Volume 14, Issue 18 , June 2018, , Pages 191-209
Abstract
Literary criticism is of great importance in contemporaneous age. One of the subdivisions of literary criticism is psychological criticism which was founded by Sigmund Schlomo Freud, the father of modern psychology. Psychological criticism attempts to declare excitants, spiritual excitements and effectual ...
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Literary criticism is of great importance in contemporaneous age. One of the subdivisions of literary criticism is psychological criticism which was founded by Sigmund Schlomo Freud, the father of modern psychology. Psychological criticism attempts to declare excitants, spiritual excitements and effectual factors in creating a literary work based on the work itself and the biography of the poet or author.
Charles Baudelaire the 19th century well-known poet is an introverted, puzzle headed, depressed and heartbroken person who has always been seeking a utopia to soothe in, intending to look for the truth of entity and achieve that ideal world.
In this research, Charles Baudelaire’s poems are investigated to discover the reason of depression puzzlement and disappointment which is observed in his poems according to Freud’s psychoanalytic theory.
Leyla Ghafouri Gharavi
Volume 15, Issue 20 , April 2018, , Pages 201-219
Abstract
The Adversary written by Emmanuel Carrere, a well-known French writer and winner of the prestige Renaudot French literary award in 2011, is a title he chose himself for his book that was published in 2000. The title was very expressive and it entailed the menacing demonic presence that existed within ...
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The Adversary written by Emmanuel Carrere, a well-known French writer and winner of the prestige Renaudot French literary award in 2011, is a title he chose himself for his book that was published in 2000. The title was very expressive and it entailed the menacing demonic presence that existed within the main character of the book. Jean-Claude Romand is a real person who murdered his father, mother, wife and 2 young children and was sentenced to life at first in 1993 in France which was later mercifully reduced to 15 years of imprisonment. In Carrere’s opinion, who is newspaper reporter and a religious writer, the inhumane act of Jean-Claude Romand was a sign of the existence of devilish temptations in weak hearted and frail human souls. So he recounted the event in his own perspective.
In this half fiction and half biographical piece of work, the writer tries to portray Jean-ClaudeRomand as a tragic ancient Greek or Roman hero that despite his best efforts does not succeedin overcoming his tragic fate known as “Ananke” in ancient Greek or “Fatum” in Latin.
He managed to showJean-Claude Romand’s mental illness of “lying and exaggerating” or “mythomania” as an ancient tragedy fatality in this book. As in most ancient tragedies of Greece or ancient Rome, this destructive and inevitable power causes Jean-Claude’s misfortune and destroys his family.
With this Carrere awakened the ancient tragic heroes once again and this time gave a new and modern face to them to the reader. An anti-hero who’s fate is as dark and sad as his ancient counterparts even though he is not majestic as them. In this book the writer shows that despite their advanced appearance, if the modern man does not have control over their own inner weaknesses they will easily become the devil’s playthings as their ancestors before them thousands of years ago were and only misfortune and misery will await them and their peers. This is also while the devil like modern human does not even have a smidgen of the grandeur and braveness of the ancient heroes and cannot answer to the enigma of his wrong ways.
Morteza Lak
Abstract
The English Renaissance era has always been acknowledged as a unique arena for literary creativity in the periods that followed it. From the 45-year reign of Queen Elizabeth I (1558-1603) to the end of King James’s monarchy, 1603-1625, English culture, art and literature experienced a range of ...
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The English Renaissance era has always been acknowledged as a unique arena for literary creativity in the periods that followed it. From the 45-year reign of Queen Elizabeth I (1558-1603) to the end of King James’s monarchy, 1603-1625, English culture, art and literature experienced a range of brilliant, progressive changes that culminated in the appearing of leading figures as William Shakespeare, John Webster, Thomas Middleton, John Fletcher, Christopher Marlowe and Thomas Kyd in drama, and Edmund Spenser, Sir Philip Sidney, Ben Jonson, among others, in poetry. These figures more or less enjoyed resonance in their 18th and 19th-century ancestors’ literary productions, nevertheless, Shakespeare’s influence was more extensive. William Wordsworth was a poet who benefited widely from Shakespeare’s style and dramatic poetics. Wordsworth, in the course of his literary career, produced only one play in which a variety of Shakespearean aesthetics and textual techniques can be traced. The current research employs a contrastive approach to examine the role of Shakespeare in Wordsworth’s authorial consciousness of writing his play The Borderers.
