Search published articles
Showing 9 results for Ghasemipour
Ghodrat Ghasemipour,
Volume 1, Issue 2 (Summer 2008)
Volume 1, Issue 2 (Summer 2008)
Abstract
One of the important problems in Structuralist narratology is the relation between narrative and time and the manifestation of time in narrative.Some philosophers such as Paul Ricour believe that understanding time in an abstract form is very difficult but the action in narrative makes the time objective and concrete.According to Structuralists’ analysis, time, -with causality- is one of the essential components in developing the narrative.In addition, every narrative text has two times:the narrative’s signifier time ( the time it takes a reader to read a narrative text) and the narrative’s signified time ( the time taken up by the events of the narrative).The Structuralists, especially Genette, have posed three issues regarding the time in narrative: 1- Order,i.e.the way the events in the narrative are ordered and presented 2- Duration,i.e.the relation between the length of time of the story and the time of the speech or the signifier of the narrative 3- Frequency,i.e.the number of times an event occurs and the number of times that event is narrated.In addition,at the end of the article, different kinds of relations between the time of occurance of the events in the narrative and the time of their narration by the narrator are examined.
Ghodrat Ghasemipour,
Volume 2, Issue 6 (Summer 2009)
Volume 2, Issue 6 (Summer 2009)
Abstract
In this essay parody will be discussed in the sphere of modern literary theories. In some of literary theories, parody is used as a literary genre to explain dominant processes and mechanisms in literary discourse, and some of them, such as deconstruction, operate as parody. According to Russian formalists, parody is a literary genre that, in the most effective way, represents evolution of literary genres and defamiliarization of literary texts. Mikhail Bakhtin places parody in his dialogism theory, too. According to structuralists too Parody is one of the complex and secondary literary genres that represents intertexuality.The relation between parody and deconstruction is connected to the way they act. Parody and deconstruction implicitly are the same, by breaching and inhabiting in former texts: they cause breaking and destruction of these texts.
Ghodrat Ghasemipour,
Volume 7, Issue 26 (Summer 2014)
Volume 7, Issue 26 (Summer 2014)
Abstract
In this essay the blending of story and discourse in postmodern Persian fictions is analyzed. According to structuralist narratologists' definition, story is the sequence of actions upon to chronological order that characters or existents undergo them; Discourse or narrative discourse is the medium that is selected for narrating the story. In some postmodern fictions, we see some narratives that in their stories or deep-structures, there is not a rich story, and the author don’t want to just narrate, represent or mimic a story. In these narratives, surface-structure and deep-structure (or discourse and story) is blending and spinning so that we cannot summaries that story, or transmit that story to another medium. In the other hand, story existence is depended to narrative discourse. Such narrative technique is evident in some postmodern Persian fictions. In this essay, in addition to discussing the blending of story and discourse, Persian fictions that had this trait are analyzed.
Volume 9, Issue 1 (No. 1 (Tome 43), (Articles in Persian) 2018)
Abstract
Discursive semiotic approach with considering the body-centered subject to create meaning and assert an emotional, sensitive-perceptive and aesthetic dimensions can be an appropriate method to analyze and gloss the confessional texts. According to the teachings of this theory, researchers can resist or appease with the “other” by making inter-discourse challenges and create correspondence or different flows, also try to authenticate or reconstruct their identity. The subject of study in Taj-o-Saltaneh’s Memories as a confessional text, gets converted into a gravitational discursive center in order to gain identity and be set free from meaning crisis; so it can play its significant role in interaction and confrontation with other.
Based on the nature of confessional discourse and emotion-oriented positioning of the subject in Taj-o-Saltaneh’s Memories, it is the emotional dimension of discourse which overcomes the action and cognitive dimension of discourse and influences different levels of syntax validity, intensity-extensity relationships and discursive values by supplying power to the narrator to take positions and limits against discursive competitors. According to the point of view and the position of narrator, the otherness process receives different shapes and creates different identical forms for the subject.
