farid parvaneh; Hanieh Zaltash
Abstract
Abstract It could be argued that myths always have a salient role in the human’s life, in a sense that all the human’s intentions, motives, deeds, and judgments have their roots in myths. Seemingly, the death of myths causes the annihilation of the world. This research aims to divulge the ...
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Abstract It could be argued that myths always have a salient role in the human’s life, in a sense that all the human’s intentions, motives, deeds, and judgments have their roots in myths. Seemingly, the death of myths causes the annihilation of the world. This research aims to divulge the portrait of myths and the hero’s journey in the technological world of William Gibson’s novels in order to reveal if the metamorphosis of the human to the post-human in the technological world could be considered as the adventure of the hero. On the other hand, the present study is based on the hypothesis that the traces of myths could be found in all times and in all places even in the technological world. William Gibson, who is a significant author of cyberpunk fictions, recreates the old myths through technological features. Therefore, this paper is an attempt to critically investigate the mythical elements, including the hero and the hero’s journey and examining them in William Gibson’s novels, Neuromancer (1984), Count Zero (1986), and Mona Lisa Overdrive (1988) to delineate that Gibson portrays a novel picture of myths and indicates that myths underlie all the stories and narratives. Gibson’s view has its roots in Campbell’s ideas regarding the existence of myths in all places and all times. In his The Masks of God: Primitive Mythology, Campbell argues that the permanent presence of myths in human history demonstrates that “man, apparently, cannot maintain himself in the universe without belief in some arrangement of the general inheritance of myth” (3). Since, according to Campbell, all myths follow the same patterns, the individual can find himself and his status in regard to the myths of the world. He also claims that all the stories, narratives, and works of literature could be more comprehensible through scrutinizing ‘monomyth’ and ‘the adventure of the hero’ which are variously represented.
Fatemeh Khodakarami
Abstract
With the beginning of the 20th century and the continuation of the scientific and investigative attitude in the field of Islamology in the 18th and 19th centuries, orientalists and Islamologists started scientific and practical translation of the Qur'an. The translation by Hartmut Bobezin, a German orientalist ...
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With the beginning of the 20th century and the continuation of the scientific and investigative attitude in the field of Islamology in the 18th and 19th centuries, orientalists and Islamologists started scientific and practical translation of the Qur'an. The translation by Hartmut Bobezin, a German orientalist and religious scholar, is one of the leading translations of the current century, which was translated directly from Arabic into German. In the translation of the holy books, especially the Holy Quran, due to the fact that the divine word is interpretive and has various layers of meaning, in order to express the deep meaning of the Quran, in addition to the science of translation, knowledge and awareness of the wisdom of the Quranic verses, as well as the translator's understanding of the interpretations of the verses, are necessary. The purpose of this article is to criticize and examine Bobzin's Quranic translation from a text-oriented or audience-oriented point of view, based on the equivalents of the analysis and evaluation of the translated texts by Werner Koller in comparison with the Quranic translation of Rückert (19th century) and Rudi Parte (20th century), asking the question whether Bobzin's translation was a successful translation from a communicative reader-oriented perspective (functional equivalent) in terms of explaining the Qur'anic meaning and spiritual effect, and to what extent the morphological-syntactic and rhetorical structure of the Arabic language (formal equivalent) was transferred to the standard language of the destination. The result of this research is to confirm the accuracy of Bobzin's Quranic translation.Background of the Research: Robert von Ketton first translated the Qur'an into Latin. In 1543, Swiss theologian Theodor Bibliander published a more complete translation of the Qur'an based on Ketton's translation in Basel, Switzerland. The first translator of the Qur'an in German is Salmon Schweigerr. The German priest David Friedrich Megerlin is the seventh translator of the Quran and the first translator of the Quran from Arabic to German, who first translated the Quran from Arabic to German in 1772. In the current century, with the increase in Muslim immigration to European countries, figures such as Adel Theodor Khoury, a Lebanese theologian and Islamic scholar, Murad Wilfried Hoffmann, a German lawyer and diplomat who converted to Islam in 1980, and Hartmut Bobzin published more complete translations of the Quran, which have received much attention. Argument& DiscussionThe first question that is usually asked in the translation process is the purpose of translation. Translation as a purposeful process plays a significant role in establishing communication and interaction between different linguistic communities and is the most important tool in transferring and adapting linguistic concepts. Albert Naida, one of the contemporary theorists of Bible translation and a believer in formal-dynamic balance, considers translation to be the re-expression of a message from the source language in the form of its closest and most natural equivalent to the target language, observing the meaning in the first step and observing the writing style in the second step.The Swiss linguist and theoretician who believes in establishing balance in translation, Werner Koller, believes that the translator should determine the type of balance according to the type of text and his/her reading of the text. There are five types of textual balance: 1- Balance on the content level of the text 2- Balance on the semantic level of the text 3- Balance on the level of the text type 4- Pragmatic balance 5- Formal-aesthetic balance. Koller believes in three models for the analysis of the translated text: 1- Text analysis. 2- Comparison of translations 3- Evaluation of translation in terms of translation quality in choosing words to convey meaning and aesthetic senseConclusion:In the examination of Quranic translations of the last fifty years, it seems that the criterion of translations is its reader-centeredness. In Bobzin's translation, the expressiveness of the expression, the naturalness of the language structure, and the comprehensibility of the text message, which are among the priorities of dynamic translation, are well taken into account. The translator has tried to be faithful to the original text, while using the words, to choose equivalents that are closer to the target language in terms of maintaining the balance in the content and meaning of the text, as well as the formal-aesthetic balance, and the German-speaking reader can accept the translation. Based on Werner Kolor's evaluation model, Bobzin's translation can be considered a successful translation in terms of the quality of the translation in the selection of suitable and equivalent words to convey the meaning and aesthetic sense, and his translation style is an example of the "content-to-content" translation.