Volume 10, Issue 14 , October 2015, , Pages 215-229
Abstract
Abstract
Boris Vian’s first book was written during the Second World War, however, he has not been directly influenced by it. Basically, his self-centredness prevents him from dependence on any school of thought or world view. That is why his thoughts and ideology greatly differs from authors such ...
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Abstract
Boris Vian’s first book was written during the Second World War, however, he has not been directly influenced by it. Basically, his self-centredness prevents him from dependence on any school of thought or world view. That is why his thoughts and ideology greatly differs from authors such as Sartre or Camus. Sartre managed to add the element of joy to the absurdity of life through resorting to freedom, but freedom of life can not change this absurdity for Vian. To free himself from this feeling, Vian turns to man himself to reduce this suffering and pain, and to ameliorate the stance of man, to make it tolerable. Nevertheless, man can not free himself from dissatisfaction and meaninglessness of life. He therefore seeks another means to save himself from this suffering. He first pays attention to love and man, but these are not the remedies for this dissatisfaction. Then he focuses on objects and things, then to friends and lovers, but none of these is the answer for this vanity of life. Just like man who regards violence as an inseparable aspect of life, object can also be as tough and cruel. Friends and lovers too, are as vain. Death, disappointment, and failure, this is man’s fate, and he can never save himself. All thorough the novel, man’s disappointment haunts him, and subconsciously is affected by the two world wars.
Farideh Shahriari; Leila Baradaran Jamili
Abstract
Introduction This research employs a comparative study design to analyze the political, sociological, and physiological impacts that Iraq-Iran and Iraq-America war had in shaping the literary approach that the Arab/Iraqi female war memoirists use. The Arab/Iraqi war memoirists including Haifa Zangana ...
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Introduction This research employs a comparative study design to analyze the political, sociological, and physiological impacts that Iraq-Iran and Iraq-America war had in shaping the literary approach that the Arab/Iraqi female war memoirists use. The Arab/Iraqi war memoirists including Haifa Zangana and Dunya Mikhail try to bring out the violent effects of the oppressive space as considered the concept of subjectivity, which they live. The Arab/Irqi war memoirists portray themselves as authoritative spears in the war whether they were acting as civilians or soldiers to overcome the aggression, where they take a transgressive move by attacking gender roles and taking up masculine roles such as leading activists’ groups. The current research is based on the premises that from a geopolitical point of views, Zangana and Mikhail are found to rewrite the scripts of war as a reflection of the gendered experiences, while they open up new approaches to the themes of war in literature and narrative. Background of the studies Kelly Robin Adams in her doctoral dissertation “Literature Practices in Women’s Memoirs of the Civil Rights Movement “(2012) carried out a research on the literate practice in women’s memoirs of the Civil Rights Movement, where the researcher highlights the participatory roles that women played in the movement including their ability to act publicly in a movement remembered mostly for its male leaders. On the other hand, Johnson M. Alison in his book, Histories of War: Representations of Silence in Woman’s Vietnam/American War Narratives (2016) draws on the feminist rhetorical theories of silence, listening, and praxis to interrogate traditional psychoanalytic through thought by investing how America, Vietnamese, and Vietnamese-American women who experienced the war provide a different model for narrating the war and coping with trauma. On her part, Amy Kathleen Sininger with The Truth in Comedy: Representations of Postfeminist Success and American Culture in Women’s Comedic Memoirs (2015) researched on the representations of postfeminist success and American culture in women’s comedic memoirs. The researcher carried out an in-depth analysis of how the increasing prominence of comedic is memoir is indicative of American cultural changes, particularly in relation to women and feminist, as women prove to dominate the genre. Consequently, Jenny Young Kijowski in Gender and Trauma from World War I to the War in Iraq: Narrative in the Aftermath of Loss (2015) analyzes the theme of gender ad trauma from World War I to the war in Iraq. The studies portrayed are correlated in some way because they provide the avenues with which the authors could express their experiences with the war while taking a transgressive move to portray themselves as agent of destruction of the symbolic order that privilege the masculine in literature. Materials and Discussions The variations in the geopolitical orientations of the Arab/Irqi female war memoirists provides readers with the information about how the space they occupied influenced their selection of language and style of approaching about the war events in the Iraq-Iran and America-Iraq war. These geopolitical orientations form the foundation for the selection of the theoretical perspectives that can be used to read the Arab/Irqi female war memoirs. This research employs “Geocriticism” approaches by theorists like Bertrand Westphal, and Robert Tally, and philosophers like, Henri Lefebvre with his Production of Space to analyze the relation existing between the subjects and space in literary terms with critics such as Hélèn Cixous the concept of écriture feminine. Conclusion From a geocriticism approach, the Arab female war memoirists are found out to rewrite the scripts of the Iraq-Iran and the Iraq-American war as a reflection of the gendered experience, where they open up new approaches to the theme of war in the literary world. The audience of the studies can therefore track the foundation for creating knowledge in terms of how space, land, and spatiality within the jurisdiction of Arab female war memoirists influences their style of approach in portraying the events of the war.
