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Mahdi Javidshad,
Volume 11, Issue 42 (9-2018)
Volume 11, Issue 42 (9-2018)
Abstract
One of the scientific faults that we occasionally face is the act of translating a published article into another language and publishing it in another journal as a new article. This may be done through some changes to title, key terms, structure, and content, leading finally to scientific faults in the second research. In the nineteenth number of the academic journal Critical Language & Literary Studies at Shahid Beheshti University, an article titled “Ideology and Interpellation of Black Americans’ Community in Amiri Baraka’s ‘In Memory of Radio’: An Althusserian Reading” (fall and winter 2017-2018, pages 187-208) by Seyyed Shahabedin Sadati and Alireza Jafari has been published which is very similar to an English article titled “The influence of ideological state apparatuses in identity formation: Althusserian reading of Amiri Baraka’s ‘In Memory of Radio’” published in International Journal of English and Literature (December 2013, pages 480-485). The author of the English article, Seyyed Shahabedin Sadati, is one of the authors of the Persian article who, by adding a co-author, making changes to the title and key terms, and incorporating additional materials, has tried to produce a new article, committing plagiarism along the way.
Abolfazl Horri,
Volume 12, Issue 47 (11-2019)
Volume 12, Issue 47 (11-2019)
Abstract
This paper discusses the prominent position of Arnold's cultural adaptation of the compelling story of Rustam & Sohrab in Shahnameh in the Victorian literary poly-system in England. According to the poly-system theory as proposed by Even-Zohar, the translated literature can typically have primary /central and/or peripheral/marginal positions in the target culture, depending on whether the target culture is young, weak, or in crisis. Meantime, the faithful translation of Shahnameh seems to occupy the peripheral position in English translation, but Arnold’s adaptation has typically exceeded the adaptive effect and obtained the proper position in the literary poly-system of the Victorian. This paper aims to peruse how Arnold's cultural adaptation of Shahnameh’s passionate story has marked a primary position in the English literary poly- system of the Victorian era. To this aim, Firstly, Arnold's position as an interpreter/adaptor is sketched out. Then, having compared Arnold’s adaptation with the primary sources to which Arnold has typically had access to become familiar with the Persian native story, mention is reasonably made of the marked differences between the two Persian and English literary poetics under the umbrella of poly-system theory as proposed by Even-Zohar. Due to the innovative way (s) Arnold has uniquely adapted, recreated, and re-written the native story with specific regard to the peculiar features of the literary tradition of the Western poetics, it seems that the local story of Shahnameh has found the prime position in the Western literary poetics of the Victorian.
Neda Sadat Mostafavi, Reza Ruhani,
Volume 13, Issue 50 (5-2020)
Volume 13, Issue 50 (5-2020)
Abstract
Molana, the great creator of Masnavi, is an intellectual mystic, who has based his intellectual foundation on peace and indulgence. He has invited all in his works to follow his manner, by employing various techniques such as simile and anecdote. His view on indulgence, along with some other views, have been criticized. The current study has explored these criticisms in the last century by adopting an analytical-descriptive approach. The purpose of such analysis was to fully understand the basis of his view on indulgence and to introduce and study the criticisms against it. Upon analysis, it became apparent that coexistence of different religious beliefs in the society (social pluralism), based on Islamic core beliefs, played a major role in his worldview. However, religious pluralism, bearing similarities with the aforementioned view of his, is not welcomed by Molana. The analysis of Molana’s verses has also shown that calling him a pluralist is not evidence-based and therefore flawed
Alireza Mohammadi Kalesar,
Volume 14, Issue 56 (12-2021)
Volume 14, Issue 56 (12-2021)
Abstract
Although the theme of a work has an important role in literary and art criticism, it has been less discussed as a methodological process. Persian researchers are more concerned with explication and introduction of the theme of literary works than to discuss the processes, methods and strategies of discovering and understanding the theme. This paper, relying on examples of literary and art criticism, introduces two thematising processes: direct and indirect. The first and prevailing process obtains themes through the evident signs and explicit meanings of a text. Three of these evident signs include the direct utterances of the text, elements of fabula, and literary conventions. This process usually displays familiar themes. In contrast, the indirect process achieves the theme of a work by relying on implicit and constructed meanings, using strategies such as the concepts of literary theories, formal devices, extracting non-objective motifs, or combining these. The second type of themes, due to their strangeness, must be justified by a critic precisely and for this reason, they display that the critic is aware of his/her strategies.
