دانشگاه تربیت مدرس فصلنامۀ نقد ادبی 2008-0360 19 75 2026 08 23 Poetry on the Scale of Music: A Reflection on Reza Baraheni’s Theory of Languageness شعر در ترازوی موسیقی: تحلیلی بر نظریة زبانیت رضا براهنی 1 36 29193 10.48311/lcq.2026.120468.82766 FA ابراهیم حسنکلو گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه گیلان، گیلان، ایران 0009-0001-8192-6336 Journal Article 2026 05 16 This study, drawing on Reza Baraheni’s theory of languageness, examines the relationship between poetry and music in Language Poetry and seeks to demonstrate how this mode of poetry departs from the conventional function of language as a medium for representing reality, moving instead toward a sonic and performative experience. The central problem of the study is that many critiques directed at Language Poetry have been shaped by criteria that evaluate language in relation to meaning, imagery, and reference to the external world. In Baraheni’s view, however, poetry operates on a level beyond these criteria, where language is transformed into a material for musical creation. The aim of the article is to elucidate this shift and to show how such concepts as syntactic deviation, sematic defamiliarization, polyphony, and linguistic madness contribute to the formation of this experience. The study employs a descriptive-analytical method based on a theoretical reading of Baraheni’s works. The findings suggest that if the criteria of criticism are shifted from language’s reference to external reality toward its reference to music and the auditory qualities of the text, many negative judgments about Language Poetry will require reconsideration. The significance of this study lies in its potential to provide a more precise mode of criticism, one better aligned with the internal logic of Language Poetry. Extended Abstract Introduction Language poetry has often been evaluated according to critical criteria that examine language in relation to meaning, imagery, and its reference to the external world. From this perspective, poetic language is expected to convey a recognizable meaning, create vivid images, or represent an identifiable reality. However, such criteria may not adequately explain the poetic innovations associated with Reza Baraheni’s theoretical and creative works. In Baraheni’s view, poetry operates beyond the conventional relationship between language and external reference. Language is not merely a transparent medium for transmitting meaning; rather, it becomes the material through which a new poetic and musical experience is created. This article examines the relationship between poetry and music in Baraheni’s conception of language poetry. It focuses on the ways in which language, once released from its conventional semantic and referential functions, acquires an autonomous aesthetic value. The study particularly investigates the role of syntactic deviation, semantic disintegration, polyphony, and linguistic madness in the formation of this poetic experience. Theoretical Framework The theoretical framework of this research is based on Reza Baraheni’s views concerning the nature of poetry and poetic language. In this framework, poetry cannot be reduced to the communication of a predetermined message or the representation of an external object. Instead, the poem is understood as an event that emerges through the interaction of sounds, rhythms, words, syntactic structures, and multiple voices. From this perspective, the musicality of poetry is not limited to traditional rhyme, meter, or harmonious sound patterns. It also includes the rhythm of syntax, the recurrence and displacement of words, the disruption of ordinary semantic relations, and the interaction of different voices within the text. Consequently, a poem may produce meaning not only through semantic clarity but also through sound, repetition, ambiguity, interruption, and the creative reorganization of linguistic elements. Methodology This study employs a descriptive-analytical method. It is based on a theoretical reading of selected works and critical ideas by Reza Baraheni. The analysis focuses on the principles through which language poetry challenges conventional expectations concerning meaning, syntax, reference, and coherence. The research does not approach the poems primarily as representations of an external reality. Instead, it examines the internal relations among linguistic elements and considers the auditory and musical qualities of the poetic text. In this regard, concepts such as syntactic deviation, semantic disintegration, polyphony, and linguistic madness are analyzed as mechanisms that transform language from a transparent means of communication into an independent material of poetic creation. Findings and Discussion The findings indicate that many negative judgments concerning language poetry have resulted from the application of inappropriate critical standards. When poetry is evaluated solely on the basis of its relationship with semantic clarity, visual imagery, or external reference, linguistic practices such as syntactic deviation and semantic disruption may appear arbitrary or meaningless. However, if the critical focus shifts from the referential function of language to its musical and auditory dimensions, these features can be understood as essential components of the poem’s internal logic. Syntactic deviation plays a significant role in challenging established patterns of reading. By disrupting ordinary syntactic relationships, the poem prevents language from functioning as a predictable channel of communication. This disruption draws attention to the materiality of words and to the rhythm created by their arrangement. In this context, the reader is encouraged not only to interpret the poem semantically but also to listen to it and experience its linguistic movement. Semantic disintegration also contributes to the liberation of language from fixed and predetermined meanings. The absence of a single, stable meaning does not necessarily imply the absence of meaning altogether. Rather, it allows meaning to emerge through associations, repetitions, sounds, contrasts, and the interaction of different textual elements. Thus, the poem generates a dynamic field in which meaning remains open, unstable, and continually renewable. Polyphony is another important feature of this poetic structure. The presence of multiple voices challenges the authority of a single, unified speaker and creates a complex relationship among various perspectives, tones, and linguistic registers. Through polyphony, the poem becomes a space of confrontation and coexistence among voices, thereby expanding its musical and semantic possibilities. The concept of linguistic madness further intensifies this process. In Baraheni’s conception, linguistic madness should not be interpreted simply as disorder or irrationality. It may be understood as a deliberate departure from the normalized rules of language and as an attempt to discover new possibilities within the linguistic system. Through this departure, the poem exposes the limitations of conventional language and creates new forms of rhythm, sound, and expression. Conclusion The analysis demonstrates that poetry, particularly language poetry in Reza Baraheni’s thought, cannot be adequately judged through criteria based exclusively on representation, semantic clarity, imagery, or reference to the external world. Such criteria overlook the musical and material dimensions of poetic language. When the critical standard is shifted from the referential function of language to its musicality and auditory quality, many of the negative evaluations directed at language poetry require reconsideration. In this framework, syntactic deviation, semantic disintegration, polyphony, and linguistic madness are not signs of poetic weakness or meaningless disorder. Rather, they are strategies through which language becomes an autonomous material of poetic creation. The poem establishes its identity through sound, rhythm, repetition, disruption, and the interaction of multiple voices. Therefore, a more appropriate criticism of language poetry must be founded on the internal logic of the poem and on the specific ways in which it produces musical and aesthetic experience. This study may contribute to the development of a more precise and context-sensitive approach to the criticism of language poetry. Such an approach recognizes that the poem’s significance may lie not only in what it says or represents but also in how it sounds, moves, disrupts, and creates new possibilities for language. این پژوهش با تکیه بر نظریة زبانیتِ رضا براهنی، نسبت میان شعر و موسیقی را در شعرِ زبان بررسی کرده و می‌کوشد نشان دهد که چگونه این نوع شعر، از کارکرد معمول زبان در بازنمایی واقعیت فاصله می‌گیرد و به سوی یک تجربة صوتی و اجرایی حرکت می‌کند. مسئلة اصلی پژوهش آن است که بسیاری از نقدهای واردشده بر شعر زبان، بر پایة معیارهایی شکل گرفته‌اند که زبان را در نسبت با معنا، تصویر و ارجاع به جهان بیرون می‌سنجند؛ در حالی که در نگاه براهنی، شعر در سطحی فراتر از این معیارها عمل می‌کند و زبان در آن به ماده‌ای برای آفرینش موسیقایی بدل می‌شود. هدف مقاله آن است که این جابه‌جایی را تبیین کند و نشان دهد مفاهیمی مانند نحوگریزی، معنازدایی، چندصدایی و جنون زبانی چگونه در ساختن این تجربه نقش دارند. روش پژوهش، توصیفی ـ تحلیلی و مبتنی بر خوانش نظری آثار براهنی است. یافته‌های مقاله نشان می‌دهد که اگر معیار نقد از ارجاع زبان به واقعیت بیرونی به سمت ارجاع آن به موسیقی و کیفیت شنیداری متن منتقل شود، بسیاری از داوری‌های منفی دربارة شعر زبان نیازمند بازنگری خواهند بود. این پژوهش از آن رو اهمیت دارد که می‌تواند زمینه‌ای برای نقدی دقیق‌تر و متناسب‌تر با منطق درونیِ شعر زبان فراهم سازد.