Volume 10, Issue 14 , October 2015, , Pages 111-130
Abstract
Abstract: Considering the new approach to teaching the German language and the tendency to use literary texts rather than ordinary ones in classes, the importance of narrative literature education, particularly the genre of the "novella" and its positive role in language learning is clear due to its ...
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Abstract: Considering the new approach to teaching the German language and the tendency to use literary texts rather than ordinary ones in classes, the importance of narrative literature education, particularly the genre of the "novella" and its positive role in language learning is clear due to its unique and appealing features. All events narrated and defined in narrative literature are mainly referred to by the general term "story" (Erzählung) from which the novella themes are not excluded. And this is because there are many differences among the terms "story", "short story", "novella" and other literary genres. In German literature many stories are called "novellas" regardless of their content and forms; and the distinctive definition of the "novella" is limited to its shorter form in comparison to the novel. This superficial impression of the novella is not suitable for the most beautiful and interesting kind of narrative literature. This article aims to introduce the beauty and true nature of the novella, resulting in the improvement of the readers' understanding and impression in this regard. Apart from using these texts in German language teaching, it also intends to create a milieu in which this unique type of literature can come out of its current isolation and encourage many readers to read it.
Andia Abaie
Volume 12, Issue 16 , April 2016, , Pages 175-191
Abstract
Whilein 1981 Alain Robbe-Grillet announcedthathe no longer wanted to writenovels, hepublished one, La Reprise, on the eve of his 80 years (2001). The title of thisnovelisinspired by Kierkegaard, whosenovelistfollows the distinction betweenreminiscence or recollection and reprise: the first one is considered ...
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Whilein 1981 Alain Robbe-Grillet announcedthathe no longer wanted to writenovels, hepublished one, La Reprise, on the eve of his 80 years (2001). The title of thisnovelisinspired by Kierkegaard, whosenovelistfollows the distinction betweenreminiscence or recollection and reprise: the first one is considered as a “backward remembering”, but “resumption is a forward remembering”. Throughvarious narrative means, such as diversification and variability of the discursive and narrative levels, Robbe-Grillet tries, with La Reprise, to destroy and renew the "new novel", in order to propose a novelthatis a “forward remembering”, and not a resumption oriented to his ancient works. This article examines the process of writing by which the novelist, through an incessant resumption of the work of writing, wants to create a new workwith new roots and to prevent the book fromresting in a world alreadyknown.
Parvin Salajegheh
Volume 13, Issue 17 , October 2017, , Pages 175-194
Abstract
This article is an analytical research in narrative techniques, characterization and the role of time dimension, in the historical-fictional narration of “Slaughter house 5” by Kurt Vonnegut, the contemporary American novelist. The first part of the article is a brief introduction. The ...
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This article is an analytical research in narrative techniques, characterization and the role of time dimension, in the historical-fictional narration of “Slaughter house 5” by Kurt Vonnegut, the contemporary American novelist. The first part of the article is a brief introduction. The second part contains Liotard’s theoryof the postmodern narration as well Russian formalist theory of Narratology. The third part, is an analysis of the narrative techniques, time and Characterization.Fictional and historical narrative theoriesare presented with close reference to the text.The researcher hopes that the analysis of the writing techniqueswillhelp the readers to understand better the narrative process of the work.
Hamid Hashemi Kohandani; Bahman Namvar Motlagh
Volume 15, Issue 21 , October 2019, , Pages 273-296
Abstract
The nostalgia for the past is one of the most influential concepts in the life of writers and poets, which occurs due to spatial and temporal distances and has an effect on their poems and stories. This research seeks to distinguish between the types of this missing, divided into nostalgia and melancholia, ...