Hossein Mohseni
Abstract
IntroductionIn order to insist upon discursive reconfiguration of violence in Shakespeare’s comedies, critics bring examples of civic and political violence, and matrimonial/domestic and erotic manipulations in plays’ real and fantastic worlds. In plays such as The Merchant of Venice, The ...
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IntroductionIn order to insist upon discursive reconfiguration of violence in Shakespeare’s comedies, critics bring examples of civic and political violence, and matrimonial/domestic and erotic manipulations in plays’ real and fantastic worlds. In plays such as The Merchant of Venice, The Taming of the Shrew and A Midsummer Night’s Dream, the manifests of non-physical violence could be identified in an epitomical manner, and afterwards one could see how such manifests of violence could be recognized in Shakespeare’s other comedies.Approach and MethodologyConsidering the reconfiguration of violence and elimination of physical violence, the present study reads violence in Shakespeare’s aforementioned comedies as a discursive violence. For devising a definition of this kind of violence, it uses Slavoj Zizek’s ideas on the issue of violence and how he defines violence discursively. In his definition, Zizek discriminates between the objective violence, which comes from impersonal, exclusive, systematic and so-called objective nexuses of power and subjective violence, which comes from subjective rendition of each individual from implementation of violence in sites for which objective violence has not defined any containment strategy. In the case of subjective violence, intentions and motivations behind violence are murky and uncontainable, giving its operation the necessary fluidity. While discussing the manifests of subjective violence, the present study finds instances of what Zizek calls to be antimonies; discursive points around which two rational arguments can be represented without any promise of resolution.Literature ReviewIn the first part entitled “Objective and Subjective Violence in Shakespeare’s Comedies”, the study discerns between two kinds of violence in Shakespeare’s comedies through the utilization of Zizek’s notions on violence in Violence: Six Sideway Reflections. In “The Antimony of Victimization in Shakespeare’s Comedies”, the study utilizes Zizek’s notion of antimony next to notions of other critics such as Dympna Callaghan in Shakespeare without Women, Natasha Korda in “Household Kates: Domesticating Commodities in The Taming of the Shrew, Emily Detmer in “Civilizing Subordination: Domestic Violence and The Taming of the Shrew”, Michael Taylor in “The Darker Purpose of A Midsummer Night’s Dream” and Lisa S. Starks-Estes in Violence, Trauma and Virtus so that a less optimistic interpretation of seemingly emancipative and empowering moments for the marginalized characters – or the plays’ others – could be represented, which in turn, could show the workings of non-physical yet effective violence and subjugation against such characters. Finally, in “Discursive Laughter in William Shakespeare’s Comedies”, the present study brings Edward Berry’s discussion of Carnivalesque and Hobbesian laughter and locate Shakespearean laughter in the middle of them.ConclusionIn the present study, it is indicated that the domain of the marginalized characters of Shakespeare’s comedies is in a site where the objective violence has no authority and it is subjects themselves that need to inflict the violence on them on the basis of their rendition of it. Zizek observes that these renditions are affected by what is not included in the symbolic order of the objective violence and that is why Petruchio starts not behaving in a physically violent manner, Shylock is not treated in a conventional legal term and Hermia and Helena are not contained through rational means of recuperation. It is as if all of these characters need to be dealt within antimonic sites where every possibility of resilience and liberation can be recuperated through subjective interpretations of the suppressors.
Niloofar Hemmatyar; Kian Soheil
Volume 15, Issue 21 , October 2019, , Pages 297-313
Abstract
This article analyzes and seeks to explain the relationship between human and their animal companion in Dickens’s novels. Dickens’s main objective, throughout his novels, was to find an answer to the vital question of how to live especially in that moment of crisis. This answer will not be found ...
