European orientalists have consider Nizami works from The middle of 17th century. They Tried to produce summaries of his works to translate in different languages.
In the beginning of 19th century Durbello starled to translate some pieces of Nizami’s works. After him, J.F.Von Hammer Purgestall Continued ...
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European orientalists have consider Nizami works from The middle of 17th century. They Tried to produce summaries of his works to translate in different languages.
In the beginning of 19th century Durbello starled to translate some pieces of Nizami’s works. After him, J.F.Von Hammer Purgestall Continued to comptete what had already done by Purgestall. F. Petis de Lacyoix Tried to gain a Translation of “Haft Peikar” in French. In 1809 Purgestall compited tow volumes considering the story of Shirin. In 19th century a movement came up in concern with Nizaman in European Countries and Some serious Tranlations came into existance. After that many works appeared being inspired of Nizami works in Englan, Germany and french.
Abstract Drama has staged, presented, represented, and performed different concepts of subjectivity, throughout history. Many theoreticians believe in the mutual interdependence between modern drama’s structural and stylistic innovations and the major changes in the conceptual understanding of identity ...
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Abstract Drama has staged, presented, represented, and performed different concepts of subjectivity, throughout history. Many theoreticians believe in the mutual interdependence between modern drama’s structural and stylistic innovations and the major changes in the conceptual understanding of identity and subjectivity particularly from the beginning of the twentieth century onwards. Acknowledging the importance of theatre’s endeavour to imitate, negotiate and construct human identity; no one disputes their fundamental premise about the basic correlativity between the two. Critical analysis regarding the reciprocal relationship between the conceptual fluctuations of subjectivity and the structural and stylistic theatrical and dramatic innovations of our time is yet far from exhausted. The present article specifically will focus on the definition of postdramaticality form Lehman’s perspective and endeavors to investigate and identify the possible underlying causes for postdramatic innovative methods of characterizations in theatre after 1980. It also tries to explicate the necessity of stylistic and structural changes in theatre, due to the new conceptualization of subject in postmodern theories of subjectivity, and also the changed status of the subject in the mediatized environs of today’s world. The essay introduces five different postdramatic methods of characterization in theatre that are practiced by different playwrights to perform/represent postmodern subjectivity
چکیده
خوانش تراژدی هملت تا نیمه اول قرن بیستم بر اصول انسان باوری بنا شده بود. نقادان، شخصیت تراژیک شکسپیررا با ادیپ کلاسیک قیاس میکردند. این تفسیرروانکاوانه، هملت را ...
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چکیده
خوانش تراژدی هملت تا نیمه اول قرن بیستم بر اصول انسان باوری بنا شده بود. نقادان، شخصیت تراژیک شکسپیررا با ادیپ کلاسیک قیاس میکردند. این تفسیرروانکاوانه، هملت را چون بیماری درآزمایشگاه روانشناسی قرارمی داد. با تصویری کلینیکی همچون بیماری که روی تخت درازکشیده اورا روان پریش تشخیص داده و منتقد فرویدی، ناتوانی هملت درحیطه عمل را - در ساحت روانکاوی بزعم ژیل دولوز با کشیدن مثلث خانوادگی (من - پدر- مادر) توضیح میداد. در این سه ضلعی پدرمدارانه ، خواننده مجال این را پیدا میکرد تا هملت را "ادیپی سازی" کند. یعنی همانند ادیپ، هملت هویت خود را پنهان در عشق ممنوعه به مادر و نفرت از هییت پدرانه می یافت. بواسطه این تعبیر کلینیکی هملت به جوانی مغموم تقلیل می یافت که دربستار مثلث ادیپی حبس شده وازکنش درجهان واقعی عاجزست. به گفته دولوز، این نمونه بارز امپریالیسم ادیپی ست که ادبیات کلان - یعنی آثاربرجسته جهان – برآن تکیه دارد. ادبیات کلان مسایل فردی و خانوادگی را در اولویت قرار داده وپیروآن، توان کنش فرد درفضای جمعی محدود می شود.