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The nostalgia for the past is one of the most influential concepts in the life of writers and poets, which occurs due to spatial and temporal distances and has an effect on their poems and stories. This research seeks to distinguish between the types of this missing, divided into nostalgia and melancholia, and each one can be individually interpreted, and for this purpose we used Walter Moser’s theory who is an Ottawa university professor. We first read the definition of this thinker of what nostalgia is and examine its difference with another complication, which is also caused by sadness and neglect. Moser has introduced a set of conditions for the recognition of these two concepts, and we try to find these conditions among Nizar Qabbani’s poems to find examples based on which our argument will hold. Finally, we conclude two things. First of all, what kind of nostalgia is in his work and second, what is the use of this distinction to better understand his poems, because there is a sense of nostalgia in many poets’ and perhaps most poets’ works; it can even be a natural consequence of aging. This broad concept should be typified and used to understand each artist's poems more precisely.
Rakhshandeh Nabizadeh-Nodehi; Shideh Ahmadzadeh Heravi
Abstract
Abstract In Shakespeare’s portrayal of madness, mind and body are not considered as binary opposites; on the contrary, they appear to be closely intertwined. A number of the most memorable characters in Shakespeare’s dramatic works suffer from mental disorders. A study of these characters’ ...
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Abstract In Shakespeare’s portrayal of madness, mind and body are not considered as binary opposites; on the contrary, they appear to be closely intertwined. A number of the most memorable characters in Shakespeare’s dramatic works suffer from mental disorders. A study of these characters’ mental problems on the basis of new psychological perspectives reveals that many of their mental obsessions and anxieties result from considerations pertaining to body. The interrelation between psyche and soma is most clearly discernible in the process of subjectivity in the course of which speaking subjects have to demarcate the territory of their independent and autonomous self primarily through separation from the maternal body and by constructing an independent, clean and proper body of their own. Such a body has a clear territory and exact borderlines. Besides, it has a distinct sexual identity. The subject’s effort to construct such an image of his/her body is not merely a personal and private matter. It is influenced by social, cultural, and biological standards since the subject tries to harmonize this image with these norms. Therefore, body in this sense is not just a material or biological entity; it turns out to be a social and cultural issue. The present study is an attempt to analyze the interrelationship between psychological tensions and corporeal considerations in the male subject’s psyche through studying the mental obsessions of Hamlet, as one of the most outstanding of Shakespeare’s mentally disturbed characters. To fulfill this purpose, some of his inner conflicts are analyzed in the light of Julia Kristeva’s theories regarding abjection, confrontation with the abject and the role of these procedures in the formation of subjectivity in order to gain a better understanding of the latent causes of Hamlet’s psychic trauma’s and mental disturbances. Viewed from this perspective, it is revealed that anxieties and concerns about the body of the masculine subject and cultural measures for the sexual identity of the male sex are at work behind the symptoms of Hamlet’s madness. The psychological crisis which Hamlet has to deal with after his father’s death has got several dimensions some of which will be analyzed in this research in reference to Kristeva’s notion of abjection. In this regard, Hamlet’s desperate battle to reassert his male identity, his quest to restore purity and purge himself and the whole world from corruption, as well as his hatred and fear of female body and sexual desire as a source of contamination and a serious threat to his manhood are most significant. In addition to the effeminizing effect of the female heterosexual love and the contaminating contact with the female body, the female kind’s power of regeneration terrifies Hamlet as well. All these features contribute to Hamlet’s identifying the female body as abject and lead to his repudiation of any attachment to it. Thus, it is possible to explain why Hamlet dedicates himself wholly to the sacred mission of revenge and solidifies homosocial bonds with his male companions since through these strategies, he believes he can confirm his autonomy and independence as a masculine subject and secure the territories of his clean and proper body.
Volume 6, Issue 1 , October 2013
Volume 7, Issue 1 , June 2014
Abstract
Translation has always played a significant role in bridging the gap between different cultures and languages; in introducing new literary aspects to the body of literature in the recipient language. Despite the general belief that translation is of secondary status in comparison to the original work, ...
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Translation has always played a significant role in bridging the gap between different cultures and languages; in introducing new literary aspects to the body of literature in the recipient language. Despite the general belief that translation is of secondary status in comparison to the original work, it has, at different points in time, proved to be so influential to the point of becoming a model in even a rich and old literature such as Persian. This study seeks to investigate the role of translation from western literature between 1200 and 1350 (AHS) on Persian contemporary literature; particularly from 1300 to 1350 when novel and new techniques of writing such as interior monologue and stream of consciousness were introduced to Persian literary system. To this end, Even-Zohar’s (2010) concepts of polysystem theory and culture planning have been selected as the framework of study to see how translation from modern English literature has influenced Persian modern novel writing. It is observed that different factors caused translation from western novels to occupy a central position in Persian literary system whereby new techniques of writing such as interior monologues and stream of consciousness have found their way in modern Persian novel.
Volume 6, Issue 2 , June 2014
Abstract
The present Article is a study of the effect of the indigenous cultural factors of the Igbo of Nigeria on the identity of the Nigerian Igbo women in the post-independence Nigeria as represented in Adichie’s Purple Hibiscus. Post-colonial feminists like Spivak and Holloway believe that without the recognition ...