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This article analyzes and seeks to explain the relationship between human and their animal companion in Dickens’s novels. Dickens’s main objective, throughout his novels, was to find an answer to the vital question of how to live especially in that moment of crisis. This answer will not be found unless; one is able to define the characteristic of a good citizen. Almost in all of his novels, this consistent message emerges that creating a community becomes an essential virtue in achieving equilibrium. To divulge Dickens’s worldview, the Liberal Humanism as a critical approach is used. Dickens was a major and widely read novelist of his own era. Dickens’s popularity is chiefly due to his intense human sympathy; his unique emotional and dramatic power; and his aggressive humanitarian aspiration for the reform of all evils and abuses, whether they weigh upon the oppressed classes or helpless individuals. Based on his personal familiarity with the life of the poor and apparently of sufferers in all ranks, in his novels, he gave voice to them. Through his works, readers come to perceive the virtues of love and the pleasures of home in a defected, flawed, and indifferent world. Despite the bleakness of his view of society and the fierceness of his criticism of it, his novels always end with a sentimental assertion of the virtues of heart and home.
Volume 6, Issue 1 , October 2013
Volume 7, Issue 1 , June 2014
Abstract
Kundera's novels depict a world full of thoughts and questions. These thoughts are always about the human being and his existence in this world of confusion and difficulty to live.
In this article we will look at the themes which are repeated in the works of Kundera, novel to novel, until the specifications ...
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Kundera's novels depict a world full of thoughts and questions. These thoughts are always about the human being and his existence in this world of confusion and difficulty to live.
In this article we will look at the themes which are repeated in the works of Kundera, novel to novel, until the specifications and features make the obvious highlights of his novels. Notions of identity and immigration and the influence they get one from another, are notions that Kundera develops by processing his characters to thereby achieve a general understanding of mankind.
One of the fundamental problems that Kundera follows in his novels is the concept of identity, how it is formed and its transformations which is shown off in a different way in each novel. In this article, based on the novel Ignorance the identity of the immigrant characters in their mother land and in the second country are studied and the question of the inevitable immigration which often raises paradoxical sensations in characters, is examined.
Volume 6, Issue 2 , June 2014
Abstract
Among the authors who are involved in social problems and who tried to reflect them in their works, Emile Zola has a remarkable position. Germinal is one of the first books which drew social inequalities in french society. It is the story of a fight between the capital and the labor that is always under ...
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Among the authors who are involved in social problems and who tried to reflect them in their works, Emile Zola has a remarkable position. Germinal is one of the first books which drew social inequalities in french society. It is the story of a fight between the capital and the labor that is always under the yoke of its masters who do not stop exploiting it. The violence is the main element which reigns over all the novel and an essential factor which determines the life and the fate of the characters. It appears everywhere: in the family, in the work environments, etc. and the women suffer from it more than the men
Samaneh Afghari; Helen Ouliaeinia
Volume 12, Issue 16 , April 2016, , Pages 31-53
Abstract
This study aimed to investigate the impact of Socratic seminar on cultivating critical thinking as a resource for improving Iranian senior literature students learning of literature and the extent to which this alternative method enjoys appreciation on the part of literature teachers and students. For ...
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This study aimed to investigate the impact of Socratic seminar on cultivating critical thinking as a resource for improving Iranian senior literature students learning of literature and the extent to which this alternative method enjoys appreciation on the part of literature teachers and students. For this purpose, from a target population of 128 BA English literature students studying at Sobh-e-Sadegh Institute of Higher Education, a sample of 40 senior students, both male and female, were selected, purposive sampling. The participants were 20 to 30. They were randomly assigned into two groups, namely control and experimental, 20 each. The California Critical Thinking Skills Test (Facione&Facione 1990) was used as a pretest prior the treatment to specify the participants’ critical thinking skills in both groups. At the end of the treatment which lasted ten sessions, the same test was given to the participants in both groups. The findings reported the positive impact of Socratic seminar on critical thinking skills; additionally, the qualitatively obtained data from an open-ended questionnaire and an interview of the seminar teacher yielded credible evidence of the preference of the novel method over the traditional one. Indubitably, the findings have significant implications for literature professors and students.
leila hor; Ahmad Razi
Volume 15, Issue 20 , April 2018, , Pages 85-112
Abstract
Walk two moons by Sharon Creech, is a symbolic story and with the centrality of critical thinking that its main character, the archetypal world (death, fear of losing and self-recognition)represents that is derived from the collective unconscious. The author by using a complex plot, fiction interference ...
