Volume 15, Issue 59 (2022)
LCQ 2022, 15(59): 107-152 |
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hassanrezaei H, ghasemi M. Periodization the Literature of Revolution Based on Jurgen Ruhle's Theory: Analyzing Rupture /Unrupture of Intertexality. LCQ 2022; 15 (59) :107-152
URL: http://lcq.modares.ac.ir/article-29-62580-en.html
URL: http://lcq.modares.ac.ir/article-29-62580-en.html
1- Assistant Professor in Department of Persian Language and Literature, Farhangian University, Tehran, Iran. , hossein_hassanrezaei@yahoo.com
2- Assistant Professor in Department of Persian Language and Literature, Farhangian University, Tehran, Iran.
2- Assistant Professor in Department of Persian Language and Literature, Farhangian University, Tehran, Iran.
Abstract: (1271 Views)
Abstract
"Revolution" is one of the important issues that cause extensive changes in various political and social aspects of the society. The revolution has such an important effect on the periodization of art and literature that the literature of some countries is divided into "literature before or after the revolution". One of the most important theories about the relationship between literature and revolution is Jurgen Ruhle's theory. The present paper tries to periodize the literature of the Islamic Revolution in general, based on Ruhle's classification, and also investigate the rupture or unrupture of intertextuality in revolutions. For this purpose, the definition of intertextuality has been discussed first, and in order to classify the literature of the Islamic Revolution, Jurgen Ruhle's triple periodization (the period of sentimentality, the period of doubt and the period of rupture) has been used. Finally, the rupture or unrupture of Intertexality in revolution has been scrutinized. This research, which is written with a descriptive-analytical method, uses various linguistic theories, Harold Bloom's "reality" theory, and other related theories to further confirm Ruhle's theory, and concludes that it is possible to use the classification of Ruhle as a criterion for periodization of Islamic Revolution literary works. In addition, although revolutions cause intertextual rupture, this rupture does not include all the components of the tradition, because the slow and continuous flow of the tradition is more rooted than that the political and social events of a specific period or system cause it destroyed completely.
Extended abstract
Statement of the problem: Literature is one of the tools that revolution uses to achieve its goals, but is the relationship between literature and revolution permanent? Will the form and content undergo a fundamental transformation with the revolution? What is the fate of literature after the revolution? Is the intertextual relationship with the literary tradition completely cut off? In this case, how is the literature of the revolution periodized? The present paper tries to answer these questions with the descriptive-analytical method and based on Jurgen Ruhle’s theory about the periodization of revolutionary literature (the period of sentimentality (promotion), doubt, rupture) and also by taking the help of the theory of intertextuality.
Discussion:
Literature has an important role in the spread and acceptance of the revolution because of its elements such as rich emotion, influential music and language, therefore it has always been the focus of various political parties. Different groups have profited from it to excite people, propagate beliefs and mock enemies. From this point of view, literature has a persuasive function in addition to its aesthetic function. But literature is not the messenger of the revolution forever, and after a while, it separates its way and goes on its own independent way. Therefore, from the point of view of Jurgen Ruhle, the literature of the revolution is divided into three periods:
1- Period of emotions or political romanticism: In this period, most of the writers support the revolutionary ideals and use their art and talent in the way of the revolution and its realization and promotion.
2- Doubt period: In this period, there are doubts about the past and the artist has doubts between society, personal life and revolutionary goals.
3- Disruption period: In this period, unlike the first period, literature is not the voice of the revolution, but it moves away from it and sometimes even opposes the ideology of the government.
The same theory can be applied to the literature of the Islamic Revolution. The late 1970s until the end of the imposed war (1989) can be considered the period of sentiments and promoting the revolution. During this period, artists engaged in political struggle, opposing the Pahlavi government and promoting the foundations of the revolution, and there was a widespread interest in religious literature and revolutionary rituals. Since the imposed war occurs during this period, the atmosphere and revolutionary discourse continues until the end of the war. The second period begins with the end of the war, and with the formation of the reform discourse, it becomes more and more important, and it can be considered until the middle of the 80s (2006). During this period, some artists adjust and change their revolutionary opinions and beliefs, and the ideological view becomes less.