لیکن، مقاله حاضردرصدد ست که هملت را با بکارگیری پروژه های دولوز ازامپریالیسم ادیپی- که ویژگی اصلی ادبیات بزرگ (کلان) است –نجات دهد. به بیان دیگر، ادبیات کلان به ظن دولوز، مبتنی برچرخه روابط خانوادگی وازدواج است. خصیصه بارزآن پرداختن به حوزه خانواده، روایط و احساسات شخصی می باشد. ادبیات بزرگ ادبیات فردی است که به یاری اندیشمندان دهه های اخیر به ادبیات ؙخرد بدل شده تا از فردیت گرایی جدا شده و به فضای اجتماعی وسیاسی بپیوندد. حیطه ادبیات بزرگ با تکیه برمحدوده آشنا و بسته بزعم دولوز قلمروسازی می کند. قلمروسازی فرایندی ست که با تکیه بر آشنایی، حدو مرز، و چارچوب گذاری راه را برای معنی نهایی هموار می کند. این قلمروسازی بنیت وضوح و با تکیه بر معنای واحد راه را بر ناممکن ها و غیرمعمول ها می بندد. از منظر دولوز قلمروسازی همان فرایند ادیپی سازی ست- اولی زبان را در درچارچوب ارجاعیت و دومی فرد را در چارچوب خانواده محبوس می کنند. این بررسی پایانی برای ادیپی سازی هملت ست – یعنی روان نژندی حاصل دردهای خانگی را خاتمه می دهد. فانتزی ادیپ فروید منجربه استحکام هویت خودبسنده "دکارتی" نیز شده بود.بدین معنا که راه کار کلیدی فروید که "خود " را تنها علاج انسان متمدن می شمرد "خود" دکارتی مستقل و اندیشنده را نیزتقویت می کرد. این مقاله ایده ادیپی زدایی دولوز را دربرابر "خود" مستقل و عقل محور فروید ودکارت قرار می دهد. بمنظورفروپاشی آن، "قلمروزدایی زبانی " قادرست "من" مستقل که معنی واحد را نیزدر پی داشت درهم کوبد. هویت مستقل که بطور کامل و بسته بندی شده در ساختاری ثابت قرار دارد، اکنون در برابر گشایش ها و شدت های فرایند قلمروزدایی ودربرابرتبدیل ها وتغییرات آن، خود را نه دیگرسوژه ای واحد، بلکه جریانی روان وپویا می یابد. دراین قلمروزدایی، کارکرد اطلاع رسانی زبان متوقف شده ودال ها ازکنش ارجاعی سرباز زده و در نتیجه معنی واحد و غایی ازبین می رود. غیاب معنی، الگوی محاکات افلاطونی که بر "همسان سازی " استواراست ازمیان برمیدارد. چرا که بواسطه قلمروزدایی زبانی ، تمایزها و تفاوت ها در مقابل همسان های افلاطونی قدعلم کرده تا به سیطره بازنمایی خاتمه داده و به وانموده های قلمروزدوده فرصت ابرازوجود دهد. بنظرمیرسد که وانموده سازی که همان تولید تفاوت ها ست با پروژه ادیپ زدایی دولوزهمگام میشوند. این دو، پشت به الگوهای همسان و تکرارشده، به سوی ناهمسان ها که خلاق و آفرینشگرند حرکت کرده تا به کمک تولید تفاوت به "ادبیات ̕خرد " نزدیک شوند. بنابراین، منسوخ کردن همسان سازی که به وحدت و انسجامی موهوم وابسته اند در را بروی تفاوت هاو تناقض ها می گشاید. میل به برجسته سازی تنا قضات وناجوری ها با ایده نقض اصل درهم می آمیزند و سوژه خودبسنده دکارتی را از بندهای خانوادگی ادیپی آزادمی کنند. بدین ترتیب، می توان روند شکل گیری، فروریختگی وبازشکل گیری سوژه تراژیک را قدم به قدم دنبال کرد. این بررسی با بکارگیری زبان ریزومتیک بدون ارجاع به هیچ مرجعی، بازنمایی رئآلیستی رابه چالش می کشد. برعکس درخت که ریشه دارد و مسیررشدی مستقیم را دنبال می کند، ریزوم با بی ریشگی درهرکجا می روید ومسیررشدش نامعلومست. زبان ریزومتیک ازکنش ارجاعی سربازمی زند و برمرجعی واحددلالت نمی کند و بدین ترتیب پروژه قلمروزدایی زبانی اجرا می شود.به بیان ساده تر، زبان ریزومتیک برمرجع واحدی دلالت نمیکند زیرا ساحت ارجاع آن کثرت گراست. این زبان درتک تک حوادث با نقش مؤٌثرو غیرقابل انکاری درخلق اعماق تاریک ، فضاهای ناممکن، وضعیت ناممکن سوژه ها به خواننده امکان این را می دهد که قلمرو "من ادیپی" و "من هملتی" را قلمروزدایی کند.