The current research aims to answer the question of how the orientation of the enunciator -subject determines its resistance or appeasement against the realm of rival, and how by referring to semiotic components, these attributions can be achieved. The authors suppose that the subject resist the prevailing discourse with intensity-extensity relationships, symbolization, rhythmic thinking and referring to the phenomenological form of the presence, then with a persuasive appeasement, accepts and surrenders herself. The category of space ties with the identity of subject and finds discursive function and include three features: critical, intermediate, and uncritical all being able to find in Taj-o-Saltaneh discourses which guarantees the presence of the subject.
Nasrolah Emami, Ghodrat Ghasemipour, Ghodrat Zarouni,
Volume 10, Issue 38 (Summer 2017)
Volume 10, Issue 38 (Summer 2017)
Abstract
From past till now the formation of the ghazal have a constant form and defintions and glint in the persian literature. According to this definitions, ghazal is a form that the first hemistich have a same rime with even hemistich. in this period and simulataneously with popularity of the nimas new poetry efforts began to evolve into the field of a ancient forms including ghazal. This innovations mainly occur for dynamics of these formation and their adaptation to the changes with time. One of the most important and original course in the ghazal course is the new ghazal field that there is in the country in a literary atoosphere In this years we have seen a lot of changes in the field of content and form in ghazal. In this research basd on form transformations we try to describe the types of innovation in the form of the appearance of ghazal but the finding of this study show that the most important of them are: 1.change in the form of writing and the system of ghazal lineage. 2. Nimas ghazal formation. 3. Take ghazal visitingly. 4. Put the synonym beyt together. 5. Blending with other formation. 6.Writing the beyt regulary, 7. Bring two hemistich in one beyt, 8. Use of punctuation makes in the frame of the ghazal, 9. Divide the ghazal into several part, Finishing in ghazal technique, This is a research article to survey this techniques, aesthetic and provide examples and analyzes around them and finally a brief discussion a bout the pathology of this techniques. Different.
Tahereh Joushaki, Ghodrat Ghasemipour, Nasrollah Emami,
Volume 13, Issue 51 (Fall 2020)
Volume 13, Issue 51 (Fall 2020)
Abstract
Structuralist narratology does not provide methods and models to examine silence, ellipsis, and gaps in the text. This paper tried to examine the aspects of silence, ellipsis, and gaps in the narrative, by employing a text-based and analytical method. The text Nocturnal Harmony of Wood Orchestra was chosen for the analysis which is unreliably narrated. In order to identify unreliable narrator and also text’s unreliability, silences and narrative ellipsis were studied. Narrative style and related elements such as focalization, distance, narratee and the narrator’s motivation along with structural elements influence the types of ellipses in the narrative or they are influenced by the gaps of the unreliable narrative. The form can be used as a decentralization device to cover the silence or to create suspension by creating a gap. Moreover, anachronism can create or conceal the gaps and silence in narrative and frequent occurrences is a way of presenting and also covering the narrative gaps. Studying the relation between events and the catalyzer is also another way to understand the dimensions of silence and the devices that cover ellipses in the narrative. All of these were employed to study silence and ellipsis in the text.
Ghodrat Ghasemipour, Manoochehr Joukar, Zeinab Taherian,
Volume 15, Issue 60 (Winter 2022)
Volume 15, Issue 60 (Winter 2022)
Abstract
Lived experience is a broad, controversial, and sometimes ambiguous term that has been used by researchers in various fields of study. While there are occasional references to this concept in literary studies, it has not yet been seriously considered by researchers. The study of lived experience and its role in the process of literary creativity is very important in explaining poetic concepts; for it is a way to better understand poetry and, moreover, can provide a criterion for examining the success or failure of a poem or literary period; moreover, the shared experience of the reader and the poet can help to better understand poetry, paving the way for reader-centered criticism from the perspective of lived experience. In this study, an attempt was made to explain the concept of experience through the Lived analytical-critical method and its modes. Then, to better understand the role of lived experience in the process of literary creativity, a systematic model for it should be defined and drawn. In this context, lived experience is divided into types such as personal lived experience, specific lived experience, and general lived experience, each of which has subcategories. The findings of this study not only explain the concept of lived experience and its role in the process of literary creativity, but also show that lived experience is one of the basic elements of literary works, especially poetry, which can contribute to the understanding of the existence of poetry, its formation, the sources of inspiration of poets, etc.