Extended Abstract
Theme is one of the most current concepts and tools in literary and artistic criticism. Theme and thematic view contribute to the various types and levels of criticism; from the simplest dialogues to professional literary studies and analysis (Scholes, 2018: 22- 23). The effect of the theme can be seen in analytic works in literature and art; for example, the analysis of our everyday dialogues, talking about a movie or novel, introducing a work in social media, and people’s evaluations of a literary work or genre. Also, theme has a central function in academic studies. One of the current issues in academic papers, at least in Persian language and literature, is a direct or indirect discussion of the theme of literary works.
In education, an important part of the knowledge students learn is also the themes of the literary works. It can be said that, even curriculums and courses in Persian language and literature, are based on the categorizing of literary texts drawn from their themes. This view to theme and current discussion about theme is a part of the concept that is called “content knowledge” (Linkon, 2018: 19- 28). Therefore, here we have lost “Strategic knowledge”; a type of knowledge that focuses on the process of obtaining these themes. In other words, among the dense articles, theses, curriculums, and common discussion about themes of literary works, there are very few discussions about how to gain these themes. In this paper, I have tried to achieve this aim. In other words, although the theme of a work has an important role in literary and art criticism, it has been less discussed as a methodological process. Persian researchers are more concerned with explication and introduction of the theme of literary works than to discuss the processes, methods and strategies of discovering and understanding the theme This paper, relying on examples of literary and art criticism, introduces two thematising processes: direct and indirect. My aim, in this article, is to discuss about processes and strategies of constructing of theme via readers and critics rather to discuss about the instances of concrete themes.
Some of the theoretical studies about theme deal with definition of this term and its difference between theme and other similar or correlative terms (Parsanasab, 2009; Taghavi & Dehghan 2009; Sami’i Gilani, 2007). Babak Mo’in (2015) also in his article introduces the concept theme in French thematic theorists’ point of view. Because of its reliance on the thermalizing processes, above article is related to my research.
In this article, I have exploited Bordwell (1989) and his results about theme and interpretation. He introduces current norms and procedures in finding and constructing themes and meanings in the history of film studies. With regard to the ideas, theories, and definitions of theme, in this article I want to answer these questions: How do we achieve the theme of works? Is a theme an objective matter or subjective one? Is critic’s awareness of the process of making theme affective on the thematic research?
Extended Abstract
Theme is one of the most current concepts and tools in literary and artistic criticism. Theme and thematic view contribute to the various types and levels of criticism; from the simplest dialogues to professional literary studies and analysis (Scholes, 2018: 22- 23). The effect of the theme can be seen in analytic works in literature and art; for example, the analysis of our everyday dialogues, talking about a movie or novel, introducing a work in social media, and people’s evaluations of a literary work or genre. Also, theme has a central function in academic studies. One of the current issues in academic papers, at least in Persian language and literature, is a direct or indirect discussion of the theme of literary works.
In education, an important part of the knowledge students learn is also the themes of the literary works. It can be said that, even curriculums and courses in Persian language and literature, are based on the categorizing of literary texts drawn from their themes. This view to theme and current discussion about theme is a part of the concept that is called “content knowledge” (Linkon, 2018: 19- 28). Therefore, here we have lost “Strategic knowledge”; a type of knowledge that focuses on the process of obtaining these themes. In other words, among the dense articles, theses, curriculums, and common discussion about themes of literary works, there are very few discussions about how to gain these themes. In this paper, I have tried to achieve this aim. In other words, although the theme of a work has an important role in literary and art criticism, it has been less discussed as a methodological process. Persian researchers are more concerned with explication and introduction of the theme of literary works than to discuss the processes, methods and strategies of discovering and understanding the theme This paper, relying on examples of literary and art criticism, introduces two thematising processes: direct and indirect. My aim, in this article, is to discuss about processes and strategies of constructing of theme via readers and critics rather to discuss about the instances of concrete themes.
Some of the theoretical studies about theme deal with definition of this term and its difference between theme and other similar or correlative terms (Parsanasab, 2009; Taghavi & Dehghan 2009; Sami’i Gilani, 2007). Babak Mo’in (2015) also in his article introduces the concept theme in French thematic theorists’ point of view. Because of its reliance on the thermalizing processes, above article is related to my research.
In this article, I have exploited Bordwell (1989) and his results about theme and interpretation. He introduces current norms and procedures in finding and constructing themes and meanings in the history of film studies. With regard to the ideas, theories, and definitions of theme, in this article I want to answer these questions: How do we achieve the theme of works? Is a theme an objective matter or subjective one? Is critic’s awareness of the process of making theme affective on the thematic research?