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Walk two moons by Sharon Creech, is a symbolic story and with the centrality of critical thinking that its main character, the archetypal world (death, fear of losing and self-recognition)represents that is derived from the collective unconscious. The author by using a complex plot, fiction interference and symbols like nature, names, cryptic messages raised in the story, and … between the structural elements of a work and its themes established a network communication and by creating parallel structures and critical thinking, addressing instill a sense of juvenile identity seeking. This novel is one of the best-selling of juvenile literature by relying on themes such as death, judgment, travel, and …. reflects the desire to discover the truth by asking analysis, inference, and self-regulation of the characters of the novel.
This article aimed to show the role of story in human experience and as a mean for thinking, contemplation and acceptance of the reality by an analytical-descriptive method and psychological approach and by combining of Glaser and Facione’s list.
The findings suggest that the writer focusing on travel (internal and external) in the novel and acceptance of death (loss) as a motivating factor for juvenile by scheming challenging questions, display new insights about life issues. This novel based on components of critical thinking in two indexes of inference and analysis had the most frequently and acted in accordance with the theme of the novel and while self-regulation and reform of the protagonist, put the new image of maturity and seeking identity at the disposal of juveniles.
Hoda Shabrang
Abstract
Immigration experience is always accompanied by tension and conflict. In other words, the immigrant is always under a double paradoxical command. The host asks the immigrant to assimilate into its culture, yet simultaneously it orders him to keep a distance which results in the “paradox of assimilation ...
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Immigration experience is always accompanied by tension and conflict. In other words, the immigrant is always under a double paradoxical command. The host asks the immigrant to assimilate into its culture, yet simultaneously it orders him to keep a distance which results in the “paradox of assimilation and difference”. Therefore, the immigrant will be in an impossible situation: on the one hand he has to actively participate in the assimilation process; on the other hand, he should keep his distance from the host culture. The Immigrant artist is not allowed to create a kind of art which is completely related to his culture because it is not readable and understandable in the host country, neither is he allowed to create some kind of art which is completely related to the host culture since that place is reserved for the artists of the host country. In this article, first the “paradox of assimilation and difference” and its consequences will be discussed, then the movie A Girl Walks Home Alone at Night by Ana Lily Amirpour, who is an immigrant Iranian-American director, will be analyzed. The aim is to show how her shattered identity as an immigrant artist is represented in her art. Although this impossible situation seems very painful at first glance, it is beneficial for the immigrant artist. In this hybridized space, she creates a kind of art which is innovative and unique, because she is not completely preoccupied with the hollywoodian clichés imposed by the host culture.
Volume 11, Issue 15 , October 2015, , Pages 195-218
دیانوش صانعی; جلال سخنور
Volume 14, Issue 19 , October 2018, , Pages 209-232
Abstract
Cultural-environmental Discourse in Margaret Atwood’s
The Handmaid’s Tale
The present article approaches Margaret Atwood’s novel, The Handmaid’s Tale, (1985) to incorporate a variety of related discourses that enter into a dynamic relationship with current ecocritical theoretical discourses. ...
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Cultural-environmental Discourse in Margaret Atwood’s
The Handmaid’s Tale
The present article approaches Margaret Atwood’s novel, The Handmaid’s Tale, (1985) to incorporate a variety of related discourses that enter into a dynamic relationship with current ecocritical theoretical discourses. In a futuristic society, the pollution of natural world along with the growth of religious fundamentalism results in the sterility of most the members as the manifestation of entropy. It also suggests how the author’s conception of gender-environment connections correspond to the ideas held by ecofeminists. In this story, the patriarchal monopolization over women and nature points out wherever women are degraded, nature is exploited too The specificity of Atwood’s interest in environmental issues creates a symbiotic relationship between nature and culture as connected entities that constantly shape and reshape each other. Generally speaking, this study examines ecological values as well as the ideological vehicles for any position on the interactions in human-environment to reflect how literature participates in and interacts with the entire ecosphere. Atwood’s survived character in the novel is a woman who imagines herself in relation to nature and resists the controlling aspects of culture through narrating her story.
Key Terms: Ecocriticism- Ecofeminism-Entropy-Margaret Atwood-Survival-
Volume 14, Issue 18 , June 2018, , Pages 211-233
Abstract
Abstract
The quite new genre “adolescent Novel” engages in the teens`problem in the critical and fateful period of adolescence. This study consists of two parts of Theory and practice. The theory part includes some data regarding the concept of “adolescent Novel”, its history, characteristics ...