https://lcq.modares.ac.ir/article_29193_6dfdd63abbcb8863fba5ab0ab35d76f5.pdf

دانشگاه تربیت مدرس فصلنامۀ نقد ادبی 2008-0360 19 75 2026 08 23 Literary Ethnography in the Novel "Circles of the Peak" Based on the Theory of Culture and Personality قوم‌نگاری ادبی در رمان دایره‌های اوج برپایۀ نظریۀ فرهنگ و شخصیت 37 81 29298 10.48311/lcq.2026.119232.82746 FA مسعود حسنی دانش آموخته دکتری زبان و ادبیات فارسی و پژوهشگر مرکز تحقیقات زبان و ادبیات فارسی دانشگاه تربیت مدرس ثریا خرمی دانش آموخته دکتری مردم شناسی دانشگاه آزاد اسلامی واحد تهران مرکزی نجمه دری عضو هیئت علمی گروه زبان و ادبیات فارسی دانشگاه تربیت مدرس Journal Article 2026 02 21 The novel Dāyerehā-ye Owj [Circles of Apogee] by Asghar Asgari-Khanqah is among the works that depict the reciprocal relationship between culture and personality within the social and cultural life of Gilan. Drawing on the culture and personality approach and employing a qualitative content analysis method, the present study examines how local culture and subculture influence the formation of the identity and actions of the novel’s main character. The findings indicate that the character of Gharib-Oghli is shaped through interaction with the primary and secondary institutions of society and through mechanisms such as education, modeling, and the internalization of cultural values. His trajectory-from marginalization and social exclusion to scientific and social recognition-reflects the role of culture in reconstructing individual identity. The novel also portrays the dominant cultural patterns of Rasht society, including rationality, social responsibility, collective solidarity, and the valorization of knowledge, illustrating the process of characters’ socialization in relation to cultural structures. The analysis further shows that women, as cultural agents, play a significant role in the transmission and reproduction of social values. The study’s findings suggest that Circles of Apogee, beyond being a narrative work of fiction, possesses ethnographic potential and reveals-through the representation of lived experience-the system of meanings and cultural values of Gilan society in a period of transition. From this perspective, the novel can be understood as a literary account of the process of personality formation within a cultural context and as an example of the intersection between narrative imagination and anthropological insight. Extended Abstract Introduction This article examines the novel Dāyerahā-ye Owj as a form of literary ethnography based on the culture-and-personality approach. It explores the ways in which local culture and indigenous subculture influence the formation of identity and the behavior of the main character, Gharib-Oghli. The study focuses on the reciprocal relationship between culture and personality and considers the novel as a literary representation of the social and cultural life of Gilan, particularly the city of Rasht, during a period of transition. From the perspective of the culture-and-personality theory, personality is not formed independently of society; rather, it develops through interaction with cultural values, social institutions, education, patterns of imitation, and processes of socialization. Accordingly, the article analyzes the formation and transformation of Gharib-Oghli’s personality in relation to primary and secondary institutions. The findings indicate that education, social interaction, role modelling, and the internalization of cultural values play a significant role in shaping his identity and conduct. His movement from marginalization and social exclusion toward intellectual and social status illustrates the influence of cultural and social processes on the reconstruction of individual identity. The analysis also reveals several dominant cultural patterns in the representation of Rasht society, including rationality, social responsibility, collective solidarity, and respect for knowledge. These values are reflected in the characters’ relationships, decisions, social interactions, and responses to the conditions of their community. The novel presents socialization as a dynamic process through which individuals acquire, negotiate, and reproduce the cultural meanings of their society. In this process, women function as influential cultural agents who contribute to the transmission and reproduction of social values. The study argues that Dāyerahā-ye Owj extends beyond the boundaries of a purely fictional narrative. Through its representation of lived experience, social relations, local values, and systems of meaning, the novel possesses considerable ethnographic potential. It provides an artistic representation of Gilan society and demonstrates how literary characterization can contribute to the understanding of cultural identity and social transformation. The novel therefore constitutes an important example of the intersection between narrative imagination, literary studies, and cultural anthropology. Methodology This study employs a qualitative content-analysis method within the theoretical framework of culture and personality. The research corpus consists of the novel Dāyerahā-ye Owj by Asghar Askari-Khanqah. The analysis concentrates particularly on the central character, Gharib-Oghli, and examines the relationship between his personality formation and the cultural and social environment of Gilan, especially Rasht. The analytical process focuses on the representation of characters, their actions and interactions, social relationships, educational experiences, patterns of imitation, processes of socialization, and the internalization of cultural values. The study also examines cultural signs, local values, and forms of collective behavior represented in the narrative. Through interpreting these elements in relation to the culture-and-personality approach, the research identifies the ways in which the novel represents the influence of primary and secondary institutions on individual identity and behavior. In addition, attention is paid to the role of women in transmitting and reproducing social and cultural values. The findings are interpreted through an interdisciplinary perspective that connects literary analysis with cultural anthropology. Conclusion The findings demonstrate that the formation of personality in Dāyerahā-ye Owj is closely connected with cultural and social processes. Gharib-Oghli’s development is shaped by his interaction with social institutions, educational experiences, patterns of imitation, and the internalization of local cultural values. His transformation from a socially marginalized individual into a person of intellectual and social standing illustrates the role of culture in shaping, negotiating, and reconstructing personal identity. The novel also presents Gilan society, particularly Rasht, as a cultural environment characterized by rationality, social responsibility, collective solidarity, and respect for knowledge. Women’s role in the transmission and reproduction of these values further demonstrates the importance of cultural agents in sustaining social continuity. Accordingly, the novel represents culture not as a static background but as a dynamic system that influences individual conduct, social relationships, and processes of identity formation. It can therefore be concluded that Dāyerahā-ye Owj is more than a fictional account. By representing the lived