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The present Article is a study of the effect of the indigenous cultural factors of the Igbo of Nigeria on the identity of the Nigerian Igbo women in the post-independence Nigeria as represented in Adichie’s Purple Hibiscus. Post-colonial feminists like Spivak and Holloway believe that without the recognition of the specific cultural elements surrounding the Third World women it is impossible to represent the material condition of the life of the subaltern women by methodologies of Western feminism. Through ages of suppression under patriarchy and colonialism, the ‘epistemic violence’ has suppressed the voice of the subaltern woman, and Holloway believes that the texts written by the African female authors apply particular strategies that are rooted in their indigenous cultural features to create polyphonic texts that represent the spectrum of identity and the post-colonial culture of the African woman. One of these strategies is named (re)membrance by Holloway through which myth, memory, and historical events are inscribed in the narrative to create a discourse which challenges both discourses of patriarchy and colonialism. The present article studies the significance of (re)membrance in Purple Hibiscus to represent the effect of the indigenous Igbo culture in the transition of a teen-aged girl to adulthood. Adichie shows that the identity of the African woman is a spectrum of various cultural elements of pre-colonial, colonial, and post-independence periods. Key words: indigenous culture, Igbo, epistemic violence, hybridity, Third space, (re)membrance, Third World women
Mohammad Sadegh Zarei
Abstract
مقاله ی حاضر بر آن است تا با استفاده از نظریات لویی آلتوسر در تعریف "ایدئولوژی ساختاری" و همچنین نظریات ژاک دریدا در تبیین مفهوم "نشان" به بررسی ساختار روایت وی اس نایپل ...
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مقاله ی حاضر بر آن است تا با استفاده از نظریات لویی آلتوسر در تعریف "ایدئولوژی ساختاری" و همچنین نظریات ژاک دریدا در تبیین مفهوم "نشان" به بررسی ساختار روایت وی اس نایپل در رمان خانه ای برای آقای بیسواس و در کشوری آزاد بپردازد. در نگاه آلتوسر، ایدئولوژی توهمی است که وضیعت واقعی / عینی را پنهان می سازد و از این رو نوعی "آگاهی کاذب" را ایجاد می کند تا بدین وسیله اثر ایدئولوژیک خود را استمرار ببخشد. به عبارتی دیگر، ایدئولوژی رابطه فرد را با واقعیت بیرون متوهم می سازد. در رمان خانه ای برای آقای بیسواس و در کشوری آزاد نایپل تلاش میکند تا ساختار روایتش را براساس طرحی ایدئولوژیک و با "فراخواندن" پی درپی قهرمان داستان به عنوان "دیگری" پی ریزی نماید، تا بدین وسیله دوگانگی نهادینه شده در روایتش را به گونه ای پوشش دهد. نایپل بعضاً در جایگاه یک ایدئولوگ، ایدئولوژی استعمارگرانه ای را در قالب روایت بیان میکند تا شاید بدین وسیله از یک سو آگاهی حاصل از خاستگاه استعماری خود را به رخ بکشد و از سوی دیگر تاثیر ژرف ایدئولوژی ها را در روایت نشان دهد و بتواند بدین وسیله خود را مستقل از تاثیر ایدئوژیک روایتش نشان دهد. حال آنکه او خود مبتلا به است. ساختار روایت او و رد و "نشان" باقی مانده از نظام معنایی آثارش این طرح را کاملاً برملا می سازد. اینجاست که اثر نایپل صرفاً فراتر از محصول مستقیم گفتمان حال حاضر خودش ظاهر می شود. وی خود محبوس در ایدئولوژی ساختاری و مدام در در حال "فراخوانده شدن" است و آثارش هر چند به ظاهر مستقل از عاقبت و سرنوشت خویش، اما به یمن بستر روایت گونه این دوگانگی را نشان می دهند.
Volume 11, Issue 15 , October 2015, , Pages 93-108
Abstract
The present article attempted to analyze the characters'
"subjectivity" in Samuel Johnson's The History of Rasselas, Prince of Abyssinia under the aegis of Deleuze and Guattari's theory of "subjectivity." Doing so, the characters' desires have been considered to clarify if their desire is the product ...
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The present article attempted to analyze the characters'
"subjectivity" in Samuel Johnson's The History of Rasselas, Prince of Abyssinia under the aegis of Deleuze and Guattari's theory of "subjectivity." Doing so, the characters' desires have been considered to clarify if their desire is the product of a lack (as psychoanalysis insists), or it is productive (as Deleuze and Guattari believe). By focusing on Deleuze and Guattari's famous syntheses in Johnson's Rasselas, it was revealed that it is the energy of the desire that sets Rasselas and his fellow travelers in motion to follow their quest. Moreover, it was cleared that their desire does not get repressed in the triangular family relation; instead, it is the social relations which is the main cause for repressing their desire, and the characters' subjectivity is constructed based on the repression society imposes on them. In fact, the characters' desire is not compatible with the social requirements such as social differentiation, and ideology, thus, desire gets repressed, and each repression renders the character "a" subjectivity specific to that experience.