The intense religious, political and war themes are declining and not only are there no signs of passionate revolutionary themes, but "doubts in ideological certainties and writing from lived experiences are the most prominent features of the literature of this period" (Saadat, 1384, vol.1: under fiction). From the mid-80s (2006) to today, in the works of some artists, doubts come close to breaking. In this period, in Mastur's interpretation, we can see the "bifurcation" of literature, that is, "those who write against the values of the revolution and those who write in support of them" (Hariri, 1383: 63).
The issue of the relationship between literature and the revolution can also be examined with the approach the rupture or unrupture intertextuality. For example, because in the first decade of the revolution, Nimai's poetry was suspected to be secular, the literature of the revolution turned to other formats, and Nimai's poetry was abandoned for a while. This indicates that with the change of the political-social system, the artistic discourses will also change willy-nilly and intertextual break occurs in some of the themes or forms. Of course, it should be noted that a complete break from the literary tradition is not possible; Because it is not possible to completely reject, deny or remove the tradition.
Conclusion:
Considering what has been said, it should be said that literature does not remain in the service of the revolution forever, but according to Jurgen Ruhle, it goes through three periods (the period of sentimentality, doubt, rupture) after the revolution. The same periodization can be applied to the literature of the Islamic Revolution. From 1979 to the end of the war can be considered as the period of emotions, promoting and supporting the revolution. 2- The end of the war until the end of the reform period (mid-2000s) can be considered a period of doubt about the ideals of the revolution. In this era, doubt in ideological certainties and religious beliefs spread, and writing about love, lived experiences and paying attention to the form replaces the preaching of religion, war and supporting the revolution. 3- From the middle of the 2000s onwards, it should be called the break(rupture) period. During this period, some artists wrote against the values of the revolution and completely distanced themselves from the first period. In addition to the division of Ruhle, from an intertextual point of view, although revolutions cause intertextual rupture this rupture does not include all the components of the tradition, because the slow and continuous flow of the tradition is more rooted than that the political and social events of a specific period or system because it destroyed completely.
"Revolution" is one of the important issues that cause extensive changes in various political and social aspects of the society. The revolution has such an important effect on the periodization of art and literature that the literature of some countries is divided into "literature before or after the revolution". One of the most important theories about the relationship between literature and revolution is Jurgen Ruhle's theory. The present paper tries to periodize the literature of the Islamic Revolution in general, based on Ruhle's classification, and also investigate the rupture or unrupture of intertextuality in revolutions. For this purpose, the definition of intertextuality has been discussed first, and in order to classify the literature of the Islamic Revolution, Jurgen Ruhle's triple periodization (the period of sentimentality, the period of doubt and the period of rupture) has been used. Finally, the rupture or unrupture of Intertexality in revolution has been scrutinized. This research, which is written with a descriptive-analytical method, uses various linguistic theories, Harold Bloom's "reality" theory, and other related theories to further confirm Ruhle's theory, and concludes that it is possible to use the classification of Ruhle as a criterion for periodization of Islamic Revolution literary works. In addition, although revolutions cause intertextual rupture, this rupture does not include all the components of the tradition, because the slow and continuous flow of the tradition is more rooted than that the political and social events of a specific period or system cause it destroyed completely.
Extended abstract
Statement of the problem: Literature is one of the tools that revolution uses to achieve its goals, but is the relationship between literature and revolution permanent? Will the form and content undergo a fundamental transformation with the revolution? What is the fate of literature after the revolution? Is the intertextual relationship with the literary tradition completely cut off? In this case, how is the literature of the revolution periodized? The present paper tries to answer these questions with the descriptive-analytical method and based on Jurgen Ruhle’s theory about the periodization of revolutionary literature (the period of sentimentality (promotion), doubt, rupture) and also by taking the help of the theory of intertextuality.
