2024-03-29T02:58:05+04:30
http://lcq.modares.ac.ir/browse.php?mag_id=1188&slc_lang=fa&sid=29
1188-20638
2024-03-29
10.1002
Literary Criticism
LCQ
2008-0360
2538-2179
2018
11
43
An Attitude to Literary Allusion Based on New Approaches to Literary Criticism and Interdisciplinary Studies
Zahra
Rajabi
z-rajabi@araku.ac.ir
In recent years in Iran, the development of interdisciplinary studies has caused a variety of attitudes toward literary topics to be created especially in literary criticism. However, in these studies use of interdisciplinary capacities for a more accurate understanding and creating transformation in other literary fields such as rhetoric and classical aesthetics of Persian poetry has largely been neglected. Therefore, the present research seeks to address allusion topic in rhetoric by a descriptive-analytic approach and to identify and introduce this rhetorical element based on new interdisciplinary studies approaches and literary criticism. The results of the research indicate that allusion despite its apparent simplicity is one of the most complex and multilayer elements of the rhetoric that can be examined and looked up using the modern achievements of various disciplines such as linguistics, semiotics, sociology and some theories and discussions of literary criticism
Interdisciplinary Studies
Literary criticism
Rhetoric
Allusion
2018
12
01
7
37
http://lcq.modares.ac.ir/article-29-20638-en.pdf
1188-20797
2024-03-29
10.1002
Literary Criticism
LCQ
2008-0360
2538-2179
2018
11
43
Bozorg Alavi’s “Gileh Mard”: Against Ideology or an Ideological Apparatus?
Mahdi
Javidshad
javid@javidedu.com
Bahee
Hadaegh
bhadaegh@rose.shirazu.ac.ir
In a controversial decision, Louis Althusser classifies literature as the apparatuses through which the dominant ideology is disseminated. Yet, is it possible to place the works that explicitly expose State Apparatuses in such classification? Bozorg Alavi’s “Gileh Mard” uncovers power exertion of the dominant system on a character who has ignored and challenged class coalition. The powerful presence of Repressive State Apparatus, and to some extent Ideological Apparatuses, indicate the writer’s awareness of the functions of apparatuses in changing individuals into the system’s desired subject, and this portrayal is probably an indication of his inclination to dissect such power functions for his readers. This claim is supported by the fact that Alavi was self-consciously leftist in politics and realism in depicting social disorders was one of his writing styles. The question that arises is whether Alavi’s “Gileh Mard” is a literary product that shakes the pillars of ideology, or the short story itself becomes finally an Ideological State Apparatus, serving the dominant system? While the present research provides an Althusserian answer to this question through referring to Lenin and Philosophy and “A Letter on Art”, it explores the shortcomings of the Althusserian approach through the “aesthetic of reception”.
Althusser
literature
ideology
Bozorg Alavi
Gileh Mard
2018
12
01
39
61
http://lcq.modares.ac.ir/article-29-20797-en.pdf
1188-25540
2024-03-29
10.1002
Literary Criticism
LCQ
2008-0360
2538-2179
2018
11
43
The Metaphorical Course of Khayyamiyat; An Investigation of Discursive Change from “Tarkibe Tabaye to Tarkibe Pialeh”
Naghi (Sina)
Jahandide koodehi
sina4801@yahoo.com
Alireza
Nikouei
alireza_nikouei@yahoo.com
Khayyamiyat as a discourse was gradually formed in the course of three decades (from the seventh to the ninth centuries) and was signified through local and historical landmarks. This discourse has been formed through a dialogical and dialectic construct. the Shariah- holders’ harsh reaction against the argument, inquiry, and metaphors of the famous quatrain “Tarkibe Tabaye” indicates that Khayyamiyat began with philosophical inquiries in the rising hegemony of theological discourse. The formation of the quatrain “Tarkib-e Pialeh” followed by “Tarkib-e Tabaye” (replacing Koozeh / Pialeh with Tabaye / Badan and Charkhe Koozehgari with Charkhe Falak) indicate a metaphorical movement that struggles to change philosophical-theological inquiries into aesthetic issues. With the inauguration of this groundbreaking metaphor, many quatrains were produced throughout centuries. With this perspective, it is also possible to differently analyze the issue of “wandering quatrains” and the search for “original quatrains” that are emerging discussions and the outcome of contemporary ideologies as well as modern man’s mind. In fact, the displaced quatrains as defense mechanism turn to discursive author by ignoring the work’s author, and they foretell the workings of signifiers in the two contending discourses. The present research tries to discuss the three centuries of discontinuities and evolutions in Khayyamiyat through tracing the course of the two quatrains “Tarkibe Tabaye and Tarkibe Pialeh” as a metaphorical movement and through a report of the encounter of the four groups of the Shariah- holders and theologians, historians, poets and editors, and anthologists of the quatrains with the two quatrains.
