Showing 5 results for Dramatic Literature
Volume 4, Issue 1 (9-2016)
Abstract
Land Reforms Program and abolishing feudalism as a part of Modernization in Iran and Russia are considered as one the most influent passages in social and political changes. Anton Chekhov in “The Cherry Orchard” and Akbar Radi in “The Magnificent Smile of Mr. Gill” are using the Land reforms and the fall of aristocracy in Iran and Russia as background and reveal the influences on characters of different social classes. These two dramas are based on authoritarian modernization in Era of Pahlavi II in Iran and Nicholas II in Russia which was done very quickly. Therefore these works can be used as appropriate references for comparative history studies about fall of landlords. Both works have a critical point of view to modernization. Both works create characters with identity crisis giving new dimension and revealing untold results of Authoritarian modernization what was ignored in history analyses. Analyzing the characters of both works prepares a process to follow the results of Identity crisis coming from modernization. This article, by comparative inquiring between plays and their historical contexts, attempts to trace a picture of critical conditions emanated from industrialization, decline of agriculture, and infrastructural alterations. The purpose of this comparative inquiry is to reveal how modernization programme result in alteration of the conditions of social classes, and in the identity crisis, which have been reflected in two Iranian and Russian plays created in similar contexts.
Volume 5, Issue 15 (7-2017)
Abstract
Abstract
This paper aims to examine the major effects of popular culture of folklore culture in the production process of Iranian dramatic literatureand studying the solutions for localizing the literature. This interdisciplinary study, tries to discuss the effective roll of folklores roll of developing Indigenous patterns of creative writing for the dramatic arts. Hamid Amjad, as one of the Iranian contemporary dramatists, uses various aspects of folk culture in create and representing dramatic world, and his works are proper example for research for studying some factors such as
language and tone, beliefs and customs, behaviors and subjects, and common signs of Iranian folklore culture.
This study is organised with gathering library data and the method of direct expose of dramatic texts, and with analytical method tries to determine the potential of Iranian folklore culture in organizing the ideas and realize them using techniques of playwriting. Findings of this research shows that some of the most important indexes of Iranian folklore culture, like folk tales, folk feasts and folk language was attend in creating dramatic texts by Hamid Amjad. Comparative comparison with some dramatic concepts and elements, like characterizations, subject, creating folk spaces and native language and culture, shows the different aspects of this usage. finally, research shows that using the elements from folklore
Volume 7, Issue 1 (3-2016)
Abstract
Politeness phenomenon is one of the subjects which have been observed by researchers of different domains , e.g. psychology, sociology and anthropology. Politeness has also been investigated in the area of pragmatics. One of the concepts following politeness is linguistic impoliteness. Different people such as Goffman (1967), Brown and Levinson (1987), Bousfield (2008), Culpeper (1996;2003;2011) and Rudanko (1996) have worked on (im)politeness phenomenon. . In spite of the large amount of investigation on western culture, less research has been worked out on this notion in Persian. So, the aim of this study is investigating the function of this notion through describing it in Sayyadan drama of Ruye Sahneye Abi series written by Akbar Radi. The data was investigated through the five strategies proposed by Jonathan Culpeper (1996; 2003) on linguistic impoliteness and the notions, e.g context, social norms and emotions, he added later in 2011. The most frequently used strategy was positive impoliteness and the least used one was mock impoliteness. The synthetic ones were at the second level and negative impoliteness was at the fourth level. There was no withhold politeness among the data. Finally, new cases were introduced.
Ibrahim Mohammadi Mohammadi, Maryam Afshar,
Volume 7, Issue 25 (5-2014)
Abstract
Bahram Bayzai’s cinema can be considered as a visual interpretation of the Persian myth. Bayzaihas tried to modernize the myths and present new versions of them by breaking the old versions and making new ones. In this way, he makes the narrative structure of his works closer to the myth. Discovering and elaborating different aspects of form and structure of Bayzai’s works will not be possible without considering the theories of structuralists such as Claude Lévi-Strauss. In this article, drawing on structuralism and narratology in the works of theorists such as Prop, Barthes, and Strauss, the form and structure of the time in four of Bayzai’s works have been compared to their counterpart,mythical narratives. I have concluded that in his cinematic narration time becomes closer to its mythical structure; in other words, time becomes endless, fixed, and sacred.
Volume 21, Issue 83 (4-2024)
Abstract
Rafi Halati and Moez al-Diwan Fakhri are two playwrights of the Pahlavi era who have tried to adapt many of their works and present Western works from this point of view on stage for Iranian audiences. This happens at a time when Iran tries not to act passively in dealing with Western theater and achieve a self-imposed image of this form of theater. In the Moscow-Tartu school of cultural semiotics, what the state and thought have addressed in their practice is called cultural translation. Therefore, to show the "action" of these two playwrights as the theoretical basis of cultural semiotics, and according to the method that this form of semiotics provides, the amount of cultural "Accept" and "Ignore" in the texts will be studied. As a study example, the two plays "Esfahani Cholman" from Halati, which is a cultural translation of "One Servant and Two Masters" by Carlo Goldoni, and the play "Abdullah" from Fekri based on the play "Ernani" by Victor Hugo are reread. This research, which is based on the practical purpose, based on the method of collecting library information, based on the qualitative method, and based on the nature of a mixture of two descriptive and comparative methods, try to answer the question of a state of mind to accept and how has the cultural ignore of their time acted in the face of western texts? This research aims to find and clarify a part of the history of Iranian dramatic literature based on the method of cultural semiotics.