Discussion:
Literature has an important role in the spread and acceptance of the revolution because of its elements such as rich emotion, influential music and language, therefore it has always been the focus of various political parties. Different groups have profited from it to excite people, propagate beliefs and mock enemies. From this point of view, literature has a persuasive function in addition to its aesthetic function. But literature is not the messenger of the revolution forever, and after a while, it separates its way and goes on its own independent way. Therefore, from the point of view of Jurgen Ruhle, the literature of the revolution is divided into three periods:
1- Period of emotions or political romanticism: In this period, most of the writers support the revolutionary ideals and use their art and talent in the way of the revolution and its realization and promotion.
2- Doubt period: In this period, there are doubts about the past and the artist has doubts between society, personal life and revolutionary goals.
3- Disruption period: In this period, unlike the first period, literature is not the voice of the revolution, but it moves away from it and sometimes even opposes the ideology of the government.
The same theory can be applied to the literature of the Islamic Revolution. The late 1970s until the end of the imposed war (1989) can be considered the period of sentiments and promoting the revolution. During this period, artists engaged in political struggle, opposing the Pahlavi government and promoting the foundations of the revolution, and there was a widespread interest in religious literature and revolutionary rituals. Since the imposed war occurs during this period, the atmosphere and revolutionary discourse continues until the end of the war. The second period begins with the end of the war, and with the formation of the reform discourse, it becomes more and more important, and it can be considered until the middle of the 80s (2006). During this period, some artists adjust and change their revolutionary opinions and beliefs, and the ideological view becomes less.
The intense religious, political and war themes are declining and not only are there no signs of passionate revolutionary themes, but "doubts in ideological certainties and writing from lived experiences are the most prominent features of the literature of this period" (Saadat, 1384, vol.1: under fiction). From the mid-80s (2006) to today, in the works of some artists, doubts come close to breaking. In this period, in Mastur's interpretation, we can see the "bifurcation" of literature, that is, "those who write against the values of the revolution and those who write in support of them" (Hariri, 1383: 63).
The issue of the relationship between literature and the revolution can also be examined with the approach the rupture or unrupture intertextuality. For example, because in the first decade of the revolution, Nimai's poetry was suspected to be secular, the literature of the revolution turned to other formats, and Nimai's poetry was abandoned for a while. This indicates that with the change of the political-social system, the artistic discourses will also change willy-nilly and intertextual break occurs in some of the themes or forms. Of course, it should be noted that a complete break from the literary tradition is not possible; Because it is not possible to completely reject, deny or remove the tradition.
Conclusion:
Considering what has been said, it should be said that literature does not remain in the service of the revolution forever, but according to Jurgen Ruhle, it goes through three periods (the period of sentimentality, doubt, rupture) after the revolution. The same periodization can be applied to the literature of the Islamic Revolution. From 1979 to the end of the war can be considered as the period of emotions, promoting and supporting the revolution. 2- The end of the war until the end of the reform period (mid-2000s) can be considered a period of doubt about the ideals of the revolution. In this era, doubt in ideological certainties and religious beliefs spread, and writing about love, lived experiences and paying attention to the form replaces the preaching of religion, war and supporting the revolution. 3- From the middle of the 2000s onwards, it should be called the break(rupture) period. During this period, some artists wrote against the values of the revolution and completely distanced themselves from the first period. In addition to the division of Ruhle, from an intertextual point of view, although revolutions cause intertextual rupture this rupture does not include all the components of the tradition, because the slow and continuous flow of the tradition is more rooted than that the political and social events of a specific period or system because it destroyed completely.
Article Type: Original Research |
Subject:
Literary theory
Received: 2022/06/30 | Accepted: 2022/09/1 | Published: 2022/09/1
Received: 2022/06/30 | Accepted: 2022/09/1 | Published: 2022/09/1
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