Khayyamiyat
“Tarkibe Tabaye -Tarkibe Pialeh
rhetoric
discursive break
2018
12
01
63
90
http://lcq.modares.ac.ir/article-29-25540-en.pdf
1188-22616
2024-03-29
10.1002
Literary Criticism
LCQ
2008-0360
2538-2179
2018
11
43
Ethical Criticism and New Approachesو Case Study: Three Short Stories
MARYAM
Ameli Rezaei
m_rezaei53@yahoo.com
Moral criticism is an approach to the literature presently discussed with a new view. Many contemporary behavioralists and authors didn't yet believe in the former dogmas (moralism and autonamism) but in the way of using art and ethics from each other. In the past, ethics is defined not based on the emotions and sensations but the speech capability. In this view, literature served the ethics. Moral topics presentation methods in past advising texts were usually directly by relying on the news or compositionsentences or referring to the words of authors. T By appearing the sentimental approaches and paying attention to the role of imagination in sympathy, relation of literature and ethics changed. Nowadays, ethics is not only a collection of composition sentences reflected in the literature, and the purpose of literature is not the promotion of ethics. Literature, narrative and fictional texts promote our recognition and awareness more than others by partial recognition and direct expression of human experiences and emotions and search in the human being, being possible through our simulation with others by the imagination. This research analyzes the moral presentation methods in 20 Persian short stories. Consideration of the different forms of moral conflicts, presentation and description of details, use of objective and subjective point of view, use of metaphor, symbol or simile and ironic situations are the most important techniques of story writing in inspiring the moral message to the audience.
Imagination
Ethicism
Sympathy
Fictional Literature
2018
12
01
91
126
http://lcq.modares.ac.ir/article-29-22616-en.pdf
1188-27861
2024-03-29
10.1002
Literary Criticism
LCQ
2008-0360
2538-2179
2018
11
43
Nature of Ferdowsi\'s Shahnameh Based on the Unity of Hegelian Subjectivity and Objectivity
Fathi
Chiman
chiman_fathi@yahoo.com
ramin
moharrami
moharami@uma.ac.ir
bijan
zahiri
zahirinav@yahoo.com
shahriyar
giti
sh_giti@uma.ac.ir
Despite the harmony and consistency in Ferdowsi's Shahnameh's with Hegel's belief in his aesthetic lessons about the features of “proper epic”, he calls Shahnameh incommensurate and lacking an independent functional center. He knows the proper epic, the manifestation of the totality of the world of a nation, which is the result of the human manifestation of incomprehensible myths. Therefore, the original epic poetry, as the first stage of the self-consciousness of the absolute soul, can be regarded as absolute art, which, by creating a kind of collective consciousness in the historical community, has the highest degree of consistency between the subject and the object. The aesthetics of Ferdowsi's Shahnameh also focuses on the actual fulfillment of mythological content, namely: "the controversy of the opposing forces. In this paper, first, using Hegel's views on proper epic, we have answered his criticism about Shahnameh, and then, relying on the categories of "Hegelian philosophy", including: the family, the system of needs, and the country or goverment, in the category of social ethics, in a comparative analysis method, we will prove that Ferdowsi's Shahnameh, like some of the world's greatest epic, unlike Hegel's views, has the most prominent features of an proper epic with the power to convey the common religious and moral understanding of the world, is a global and lasting art.
