1 2008-0360 Tarbiat Modares University 8245 The World Republic of Letters, Translation and Colonialism Azadibougar Omid b b Post-Doc Researcher 1 3 2015 8 29 7 29 03 12 2014 22 03 2015 The growing theoretical discussions around the notion of World Literature in the past two decades ensue from the limitations of Comparative Literature and efforts to redefine the principles of literary criticism. It is part of an effort to include non-Western literatures and to write a history of world literature. The translation of Pascale Casanova’s La Republique mondiale des lettres has introduced part of these discussions into Persian. In this paper, I sketch a theoretical frame for World Literature, discuss the three axes of Casanova’s model (the republic, the centrality of Paris, and the nation-state ideology), and explain why the history of Persian literature does not fit into such definitions and why accepting this model would lead to epistemological changes that write off a great deal of Persian literature from world literary history. Then, in this connection, I discuss power relations, translation, and the implicit colonialism involved in it.        
10178 Influential Worldsin the Genesisof an Artwork: Social History, Art History, the History of theArtist ahmadi oliayi saeed c c Graduate student in Art History at the University of Mazandaran 1 3 2015 8 29 31 52 09 12 2014 13 04 2015 A creative artworkisthe product ofa close interaction between the unconscious and conscious mind. Artists create their works of art by drawing on their intuitive understanding of the world and the tools and methods at their disposal. This paper studies the genetic criticism and the factors that are most important in shaping this approach.Because of the scope of the debate on this subject, we have narrowed down the theoretical section of this paper to a discussion of Freud’s theory of unconscious. The process of creating works of art is a production of the confluence of three histories inthe artist’smind: (1) the history of the world around the art that forms the collective (un-) conscious of the society and has a significant rolein the formation ofthe unity of the context from which the work emerges; (2) the art history which is vital in the intertextual approaches; (3) the personal history of the artist that forms the individual (un-)conscious and develops the individuality of the work of art.This article looks at the psychological theories that help develop a critical model for interpretation of these three histories in relation to the genesis of an artwork.  5142 Literary Criticism: Text Analysis beyond Rhetorics Pirloojeh Hossein 1 3 2015 8 29 53 91 09 02 2014 11 12 2014 It is traditionally maintained in structural linguistics that by cutting verbal signs off each other paradigmatically, and enchaining some of them against the others syntagmatically, language system makes a body of text signify a certain meaning which is sustainable through contextual fluctuations. In line with this Saussurian assumption, and in an attempt to ascertain the authorial intention in literary works, many literary scholars have been mistaken rhetorics for criticism, albeit under the rubrics of structural poetics. This article, however, dismisses the futile attempt to pull certain meanings out of literary masterpiecesfor the purpose of investigating the origins of textuality in any work—let it not be shelved as great literature or literary at all. It aims to demonstrate why such mechanical procedures, prevalent in rhetorical studies, cannot account for textuality beyond the question of the thematic unity of a work; wherein textuality and plurality of text are suppressed in favor of the integrity and entirety required for works of verbal art. To account for the extensive significance of text and the abundance of its possible readings, a seemingly heterogeneous body of texts (including a piece of a poem, an extract from an article, and a vignette) has been analyzed within a reader-oriented framework. Drawing on Roland Barthes (1981), Asgari Pashaei (1995) and Christian Metz (1982), I have tried to move away from rhetorics toward a more proper notion of literary criticism.      