ََAllahshokr Assadollahi; Mohammad-Hossein Djavari; Zaynab Sadaghian
Volume 15, Issue 21 , October 2019, , Pages 199-216
Abstract
Contemporary literature is constantly searching for its own identity. It is this return to oneself that encourages the "broken down" form of the early twentieth century and gives it a certain freshness. From then on, the novelist questions the reader about his novelistic writing and his fabrication within ...
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Contemporary literature is constantly searching for its own identity. It is this return to oneself that encourages the "broken down" form of the early twentieth century and gives it a certain freshness. From then on, the novelist questions the reader about his novelistic writing and his fabrication within fiction. This process of self-referentiality in Roubaud's novel or lipian trilogy (La Belle Hortense, L'Enlèvement d'Hortense, L'Exil d'Hortense) leads us to the constraint of "Theoria in fabula" which consists in inserting the typical oulipian processes. in fictional fiction. One wonders how this metatextual process develops in Baraheni's novel titled Azade Khanom and His Novelist (second edition). The characteristics of "Theoria in fabula" studied in this article offer an original aspect of the metatextual in Baraheni; This allows us to implement a new readability of the Iranian novel and to draw parallels between the latter and the Oulipian novel.