experience, cultural values, social relations, and symbolic meanings of Gilan society, it possesses significant literary-ethnographic capacity. The novel illustrates the productive relationship between literary imagination and anthropological knowledge and shows that the analysis of fictional characters can provide valuable insight into the cultural processes through which individuals and communities construct identity. رمان دایره‌های اوج اثر اصغر عسکری‌ خانقاه، از آثاری است که رابطۀ متقابل فرهنگ و شخصیت را در بستر زندگی اجتماعی و فرهنگی گیلان بازنمایی می‌کند. پژوهش حاضر با تکیه بر رویکرد فرهنگ و شخصیت و با روش تحلیل محتوای کیفی، به بررسی چگونگی تأثیر فرهنگ و خرده‌فرهنگ بومی بر شکل‌گیری هویت و کنش‌های شخصیت اصلی رمان می‌پردازد. نتایج نشان می‌دهد که شخصیت غریب‌اوقلی در فرایند تعامل با نهادهای اولیه و ثانویۀ جامعه و از رهگذر سازوکارهایی چون آموزش، الگوبرداری و درونی‌سازی ارزش‌های فرهنگی شکل می‌گیرد و مسیر تحول او از حاشیه‌نشینی و طرد اجتماعی به منزلت علمی و اجتماعی، بازتابی از نقش فرهنگ در بازسازی هویت فردی است. همچنین رمان با ترسیم الگوهای فرهنگی مسلط در جامعۀ رشت، ازجمله خردورزی، مسئولیت‌پذیری اجتماعی، هم‌بستگی جمعی و ارزش‌گذاری بر دانش، فرایند جامعه‌پذیری شخصیت‌ها را در پیوند با ساختارهای فرهنگی نشان می‌دهد. تحلیل اثر همچنین بیانگر آن است که زنان در مقام کنشگران فرهنگی نقشی مؤثر در انتقال و بازتولید ارزش‌های اجتماعی دارند. یافته‌های پژوهش نشان می‌دهد که دایره‌های اوج فراتر از یک روایت داستانی، واجد ظرفیت‌های قوم‌نگارانه است و از خلال بازنمایی تجربۀ زیسته، نظام معنایی و ارزش‌های فرهنگی جامعۀ گیلان در دورۀ گذار را آشکار می‌سازد. از این منظر، رمان را می‌توان روایتی ادبی از فرایند تکوین شخصیت در بستر فرهنگ و نمونه‌ای از پیوند میان تخیل روایی و شناخت انسان‌شناختی دانست.

https://lcq.modares.ac.ir/article_29298_dda8019dec3926428ce2f4b0c9496fad.pdf

دانشگاه تربیت مدرس فصلنامۀ نقد ادبی 2008-0360 19 75 2026 08 23 Literary History and Intellectual History: The Relationship between Literature and Thought in the Great Chain of Being تاریخ ادبیات و تاریخ اندیشه: نسبت ادبیات و اندیشه در زنجیرۀ عظیم هستی 83 118 29192 10.48311/lcq.2026.120154.82762 FA سعید رادفر دانشگاه فردوسی مشهد 0000-0003-4394-8718 Journal Article 2026 05 06 This article examines the relationship between literature and intellectual history through Arthur O. Lovejoy’s methodological framework of the history of ideas, with particular attention to The Great Chain of Being (1936). Against the background of methodological crises in literary historiography and doubts concerning the possibility of representing the past, the article asks to what extent Lovejoy’s approach can serve as a valid method for literary history. Lovejoy conceives intellectual and philosophical systems as unstable combinations of relatively elementary “unit-ideas” whose continuity, transformation, and recombination can be traced across different fields of thought. The article reconstructs this framework and identifies its implications for literary studies, including the treatment of literature as a document in the history of human consciousness, the necessity of transnational and interdisciplinary research, the importance of second-rank writers, and the potential of historical knowledge to enrich aesthetic experience. It then evaluates the approach through comparison with Hegelianism, Marxism, Russian Formalism and New Criticism, as well as the critiques advanced by Michel Foucault, Quentin Skinner, David Perkins, and Hans Blumenberg. The analysis identifies several limitations: the reduction of literariness to conceptual content, selective emphasis on philosophical context, insufficient attention to the active role of readers, privileging of continuity over rupture and individual creativity, and the potential reification of historically constructed categories and unit-ideas. The article concludes that Lovejoy’s method is neither sufficient nor exclusive for literary historiography. Its value lies instead in treating the unit-idea as an analytical hypothesis whose validity must be tested against formal, textual, social, and cultural evidence. In this critical and self-reflexive form, the history of ideas can remain a productive tool for relating literature to the history of human thought. Extended Abstract This article examines the relationship between literature and intellectual history through the methodological framework of Arthur O. Lovejoy’s history of ideas, with particular attention to The Great Chain of Being (1936). It begins with a methodological question arising from the crisis of literary historiography and doubts concerning the possibility of adequately representing the past: as cultural documents of a given period, what kinds of intellectual and conceptual elements do literary works contain? In response to this question, the article considers Lovejoy’s approach as a possible methodological framework for literary history and asks to what extent the history of ideas can provide a valid method for studying literature. Lovejoy distinguishes the history of ideas from the history of philosophy by shifting the unit of analysis from philosophical systems to their constituent elements, which he calls “unit-ideas”. His method consists in decomposing apparently coherent intellectual systems into relatively elementary components and tracing their continuity, transformation, and recombination across different intellectual fields. In The Great Chain of Being, this procedure is exemplified through the historical reconstruction of the principles of plenitude, continuity, and gradation, which together constitute the idea of the great chain of being and whose ramifications extend across philosophy, religion, science, ethics, aesthetics, and literature. The article first reconstructs Lovejoy’s conception of the unit-idea and its principal forms, including unconscious mental habits, dialectical motives, metaphysical pathos, philosophical semantics, and explicit philosophical propositions. It then extracts several methodological principles relevant to literary history. First, literature is methodologically placed on the same level as other intellectual fields and is treated as a document in the history of human consciousness rather than as an autonomous aesthetic domain. Second, the study of ideas requires a transnational and interdisciplinary approach, since intellectual processes cannot adequately be confined within national, linguistic, or disciplinary boundaries. Third, second-rank writers and neglected texts acquire particular importance because they may register the intellectual habits and dominant ideas of an age more directly than canonical masterpieces. Fourth, historical knowledge can enrich aesthetic experience by activating associations that contribute to the reader’s imaginative response, although Lovejoy maintains that the primary justification of literary history lies in its historical and psychological function rather than in the enhancement of aesthetic appreciation. The article subsequently considers the practical application of this approach to literary texts. From a Lovejoyan perspective, literary terminology cannot simply be equated with the history of ideas: a single term may carry different and even conflicting ideas in different historical contexts, while a relatively stable idea may be expressed through different terms. The article uses the example of the concept of the “Indian style” in Persian literature to illustrate how a single designation may