body of the poem. Among Attars Neishaboury poems there are ten tales at the beginning of Mosibat-nameh. The content of these tales are defending of truth of his religious beliefs، answering to his opponents، explaining the value of poem and poesy. the structure of these tales are the form (tension، trying، conclusion) and two subsidiaries of this form and eliminate or changing these parts highlight the narratives opinion. Signs have more important role in making the structures. The signs which are used in these tales are: choosing the character، choosing the time and place، starting the tales with conjunction، the speed of act and react. Designing value equaition، Use the pronoun and quoting the speech of saints.

In spite of the growing acceptability of the works of women novelists in Iran، literary criticism of these works suffers from significant shortcomings and limitations. The most prominent of these shortcomings is the critics’ lack of interest in separately analyzing each novel as a distinct literary unit in order to appreciate its singular literary excellence and uncover those aspects that are less likely to appear in the literature of men. Above all، feminist literary criticism of Iranian novels lacks an approach to focus on the notion of femininity as an indispensible part of the narration that can offer new literary potentials both for the writer and the reader. The present study uses concepts from poststructuralist psychoanalysis، especially Lacan’s theories of mirror stage and femininity as pretense and Irigaray’s theories regarding mimesis، difference and the development of the feminine subject، to discuss the function of game playing in Belgheis Soleimani’s novel، The Last Game of the Lady. Golbanoo، the protagonist، through her games and theatricality، manages to take what Irigaray believes to be the first step in challenging the phallocentric discourse: the strategy of subversive mimesis of that discourse to open a space for a new definition of femininity that allows for the development of the female subject. Her last game، which is the game of the narrative، is in fact the beginning of her victory. Golbanoo and the novelist join forces to playfully crack the phallocentric mindset and achieve feminine subjectivity by means of creative production.