H.G. Wells, as the forefather of science fiction has used the relativity of time in his stories, and has manifested how through shattering the boundaries between time and place, the technological advances have changed the notions of classical physics into modern physics. These changes are inserted via ...
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H.G. Wells, as the forefather of science fiction has used the relativity of time in his stories, and has manifested how through shattering the boundaries between time and place, the technological advances have changed the notions of classical physics into modern physics. These changes are inserted via opacity, resistance to the gravitational force and also freedom in movement to and fro in the time zone. In this article, Wells's science fiction stories which show the transformation of the human into machines, otherness, and resistance to gravity which would result in the devastation of the whole humanity have been studied, with the aim of coming to this conclusion that the main reason of the time traveling of the humans is opacity in Wells's science fiction
To investigate the problematics of the representation of female subjectivity and gender identity in Pinter’s drama, the present research adopts Judith Butler’s poststructuralist feminist views as its theoretical framework and applies them to one of the dramatist’s most celebrated plays, “Old ...
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To investigate the problematics of the representation of female subjectivity and gender identity in Pinter’s drama, the present research adopts Judith Butler’s poststructuralist feminist views as its theoretical framework and applies them to one of the dramatist’s most celebrated plays, “Old Times”. In her theory, Butler focuses on such issues as the representation, construction and subversion of gender identity as part of her commitment to redress sexual oppression. Rejecting the idea of a substantial internal gender core, Butler promotes her theory of performative gender identity: the idea that gender is constructed through the stylized repetition of some ritual acts. The critic, moreover, locates the site of subversion and agency in such performative acts as parodic repetition and impersonation that displace regulative norms through hyperbole, dissonance and internal confusion. The study of Pinter’s representation of female identity and subjectivity in the light of Butler’s critical theories reveals that the prevailing sociocultural discourses function to naturalize woman’s identity and to introduce heterosexuality and binarized gender identities as the only normal type of sexuality. Pinter’s female characters in “Old Times,” however, challenge the imposed identities and roles through such subversive performative acts as the foregroundation of the constructed nature of the binarized gender identities, the heterosexual matrix of intelligibility, and the relations of coherence and continuity between sex/gender/desire/sexuality. Through their subversive performative acts, Pinter’s female characters also manage to displace the archetypal identities and roles assigned to them through the adoption of such strategies as parodic repetition and impersonation
Metaphor and simile are two figures of speech widely used by Shakespeare in his great tragedy, Macbeth. In this corpus-based descriptive comparative study, three Persian renderings of Macbeth by Shadman, Pasargadi, and Ashouri were examined. Newmark’s procedures (Newmark, Approaches 88) for translating ...
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Metaphor and simile are two figures of speech widely used by Shakespeare in his great tragedy, Macbeth. In this corpus-based descriptive comparative study, three Persian renderings of Macbeth by Shadman, Pasargadi, and Ashouri were examined. Newmark’s procedures (Newmark, Approaches 88) for translating metaphors and Pierini’s strategies (Pierini 31) for similes were employed as the frameworks of the study. Analyzing 260 randomly selected metaphors and 66 similes based on Morgan’s table of sample size, the researcher concluded that the most frequently used strategies for translating metaphors in the translations were “reproducing the same image” (Newmark’s most preferable strategy), “conversion to sense”, and “replacing the image”, which were mostly observed in Shadman, Pasargadi, and Ashouri’s renderings respectively. Pierini’s suggested strategy, “retention of the same vehicle”, has been mostly applied by Shadman. Chi-square statistical procedure indicated that the difference between the three translators’ applied strategies was not significant for the metaphors and similes
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.
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.
The purpose of this paper is to elucidate the events in the aftermath of waterloo war and the ideology arising from it in the 19th-century England. The researchers are inclined to survey post-waterloo discourses in the light of New Historicism which is grounded on the mind-sets of the illustrious 20th-century ...
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The purpose of this paper is to elucidate the events in the aftermath of waterloo war and the ideology arising from it in the 19th-century England. The researchers are inclined to survey post-waterloo discourses in the light of New Historicism which is grounded on the mind-sets of the illustrious 20th-century philosopher, cultural historian, and archeologist Michel Foucault. The research elaborates on the crucial role the guardians of post-waterloo war ideology take in highlighting the significance of the battle in addition to explicating their role in foregrounding the weight of the English Army and its Tory commander, Lord Wellington in the victory. In this regard, Lord Byron's contemporaries' part as the cultural arm and propagandists of the dominant Tory Party has been discussed. What is more, the dominance and significance of major Tory publishers as staunch defenders of the English power structure has been analyzed in this paper. Last but not least, Lord Byron's revolutionary stance and response towards the above-mentioned ideology was illuminated in each section.
Chinua Achebe’s Things Fall Apart, is considered to be the most impressive account of an African culture being affected by European culture. The novel was written to provide an authentic account of African culture and to portray the detrimental effect of the Europeans’ arrival on the invaded lands. ...
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Chinua Achebe’s Things Fall Apart, is considered to be the most impressive account of an African culture being affected by European culture. The novel was written to provide an authentic account of African culture and to portray the detrimental effect of the Europeans’ arrival on the invaded lands. Drawing on Gerard Genette’s theory of narrative, we attempted to discover the story/text discrepancies of the novel. Given that Genette mostly concentrated on the level of text, this study would additionally benefit from Seymour Chatman’s theory on narrative. In unearthing the difference of the plotted course of events from their actual route, we gave special attention to the narrative time and its manifestation in the level of text. We particularly answered to this question that how Achebe brings narrative time at his disposal to fulfill his divergent intention in the two parts of the novel. In so doing, Genette’s definition of narrative time, embracing three elements of order, duration, and frequency, as well as Chatman’s definition of the building blocks of story is provided. The researchers, then, magnified the function of narrative time throughout the novel. The result of this study not only demonstrated the want of story in the first part of the novel, but also revealed how Achebe’s different intentions necessitated dissimilar duration and order of presentation of incidents in the two halves of the novel. It should be mentioned that no discrepancy was observed between the level of story and text in terms of frequency
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.
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.