Extended Abstract
Introduction
Lived experience is one of the important and fundamental concepts used in most fields of human sciences. However, in the researches related to literature, this topic has not been treated as expected. Consideration of literary works reveals that we enjoy works of art in part because of shared life experiences. This is because poets and artists portray experiences that audiences can easily identify with when reading. People share many common experiences because of the similarities they have with each other in lifestyles, social, historical, and cultural situations. But sometimes these experiences are so interwoven with life that we can recognize them but they do not catch our attention. Now, when a poet or writer uses the same common lived experience in his poem or writing, he not only draws our attention to that aspect of life and the experiences we have had, but he approaches us intelligently like a psychologist, and that makes the poet and his poetry successful; because when we read that poem, we feel that the poet has penetrated deep into our soul and is speaking from our heart and language; that is why we identify with him. Thus, since, in Hillman's words, "there are correlations between the life and poetry of any poet" (Hillman, 2016: 2), this article attempts to lay out a plan and model for the study of poetry by examining the theoretical underpinnings of the concept of lived experience.
Research background
Lived experience is a broad concept that can be applied in most areas of the humanities. For this reason, this concept is widely used in the fields of psychology, sociology, and philosophy, and researchers in these fields have written many articles with this title. In literary studies, however, the discussion of lived experience has not been explored as it should be. A search of various reference databases reveals that there are very few sources on lived experience in literary works. One of the most important books dealing with lived experience is Wilhelm Dilthey's Poetry and Experience. Among the books of Iranian researchers as far as the authors have researched, there were sometimes references to the role of experience in the creation of literary works, but only Ghodrat Allah Taheri has attempted to study the experiences in the life of Maulavi and their reflection in Masnavi in the book revayat-e ser-e delbaran [in Persian] (Study of the Life of Maulavi and Historical Experiences in Masnavi). In general, no serious work has been written to explain the theoretical basis of lived experience. Considering the importance of this concept in the process of literary creation and the achievements it can bring to the practical criticism of literary works, a comprehensive research in this field seems necessary.
3. Discussion
In order to understand the role of lived experience in the process of literary creativity in more detail, it is necessary to examine it in a systematic pattern. In this context, we have divided lived experience into types such as personal lived experience, specific lived experience, and general lived experience, each of which has subcategories, and we will examine these types further.
3.1 Personal lived experience
These experiences refer to poets who have experienced a certain problem in their lives, which is reflected in their poetry; such as the experience of divorce in the poetry of Forough Farrokhzad or the experience of prison in the poetry of Shamlou, Mahdi Akhwan sales, Hoshang Ebtahaj, etc. Generally, this kind of lived experience is autobiographical. Although this experience can also be part of special experiences; but for better delineation of the subject and because the poet or writer experienced it personally (according to the available documents), we have placed it in the category of personal experiences.
3.2 Special lived experience
This type of experience refers to the life of a specific type that may be experienced in a geographical, cultural, or circumstantial setting. In general, specific life experiences can also be divided into different categories, such as climatic lived experience, gender lived experience, physical lived experience (physical limitations), lived experiences related to social problems, cultural lived experience and so on.
3.3 General lived experience
This type of experience is not tied to any particular person or group. Everyone experiences it, regardless of gender, social, political, climatic conditions, etc. This type of experience, which can also be called lived human experience, applies beyond geographical boundaries and limitations, and it can be said that it is common to all people on earth and understandable to each of them; because he deals with them in the course of the evolution of his soul and body, and of course they are part of his experiences. physical experiences such as birth, childhood, youth, old age, death, etc., and spiritual experiences such as the human emotions; sadness, happiness, love, anxiety, etc., are such experiences. When a poet or writer (and an artist in general) speaks about such issues that are common to almost all people, in an artistic way, he touches the souls of different people and creates a work regardless of color, race, language and nationality.