contain divergent intellectual and aesthetic orientations, including the normative idea of intricate imagery, the emphasis on emotional directness and everyday language, the conception of the poet as a philosopher of imagination, and the later critical idea of decline. Thus, the history of ideas seeks to distinguish the different intellectual formations concealed beneath a common verbal designation and to reconstruct their respective genealogies. The second major part of the article evaluates the scope and limitations of Lovejoy’s approach by placing it in dialogue with several intellectual and literary-historical traditions. Its affinities with Hegelian history lie in the attempt to reconstruct continuity within the history of culture and to understand literary and artistic works in relation to the broader intellectual life of an age. Yet, whereas Hegel seeks the unified spirit of an age, Lovejoy decomposes historical totalities into smaller unit-ideas and traces their individual genealogies. The article identifies a methodological tension in this procedure: if unit-ideas are assumed to remain relatively stable, their history risks becoming merely a history of changing combinations rather than a history of the internal transformation of ideas themselves. The article also contrasts Lovejoy with classical Marxism. Although both approaches emphasize the historical embeddedness of literature and its relationship to other cultural domains, Marxism tends to explain ideas through material relations of production, whereas Lovejoy rejects the reduction of intellectual phenomena to economic, social, or psychological causes. The article then examines the opposition between Lovejoy’s approach and formalism and New Criticism. Because Lovejoy frequently treats literary works as evidence for the historical transmission of intellectual content, his method may appear to subordinate literary form to philosophical meaning. The article nevertheless considers the argument that Lovejoy’s conception of ideas as structured and materially operative elements has an unexpected affinity with formalist attention to the formal organization of cultural objects. This does not, however, eliminate the problem that Lovejoy’s framework may privilege the transmission of philosophical ideas over the ways in which literary language, genre, structure, and form transform those ideas. Hans Blumenberg’s theory of metaphor is therefore introduced as a challenge to the conception of literature as merely “diluted philosophy”: literary and metaphorical forms may possess their own cognitive and affective force rather than functioning simply as secondary containers of pre-existing philosophical ideas. The article further examines criticisms developed by Michel Foucault, Quentin Skinner, and David Perkins. Against Lovejoy’s emphasis on continuity, Foucault foregrounds epistemic ruptures and questions the assumption that apparently identical terms or ideas retain a stable identity across historical formations. Skinner similarly rejects the notion of timeless and invariant unit-ideas, emphasizing instead the rhetorical and pragmatic uses of concepts within historically situated conflicts. Perkins, from the perspective of literary historiography, questions the status of historical categories and periodizations and argues that the coherence attributed to the past may itself be produced by the historian’s selection and organization of evidence. These criticisms converge on a central problem in Lovejoy’s method: the possibility that the unit-idea, initially introduced as an analytical instrument, becomes reified as an independently existing historical entity. The article identifies several further methodological difficulties: the reduction of literariness to conceptual content; the selective privileging of philosophical context over other social, economic, institutional, psychological, and cultural contexts; the insufficient account of the active role of readers in the production and transformation of meaning; the emphasis on continuity at the expense of rupture, individual creativity, and formal innovation; and the constructed character of historical categories and periodizations. Although Lovejoy recognizes the emotional reception of philosophical systems through his concept of “metaphysical pathos,” his model does not provide an adequate account of the historically active reader developed later in reception theory. Likewise, his emphasis on recurring ideas makes it difficult to explain radical formal innovations and historical discontinuities. The article concludes that Lovejoy’s approach is neither a sufficient nor an exclusive method for literary historiography. Its principal value lies not in establishing the historical existence of immutable unit-ideas, but in providing a powerful analytical technique for tracing intellectual elements within literary texts and across disciplinary boundaries. Accordingly, the article proposes treating the unit-idea as an analytical hypothesis rather than as an objectively existing historical entity. Its validity must be tested, modified, or confirmed through concrete textual evidence, formal analysis, and attention to social and cultural contexts. The resulting approach places the history of ideas alongside conceptual history, formal analysis, and social-cultural history rather than subordinating literary study to any single explanatory framework. In this critical and self-reflexive configuration, Lovejoy’s method can contribute to overcoming the fragmentation of literary scholarship and to developing a broader account of the relationship between literature and the history of human thought. Its enduring significance therefore lies less in providing definitive answers than in opening a methodological horizon for sustained inquiry into the transmission, transformation, and historical situatedness of intellectual elements in literary texts. این مقاله نسبت ادبیات و اندیشه را با تمرکز بر رویکرد تاریخ ایده‌های آرتور اُ. لاوجوی بررسی و اعتبار روش‌شناختی این رویکرد را در تاریخ ادبیات ارزیابی می‌کند. لاوجوی نظام‌های فکری را ترکیبی از «ایده‌های واحد» می‌داند و با تجزیۀ آن‌ها به عناصر سازنده و ردیابی تداوم و دگردیسی این عناصر در حوزه‌های مختلف، تاریخ اندیشه را بازسازی می‌کند. مقاله با تبیین گونه‌های ایده‌های واحد و اصول روش‌شناختی لاوجوی، ازجمله هم‌ترازی ادبیات با دیگر حوزه‌های فکری، ضرورت رویکرد فراملی و فرارشته‌ای، اهمیت نویسندگان درجه دوم و نقش دانش تاریخی در غنی‌سازی تجربۀ زیبایی‌شناختی، ظرفیت‌های این روش را برای مطالعات ادبی بررسی می‌کند. سپس با مقایسۀ آن با سنت‌های هگلی و مارکسیستی، فرمالیسم روسی و نقد نو، و نیز دیدگاه‌های فوکو، اسکینر، پرکینز، بلومنبرگ و نظریۀ دریافت، محدودیت‌های آن را آشکار می‌سازد؛ ازجمله فروکاست ادبیت به محتوای مفهومی، گزینش زمینه، غیاب نقش فعال خواننده، تأکید بر تداوم در برابر گسست و نبوغ فردی، و برساختگی طبقه‌بندی‌ها و دوره‌بندی‌های تاریخی. مقاله درنهایت نتیجه می‌گیرد که رویکرد لاوجوی، اگرچه برای تبیین ادبیت اثر به‌تنهایی کافی نیست، می‌تواند به‌مثابۀ ابزاری تحلیلی برای ردیابی عناصر تاریخ فکری در متون ادبی به‌کار رود. بر این اساس، «ایده ـ واحد» نه واقعیتی تاریخی، بلکه فرضیه‌ای تحلیلی تلقی می‌شود که اعتبار آن باید در مواجهه با شواهد حاصل از تحلیل فرمال و زمینه‌های اجتماعی ـ فرهنگی سنجیده و تعدیل شود. از این منظر، تاریخ ایده‌ها در کنار تاریخ مفهومی، تحلیل فرمال و تاریخ اجتماعی ـ فرهنگی، یکی از ابزارهای مهم برای تاریخ‌نگاری ادبی و گشودن افقی برای مطالعۀ نسبت ادبیات و تاریخ اندیشه است.