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Abstract
The quite new genre “adolescent Novel” engages in the teens`problem in the critical and fateful period of adolescence. This study consists of two parts of Theory and practice. The theory part includes some data regarding the concept of “adolescent Novel”, its history, characteristics and categorization. In the practical part, the effective literal and medial factors on “adolescent Novel” are introduced and intertextual and intermedia performance is expressed tangibly by giving example from the Novel “Whisper”. The purpose of this survey is to study the position of “adolescent novel” in the German Children and young adult literature and the study of effective role of literal- (intertextual) and medial factors (intermedia) on this young adult literal genre.
Ladane Motamedi; Atefeh Navarchi
Volume 15, Issue 21 , October 2019, , Pages 217-236
Abstract
The linguistic approaches to translation based on translation units, are today a new challenge in the study of cultural elements in translation. By changing the unit of translation from text to culture, the "loyalty" of the target text to the source text acquired a new meaning, and translation was considered ...
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The linguistic approaches to translation based on translation units, are today a new challenge in the study of cultural elements in translation. By changing the unit of translation from text to culture, the "loyalty" of the target text to the source text acquired a new meaning, and translation was considered as a means of creating a cultural connection between the ethnicities. In other words, translation studies were used as a tool to examine the role of translated text, as an autonomous text, in cultural interactions. This paper based on Michel Ballard methods, analyses the strategies used in the translation of cultural elements in Je voudrais que quelqu’un m’attende quelque part (I wish someone were waiting for me somewhere) written by Anna Gavalda and translated by Nahid Foroughan, to present the relationship between these strategies and the autonomy of the translated text.
Sussan Rahimi Bagha; Leila Baradaran Jamili
Abstract
Introduction: This article attempts to analyze the concepts of transculturation, ideology and double consciousness in Amiri Baraka’s ideological plays; The Great Goodness of Life: A Coon Show (1969) and The Slave Ship (1967). In order to get this objective, Frantz Fanon’s concepts of transculturation ...
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Introduction: This article attempts to analyze the concepts of transculturation, ideology and double consciousness in Amiri Baraka’s ideological plays; The Great Goodness of Life: A Coon Show (1969) and The Slave Ship (1967). In order to get this objective, Frantz Fanon’s concepts of transculturation and the identity in regards to the symptom of double consciousness, as well as the ideas of Slavoj Zizek in analyzing the psycho-ideological impacts have been utilized. The blacks were defined as the ‘Others’, and the dreams of ‘Becoming’ have never been easily applicable for them. They become separated from their homeland, and labored in the new world of Western multinational capitalism among the forms of colonization. The plays of Amiri Baraka focus on the revolutionary work of art. This study concentrates on Baraka's attempts toward his black plays as the notion of critical response to the dominated ideology which stands against the black community.Background of the Studies: This study is an attempt to consider ethno-psycho-ideological key concepts while reading Baraka’s plays. Amiri Baraka formerly known as LeRoi Jones (1934 – 2014) is a black American poet, activist, scholar and playwright. Throughout most of his career, he supported and assisted in re-establishing of the influential Black Arts movement which sought to move black writers away from western aesthetic sensibilities toward a more complete embrace of the black world. Baraka is known for his aggressive style and his controversial writing. He has penned more than 50 books, including fiction, music criticism, essays, short stories, poetry and plays in order to explore and examine Black life, love, and social order.Materials and Discussions: This research will be an interdisciplinary discourse, fascinated with the spectacle of the racism, as the images of the colonial and black ‘Others’ which become a trope of desire for the hybrid identities. The discussions will take place in the realm of transculturalism and hybridity, as well as the identities which evoke the challengeable racial and ideological experiences in Fanon’s thought. Being the ‘Other’ and having double consciousness are under the invitation of the black subject to mimic white culture in order to obtain political and social comformity. Zizek’s opening discussion in his The Sublime Object of Ideology is to claim that today ideology has delved in the political landscape. He insists, Althusser’s understanding of ideological identification suggests that an individual is wholly interpellated into a place within a political system by the system’s dominant ideology and ideological state apparatuses. His ideas are formed by drawing on Lacanian psychoanalysis, around the ideological dis-identification and jouissance as political factors.Result and Discussion: The third play of Four Black Revolutionary Plays is Great Goodness of Life: A Coon Show (1969) which employed the combinatory techniques and styles of expression, and subtitled as A Coon Show to demonstrate that the play parodies the nineteenth-century American black minstrel show which was created by whites to satirize, exaggerate, and to ridicule black life-styles through the use of myth. The black protagonist, Court Royal is accused by an electronic voice, of shielding a wanted criminal. It is black man’s gullibility that Baraka seems to resent the most. Slave Ship (1967) is a historical pageant consists of projected images, different styles of black dance and chant, plus pause and silence. The setting of the play is a slave ship, the cries of enslaved women and men, and white sailors laughing while calculating the number of slaves. Inscribed in the play is the nationalist revolution Baraka envisions, in order to transform realities of bondage, cultural defamation, and racial prejudice. Conclusion: Both plays of Amiri Baraka, in this study, are the revolutionary work of art. His plays indicate the centrality of a black massive movement toward the achievement of complete self-rule and self-realization. His experimental works in the 1960s are considered as the most significant African-American ones. Baraka’s powerful revolutionary art and political actions were directed entirely to the black and white audiences.