Some of the results of this paper are: various processes of thematising and making theme can be categorized in two main groups: direct processes and indirect processes. The first and prevailing process obtains themes through the evident signs and explicit meanings of a text. Three of these evident signs include the direct utterances of the narrator or fictional characters in the text, elements of fabula (events and persons presented in the deep structure of text), and literary conventions (genre, schools, theories, or some current conventions in literary or artistic institutions). This process usually displays familiar, canonical and traditional themes. Because of their familiarity, these themes don’t need to be explained or justified by critics. In contrast, the indirect process achieves the theme of a work by relying on implicit and constructed meanings, using strategies such as the concepts of literary theories (like sexual or political concepts), formal devices and their meanings (like focalization, metalepsis, or parody), extracting non-objective motifs (like reflection or pretense), or even combining these strategies. The second type of themes, due to their strangeness, must be justified by a critic precisely and for this reason, they display that the critic is aware of his/her strategies. Finally, relying on the second process of theme making and thematising, I introduced the themes of some of the literary and cinematic works such as Hafiz’s poems, Birds by Alfred Hitchcock, and Invasion by Sharam Mokri.
Farideh Afarin,
Volume 15, Issue 57 (7-2022)
Volume 15, Issue 57 (7-2022)
Abstract
The aim of the current study is to clarify different definitions of criticism and metacriticism in art critique. The method of data gathering is descriptive-analytic. The researcher has analyzed different definitions of art criticism from various domains and by adopting a descriptive-analytic approach, the following definitions and functions of criticism became clear: evaluating the advantages or disadvantages of the artwork, evaluating the piece by deduction and induction, or even on the basis of personal taste, translating visual signs to linguistic ones, unveiling the ultimate meaning of a work, decomposing the piece to its elements and analyzing the elements, making a part-whole relationship in search of meaning, regarding the viewers’ expectations, emphasizing on the value of reception, understanding the work of art and interpreting the multiple meanings of the piece. Metacriticism has also different definitions including, explaining the limitations of artistic systems such as visual systems, clarifying the norms, studying criticism, and analyzing methodologies and their pitfalls.
Extended Abstract
There are three ways to define criticism: 1. Explaining the function of criticism, 2. Explaining its types and classifications and 3. Relying on explanations in the cliché form of criticism, i.e. "criticism is..." (Smallwood, 1996, p. 256). In the first case, criticism is defined by its application. The use of criticism is determined by the situation, goals, objectives, and used methods. The applications are diverse and the purposes are different. Smallwood considers the mentioned definition conditioned on the fact that the rest of the factors in criticism are fixed and unchanging. Of course, this type of definition is nothing more than a tool to move from point A to B. In the description of criticism classifications, it can be said that criticism includes different types such as moral criticism, rhetorical criticism, archetypal criticism, historical criticism, feminist criticism, structuralist, and poststructuralist criticism. Overall, criticism is not a critique of the whole, but rather an arrangement of the sum of their partial differences, which may not reach uniformity, but create a concept that has many parts. Defining criticism by groups and categories would result in the superiority of descriptive and non-evaluative typology (Ibid, p. 259). Criticism can be defined by relying on the form of "criticism is...". Contrary to the definitions based on the application, the definitions here are clear and distinct. These definitions determine what "criticism should be" (Ibid, 1996, pp. 256-261), and also give order to the confusing scope of the definition of criticism. These definitions mostly rely on unfulfilled wishes and hopes. Ideal sentences that may sometimes not be related to the reality of criticism itself. Finally, in this research, criticism, and metacriticism are defined according to their functions, and as a result, a set of actions and activities are highlighted for the critic.
Method and Approach
In the current study, the aim is to clarify the meanings of critique and metacriticism in art criticism. the definition of critique in philosophy and literary criticism to gain a clear understanding of metacriticism helped the researcher to achieve her goals. The method of data gathering is descriptive-analytic.
Findings
The researcher has analyzed different definitions of art criticism from various domains and by adopting a descriptive-analytic approach, the following definitions and functions of criticism became clear: evaluating the advantages or disadvantages of the artwork, evaluating the piece by deduction and induction, or even on the basis of personal taste, translating visual signs to linguistic ones, unveiling the ultimate meaning of a work, decomposing the piece to its elements and analyzing the elements, making a part-whole relationship in search of meaning, regarding the viewers’ expectations, emphasizing on the value of reception, understanding the work of art and interpreting the multiple meanings of the piece. Metacriticism has also different definitions including, explaining the limitations of artistic systems such as visual systems, clarifying the norms, studying criticism by itself, analyzing methodologies and their pitfalls, rejecting the status quo, questioning values, the philosophy of criticism, a reflection on the action of criticism, its trends, motivations, and principles.
Art critics can use the results and findings of this study to determine the semantic limits of criticism and metacriticism. They can take a step in a more clear way to criticize works of art and thus gain a more accurate understanding of the unified narrative of artistic currents and tendencies in Iran. Secondly, clarifying the meanings of criticism would help them to review the approaches of art criticism and criticize the path and method of criticism of other critics.
