1 2008-0360 Tarbiat Modares University 8190 Stylistics and Literary Criticism in Iran: A Comparative Study ofLiterary Criticism and Bahar-e AdabJournals Published in 2010 Hayati Zahra Bauroti Sanaz Bauroti Asghari jafari Hoda Asghari jafari 1 5 2014 7 25 7 40 20 10 2013 17 03 2014 There is a close relationship between stylistics and literary criticism. Many works of criticism are based on data analyses of stylistic studies, and analyzing status of the two fields—literary criticism and stylistics—couldpave the way for better classification of them.Through a content analysis of the two scholarly journals, Bahar-e Adab—proseand poetry stylistic studies—and Literary Criticism published in 2010, I have tried to show the relation between different aspects of the two fields in the previous decade in Iran. Both quantitative and qualitative indicators have been taken into consideration in this study. Quantitative indicators cover theoretical and practical domains. Qualitative indicators have been chosen according to a fewbasic questions on stylistics and literary criticism: have the articles on literary criticism transformed from descriptive nature into analytic one? Is critical thinking dominant in all studies? Do articles on stylistics consider works as representations of individuality of their author? The article concludes that, although the studies on stylistics and criticism, which in some cases follow the same academic or social discourse, seems to have correlation, there are some differences between the two fields. For example, when it comes to selecting texts, critics mostly tend to choose prose fiction while experts in stylistics prefer poetry. Impartial and independent theories and approaches are more widespread in literary criticism articles than in works of stylistics. Stylistic studies, on the other hand, are not independent. Most articles on criticism have passed descriptive mode and are closer to their expected form, i.e. analyses of the data. The number of articles on stylistics that clearly consider style as representation of the author’s personality or consider repetition of stylistic features as a deviation from standard rules is about half of the total number of the articles.
8730 Reflection upon Principles and Theoretical Foundations of Realism in Literature Sadeghi-Mohsenabad Hashem 1 5 2014 7 25 41 70 21 11 2012 16 01 2014 Realism is one of the terms in Literature and Literary Criticism which entails multiple meanings. It can be applied both to a certain Nineteenth-Century literary movement and to a style in storytelling which endeavors to, as far as possible, depict life as it really is. This article tries to investigate the features of Realism after briefly going through different interpretations of the term and various approaches to analyzing Realistic works. So firstly, Realism has been explored as a historical concept as opposed to Romanticism and then its features have been presented. Following that, the social essence of the author’s weltanschauung reflected in Realistic works, and the radical ideological approach of Social Realism have been expounded. Based upon scholar’s opinions, verisimilitude in Realism has been evaluated in two sections: verisimilitude in relation to society and verisimilitude related to literary texts. And finally the views of the opponents and critics of Realism have been briefly held out.   1718 Reflections on the Rhetorical Aspects of Mora’at al-Nazir Fuladi Alireza 1 5 2014 7 25 71 98 11 11 2013 03 02 2014 Taxis, or mora’atal-nazir, did not occupy a considerable position in rhetorical books until the fifth century after hijra. Radouyani introduced it for the first time, and then, another rhetorician elaborated on this figure and, gradually, the termbecame established in rhetoric. There are traces of this term in earlier descriptions of other tropes such as i’etelaf, taqsim, and moghabeleh. This article, drawing on Islamic rhetoric, gives a more nuanced definition of this term. Reviewing the history of mora’atal-nazirshows that this trope shapes a chain of semantic relation between different parts of speech. A similar relation, under the category of ‘alagheh,can be found in different forms of figurative language. I have also studied different functions of this trope and how we can evaluate it. 7952 Carnivalesque in Ahmadzadeh’s Shatranj ba Machin-e Qiyamat Ghaffari Sahar Saedi Soheyla Saedi 1 5 2014 7 25 99 120 05 02 2014 01 03 2014 Most Iran-Iraq War novels are considered to be an ideological device for the “Holy-Defense” genre; however, in the recent years,a number of distinct polyphonic novelshave emerged, one of the most important of which is Ahmedzadeh’s Chess with the Doomsday Machine. Bakhtin’s distinction distinguishes between monologue and carnivalesque novels. Polyphonic novels, like carnivals, act as a centrifugal force supporting nonofficial dimensions of the society. Images of food and carnal elements, cursing, reciprocal relation between characters and settings according to the double aspects of carnival, and rebellion against a victorious closure by postponing the narrator’sactions distorts the linearity of narration common in in the Holy-Defense novels.  8961 Social Semiotic of Amirkhani’s Bivatan Farhangi Soheyla Bastani Khoshkbijari Masumeh 1 5 2014 7 25 121 152 27 09 2013 30 01 2014 Semiotics is an approach that studies the signs and their hidden meanings. This article is a social semiology of Bivatan—amodern novelwritten by Reza Amirkhani. The novel struggles with fundamental issues such as identity, culture, and social traditions. Like most other postmodern novels, Bivatan is a combination of reality and imagination. Most parts of the story happen outside of Iran and show the conflict between Islamic-Persian culture and the Western culture. The conflict between humans and their surrounding is another major aspect of this novel. This article elaborates on the identity-related signs such as religion, food, costume, job, social relations, and so forth. The fundamental role of religion, drawing on Quranicverses, identity crisis, and differences in social class are among the other subjects which will be discussed in this paper.   5915 The Analysis of the Ritualistic Structure of the Siāvash Myth Based on the Mythological Literary Criticism: A Comparative Study of “Siāvash-Siāvashān” and “Tragedy-Dionysus” Ghaemi Farzad 1 5 2014 7 25 153 184 17 02 2014 08 05 2014 The idea of the ritualism of mythpoints out that the existence of myth depends on rituals. The recent developments of this theory underline a common paradigm between myth and ritual. This paperexplores the emergence of the “Siāvashān” ritual in relation to the Siāvash myth in Ferdowsi’sShahnameh.Siāvash is one of the pre-Zoroastrian Persian gods who is associated with fertility myth and the agricultural culture. The ritual of his invocation is an inseparable part of the Siāvashān ritual. At the core of this ritual is “holy death,” which can be analyzedalongside the rite of the sacred king’s sacrifice and the dramatization of mourning for him during the New Year’s festivals. According to the anthropologists’ analyses of Dionysian ritual, the poetry associated with the holy death of Dionysus played an important role in the birth of tragedy. A similar relation existsbetween the Siāvash myth and the Siāvashān ritual. 10219 Visual Interpretation of “Mythical Time” in Bayzai's Movies Mohammadi Ibrahim Mohammadi Afshar Maryam 1 5 2014 7 25 185 210 11 08 2013 06 01 2014 Bahram Bayzai’s cinema can be considered as a visual interpretation of the Persian myth. Bayzaihas tried to modernize the myths and present new versions of them by breaking the old versions and making new ones. In this way, he makes the narrative structure of his works closer to the myth. Discovering and elaborating different aspects of form and structure of Bayzai’s works will not be possible without considering the theories of structuralists such as Claude Lévi-Strauss.  In this article, drawing on structuralism and narratology in the works of theorists such as Prop, Barthes, and Strauss, the form and structure of the time in four of Bayzai’s works have been compared to their counterpart,mythical narratives. I have concluded that in his cinematic narration time becomes closer to its mythical structure; in other words, time becomes endless, fixed, and sacred. 4313 New Historicism Rezvanian Qodsiye 1 5 2014 7 25 211 230 16 06 2014 16 06 2014 New Historicism