Zahra Javidanmehr; Mohammad Reza Anani Sarab
Volume 14, Issue 19 , October 2018, , Pages 99-118
Abstract
Reading comprehension is one of the most important skills of English language, specifically in academic settings. This skill has been investigated time and again from different perspectives, of which educational measurement is the focus of the present research. This study aims at defining these underlying ...
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Reading comprehension is one of the most important skills of English language, specifically in academic settings. This skill has been investigated time and again from different perspectives, of which educational measurement is the focus of the present research. This study aims at defining these underlying sub-skills, examining their prevalence and difficulty, and estimating the difficulty of the items of a large-scale exam. The G-DINA model (Ma & de la Torre, 2017), which is a cognitive diagnostic model, was selected as the statistical method of data analysis. To this end, the subtest of reading from National University Entrance Exam, master's level, was selected. The underlying sub-skills of the test were extracted through three main sources of concurrent literature, students' think-aloud protocols, and expert panel's judgment. The extracted sub-skills along with the students' scored responses were used as the input for the GDINA package in R programming software. Four sub-skills were defined for the test and the outputs related to attribute/sub-skill prevalence, sub-skill difficulty, and item difficulty were reported in CDM framework. In the end, the probable reasons for the obtained outputs were discussed in the context of reading comprehension.
Roshanak Akrami
Abstract
Ralph Waldo Emerson’s idea of metamorphosis and metempsychosis, as traceable in his essays “History” and “Poet,” has recently attracted the attention of Emersonians such as Michael Corrigan and Michael Cowan. According to these scholars Emerson has expanded the Indian and ...
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Ralph Waldo Emerson’s idea of metamorphosis and metempsychosis, as traceable in his essays “History” and “Poet,” has recently attracted the attention of Emersonians such as Michael Corrigan and Michael Cowan. According to these scholars Emerson has expanded the Indian and Greek definition of these notions and has come to give a metamorphic quality to almost every aspect of life and his idea of the ideal poet. Cowan has also traced two metamorphic processes in Emerson’s famous poem “Bacchus,” which according to scholars such as John D. Yohannan is an imitation of Hafiz’s “Saghinameh.” This point allows this article to go back to “Saghinameh” and show that the metamorphic quality attributed to “Bacchus” is rooted in Emerson’s translation of “Saghinameh.” This article also argues that a few other poems of Emerson that have metamorphosis as their main theme are in one way or another related to his translations from the Divan of Hafiz. In this way, on the one hand, this paper is contributing to the discussions about metamorphosis in Emersonian thought; and on the other hand, it is contributing to the studies that address the function of Emerson’s engagement with Persian poetry and its relation to his career as a thinker and a poet. Research Background: Emerson’s respect for Persian thought and poetry is a well known subject to most Emersonians and those interested in transnational studies. The different ways in which Perisan poetry has influenced Emerson’s poetry have been addressed by many esteemed scholars such as F. I. Carpenter, Arthur Christy, and John D. Yohannan. More recently scholars such as Lawrence Buell have come to give a more central place to Emerson’s engagement with Persian poetry and his related translations. For scholars such as Jan Stievermann this aspect of Emerson’s career is best demonstrative of his cosmopolitanism and his openness to World Literature. Finally and more recently, the Doctoral dissertation of Roshanak Akrami: “‘The Sense of a Half-Translated Ode of Hafis’: Emerson’s Translations of Persian Poetry” (2015), which examines Emerson’s poetry notebooks and the drafts of translations he has left, focuses on Emerson’s theory of translation and the different ways in which Persian poetry affects Emerson’s career and is affected by it. Nevertheless, the relationship between Emerson’s idea of metamorphosis and his translations of Persian poetry has not been addressed in any other research. Method: This article examines three original poems of Emerson and looks at his translation of Hafiz’s “Saghinameh.” It traces Emerson’s idea of metamorphosis highlighted by Michael Cowan in Emerson’s “Bacchus” back to Saghinameh and Hafiz’s notion of “wine of awakening.” By examining Emerson’s original poems, his translations, drafts of these translations, and the German and Persian versions of these poems, this study is using a genetic reading method that allows seeing the process of production of these poems and the concepts that have emerged in this process.Conclusion: The metamorphic quality that wine has in Emerson’s “Baachus” is directly taken from Hafiz’s “Saghinameh.” In both poems wine awakens and gives vision and access to the unseen and past and future. In “Proteus” and “Poet of Poets” Emerson employs the Divan’s concept of love in two different ways. That is to say, while in both poems love is used as a metaphor for metamorphosis; in “Proteus” Emerson adopts the Divan’s notion of suffering and loss that follows mystical love and uses it to attribute pain to his idea of metamorphosis. In “Poet of Poets,” on the other hand, wine gives the power of metamorphosis to the poet and makes him a seer and an insider. In this way it can be said the mystical power of love and wine has found a new life in Emerson’s writings.
Bahman Zarrinjooee
Volume 14, Issue 18 , June 2018, , Pages 103-132
Abstract
Abstract Nowadays the discussions about nature and environments are significant particularly in humanities. The place of intersection between humanities and experimental sciences comes from the relationship between man and nature, and the fact that how these two issues are related and interacted. This ...