https://lcq.modares.ac.ir/article_29192_08e2a4841034bfece69231fbe32278a9.pdf

دانشگاه تربیت مدرس فصلنامۀ نقد ادبی 2008-0360 19 75 2026 08 23 A Foucauldian Reading of the Reflection of Power and Resistance Discourse in Tahereh Mafi’s Shatter Me, Unravel Me and Ignite Me خوانشی فوکویی از بازتاب گفتمان قدرت و مقاومت در رمان‌های خردم کن، کشفم کن و شعله‌ورم کن اثر طاهره مافی 120 167 29191 10.48311/lcq.2026.118944.82738 FA یاسین معصوم نژاد زبان و ادبیات انگلیسی، علوم انسانی، دانشگاه گیلان، رشت، ایران 0009-0004-1936-6587 علیرضا فرح بخش عضو هیات علمی دانشگاه گیلان 0000-0002-7526-2182 Journal Article 2026 01 27 The Shatter Me trilogy (Shatter Me, Unravel Me and Ignite Me) by Tahereh Mafi is among the most popular contemporary young adult fiction series. The present study aims to analyze the reflection of the discourse of power and resistance in these science-fiction novels through the lens of Michel Foucault’s discourse analysis of power. The authors examine the application of sovereign and disciplinary power, as well as the protagonist’s methods of resistance against domination within this literary trilogy. Utilizing a descriptive-analytical methodology, this research seeks to answer the following questions: How do the mechanisms of sovereign and disciplinary power within the dystopian discourse of “The Reestablishment” produce and stabilize Juliette’s identity as a “monster”? Furthermore, how does the discourse of resistance at “Omega Point” and Juliette’s everyday resistant practices destabilize The Reestablishment’s power/knowledge system, thereby enabling the reconstruction of her identity from a rejected “monster” into an agentic subject? This article argues that The Reestablishment constructs Juliette’s body and identity as a dangerous deviation through the fusion of sovereign and disciplinary power, manifested in violence, surveillance, and institutional control. Yet, the discourse of resistance at Omega Point destabilizes The Reestablishment’s epistemic foundation by redefining knowledge, embracing difference and removing the label of “monstrosity,” thereby enabling the reconstruction of Juliette’s identity. Her gradual awareness of the mechanisms of domination, together with her deliberate practice of controlling her abilities, writing, remembering and forming emotional bonds, constitutes everyday acts of resistance that undermine epistemic and disciplinary domination from within. Extended abstract 1. Introduction This article investigates Tahereh Mafi’s Shatter Me, Unravel Me and Ignite Me, a young adult dystopian trilogy that explores the themes of power and resistance. The struggle to wield power, maintain control over its subjects and resist oppression constitutes a significant part of Juliette’s narrative arc. Drawing upon thematic analysis and Foucauldian discourse analysis, this study analyzes the concepts of “sovereign power,” “disciplinary power” and “resistance”, as well as their ramifications within the selected science fiction novels. More specifically, it examines how sovereign and disciplinary power establish domination over subjects and the ways the protagonist attempts to resist them. Given that these texts exhibit the juxtaposition of two distinct modes of power, this Foucauldian analysis aims to investigate how they simultaneously clash and coexist within the fictional world of Mafi’s trilogy. By examining the resistant practices Juliette employs to challenge domination, this article critically evaluates the efficacy of different forms of resistance. 2. Methodology Using Foucauldian discourse analysis, this study adopts a descriptive-analytical approach to examine the mechanisms of power and resistance in Tahereh Mafi’s Shatter Me, Unravel Me and Ignite Me. Core data, such as key dialogues and monologues, character development and narrative progression, are extracted from the primary texts and categorized according to themes of sovereign power, disciplinary power and resistance. It is the aim of researchers to analyze the techniques of sovereign and disciplinary power employed within the framework of the dominant discourse, as well as the strategies the female protagonist uses to resist domination throughout the novels. 3. Theoretical Framework Challenging the commonly-held monocentric conception of power, Michel Foucault highlighted the dynamic nature of power by introducing different modes of power: sovereign power, disciplinary power and biopower. He distinguished sovereign power from disciplinary power in that the former involves overt practices of control and authority, while the latter employs indirect techniques to minimize the cost and maximize the effect. In Foucauldian terms, discourse is highly interconnected with power, because it can be regarded as a medium through which power operates, determining the legitimate speaker, forms of speech and conditions of utterance. Not only does Foucauldian discourse analysis address linguistic elements, but it is also an action-oriented form of discourse analysis which explores how power is produced and maintained through discursive practices, thereby shaping the subjects’ reality and their construction of truth. Moreover, resistance is intertwined with power in Foucault’s thought, since the two cannot be separated or analyzed in isolation. Like power, resistance is consequently productive and dynamic, as it is observable within simple, everyday practices, rather than restricted to a singular source or institutional locus. 4. Analysis and Discussion Shatter Me, Unravel Me and Ignite Me follow the journey of a 17-year-old girl named Juliette Ferrars, who has long been imprisoned by a dystopian regime called The Reestablishment due to her deadly touch. The two most prominent discourses depicted in the trilogy are those of power and resistance. In the pursuit of establishing domination over soldiers and civilians, the dystopian government employs a combination of direct and indirect measures, which can be categorized into sovereign power and disciplinary power. The leader of this regime, Paris Anderson, is an elusive figure who, alongside his son, Warner, wields power through explicit torture, threats, fear and public executions, capitalizing on death as a powerful tool to enhance conformity and homogeneity in society. The Reestablishment also adopts a different technology of domination: disciplinary power, which involves rendering subjects into docile bodies through less obvious techniques, such as civic discipline, the use of ID cards, rewarding good behavior, regulating food consumption and serum injections. Juliette, as a prisoner, is therefore subject to the ceaseless surveillance and control of the government’s panoptic gaze. The Reestablishment implements this surveillance through first-hand human observation, CCTV cameras and medical examinations, aiming to collect data on her thoughts, behavior and lethal touch. As a docile body, Juliette demonstrates her internalized self-discipline