Volume 10, Issue 14 , October 2015, , Pages 231-245
Abstract
Committed novel, ruling out the idea of “art for art’s sake”, rejects the merely literary status and adopts position in the political, social, cultural or religious issues. Eric Emmanuel Schmidt, the contemporary French writer, is among those writers who, dealing with the fundamental issues of ...
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Committed novel, ruling out the idea of “art for art’s sake”, rejects the merely literary status and adopts position in the political, social, cultural or religious issues. Eric Emmanuel Schmidt, the contemporary French writer, is among those writers who, dealing with the fundamental issues of man such as life and death, disease and oldness, wealth and oppression, religion and the meaning of life, don’t treat social issues indifferently. In the novel of Ulysses of Baghdad he deals with the century’s issue in Europe, namely, migration.
In this article, we are going to show how Schmidt outspokenly questions the policies of his country vis-à-vis refugees and appears like a committed writer who is not indifferent toward the homeless who escape from war and unrest in their land to Europe in the hope of a better life. In addition, we will touch upon the relation of philosophy and myth in this work to show how these two concepts, with an ever-close relation, have a mutual engagement to build a stronger basis for Schmidt’s committed novel.
abdolbaghi rezaei talarposhti; Behzad Pourgharib; Ahmad Reza Rahimi
Abstract
Historiographic metafiction, as one of the postmodern writing styles, reminds the readers of its being fictional as it does not claim of any representation of reality and thus it challenges the historical truth. In fact it presents history in a slightly different manner than how it actually happened ...
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Historiographic metafiction, as one of the postmodern writing styles, reminds the readers of its being fictional as it does not claim of any representation of reality and thus it challenges the historical truth. In fact it presents history in a slightly different manner than how it actually happened or conceived. Linda Hutcheon, the Canadian critic, as one of the most significant postmodern theoreticians, defined hysterographic metafiction as works which use historical background while having some postmodern techniques. This study applies her theory to The House of the Spirits by Isabel Allende. Using techniques such as intertextuality, parody and irony, Allende has rewritten turbulent Chilean history in the twentieth century and especially the events before, during and after President Salvador Allende’s time in office and the 1973 coup. Meanwhile she casts a doubt on the truth of some historical events, which establishes the work as a historiographic metafiction rather than a purely magic realistic text.
Masoud Farahmnadfar; Ghiasuddin Alizadeh
Abstract
September 11 attacks provided the American neo-Imperialism with the opportunity to disseminate the discourse of Islamophobia under the aegis of war against terrorism. The event influenced the world of literature, and many writers were prompted to find a response to the “Othering” of Muslims ...
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September 11 attacks provided the American neo-Imperialism with the opportunity to disseminate the discourse of Islamophobia under the aegis of war against terrorism. The event influenced the world of literature, and many writers were prompted to find a response to the “Othering” of Muslims and Middle-Easterners in western narratives. One of these authors is the Pakistani Mohsen Hamid who, in The Reluctant Fundamentalist, brings us face to face with the economic aspects of cultural and international injustice, and brings to light the deficiencies of the globalization discourse. This article studies the constitution of Changiz’s subjectivity as an alien and “other” in the wake of the September 11 attacks. The Reluctant Fundamentalist is a novel which impels the reader to think deeply about the lies hidden behind the universal and totalitarian categories such as “west/east” and “we/they.” Mohsen Hamid shows that the cultural map of the world needs a new design because national cultures are founded on the limitation of the alien, although they have their roots in people’s actions and behaviors, and do not possess an ontological and intrinsic value. This article explores the interconnectedness of identity and third space by studying Changiz’s character.
Mohamad Reza Noorollahi; Sheedeh Ahmadzadeh
Volume 13, Issue 17 , October 2017, , Pages 269-289
Abstract
The present article studies the deconstructive discourse in Their Eyes were Watching God byZora NealeHurston, the first African-American female writer. Studies on some major Black feminist novels reveal that these women make discourse work against their oppression. A significant feature of African-American ...