Extended Abstract
There are three ways to define criticism: 1. Explaining the function of criticism, 2. Explaining its types and classifications and 3. Relying on explanations in the cliché form of criticism, i.e. "criticism is..." (Smallwood, 1996, p. 256). In the first case, criticism is defined by its application. The use of criticism is determined by the situation, goals, objectives, and used methods. The applications are diverse and the purposes are different. Smallwood considers the mentioned definition conditioned on the fact that the rest of the factors in criticism are fixed and unchanging. Of course, this type of definition is nothing more than a tool to move from point A to B. In the description of criticism classifications, it can be said that criticism includes different types such as moral criticism, rhetorical criticism, archetypal criticism, historical criticism, feminist criticism, structuralist, and poststructuralist criticism. Overall, criticism is not a critique of the whole, but rather an arrangement of the sum of their partial differences, which may not reach uniformity, but create a concept that has many parts. Defining criticism by groups and categories would result in the superiority of descriptive and non-evaluative typology (Ibid, p. 259). Criticism can be defined by relying on the form of "criticism is...". Contrary to the definitions based on the application, the definitions here are clear and distinct. These definitions determine what "criticism should be" (Ibid, 1996, pp. 256-261), and also give order to the confusing scope of the definition of criticism. These definitions mostly rely on unfulfilled wishes and hopes. Ideal sentences that may sometimes not be related to the reality of criticism itself. Finally, in this research, criticism, and metacriticism are defined according to their functions, and as a result, a set of actions and activities are highlighted for the critic.
Method and Approach
In the current study, the aim is to clarify the meanings of critique and metacriticism in art criticism. the definition of critique in philosophy and literary criticism to gain a clear understanding of metacriticism helped the researcher to achieve her goals. The method of data gathering is descriptive-analytic.
Findings
The researcher has analyzed different definitions of art criticism from various domains and by adopting a descriptive-analytic approach, the following definitions and functions of criticism became clear: evaluating the advantages or disadvantages of the artwork, evaluating the piece by deduction and induction, or even on the basis of personal taste, translating visual signs to linguistic ones, unveiling the ultimate meaning of a work, decomposing the piece to its elements and analyzing the elements, making a part-whole relationship in search of meaning, regarding the viewers’ expectations, emphasizing on the value of reception, understanding the work of art and interpreting the multiple meanings of the piece. Metacriticism has also different definitions including, explaining the limitations of artistic systems such as visual systems, clarifying the norms, studying criticism by itself, analyzing methodologies and their pitfalls, rejecting the status quo, questioning values, the philosophy of criticism, a reflection on the action of criticism, its trends, motivations, and principles.
Art critics can use the results and findings of this study to determine the semantic limits of criticism and metacriticism. They can take a step in a more clear way to criticize works of art and thus gain a more accurate understanding of the unified narrative of artistic currents and tendencies in Iran. Secondly, clarifying the meanings of criticism would help them to review the approaches of art criticism and criticize the path and method of criticism of other critics.
Mehrdad Zarei,
Volume 15, Issue 57 (7-2022)
Volume 15, Issue 57 (7-2022)
Abstract
In any scientific research, the research method is the main factor in obtaining accurate and correct results. Therefore, researchers in various fields of science try to conduct their research within the framework of methods defined in their discipline. “The Imagist Historian or Formalist Poet” is a book in which the author intends to study the poems of MohammadReza Shafi'i Kadkani by using three methods of historical, sociological and formalist criticism. The present article, in order to measure the accuracy of the approaches in this book, first examines its name, which represents the author's view of the work under study and then he has examined the quality of the author's use of approaches. After reviewing, it is clear that the author has made a mistake in applying all three main approaches of the book. In the end, such a conclusion is reached that the author does not have comprehensive knowledge of the methods he has chosen as research approach, and the book is devoid of any method that leads to accurate and scientific results.
Extended Abstract
Introduction
Every coherent and purposeful scientific research needs a method. Methodology in literary research leads to "increasing efficiency" and "measurability" which are two important indicators of science. But conducting methodical research first of all requires familiarity with the used method and approach and then its correct application. The “Tarikhnegāre Tasvirgārā yā Shāere formalist” [the Imagist historian or formalist poet] written by Yusuf Aali Abbas Abad is a book that tries to examine Mohammadreza Shafi'i Kadkani's poems with the approach of historical-sociological criticism and formalist criticism.
Methodology
The current research has investigated the quality of the book's used approaches, employing a descriptive-analytical approach and library method, using books on theory and research methods.