through self-deprivation and the use of strikethroughs over her unlawful thoughts and desires. Despite the perceived contrasts between the two modes of domination, sovereign and disciplinary power work together to label Juliette as an “abnormal monster” in need of treatment. However, Castle, the leader of Omega Point (a subterranean resistance movement), offers Juliette a different definition of her unique “talent”, one that needs to be refined and controlled to maximize its efficiency. Juliette employs a number of resistant practices to withstand domination and restrictive control over her mind and body, including remembering the past, drawing attention to the bygone beauty of nature, and journaling, which counter the totalitarian government’s plan to delete public memory and invent a universal language. Juliette’s unlawful relationship with Adam and, subsequently, Warner, emerges as an act of defiance, challenging what is dictated by the dominating power in the story. However, the overly restrictive control in Omega Point and the apparent inefficiency of direct resistance led the female protagonist to redefine resistance and align with Warner, a former antagonist who possesses significant material resources. Although the resistance fighters oppose Juliette’s eventual union with their archenemy, she strategically deploys her lethal power, convinced that more prudent decisions are necessary to dismantle Anderson’s regime. 5. Conclusion The Reestablishment and Omega Point emerge as rival power structures within the broader discourse of power depicted in Shatter Me, Unravel Me and Ignite Me. Employing direct measures of coercion and authority, the dystopian government functions as a representation of sovereign power in the trilogy, with its supreme leader aspiring to retain an absolute monopoly over people’s bodies, thoughts and everyday lives by the means of death and homogenization. Yet, this oppressive regime simultaneously adopts indirect disciplinary techniques, such as rewarding behavior, demarcation and the exertion of control through food regulation and serum injection, which are aimed at transforming subjects into docile bodies. Omega Point, likewise, holds power over its population by enforcing its desired discipline, such as the promotion of stoic living, gender segregation, time management and homogeneity. However, this does not eliminate acts of defiance within the trilogy, as Juliette challenges the dominant discourse that labels her a “monster” through resistant practices and the redefinition of her talent. By situating the Shatter Me trilogy at the intersection of classical dystopian anxieties and contemporary young adult narrative traditions, this study demonstrates that Mafi reconfigures the discourse of resistance by shifting its locus from external, collective rebellion to an internalized, somatic process of self-redefinition. سه‌گانۀ خردم کن، کشفم کن و شعله‌ورم کن نوشتۀ طاهره مافی از پرطرفدارترین رمان‌های ادبیات داستانی نوجوان معاصر است. پژوهش حاضر بر آن است که با رویکرد تحلیل گفتمان قدرت میشل فوکو به بررسی چگونگی بازتاب گفتمان قدرت و مقاومت در این رمان‌های علمی‌تخیلی بپردازد. نویسندگان‌ این مقاله تلاش می‌کنند چگونگی اعمال قدرت‌ حاکمیت‌بنیاد و انضباطی و روش‌های مقاومت شخصیت‌ اصلی در برابر سلطه را در این سه‌گانۀ ادبی تحلیل کنند. تحقیق حاضر با بهره‌گیری از روش پژوهش توصیفی‌ ـ تحلیلی، درپی پاسخ به این پرسش‌ها برآمده است: چگونه سازوکارهای قدرت حاکمیت‌بنیاد و قدرت انضباطی در گفتمان پادآرمان‌شهری «سازمان احیا»، هویت جولیت را به‌مثابۀ یک «هیولا» تولید و تثبیت می‌کند؟ و چگونه گفتمان مقاومت در نقطۀ‌ امگا و کنش‌های مقاومتی روزمرۀ‌ جولیت، نظام قدرت/ دانش سازمان احیا را بی‌ثبات کرده و امکان بازسازی هویت او را از «هیولای» طردشده به سوژه‌ای دارای عاملیت فراهم می‌کند؟ این جستار نمایانگر آن است که سازمان احیا از طریق ترکیب قدرت حاکمیت‌بنیاد و قدرت انضباطی، با بهره‌گیری از خشونت، تهدید به مرگ، نظارت، انزوا و سازوکارهای معرفتی، بدن و هویت جولیت را به‌مثابۀ انحرافی خطرناک صورت‌بندی می‌کند. اما گفتمان مقاومت در نقطۀ امگا با بازتعریف دانش، پذیرش تفاوت و زدودن برچسب «هیولایی»، بنیان معرفتی سازمان احیا را متزلزل می‌سازد و امکان بازسازی هویت جولیت را فراهم می‌کند. آگاهی تدریجی او از سازوکارهای سلطه، همراه با تمرین کنترل آگاهانۀ توانایی‌هایش، نوشتن، یادآوری و پیوندهای عاطفی، کنش‌های مقاومتی روزمره‌ای می‌سازند که سلطۀ معرفتی و انضباطی را از درون فرو می‌پاشند.

https://lcq.modares.ac.ir/article_29191_51540863fba76ac6cb10eded0ff9ef7b.pdf

دانشگاه تربیت مدرس فصلنامۀ نقد ادبی 2008-0360 19 75 2026 08 23 Analyzing the Questioning Structure in Research Articles on Persian Literary Typology تحلیل ساختار پرسش‌گذاری در مقالات علمی حوزۀ گونه‌شناسی ادبیات فارسی 169 213 29224 10.48311/lcq.2026.118597.82730 FA زهره نجفی گروه زبان وادبیات فارسی- دانشکده ادبیات و علوم انسانی- دانشگاه اصفهان- ایران 0000-0002-6922-1202 زهرا کرمی گروه زبان وادبیات فارسی- دانشکده ادبیات و علوم انسانی- دانشگاه اصفهان- ایران 0000-0001-3149-0100 Journal Article 2025 12 30 In the field of Persian literary typology, the lack of clear and targeted research questions has led to a decline in analytical coherence and evaluative rigor across many published articles. By analyzing 80 articles published between 2001 and 2024, this study identifies three primary questioning patterns: articles with explicit and structured questions (52%), articles with implicit or indirect questions (36%), and articles lacking defined research questions (11%). Furthermore, examining the placement of questions revealed that their distribution across various sections (abstract, introduction, problem statement, dedicated subsection, and discussion body) directly impacts objective clarity and scholarly coherence. The findings indicate that formulating explicit questions and strategically placing them effectively guides the analytical trajectory and enhances the citable authority of research articles. Therefore, systematic attention to research questioning can serve as a practical guideline for elevating scholarly writing standards in Persian literary typology studies. Extended Abstract Introduction In the field of Persian literary typology, the lack of clear and well-defined research questions often results in a lack of analytical coherence and scientific rigor. Despite the proliferation of literary studies, many scholars struggle to transition from descriptive reporting to structured, problem-oriented research. This study examines the structural role of research questions in Persian literary typology, arguing that the way questions are formulated and positioned significantly dictates the quality of analysis, objective clarity, and the overall credibility of academic discourse. The research aims to categorize existing questioning patterns and evaluate their impact on the structural integrity of academic papers. Methodology The study adopts a qualitative-statistical approach, analyzing 80 academic articles published in various Persian literary journals between 2003 and 2024. The assessment criteria focused on two primary indicators: (1) the nature of the research question (explicit/structured, implicit/conveyed, or absent), and (2) the placement of the question within the article’s structure (abstract, introduction, statement of the problem, or as an independent section). Findings The results indicate that 52% of the surveyed articles utilize explicit and structured questions, which correlate with higher levels of analytical coherence. 