کلیدواژه ها: وانموده – ادبیات خرد – ضدادیپی – قلمروزدایی زبانی – زبان ریزوماتیک
لازم به توضیح ست که کلیه مترادف ها ی فارسی با رجوع به منابع ذیل انتخاب شده است:.
ماکاریک، ایرناریما(١٣٩٠) دانش نامه ی نظریه های ادبی معاصر.ترجمه مهران مهاجرو محمد نبوی. تهران؛ نشرآگه.
دولوز، ژیل وگاتاری،فلیکس(١٣٩٢) کافکا: به سوی یک ادبیات ҆خرد. ترجمه رضا سیروان ونسترن گوران. تهران؛ انتشارات رخ دادنو.
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.
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.
Abstract Through studying classical literature and cultures of various counties, especially Persia, James Joyce has created his everlasting novel, Finnegans Wake, whose narratives can never come to an end. He creates a kind of fascinating intertextuality between these two works by using quotations without ...
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Abstract Through studying classical literature and cultures of various counties, especially Persia, James Joyce has created his everlasting novel, Finnegans Wake, whose narratives can never come to an end. He creates a kind of fascinating intertextuality between these two works by using quotations without any quotation marks and by interconnecting the Persian stories of The Thousand and One Nights with English stories and culture which involve the readers into a new verbal play of signifiers. This paper, by using the theories of Roland Barthes and Julia Kristeva and applying their theory of intertextuality, searches for the footsteps of The Thousand and One Nights in Joyce’s Finnegans Wake. Meanwhile, the paper shows that how the occurrence of events in Joyce’s novel follows the patterns of Shahrzad’s sleep and wake to lead Joyce’s characters away from their sleep or ignorance and moving toward wake or knowledge. Joyce designs a labyrinth for his readers, in his narration, which lasts many nights, even more than thousand and one nights, to enjoy and evaluate the patterns of sleep and wake. As a result of gaining the horizon of this new knowledge, his readers learn to interact and communicate with other cultures.
The present research is an analysis of two short stories by J. D. Salinger, A Perfect Day for Bananafish and De Daumier Smith’s Blue Period through Michel Foucault’s critical thinking and theories. Salinger is a writer whose works have attracted readers worldwide and his works are known around the ...
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The present research is an analysis of two short stories by J. D. Salinger, A Perfect Day for Bananafish and De Daumier Smith’s Blue Period through Michel Foucault’s critical thinking and theories. Salinger is a writer whose works have attracted readers worldwide and his works are known around the world and brought him fame. The focus of this essay is the analysis of these works from the perspective of Foucault’s critical theories to show how power controls and shapes the characters and their relations. The concept of disciplinary institutions, as one of Foucault’s main notions, is a major concept in these stories. The other notions which are used in this study are discourse, biopolitics and power. Foucault believes that social institutions take hold of the bodies and minds of people and shape and control them. In A Perfect Day for Bananafish hospital as a social institution, the discourse of medicine and distinguishing people as normal or abnormal, which is a tool for power to use it to control its subjects are discussed. The notion of biopolitics in the story is studied as well. In De Daumier Smith’s Blue period the control of power over people’s behavior and relationship is analyzed. Power relations and the way power teaches people how to behave and control each other are also discussed.