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Abstract Nowadays the discussions about nature and environments are significant particularly in humanities. The place of intersection between humanities and experimental sciences comes from the relationship between man and nature, and the fact that how these two issues are related and interacted. This critical approach plays a pretty important role in modern literature so that it can investigate the various dimensions of nature as the setting of literary works. In this regard, this paper, focusing on The Hungry Tide (2004) by Amitav Ghosh (1956- ) as an Indian Bengali writer, analyzes it based on ecocritical approach. Ecocriticism is an approach which relates humanities, experimental and environmental sciences to each other. Therefore, the writers, particularly the novelists, are concerned with nature, from forests to seas, and from domestic to wild animals. The Hungry Tide, as far as the title suggests, very significantly represents the sea, and the role of the waves as well as the marine animals. Besides the sea, the surrounding Islands are wonderful spaces, portrayed by Ghosh, which create a proper place for wild animals, particularly Bengali Tigers. The main character of the novel, Piya, is a young female cetologist, who studies a very rare kind of fish, with the help of a native fisherman, Fokir, who is innately an ecologist. While studying and following Dolphins, Piya is confronted with wild tigers. The nature-centred adventures of the novel are arranged based on what happens to the major characters. Besides portraying the natural events and accidents, The Hungry Tide surveys the history of creation of species of some plants and animals in a real or imaginary region and indicates the impact of man on environment and vice versa. In this paper, the ecocritical theories of Cheryll Glotfelty and Harold Fromm (1996) are used for analytical discussion of the novel; moreover, in conclusion the postcolonial ecocriticism of Graham Huggan and Helen Tiffin (2010) are used to lead the discussion to a new discourse of othering nature. Eventually, the paper comes to this conclusion that when one ring or member of ecosystem is omitted or destroyed, the whole system will be influenced and all the natural phenomena will experience critical changes or transformations.
امین رئیسی وانانی; Sasan Baleghizadeh
Abstract
قاطبه ی نظریه پردازان بر این مهم اتفاق نظر دارند که درک مطلب یکی از مهمترین مهارت های زبانی چه در زبان اول وچه در زبان دوم می باشد. یکی از عوامل دخیل در درک مطلب و داشتن ...
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قاطبه ی نظریه پردازان بر این مهم اتفاق نظر دارند که درک مطلب یکی از مهمترین مهارت های زبانی چه در زبان اول وچه در زبان دوم می باشد. یکی از عوامل دخیل در درک مطلب و داشتن خوانش و قرائت مختلف از متون، درکنار عوامل زبانی همچون گرامر و لغت، طرحواره یا اسکیما می باشد. آنچه در پژوهش حاضر بررسی میشود ارائه ی نتایج اعتبار سنجی روشی برای سنجش طرحواره به همراه مروری بر پیشینه ی تاریخی آن معطوف روانشناسی شناختی و فلسفه می باشد. در این راستا، پس از بررسی پیشینه ی مربوطه، سی و چهار مولفه ی اولیه غربال شدند. متخصصان مرتبط با طرحواره و زبان دوم و شناخت تجشم یافته ، بیست و هشت آیتم برای محک در بوته ی آزمایش جهت سنجش بار عاملی را تایید کردند . به منظور تعیین روایی عاملی از روش آماری تحلییلی عاملی اکتشافی و سپس تأییدی و به منظور بررسی همسانی درونی از ضرایب آلفای کرونباخ استفاده شد. نتایج بدست آمده روشی دو عاملی (طرحواره ی محتوایی و طرحواره فرمال ) را نمایان کرد. درپایان ، نتایج بدست آمده و پیامدها و فواید پژوهش حاضر مورد بررسی قرار می گیرند.
Mahshid Namjoo; Leila Baradaran Jamili
Abstract
Introduction: This research aims to investigate the effects of geography in the reconstruction of subjectivity and also shows that there is a mutual relationship between spatiality and subjectivity. The theoretical framework is mainly based on Henri Lefebvre’s theories of space which represent ...