4. Result
Although the concept of "lived experience" is of great interest in philosophy, psychology, and other areas of the human sciences, it has not been studied in depth in literary studies. In this study, an attempt has been made, based on the opinions of philosophers, psychologists, and literary critics, to compile and design a plan and model for examining the basics of lived experience and studying it in poetry, so that the poetry of different literary periods can be analyzed and studied on this basis. Based on this plan, lived experiences can be divided into three general categories: 1. Personal lived experiences with subgroups such as divorce experiences, prison experiences, love experiences, etc. (which the poet personally experienced according to the available documents and which are analyzed in biographical form) 2. Specific lived experiences with subgroups such as climatic lived experiences, gender lived experiences, physical lived experiences, lived experiences related to social problems, and so on. 3. General lived experiences with subcategories such as love, grief, death, birth, and so on. Of course, other types can be added to these subcategories. But what has been discussed in the context of this article can give a perspective of the situation and the study of lived experience and be very helpful for a better understanding of the poem and its analysis. This is because, apart from the fact that the lived experience plays a very important role in the realization of the poet's artistic creativity, in the understanding, reception and interpretation of the text, it also causes the audience to accompany and identify with the literary work. The lived experience, in fact, has a double function: it helps the author to create a literary work and the audience to understand the interpretation and explanation of the literary text. Reading together and sharing experiences is what brings the poet/author and the audience closer together and determines the success of a poem.
Extended Abstract
Introduction
Lived experience is one of the important and fundamental concepts used in most fields of human sciences. However, in the researches related to literature, this topic has not been treated as expected. Consideration of literary works reveals that we enjoy works of art in part because of shared life experiences. This is because poets and artists portray experiences that audiences can easily identify with when reading. People share many common experiences because of the similarities they have with each other in lifestyles, social, historical, and cultural situations. But sometimes these experiences are so interwoven with life that we can recognize them but they do not catch our attention. Now, when a poet or writer uses the same common lived experience in his poem or writing, he not only draws our attention to that aspect of life and the experiences we have had, but he approaches us intelligently like a psychologist, and that makes the poet and his poetry successful; because when we read that poem, we feel that the poet has penetrated deep into our soul and is speaking from our heart and language; that is why we identify with him. Thus, since, in Hillman's words, "there are correlations between the life and poetry of any poet" (Hillman, 2016: 2), this article attempts to lay out a plan and model for the study of poetry by examining the theoretical underpinnings of the concept of lived experience.
Research background
Lived experience is a broad concept that can be applied in most areas of the humanities. For this reason, this concept is widely used in the fields of psychology, sociology, and philosophy, and researchers in these fields have written many articles with this title. In literary studies, however, the discussion of lived experience has not been explored as it should be. A search of various reference databases reveals that there are very few sources on lived experience in literary works. One of the most important books dealing with lived experience is Wilhelm Dilthey's Poetry and Experience. Among the books of Iranian researchers as far as the authors have researched, there were sometimes references to the role of experience in the creation of literary works, but only Ghodrat Allah Taheri has attempted to study the experiences in the life of Maulavi and their reflection in Masnavi in the book revayat-e ser-e delbaran [in Persian] (Study of the Life of Maulavi and Historical Experiences in Masnavi). In general, no serious work has been written to explain the theoretical basis of lived experience. Considering the importance of this concept in the process of literary creation and the achievements it can bring to the practical criticism of literary works, a comprehensive research in this field seems necessary.
3. Discussion
In order to understand the role of lived experience in the process of literary creativity in more detail, it is necessary to examine it in a systematic pattern. In this context, we have divided lived experience into types such as personal lived experience, specific lived experience, and general lived experience, each of which has subcategories, and we will examine these types further.