Discussion
Before dealing with the research approaches of this book, the name of the book, which in a way defines the content of the book, has been reviewed. Aali called Shafi'i Kadkani an Imagist historian, but the subject examined in this book is Shafi'i's poetry, and Shafi'i, like all poets, has an aesthetic encounter with historical phenomena in his poetry, which has a considerable distance from historiography. The author used the terms “imagery” and “historian”, yet did not elaborate on these two terms throughout the book. The author of this book considers Shafi'i Kadkani to be a follower of a school called formalism, which has principles. This is despite the fact that basically formalism is not a literary school like romanticism and surrealism. Formalism is a way of evaluating the text and we should put it under the science of literary criticism. Also, in our literary circles, the title of formalist is often attributed to the poets who belonged to the avant-garde group, but Shafi'i Kadkani's poetry does not belong to any of the avant-garde trends.
The author considered the main goal of his research to be the historical and sociological criticism of Shafi'i Kadkani's poems. There is not much affinity between what the author of the book brings as internal and external criticism and what is discussed in the historical criticism. This issue is due to the fact that he called the description of historical events that Shafi'i mentioned in his poems "historical criticism", by mistake.
Sociological criticism is another approach of this research. According to the definition of sociological criticism, it should be said that most of Aali's content in this book cannot be considered as sociology of Shafi'i's poetry; because the content of this book that somehow communicate with the society are of two categories: There are some materials that he wrote about the social situation in Iran, especially Khorasan after the Mongol attack, citing various sources. Talking about the state of the society of the distant ages, which is mentioned in the poet's poems, cannot be called a sociological study of a work. There are also references about the time and context of writing some of Shafi'i Kadkani's poems, which the author also deciphers from some of the symbols of his poetry. In these cases, the author did not talk about the influence of social conditions on the structure of the poems and only reflected the social and political concerns of Kadkani in his poems.
Another approach used by the author to examine Shafi'i's poetry is formalist criticism. If we define the form as follows: coherence and harmony between the elements that make up the form, including language, image, music and the meaning of the work, then there is a great distance between what the author of this book presented under the title of formalist criticism and the principles of formalist criticism. What Aali has presented in different parts of this book under the title of formalist criticism, refers to the existence of "alliteration" or cutting the verses in pieces of Shafi'i Kadkani's poems. Regarding what is mentioned under the title of Namānevesht, in most cases, it is just a kind of cutting and lining up.
Mixing two methods of historical-sociological criticism and formalist criticism is also one of the main flaws of this book. In mixing these two completely different methods, on the one hand, the research method will not be used correctly, and on the other hand, the goal and result of the research will not be accurate and reliable.
Another drawback of the method of criticism in this book is the position of the author as a critic of Shafi'i poems. What can be seen throughout this book is the praise of Shafi'i Kadkani's poetry, not its criticism.
Referencing style and used sources require attention as well. Many sources are used in this book. But these many sources are exact examples of providing decorative sources and unnecessary references. Some sources cited by the author are not academic texts.
Results
Although the author of the book defined approaches for his research, he has made mistakes in all three approaches due to lack of familiarity with the approaches. In general, this book cannot be considered a research book with accurate scientific findings and an acceptable poetry criticism. This book does not open any new windows and horizons on Shafi'i Kadkani's poems and if we consider the duty of such reviews to create pleasure in the reader as a result of getting to know the hidden angles and new discoveries in the work, then the respected author has not been very successful in this matter.
Extended Abstract
Introduction
Every coherent and purposeful scientific research needs a method. Methodology in literary research leads to "increasing efficiency" and "measurability" which are two important indicators of science. But conducting methodical research first of all requires familiarity with the used method and approach and then its correct application. The “Tarikhnegāre Tasvirgārā yā Shāere formalist” [the Imagist historian or formalist poet] written by Yusuf Aali Abbas Abad is a book that tries to examine Mohammadreza Shafi'i Kadkani's poems with the approach of historical-sociological criticism and formalist criticism.
Methodology
The current research has investigated the quality of the book's used approaches, employing a descriptive-analytical approach and library method, using books on theory and research methods.
Discussion
Before dealing with the research approaches of this book, the name of the book, which in a way defines the content of the book, has been reviewed. Aali called Shafi'i Kadkani an Imagist historian, but the subject examined in this book is Shafi'i's poetry, and Shafi'i, like all poets, has an aesthetic encounter with historical phenomena in his poetry, which has a considerable distance from historiography. The author used the terms “imagery” and “historian”, yet did not elaborate on these two terms throughout the book. The author of this book considers Shafi'i Kadkani to be a follower of a school called formalism, which has principles. This is despite the fact that basically formalism is not a literary school like romanticism and surrealism. Formalism is a way of evaluating the text and we should put it under the science of literary criticism. Also, in our literary circles, the title of formalist is often attributed to the poets who belonged to the avant-garde group, but Shafi'i Kadkani's poetry does not belong to any of the avant-garde trends.