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Introduction: This research aims to investigate the effects of geography in the reconstruction of subjectivity and also shows that there is a mutual relationship between spatiality and subjectivity. The theoretical framework is mainly based on Henri Lefebvre’s theories of space which represent a reconciliation between mental space and real physical space. On this account, the study relies primarily on Inaam Kachachi’s novel-The American Granddaughter- and Lefebvre’s spatial triad. In investigating the geo-effects on subjectivity-formation, the characters’ inner struggle, their spatial reproduction, and the creation of the third mental space will be explored. The colonial role of homeland in the creation of mental geography, and the characters’ various postcolonial responses will be discussed further. The article finally indicates that geographical expectations and norms can act as colonial forces which control the characters’ will and determination and eventually lead them to the production of mental geography.Background of the study: This article focuses on The American Granddaughter and it is designed to study the novel by demonstrating the geographical effects on subjectivity formation. It, also, shows that spatiality can be viewed as a colonial power that manipulates the minds of people and controls everyday life practices. Inaam Kachachi, an Iraqi journalist and author, officially presented herself to the literary society in 2005 with the publication of her first novel, Heart Springs. Her second novel, The American Granddaughter, was a depiction of the American occupations of Iraq through the eyes of a young Iraqi-American woman who returns to her birth country as an interpreter for the US Army and witnesses emotional outbursts, familial conflicts, and the fall of the country of origin.Methodology: The present study applies an interdisciplinary approach that integrates perspectives from different fields of knowledge; i.e., spatiality, immigration, and subjectivity. Lefebvre’s space is a social product and is reproduced through human interactions, relations, and intentions. His spatial triad, i.e., private, public, and mental spaces can affect positively and negatively the reproduction of both space and subjectivity. According to Lefebvre, a social space contains a diversity of networks and interactions which can help spatial growth. Not only can people bring a set of concepts and change spatial representations, but also they can neither be separated from spatiality nor interpreted separately. Through this interdisciplinary study, the readers are given a chance to understand the effects of spatial mechanisms on both an immigrant’s mentality and her/his self-reformation. Because of spatial confirmation, an immigrant adjusts her/his subjectivity/self-representation to new forms of challenges and norms in a receiving country. When the new self-images cannot be matched with the homeland’s doctrines, an immigrant starts creating a mental geography. Furthermore, this study indicates how Kachachi merges the spatial images of an immigrant and her/his rooted-images into mental images by which she/he can be attached to her/his homeland and can forget the pain of being known as the Other.Conclusion: The American Granddaughter offers a site to study the dynamic relations between spatiality and subjectivity. The use of mental space gives a chance to the characters to survive and attach to the remnant of past memories. In addition, the readers can understand the characters’ decisions and suffering better. Kachachi employs a multitude of variations on the characters’ voices as a postcolonial reaction to indicate the social aspects of spatiality and subjectivity; both are social products and have a transient nature
Farzaneh Doosti; Amir Ali Nojoumian
Volume 15, Issue 21 , October 2019, , Pages 127-152
Abstract
This paper examines Kamila Shamsie’s Home Fire (2017) as a faithful transposition of Sophocles’s Antigone into a contemporary novel that addresses the diasporic subject’s encounter with sovereign politics of life and death in the post-9/11 backlash against Muslims. A survey of the notion of the ...
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This paper examines Kamila Shamsie’s Home Fire (2017) as a faithful transposition of Sophocles’s Antigone into a contemporary novel that addresses the diasporic subject’s encounter with sovereign politics of life and death in the post-9/11 backlash against Muslims. A survey of the notion of the embodied subject as set in the complex network of power relations and biopolitics in the diaspora space where new forms of bio- and necro- power (as expounded by Postcolonial thinker Achille Mbembe) are at work towards enforcing subjugation of diasporic bodies forcefully synthesises with the question of belonging, the right to soil, and post-mortem identity in Shamsie’s Home Fire. For Aneeka Pasha and other British diasporics, burial of British citizens by birth in the British soil is a natural and legal right, whereas to the representatives of the Islamophobic State, the diasporic subject’s rights to soil is as evanescent as their liminal identities. Just like Polyneices in Antigone, the dead body of Parvaiz – a remorseful ISIS member seeking a way back home to rest in peace – functions beyond the biological borders of his body and proves to challenge the body politic of the state and question their necropolitical decisions.
Volume 10, Issue 14 , October 2015, , Pages 131-155
Abstract
This article analyses and examines three novels of author of the twentieth century, Marguerite Duras. The goal is to find place and importance of silence. The issue is silence of personages and the existence of a direct link between silence and feeling. In fact, the silence emanates from unpleasant feelings ...
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This article analyses and examines three novels of author of the twentieth century, Marguerite Duras. The goal is to find place and importance of silence. The issue is silence of personages and the existence of a direct link between silence and feeling. In fact, the silence emanates from unpleasant feelings and these feelings are often rooted in their loneliness.
Sometimes the silence can be the main actor as the cause of negative emotions such as fear, sadness and disappointment for their partners. Of course, with all the feeling of silence, anger, appeal as a common sense.
Since all the novels expressing moods and feelings of the personages, so to address the issue of silence in these three opuses, we help semiotique of passion. With identification and analysis the production process of passion, we achieved the meaning and the role of silence in these opuses.
Pedram La’albakhsh
Volume 13, Issue 17 , October 2017, , Pages 144-227
Abstract
The present study focuses on Bucky, Philip Roth’s protagonist in Nemesis, to analyze and criticize this character in the mirror of the myth of Sophocles’ Oedipus Rex. As such, the researcher tries to followSteven Totosy de Zepetnek’s theory of Comparative Study to explore the howness, not whatness, ...