3.1 Personal lived experience
These experiences refer to poets who have experienced a certain problem in their lives, which is reflected in their poetry; such as the experience of divorce in the poetry of Forough Farrokhzad or the experience of prison in the poetry of Shamlou, Mahdi Akhwan sales, Hoshang Ebtahaj, etc. Generally, this kind of lived experience is autobiographical. Although this experience can also be part of special experiences; but for better delineation of the subject and because the poet or writer experienced it personally (according to the available documents), we have placed it in the category of personal experiences.
3.2 Special lived experience
This type of experience refers to the life of a specific type that may be experienced in a geographical, cultural, or circumstantial setting. In general, specific life experiences can also be divided into different categories, such as climatic lived experience, gender lived experience, physical lived experience (physical limitations), lived experiences related to social problems, cultural lived experience and so on.
3.3 General lived experience
This type of experience is not tied to any particular person or group. Everyone experiences it, regardless of gender, social, political, climatic conditions, etc. This type of experience, which can also be called lived human experience, applies beyond geographical boundaries and limitations, and it can be said that it is common to all people on earth and understandable to each of them; because he deals with them in the course of the evolution of his soul and body, and of course they are part of his experiences. physical experiences such as birth, childhood, youth, old age, death, etc., and spiritual experiences such as the human emotions; sadness, happiness, love, anxiety, etc., are such experiences. When a poet or writer (and an artist in general) speaks about such issues that are common to almost all people, in an artistic way, he touches the souls of different people and creates a work regardless of color, race, language and nationality.
4. Result
Although the concept of "lived experience" is of great interest in philosophy, psychology, and other areas of the human sciences, it has not been studied in depth in literary studies. In this study, an attempt has been made, based on the opinions of philosophers, psychologists, and literary critics, to compile and design a plan and model for examining the basics of lived experience and studying it in poetry, so that the poetry of different literary periods can be analyzed and studied on this basis. Based on this plan, lived experiences can be divided into three general categories: 1. Personal lived experiences with subgroups such as divorce experiences, prison experiences, love experiences, etc. (which the poet personally experienced according to the available documents and which are analyzed in biographical form) 2. Specific lived experiences with subgroups such as climatic lived experiences, gender lived experiences, physical lived experiences, lived experiences related to social problems, and so on. 3. General lived experiences with subcategories such as love, grief, death, birth, and so on. Of course, other types can be added to these subcategories. But what has been discussed in the context of this article can give a perspective of the situation and the study of lived experience and be very helpful for a better understanding of the poem and its analysis. This is because, apart from the fact that the lived experience plays a very important role in the realization of the poet's artistic creativity, in the understanding, reception and interpretation of the text, it also causes the audience to accompany and identify with the literary work. The lived experience, in fact, has a double function: it helps the author to create a literary work and the audience to understand the interpretation and explanation of the literary text. Reading together and sharing experiences is what brings the poet/author and the audience closer together and determines the success of a poem.
Volume 18, Issue 74 (12-2021)
Abstract
This article explains how genres are formed, and defines the relationship between genre and literary creativity. The subject of this article is not a historical or diachronic study of how genres are formed, but according to creation phenomenon, this study is a synchronic study of how literary authors deal with the phenomenon of genre. The modern conception of genre is based on the fact that genres are not merely tools for classifying and describing literary texts, but according to the new genre theory, genres are speech acts in repetitive situations, so they are tools for creativity; and without genres there is no any literary creation at all. In modern genre theory it is said that all texts belong to one or more genres. Issues that are considered in this article are: first, genres are related to writers, readers, texts, and social contexts. Contrary to the claims of the Romantics and some of their modern followers, the texts all belong to one or more genres. Genres, although obliging rules, provide opportunities for selection. Another issue is the stability and flexibility of genres, which is closely related to the phenomenon of literary creativity, because generic alterations are subject to literary defamiliarizations. The concluding point of this article is that literary creators do not create genres without background, but literary genres are the result of the alterations of speech acts into literary forms. Therefore, genre is not only a tool for describing and classifying texts, but also is a tool or a device for creativity. In fact, none of the literary works can escape from the genre rules. In addition, among literary genres, some are more flexible than others, and this flexibility provides an opportunity for innovation and creativity.
| Page 1 from 1 |