36% of the articles contain implicit or embedded questions, which often lead to discursive drift and ambiguous conclusions. Alarmingly, 11% of the articles lack a formal research question entirely, resulting in descriptive or anecdotal writing that lacks critical depth. Furthermore, the analysis reveals that positioning the research question within a dedicated section or clearly defined “statement of the problem” section significantly enhances the logical flow of the argument and the reproducibility of the study’s findings. The study highlights that many scholars in this field often misuse literary terminology (e.g., genre, sub-genre, tone) due to the absence of a strong, question-driven theoretical framework. Conclusion The study concludes that the explicit formulation of research questions acts as a navigational roadmap for literary analysis. Clarity in questioning directly improves the cohesiveness of the text, guides data processing, and facilitates the peer-review process. It is recommended that academic journals in the field of Persian literature mandate a dedicated section for “Problem Statement and Research Questions”. Researchers are encouraged to avoid overly broad topics, opting instead for narrow, focused, and question-driven inquiries. Establishing a transparent theoretical framework, consistent with the specific nature of Persian literature, is essential before embarking on typological classifications. در حوزۀ گونه‌شناسی ادبیات فارسی، ضعف در طرح پرسش‌های روشن و هدفمند موجب شده بسیاری از مقالات فاقد انسجام تحلیلی و قابلیت ارزیابی دقیق باشند. پژوهش حاضر با تحلیل ۸۰ مقالۀ منتشرشده طی سال‌های ۱۳۸۰ تا ۱۴۰۳، سه الگوی اصلی طرح پرسش را شناسایی کرده است: مقالات دارای پرسش صریح و ساختارمند (۵۲٪)، مقالات دارای پرسش ضمنی یا تلویحی (۳۶٪)، و مقالات فاقد پرسش پژوهشی (۱۱٪). همچنین بررسی جایگاه پرسش‌ها نشان داد که پراکندگی آن‌ها در بخش‌های مختلف مقاله (چکیده، مقدمه، بیان مسئله، بخش مستقل، بدنه بحث) بر وضوح هدف‌گذاری و انسجام علمی تأثیر مستقیم دارد. نتایج این مطالعه نشان می‌دهد که وجود پرسش‌های روشن و جای‌گذاری مناسب آن‌ها، مسیر تحلیل را هدفمند ساخته و اعتبار ارجاع‌دهی مقالات را افزایش می‌دهد؛ ازاین‌رو، توجه به پرسش‌مندی می‌تواند راهنمایی عملی برای ارتقای استانداردهای نگارش علمی در مطالعات گونه‌شناسی ادبیات فارسی باشد.

https://lcq.modares.ac.ir/article_29224_deda2f6fe94d5a980d004d35ee664e97.pdf

دانشگاه تربیت مدرس فصلنامۀ نقد ادبی 2008-0360 19 75 2026 08 23 Psychoanalytic Semiotics of the Novel “Control of Destiny” through a Deconstructive Approach نشانه‌شناسی روان‌کاوانۀ رمان کنترل سرنوشت با رویکرد وانوسازی 215 247 29190 10.48311/lcq.2026.108600.0 FA رضا نکوئی سایر Journal Article 2025 06 05 Binary oppositions are the most essential concepts is structuralist semiotics which try to stabilize the meaning of the text and prevent the process of the production of other meanings. This article, using an analytical-descriptive method from a poststructuralist semiotic approach, aims at challenging the binary opposition. Binary oppositions are the most essential concepts in structuralist semiotics which try to stabilize the meaning of the text and prevent the process of the production of other meanings. This article, using an analytical-descriptive method from a poststructuralist semiotics in Bahareh Salman’s novel, “Control of Destiny”, in order to present a psychoanalytic reading and discover new implications about its actants, places, actions and dreams and propose a different reading from the preliminary reading of the text based on Derrida’s deconstructive techniques. The findings of the study show that the most significant binary opposition in the novel is the opposition of man / woman which describes and organizes other conceptual oppositions in the novel. By deconstructing this opposition, other binary oppositions in the novel are also dismantled. Extended Abstract Introduction One of the fundamental principles of structuralist semiotics is the analysis of literary texts based on the concept of binary opposition (see Payandeh, 2018: 164). Binary opposition is the most fundamental form of opposition in structuralism, since, according to structuralists, human thought operates through pairs such as good/evil, beautiful/ugly, day/night, and white/black (see Shamisa, 2000: 182). This principle, also referred to as the law of non-contradiction, has been one of the defining conditions of human knowledge since at least the time of Plato, and acting contrary to it has proved difficult. Moreover, given the nature of the human mind and the human condition, there appears to be little hope of escaping binary thinking, since it seems to constitute the path of least resistance for perceptual systems, thought, and linguistic structures. Nevertheless, many poststructuralist semioticians employ alternative strategies to address this problem, or, more precisely, to challenge the assumption of a final meaning. Jacques Derrida, through the method of deconstruction, seeks to target and disrupt the seemingly inevitable structure of binary oppositions (see Gunkel, 2014: 59–69). This article employs a descriptive-analytical methodology and draws on poststructuralist semiotics to examine the binary oppositions in Bahareh Salman’s novel Control of Destiny. The study approaches these oppositions through Derrida’s concept of deconstruction, with the aim of psychoanalytically interpreting the text, uncovering new significations of its characters, settings, actions, and dreams, and offering an alternative reading that differs from the text’s initial or conventional interpretation. Literature Review One of Derrida’s most fundamental and widely discussed concepts is deconstruction. To date, numerous studies have been conducted around this concept. Nojoumian (2015) regards Barthes’s concept of the “punctum” as a deconstructive strategy that, in the absence of the image, continually refers to the impossible and the represented. Golestani (2015) maintains that although deconstruction cannot lead to the discovery of an authentic Al-e Ahmad, it can liberate his texts and even his persona from the fixed, monologic, and univocal narratives constructed by both his supporters and opponents. Rahimi Zanjanbar et al. (2019) argue that, from a psychoanalytic perspective, most works of children’s and young adult’s literature emphasize strengthening the ego as a deconstructive intermediary between the two levels of the id and the superego; through strengthening the ego, the child achieves a deconstruction of the opposition between these two psychic agencies. The novel Control of Destiny, owing