Recently, The approach or systematic attitude has been played as efficient tool, complement of specialized studies of various phenomenon in knowledge various areas and caused the comprehensive and multi-dimension understanding from the reason and the way phenomenon and happenings took place especially ...
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Recently, The approach or systematic attitude has been played as efficient tool, complement of specialized studies of various phenomenon in knowledge various areas and caused the comprehensive and multi-dimension understanding from the reason and the way phenomenon and happenings took place especially in recent decades which knowledge have encountered with production and accumulation of diverse specialized data and based on classic knowledge tradition, tried to analyze the system components and found the relationship among components relying on changes made based on analytical procedures in order to express the whole behavior of system. These analytical procedures were based on two presuppositions, firstly, no interaction existed between components or poor interaction existed among them, so that the system components could have exact separation capability and secondly, the relationship between components was describable with simple linear equations. Nowadays, by have a closer look on Rival theory and non-linear math thereof, it is obvious that the interaction between all system components have not followed two aforesaid conditions, therefore, it is necessary to have a general attitude in system analysis. The aim of the present paper was to investigate the concept of meaning and the way it formed in complex systems and then to compare the mechanism and the results of the process in which led to produce meaning in Complexity theory by one of modern semiotic components called “Adjustment system of Landowski”. In this analysis, it is obvious that meaning production process was effected on biological level besides cultural and social levels in both theoretical areas.
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.
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.
The present article is an attempt to introduce the reader to two great and prominent thinkers, Jacques Derrida (1930-2004) and Mahmud Shabestari (687-720 A. H); and to discuss their viewpoints on the problems concerned with language. What makes the two thinkers closely related is not the age or the place ...
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The present article is an attempt to introduce the reader to two great and prominent thinkers, Jacques Derrida (1930-2004) and Mahmud Shabestari (687-720 A. H); and to discuss their viewpoints on the problems concerned with language. What makes the two thinkers closely related is not the age or the place they lived in. It is rather their linguistic thoughts that dissolve all spatial and temporal boundaries in itself and keep these two thinkers, who lived in different ages and countries, closely related. On the one hand, utilizing the neologism “differance”, Derrida criticizes the logic of logocentrism and the process of signification existing in Western philosophy. On the other hand, emphasizing on the epistemology originated from Sufi practices and mysticism; and utilizing mysterious allegorical language, Shabestari abandons the Peripatetic philosophy of univocal language and the worldly rules of the logic dominating his age. The opacity and inadequacy of speech and writing, the means of presenting meaning; and the never-ending suspension and postponement of meaning all provide the junction for these two thinkers’ linguistic thoughts.
Abstract
In the present paper, it is tried to study the Collection of Stories written by Sadegh Hedayt entitled Three Drops of Blood and Gide’s Immoralist (Anti-Morality). We analyze the images in Three Drops of Blood and The Immoralist emerged from the authors’ anxiety and worry. We demonstrate ...
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Abstract
In the present paper, it is tried to study the Collection of Stories written by Sadegh Hedayt entitled Three Drops of Blood and Gide’s Immoralist (Anti-Morality). We analyze the images in Three Drops of Blood and The Immoralist emerged from the authors’ anxiety and worry. We demonstrate that how these two authors’ imagination has led to fantasize for overcoming worry and fear of death and creation of images that reflect the internal characters of these two stories. The unconscious desires and fantasies that are revealed in these two authors’ consciousness will be studied. The procedure of Gilbert Durand’s criticism is employed for achieving this objective. According to this, we will show how the imagination of the two authors leads to the reverie, the classification of the literary images in imaginary long poems will be lead to realizing Hedayat’s and Gide’s imagination. We will find the imaginative tendency of these two authors’ imagination.