The author considered the main goal of his research to be the historical and sociological criticism of Shafi'i Kadkani's poems. There is not much affinity between what the author of the book brings as internal and external criticism and what is discussed in the historical criticism. This issue is due to the fact that he called the description of historical events that Shafi'i mentioned in his poems "historical criticism", by mistake.
Sociological criticism is another approach of this research. According to the definition of sociological criticism, it should be said that most of Aali's content in this book cannot be considered as sociology of Shafi'i's poetry; because the content of this book that somehow communicate with the society are of two categories: There are some materials that he wrote about the social situation in Iran, especially Khorasan after the Mongol attack, citing various sources. Talking about the state of the society of the distant ages, which is mentioned in the poet's poems, cannot be called a sociological study of a work. There are also references about the time and context of writing some of Shafi'i Kadkani's poems, which the author also deciphers from some of the symbols of his poetry. In these cases, the author did not talk about the influence of social conditions on the structure of the poems and only reflected the social and political concerns of Kadkani in his poems.
Another approach used by the author to examine Shafi'i's poetry is formalist criticism. If we define the form as follows: coherence and harmony between the elements that make up the form, including language, image, music and the meaning of the work, then there is a great distance between what the author of this book presented under the title of formalist criticism and the principles of formalist criticism. What Aali has presented in different parts of this book under the title of formalist criticism, refers to the existence of "alliteration" or cutting the verses in pieces of Shafi'i Kadkani's poems. Regarding what is mentioned under the title of Namānevesht, in most cases, it is just a kind of cutting and lining up.
Mixing two methods of historical-sociological criticism and formalist criticism is also one of the main flaws of this book. In mixing these two completely different methods, on the one hand, the research method will not be used correctly, and on the other hand, the goal and result of the research will not be accurate and reliable.
Another drawback of the method of criticism in this book is the position of the author as a critic of Shafi'i poems. What can be seen throughout this book is the praise of Shafi'i Kadkani's poetry, not its criticism.
Referencing style and used sources require attention as well. Many sources are used in this book. But these many sources are exact examples of providing decorative sources and unnecessary references. Some sources cited by the author are not academic texts.
Results
Although the author of the book defined approaches for his research, he has made mistakes in all three approaches due to lack of familiarity with the approaches. In general, this book cannot be considered a research book with accurate scientific findings and an acceptable poetry criticism. This book does not open any new windows and horizons on Shafi'i Kadkani's poems and if we consider the duty of such reviews to create pleasure in the reader as a result of getting to know the hidden angles and new discoveries in the work, then the respected author has not been very successful in this matter.
Alireza Mohammadi Kalesar,
Volume 15, Issue 58 (8-2022)
Volume 15, Issue 58 (8-2022)
Abstract
The new fields of Persian language and literature have fundamental drawbacks besides their benefits. The lack of theoretical foundations in defining these fields is the most important drawback. The lack of specific, methodical theoretical foundations has caused the involvement of some unconscious presuppositions in the targeting and definition of these fields and their curriculums. In this article, by reviewing some of the subfields, these non-methodical foundations and their blind spots have been discussed. The most important of these items are (1) traditional and theme-oriented view of classification and definitions, (2) lack of problematic and methodical view in the definition of subfields and curricula, (3) reductionism in selecting the texts and subjects because of superficial focusing on localization, and (4) lack of interdisciplinary approach. These drawbacks are in close relation to each other. The greatest impact of these drawbacks is the lack of research findings in the academic literature. In this paper, we have focused attention on the interdisciplinary approach for methodological and research expansion of the field of Persian language and literature.
Extended Abstract
The most important of these blind spots are: traditional and theme-oriented view of classification and definitions; lack of problematic and methodical view in the definition of subfields and curricula; reductionism in selecting the texts and subjects because of superficial focusing on localization; lack of interdisciplinary approach. The view based on a common and conventional understanding of literature, literary works, the meaning of texts, genre classifications, and the like has determined the formation of most of these areas. It has also influenced the definition of teaching. In addition, the tendency toward localization has, first, made it difficult to use the critical view, and second, with directional and non-academic definitions, has removed many texts from the topics covered in postgraduate courses.
By marginalizing the importance of theoretical foundations, problem thinking, and the critical view, these features have led to a shift away from research-based approaches in new fields. The explicit or implicit avoidance of addressing new topics in courses and curricula has resulted in papers and dissertations that benefit from new approaches being written independently of course topics, without taking advantage of the courses passed and official intentions of the field. The lack of theoretical foundations in the definition of these areas and the recourse to some non-specialized foundations and presuppositions has led to the fact that the objectives introduced in the formation of most of these areas have non-literary motives (ideological, social, religious, mystical, etc.).