to its focus on the protagonist’s actions, the presence of dreams within its plot, and its plural and multilayered structure, constitutes a suitable text for psychoanalytic semiotic analysis from a deconstructive perspective. Furthermore, Salman is a member of a new and promising generation of writers, and critical examination of her work may contribute to the development of writers belonging to this generation. Research Objectives and Questions In this article, drawing on poststructuralist semiotics and Sigmund Freud’s psychoanalytic theory, the binary oppositions in Bahareh Salman’s novel Control of Destiny are examined through Derrida’s approach of deconstruction. The study aims to psychoanalytically interpret the novel, uncover new significations of its characters, settings, actions, and dreams, and offer a reading that differs from the text’s dominant reading. The research questions are as follows: - What binary oppositions are present in the novel Control of Destiny? - How does deconstruction affect the binary oppositions in the novel? - From the perspective of deconstruction, what new significations can be identified in the novel’s characters, settings, actions, and dreams? Methodology The present study employs a descriptive-analytical methodology, drawing on the technique of deconstruction, poststructuralist semiotics, and Freud’s psychoanalytic theories. By reversing the binary oppositions underlying the narrative and uncovering their new significations, we examine the structuralist semiotic claim concerning the existence of a final meaning. Accordingly, using deconstruction, we first identify the major binary oppositions in the novel. At this stage, through the displacement and reorganization of the deconstructed elements beyond their previously established binaries, new forms of equilibrium are created, thereby allowing new meanings to emerge. Furthermore, the study examines the role of the unconscious actions and dreams of the novel’s characters as manifestations of psychic signs in the process of deconstruction and the re-reading of the text. Our main hypothesis is that the novel’s internal focalizer resorts to various defense mechanisms in order to conceal her unconscious fears and anxieties. These mechanisms are manifested in her dreams, unconscious actions, and the dynamics of her relationships with other characters. Conclusion Through the psychoanalytic semiotic analysis of the novel Control of Destiny from the perspective of deconstruction, it was found that that we are confronted with a plural and multilayered text owing to the conflict between the narrative of the unconscious and that of the conscious mind of the internal focalizer. Thus, beneath the novel’s initial and seemingly straightforward narrative lies another concealed narrative. The binary opposition of man/woman constitutes the most important binary opposition in the novel’s primary narrative, and it also describes and structures the other conceptual oppositions within the novel. Through the deconstruction of this opposition, Maliheh becomes the internal focalizer and principal character of the novel. For various reasons, including fear, she has displaced many of her desires onto Erfan through the defense mechanism of displacement. Accordingly, other binary oppositions in the novel, such as the Oedipus complex/Electra complex, ordinary adolescent/orphanage adolescent, and biological parents/foster parents, are also reversed, thereby further challenging the binary oppositions underlying the novel. Another means of challenging the novel’s binary oppositions is the use of the defense mechanism of identification. Alongside resentment and hatred toward the same-sex parent, the child simultaneously imitates that figure’s power. Thus, the child identifies and merges with this figure in order to participate in and appropriate that power. We also found that many of the novel’s characters function as manifestations of the id and superego of the internal focalizer, since her unconscious may have introduced them into the narrative in order to exonerate herself and obscure the traces of the agent responsible for the harm inflicted upon the same-sex parent. Likewise, many of the places in which the internal focalizer lives function as representations of different parts of her psyche and of the conflicts among them; and the movement of Erfan among these spaces evokes their activity for the reader. On the basis of this discussion, in the novel’s second narrative, the internal focalizer, in order to reduce or temporarily alleviate her fears and anxieties, employs psychoanalytic strategies to substitute many of the novel’s characters, settings, and events with imaginary characters, settings, and events. References Golestani, M. (2015). Vāzāzi-e Motun-e Jalāl-e Āl-e Ahmad: Soujeh, Nihilism va Amr-e Siāsi. Tehran: Niloofar. [in Persian] Gunkel, D. J. (2023). Vānoqsāzi. Trans. Hadi Nouri. Tehran: Pileh. [in Persian] Nojoumian, A. A. (2003). “Darāmadi bar Shāludeh-shekani (Derrida, Burges, Don Quixote)”. Ketāb-e Māh-e Adabiāt va Falsafeh. No. 67, pp. 50-59. [in Persian] Payandeh, H. (2018). Nazariye va Naqd-e Adabi: Dars-nāmeh-i Miān-Reshtei (Vol. 1). Tehran: SAMT. [in Persian] Rahimi Zanjanbar, A. H; Bostani, F. & Zare, H. (2019). “Tahlil-e Neshāneh-Ravān-kāvi-e Romān-e Nowjavān-e Mosābeqeh Dāt Kām bā Ruykard-e Vāsāzi.” Pazhouhesh-hā-ye Zabāni. Vol. 10, No. 1, pp. 59-82. [in Persian] Salman, B. (2022). Kontorol-e Sarnevesht. Tehran: Rouzegar. [in Persian] Shamisa, S. (1999). Naqd-e Adabi. Tehran: Ferdows. [in Persian] تقابل‌های دو‌جزئی اساسی‌ترین مفهوم در نشانه‌شناسی ساختارگراست که معنای متن را ثابت و فرایند تولید معناهای دیگر را متوقف می‌کنند. در این مقاله، با روش تحلیلی ـ توصیفی و با توجه به نشانه‌شناسی پساساختارگرا، تقابل‌های دوجزئی در رمان کنترل سرنوشت نوشتۀ بهاره سلمان به‌منظور روان‌کاوی و کشف دلالت‌های جدید کنشگر‌ها، مکان‌ها، کنش‌ها، و رؤیاهای رمان و ارائۀ خوانشی متفاوت با خوانش اولیۀ متن با رویکرد وانوسازی دریدا بررسی می‌شود. نتایج پژوهش نشان می‌دهد دو‌گانۀ مرد/ زن مهم‌ترین تقابل دو‌جزئی رمان است که تقابل‌های مفهومی دیگر رمان را توصیف و تنظیم می‌کند. با وانوسازی این تقابل، تقابل‌های دو‌جزئی دیگر رمان نیز واژگون می‌شوند. سازکارهای دفاعی جابه‌جایی و ادغام ازجمله شگرد‌های روان‌کاوانۀ کانونی‌ساز درونی برای به چالش کشیدن تقابل‌های دو‌جزئی رمان است. کانونی‌ساز درونی به دلایلی ازجمله ترس و تقلید از ولی هم‌جنس خود، از این سازکا‌‌رها‌ی دفاعی استفاده می‌کند. همچنین، بسیاری از کنشگر‌ها و مکان‌های رمان شمایل بخش‌های مختلف روان و تعارض بین آن‌ها هستند که ارتباط و رفت‌و‌آمد کانونی‌ساز درونی بین آن‌ها، فعالیت آن‌ها را برای خواننده تداعی می‌کند. بر پایۀ این بحث، به‌دلیل تعارض بین روایت ضمیر ‌آگاه و ناخودآگاه کانونی‌ساز درونی، با متنی متکثر و چند‌لایه مواجه هستیم که کانونی‌ساز درونی برای کاهش ترس و اضطراب خود، با استفاده از شگرد‌های روان‌کاوانه، بسیاری از کنشگر‌ها، مکان‌ها و رویداد‌های رمان را با کنشگر‌ها، مکان‌ها و رویدادهای تخیلی جا‌به‌جا کرده است.

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