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The present article studies the deconstructive discourse in Their Eyes were Watching God byZora NealeHurston, the first African-American female writer. Studies on some major Black feminist novels reveal that these women make discourse work against their oppression. A significant feature of African-American women’s discourse is the deconstruction of the logo-centric principles that for decades have deprived many minority groups of ‘voice’; therefore, to overthrow the logo-centric systematic, Black women in their discourse make use of elements that are negatively defined in that system by the dominant class. Of the major elements of this discourse, we can refer to: silence, violence, madness, lesbianism, irrationality, etc. As such, it is suggested that the discourse should be called ‘deconstructive discourse’. To demonstrate how Black women make strategic use of deconstructive discourse, Hurston’s Their Eyes Were Watching God is studied in detail. In this novel Janie’s final act of subversion is the murdering of her lover and at the same time her last husband which sets her free from all patriarchal restrictions and prescriptions. Her silence in her subsequent trial in front of an all-white and all-male jury implies the insignificance of the white patriarchy.The present research has been conducted using deconstruction especially through its denial of any center.
Volume 6, Issue 1 , October 2013
Volume 7, Issue 1 , June 2014
Abstract
این مقاله جستاری است بر نقش زبان در تئاتر ریچارد فورمن از زاویهی «کودکی» و «بالقوگی» در اندیشهی سیاستی جورجو آگامبن. زبانی که فورمن در اجراهایش برای بازیگران به ارمغان ...
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این مقاله جستاری است بر نقش زبان در تئاتر ریچارد فورمن از زاویهی «کودکی» و «بالقوگی» در اندیشهی سیاستی جورجو آگامبن. زبانی که فورمن در اجراهایش برای بازیگران به ارمغان میآورد، مقابل ارجاع و دلالت به دنیای پیرامون میایستد و آن چه را که تجربهناپذیر و بیاننشدنی است به صحنه میکشد. هر آنچه بازیگران از آن سخن میرانند، یا به عبارت بهتر، به کلام درمی-آورند، در پیکرهی زبان و نظام ارجاع نمیگنجد و این است تجربهی کودکی و بالقوگی ناب از منظر آگامبن. کودکی، پویایی حاصل از بودن در «میانگی» بین زبان و آوا، گفتمان و صدا است و هیچ گاه به یکی از این دو بسنده نمیکند. از این رو، دیالوگها نه به تکگوییهای مهمل، بلکه به دنیایی ماسوای دنیای ملموس و دلالتپذیر و از قبل تجربه شده اشاره میکنند که در آن تماشاگران دستخوش نوعی از «نادانستن» و یا «بیدانشی» خاصّ کودکی میشوند. این تجربهی نوین از زبان و مادهّاش، یعنی تجربهی رخ-دادن زبان و نه دنیای بیرون و ارجاعاتش، بالقوگی دلپذیری را در اختیار تماشاگران قرار میدهد. این بالقوگی، از نگاه آگامبن، ناب-ترین و حقیقیترین تجربهی سیاسی است که انسان میتواند از آن بهره ببرد. بالقوگی، به معنای پایداری مقابل بالفعلهای قدرت، میتواند خاستگاه هنری «ناکارآرا» باشد که هرگز اسیر به فعل درآمدنهای نظامهای حاکم نمیشود و در کودکی و رنگارنگ توانش استوار باقی میماند.
Volume 6, Issue 2 , June 2014
Abstract
Edward FitzGerald’s The Rubaiyat of Omar Khayyam (1859) is the most famous translation ever made from Persian verse into English. FitzGerald’s poem was published in a very turbulent time in England. The present study tries to show that The Rubaiyat circulates one of the dominant discourses of the ...
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Edward FitzGerald’s The Rubaiyat of Omar Khayyam (1859) is the most famous translation ever made from Persian verse into English. FitzGerald’s poem was published in a very turbulent time in England. The present study tries to show that The Rubaiyat circulates one of the dominant discourses of the period in which it was written: the discourse of the religious doubt. To do so, a new historical reading of The Rubaiyat is employed. According to this approach literary texts are inseparable from their historical context. So, the literary text participates both in the construction and consolidation of the discourses. The Rubaiyat is no exception; it reflects the same discourse circulating (in literary and non-literary) at the time it was written. These texts are as follows: discoveries in Assyriology, religious books and treaties, poetic and prose works, and scientific books and treaties.