Some of the aspects of non-methodological planning and lack of theoretical and problem-oriented foundations in the course headings: a topic-oriented approach (in the traditional sense) to texts, a non-methodological approach to theories and their transformation into fixed patterns for implementation and adaptation to texts, a non-methodological approach to research methods and their transformation into historiography, literary history, and bibliography. However, an important point overlooked by planners is to use the capacity of interdisciplinarity to develop the field of literature instead of using intradisciplinary, text- and topic-oriented divisions based on the conventional criteria of literary types. Because of its problem-oriented and innovative nature, interdisciplinarity helps to open new perspectives on academic literature. By highlighting new topics, interdisciplinarians also contribute their methodology. For this reason, they contribute to the development of literary research without analyzing and categorizing literary texts by drawing perspectives and approaches.
The purpose of this article is to remind that there is a lack of adequate theoretical foundations in new areas of Persian language and literature and that the presentation of corrective proposals requires a separate article as an independent writing topic. It seems that in order to solve the existing problems, instead of relying on the current criteria, one can rely on criteria such as interdisciplinarity, diversity of approaches (instead of diversity of texts and conventional genres) and even historical divisions related to intellectual and linguistic developments in defining new areas and literary topics in class preparation. All this will lead to the desired result if any action towards introducing the subjects of literature or attempting to design new areas is based on firm and sound theoretical foundations and far from conventional understanding.
Using the experience of other countries' in developing academic literature is also a measure to revise and reform the fields of Persian language and literature. These reforms will help expand the frontiers of literary knowledge and strengthen research and critical faculties rather than relying on local, political and ideological affiliations.
Mehdi Loni, Parviz Eghbali, Farideh Davoudimoghadam,
Volume 15, Issue 58 (8-2022)
Volume 15, Issue 58 (8-2022)
Abstract
One of the key motifs in Shahnameh is the struggle between evil and good. Motifs serve a unique and essential role in the text’s visual and narrative networks because of their distinctive repeating feature and characterization. As a result, they assist in enhancing the text’s semantic layers. In Shahnameh and epic literature, the struggle between evil and good permeates human social interactions and appears as motifs in heroic and epic stories. Motifs are used by the painter to create visuals throughout the text visualization process, and visual elements are placed in the composition in line with the motifs employed in the literary text and take on the function of symbols and signs. This study examined the roles that literary motifs play in the visualization of an epic narrative and in shaping the visual narrative. The main research question was: What functions do the literary motifs from Rostam’s Seventh Labor play in rendering paintings and transforming the text of Shahnameh into a visual text, and what techniques does the painter employ to visualize such motifs. A descriptive-analytical methodology was used in this qualitative study. A desk study was used to collect the data. The results showed that the motifs of the text are represented in the visual symbols and signs of the paintings. Paintings can be composed and planned utilizing these aspects in accordance with the priority of motifs employed in the literary narrative thanks to this visual translation from the literary text.
Extended Abstract
Recurring and salient in pictorial and narrative networks of the text, motifs have a prominent and fundamental role in literature. They foreground the literary text, adding layers of meaning. Good versus evil is a major motif in Ferdowsi’s Shahnameh where the struggle eventually surfaces in humans and social life, manifested in the form of heroic stories and epics. The battle of Rostam and Div-e Sepid (the White Demon) is one of Shahnameh’s stories illustrated frequently in the miniatures of different periods, spotlighting the importance of its illustration. The general theme of the “Haftkhān” (known in English as the “Seven Labours of Rostam”) is the hero (good) saving Iran and the king from the demon (evil) and ultimately, his victory over evil after undertaking seven difficult tasks. The major motifs in the literary text used in this narrative network include real human characters (hero or good or Rostam), real-bestial characters (Rakhsh), mythical-legendary elements (evil force or Div-e Sepid), events encompassing the main actions in the story (slaying Div-e Sepid, overcoming evil, and dropping the blood of the demon’s liver in Kay Kavus’s eyes to restore his sight), symbolic objects (the blood of the demon’s liver), natural elements (black cave), unusual incidents (the seven labours). In the process of illustration, the miniaturist uses motifs to produce the images. Therefore, pictorial elements become symbols when they are placed in the composition according to the motifs. The contribution of literary motifs to shape the pictorial narrative in the illustration of an epic was a central discussion in this article. This study attempted to answer the following main questions: What is the role of literary motifs of the “Haftkhān” in the illustrated miniatures of the story and the process of turning the text of Shahnameh into pictorial text? What techniques have miniaturists used to manifest these motifs in the illustrations?