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The present study focuses on Bucky, Philip Roth’s protagonist in Nemesis, to analyze and criticize this character in the mirror of the myth of Sophocles’ Oedipus Rex. As such, the researcher tries to followSteven Totosy de Zepetnek’s theory of Comparative Study to explore the howness, not whatness, of the relations between the two works and create a dialogical space to scrutinize and delineate the existing differences and similarities. The findings of this study show that Roth rewrites Sophocles’ Oedipus Rex that is, itself, a proof of the overwhelming omnipresence of myths in our life. Furthermore, it seems that in adapting and recreating the myth of Oedipus, Roth has attempted to emphasize the vulnerability of mankind against the unbending power of fate in 21th century and in an era when man seems to be very proud of his scientific and technological advancements.
Rouhollah Ghassemi
Volume 12, Issue 16 , April 2016, , Pages 193-211
Abstract
The game has always been a means for artists and authors to absorb, attract and entertain spectators and readers. Yet, when we speak of the novel, the literature and the literary creation, it takes another entirely new form. Indeed, it can be said that these tools as varied as different, can create a ...
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The game has always been a means for artists and authors to absorb, attract and entertain spectators and readers. Yet, when we speak of the novel, the literature and the literary creation, it takes another entirely new form. Indeed, it can be said that these tools as varied as different, can create a sense of comedy and joke in the text. Besides this comical and pleasant aspect the author will be able to enjoy all the features to say, in playful form, what he cannot express clearly in the text. Marcel Proust and André Gide, two of the pillars of French literature in the twentieth century, have made extensive use of this oblique shape so that we can find the track in their entire work. These last two have not only used the different aspects of the playful work but also in the description of the characters and scenes one can feel the weight of the game.
Vahid Nejad Mohammad; Mohammad Kianidust
Volume 15, Issue 20 , April 2018, , Pages 245-274
Abstract
Novels like myths, can also demonstrate internal reactions and individual and social phenomenons by interpretative processes. The knowledge of romanesque images and research in subjective, existential and historic aspects of 20th century French authors, can unfold structive state of the story and their ...
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Novels like myths, can also demonstrate internal reactions and individual and social phenomenons by interpretative processes. The knowledge of romanesque images and research in subjective, existential and historic aspects of 20th century French authors, can unfold structive state of the story and their creativity. In this deliberation, for studying the fabric and constructing events in "Accident nocturne" of Patrick Modiano, by use of components and collective unconcious archetypes, can show symbolic and psychic images in the basis subjective and collective nature of human, on one side, and in basis of narrative and symbolic experiences, on the other side. In fact, author, with swing of (time) and (place) in narrating and with the design of lost child archetype, displays an image of his own memory and lost identity.
Volume 6, Issue 1 , October 2013
Volume 7, Issue 1 , June 2014
Abstract
The present paper attempts to closely read Richard Foreman’s Eddie Goes to Poetry City (Seattle Version, 1991) in terms of Ernesto Laclau’s Post-Marxist approach to the analysis of the subject with special reference to his concept of the empty signifier. The emergence of Laclau’s Post-Marxism dates ...
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The present paper attempts to closely read Richard Foreman’s Eddie Goes to Poetry City (Seattle Version, 1991) in terms of Ernesto Laclau’s Post-Marxist approach to the analysis of the subject with special reference to his concept of the empty signifier. The emergence of Laclau’s Post-Marxism dates back to the mid-80s de facto with his detachment from reductionist Marxism, which at the same time, led to the reformulation of his discourse theory. In practice, Laclau’s discursive-analytical notion of ideology and hegemony eventuated in the deconstruction of key concepts including discourse, floating signifier, empty signifier, antagonism, and the category of the subject. Correspondingly, Foreman in his ontological-hysteric drama, with no premeditated narrative strategy, prevents his reader from reaching premature conclusions and meanings. Foreman's theatre attempts to escape the socially conditioned self by means of releasing impulses as it demonstrates the sway of hysteria over ontology. There is thus a confluence between Laclau's critical concepts and the tenets of Foreman's ontological-hysteric theatre to represent the split character of the identity of the subject in the discursively constructed structures.
Volume 6, Issue 2 , June 2014
Abstract
Taking place and explosion of the Industrial Revolution can be connected to the innovation of machine and so 19th century can be called the machines century. Modernity has updated by the machine and it introduced the machine as its symbol. In the second half of the 19th century, literature and novel ...
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Taking place and explosion of the Industrial Revolution can be connected to the innovation of machine and so 19th century can be called the machines century. Modernity has updated by the machine and it introduced the machine as its symbol. In the second half of the 19th century, literature and novel showed a good approach as a reflecting mirror of the society to the topic of appearance of these elements. Different authors showed different reactions to machine. Some authors totally rejected it, others in spite of the hostility with this devise, they praised it involuntary. The others gave it an original and important position. Even they introduced it as a real character in their literary works. Zola can be placed in the last category, since machine is allocated a significant station in the major of his main and famous works. This article will try to introduce this machine-personage and also it will study its position and awareness and warning literature of Zola. It watches also the relation of the human-machine and vice versa from the perspective of Zola