12151 Surreal Mysticism: a Secular Reading of the Sufi Tradition in Adonis’ Poetry (An Intertextual Reading of “Tahavolat al-‘asheq”) amini edris 1 3 2015 8 29 93 116 21 09 2014 23 04 2015 Adonis’ poem“Tahavolat al-‘asheq” borrows from multiple theological and mystical texts and focuses on the encounter between tradition and modernity. This encounter formulatesa new concept of “surrealistic mysticism.” This paper studies different conceptual aspects of surreal mysticism in Adonis’ poem. The study shows that the embedded confrontation of different texts in this poem represents the formation of a modern thinking that transforms the lover from a spiritual essence to the embodiment of carnalinstincts in the modern world and reduces human to a sensual being by depriving him from the divine elements of nature and mysterious qualities.     6490 Why Was Aref Qazvini Isolated? (A Study Based on the Recently Discovered Documents about Aref’s Relationship with his Contemporary Writers) pourazimi saeid g g - 1 3 2015 8 29 117 141 20 11 2014 14 04 2015 The study of Aref Qazvini’s relationship with some of the most prominent intellectuals of his time and the ups and downs of these relationships will shed light on his worldview. Pessimism, suspicion, hysterical reactions, and aggressive behavior coupled with sensitivity and honesty are characteristics of Aref’s capricious interaction with fellow writers and figures of his time. His friendships and hostilities were not permanent and this led to his alienation from his friends. To this we should add his revolutionary attitude along with his jingoism that further alienated him from his contemporary intellectuals. This article discusses the roots of Aref’s conflicts by studying his letters, diaries, and other documents. I will focus specifically on his interaction with Hassan Taghizadeh, Ashrafoldin Gilani, Ahmad Kasravi, Mohammad-Taqi Bahar, Waheed Dastgerdi and Reza Shah.             10564 A Comparative Study of Al-e-Ahmad’s Modir-e Madrese and Golestan’s Asrar-e Ganj-e Darreye Jenni based on Metaphors of Transitivity Razavian Hossein h Ehsani Vajiheh i h Assistant professor of linguistic. Semnan Universiyt i MA. Linguistics. Semnan University 1 3 2015 8 29 143 165 27 11 2014 13 04 2015 Scholars have different methods for grouping or determining the style of the literary works. So it sounds inevitable to have disagreement on how to determine the style of a work. In this paper we do not seek to confirm or reject common stylistics methods; rather we are proposing a new criterion as an indicator of style, namely, the metaphor of transitivity as a grammatical metaphor. To this end, Al-e-Ahmad’s Modir-e Madrese and Golestan’s Asrar-e Ganj-e Darreye Jenni are studied through a descriptive-analytical method. The metaphors of transitivity from these works are extracted and compared. The frequency of such metaphor in Asrar-e Ganj-e Darreye Jennicompared to Modir-e Madrese is much less. In Golestan these metaphors represents the conversion of mental processes to the existential ones and then the mental to the relational processes. In Modir-e Madrese, however, there is a unique employment of the metaphors of transitivity that represents the conversion of relational processes to the material ones and then the verbal processes to material.  Our study presents a model for using grammatical metaphor as a stylistic unit. In the chosen works, there is a significant difference between both the frequency and the type of metaphors of transitivity.         3827 A Sociological Critique of Female Characters in Ravanipour’s Del-e foulad Based on Pierre Bourdieu’s Theory of Capital 1 3 2015 8 29 167 191 22 01 2014 14 01 2015 Novel is the only field of literary production that not only does not have to comply with abstract social and philosophical thinking but also, unlike poetry, does not develop a life of its own independent of everyday life. As a result, it has the maximum capacity for the representation of quotidian life. This paper seeks to criticize the sociological capital of female characters in the novel Del-e foulad by Moniru Ravanipour. The theoretical approach of this paper is based on the theories of the famous French philosopher and anthropologist Pierre Bourdieu (1930 - 2002). In addition to a Marxist notion of economic capital, Bourdieu believes that there are other forms of cultural, social, and symbolic capital. Employing Bourdieu’s theory, this paper studies the variety of women’s capital in the aforementioned novel. The results of this study suggest that women’s economic capital has a downward trajectory. Also in the production and reproduction of symbolic capital women are facing a crisis of infertility. Their social capital also suffers from different forms of systematic violence. It is only their cultural capital which shows a dynamic progress.