Aesthetics of Ferdowsi's Shahnameh
Hegelian philosophy of art
subjectivity and e objectivity
unity.
2018
12
01
127
156
http://lcq.modares.ac.ir/article-29-27861-en.pdf
1188-27969
2024-03-29
10.1002
Literary Criticism
LCQ
2008-0360
2538-2179
2018
11
43
Ayenehaye Dardar:the link between Narrating and Golshiri’s theory on the model of aesthetic independence of the fiction”.
foad
molooodi
f_molowdi@yahoo.com
Narrating as a third person, limited to the mind of the character, is one of the common methods in Golshiri’s works; (as in Shazde Ehtejab, parts of Christian and Kid, parts of Bare Gomshode Raii and some stories of daste tarik, daste roshan). Golshiri has proved himself as a specialist of this method. So, actualization of all the related facilities of Persian Language in narration is one of the most remarkable aspects of his privilege in fiction of 60s and 70s. Based on the coming up evidences and analysis, in this paper we have stated that in narrating Ayene haye Dar dar, Goshiri has stepped beyond Persian fiction and introduced a restricted narrator: this restricted narrator narrates not only the main layer, but also the lower layers of the story and links all of them in a complex and multi-layered manner. In addition, all the signs of the presence of “hidden author” in the story is presented to the reader, mediated by this narrator. The whole research has been done to answer a fundamental question: in the midst of all these attempts to establish ties and proximity between these layers and the characters at each level (these characters are mostly writers), why Golshiri, using his restricted narrator, has attempted to draw a boundary –though very pale and not recognizable- between them to claim that they are close but not identical? This article answers this question, considering Golshiri’s theory on the model of “aesthetic independence of the fiction”.
Hooshang Golshiri
Ayenehaye Dardar
Limited narrator
Layers of fiction
Hidden author
Aesthetic of fiction
Independence of the literary text.
2018
12
01
157
182
http://lcq.modares.ac.ir/article-29-27969-en.pdf
1188-24382
2024-03-29
10.1002
Literary Criticism
LCQ
2008-0360
2538-2179
2018
11
43
The critical study of academic papers about the minimalism in tales
Najme
Hosseini Sarvari
hosseini.sarvari@gmail.com
This paper attempts to apply a critical perspective to study 30 academic papers about the similarities between tales with the minimalistic stories in the western literature. For this purpose, the mentioned academic papers are analyzed through a descriptive-analytic method in two main themes, including the ethics and principles of scientific research and the accuracy and reliability of the findings and results. The results of this study show that the mentioned papers possess several errors in term of adhering to the ethics and principles od scientific research. These errors include self-plagiarism, repetitive structures, repetitive and resembling titles, negligence over conducting research background, deficiency in the structure and framework of the whole article, and the absence of integrity, which means copying and quoting other resources without any citation to the original reference, using false and inaccurate quotes and changing or manipulating the sayings of other references. Moreover, including non-fiction texts, dilating unnecessary and irrelevant themes and topics, bringing up inaccurate analysis and evidence, neglecting over the reliability of claims, and finally, the absence of any new, clear and correct findings are the issues showing that all the analyzed papers lack the authenticity and reliability necessary for the scientific research. Considering the main purpose of all these papers which is to prove that tales and minimalistic stories are the same literary genres, producing several academic papers on the same topic has no academic necessity.
critical study
tale
minimalistic story
academic papers
2018
12
01
183
215
http://lcq.modares.ac.ir/article-29-24382-en.pdf