Bound and free motifs, which form the narrative network of the text, were extracted and compared with the illustrated versions of the stories in miniatures. The purpose of this study was analysing the place of the literary motifs of the “Seven Labours of Rostam” in the formation of illustrated miniatures of this story. In this qualitative descriptive-analytical study, the data were collected through documentary and library research.
The results showed that pictorial signs and symbols in the miniatures appear in congruence with the manifestation of the motifs in the text. Such an illustrated translation of the literary text has led miniaturists to utilize motifs used in the plot based on their priority in the composition and framing of their works.
Sasan Najafi, Ali Reza Ali Reza,
Volume 15, Issue 60 (8-2022)
Volume 15, Issue 60 (8-2022)
Abstract
Almost all researchers have accepted that meaning is formed in the intersection of the mind of the author, the text, and the mind of the audience. But this proposition is incomplete and unjustifiable if one does not pay attention to the meaning of the discourse. This is because the author's mode of operation, the subject and organization of the text, and the thoughts of the audience are all determined by rules of discourse. This article attempts to provide a conceptual model from the perspective of Michel Foucault's philosophy and considers Bidel Dehlavi as an example. This model describes the relationship between discourse and meaning. Moreover, this model is a comprehensive system for the study of Persian poets.
Extended Abstract
Almost all researchers have accepted that meaning is formed in the intersection of the mind of the author, the text, and the mind of the audience. But this proposition is incomplete and unjustifiable if one does not pay attention to the meaning of the discourse. This is because the author's mode of operation, the subject and organization of the text, and the thoughts of the audience are all determined by rules of discourse. This article attempts to provide a conceptual model from the perspective of Michel Foucault's philosophy and considers Bidel Dehlavi as an example. This model describes the relationship between discourse and meaning. Moreover, this model is a comprehensive system for the study of Persian poets.
The conceptual model includes five principles: 1- All elements of discourse in the ruling power design the system to strengthen knowledge. This system produces the desired knowledge of the ruling class. Meanwhile, the great poets destroy the rules of discourse and produce new knowledge. Any research that intends to interpret the works of creative poets ignores all the achievements of the poet. These studies require the reader to interpret the works of creative poets in terms of old meanings. 2- The subject of the discourse is not the most important part of a discourse. Mystical literature considers mysticism as its subject, not as the main axis that determines its rules. The research that shows that a mystical idea manifests itself in a poem serves this intellectual idea and destroys all literary aspects of the poet's work. Poetry has three different approaches to discourse: expanding the boundaries of discourse; making fun of its rules; resisting its rules. In all these cases, he must have been able to use the symbols of this discourse differently. 3- The subject is not the reason for the unity of propositions. Two sets of propositions with the same subject are not necessarily present in the same discourse. What binds a set of propositions in a discourse is the same discourse formulation. This discourse formulation contains rules that determine the order between propositions, not their content. Therefore, in mystical literature, one should pay attention to the breaks that occurred between different periods of mystical literature. This difference in the discourse formulation of the different periods means different interpretations of the mystical concepts in the different periods. 4- The subjects of each discourse declare the knowledge that is supported by that discourse. It is difficult to gain knowledge in a course that does not do this. In the field of literature and art, creators try to avoid the production of knowledge and focus on enhancing intuitive understanding. For this reason, any study that aims to transform the content of the works of creative poets into the knowledge mentioned above serves the rules of discourse and not the poet. 5- The discourses described in the works of Michel Foucault are scientific. Scientific texts adhere to certain principles in every era. But literature is inherently inconsistent with this adherence. Literature means a stream of successive ruptures. But you can find poets whose similarities are greater than their differences. These poets fall into one style. So in literary studies, the differences between poets of the same style are as important as their similarities. Therefore, you should determine not only the extent to which a poet adheres to the rules of his style, but also the extent to which he deviates from the norm.
Speech Chief Editor,
Volume 17, Issue 65 (4-2024)
Volume 17, Issue 65 (4-2024)
Abstract
## Edited Text in Academic Style
The achievements of literary studies over the past three decades have been substantial, contrary to the assertions of critics and detractors. During this period, a significant body of research has been published in the form of doctoral dissertations, scholarly articles, and comprehensive monographs on literary works and authors.
The divergent attitudes towards literature and literary studies have given rise to two distinct approaches: micro and macro literary studies. This article examines the predominance of micro-literary studies and the absence of macro-literary studies in the recent three decades. Furthermore, it acknowledges that recent research findings have called into question or discredited some of the renowned narratives and theories of reference in Persian literature. The article elucidates why, despite the wealth of research, a comprehensive theory of reference has yet to emerge in the field of literature.
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