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Showing 6 results for Persian Novel
Sanaz Rahimbeiki, Mahmood Baratin, ,
Volume 9, Issue 33 (5-2016)
Volume 9, Issue 33 (5-2016)
Abstract
The Islamic Revolution, by transforming the political, social, and cultural foundations of the society, paved the way for experimenting with new modes of novel-writing. In the 1990s, postmodernism became a dominant trend in the Persian novel. Refusing to obey the standard form of the novel as a genre, both in the content and style, the postmodern Iranian novelists have tried to keep pace with their international counterparts and to experiment with new forms. The epistemic background for this literary movement has been the postmodern philosophy. Postmodernism, against Enlightenment rationalism and the concept of an autonomous subject, concentrates on the questions of language and discourse. In addition to describing the position of language in postmodernism, the present study attempts to explain the rhetoric and ideological techniques in the postmodern Persian novels. Studying the linguistic components of these novels at the two levels of ideology and rhetoric, our research reveal that these works of art more frequently employ rhetoric techniques and that there is not a single ideology ruling over them.
Hashem Sadeghi Mohsen Abad, Hashem Sadeghi,
Volume 9, Issue 35 (10-2016)
Volume 9, Issue 35 (10-2016)
Abstract
This study intends to investigate verisimilitude techniques and provisions in early Persian novels. In order to do this, various techniques of verisimilitude deployed in novels written from 1300 to 1320 (1920-1940) are extracted and categorized. Then the rationale behind this usage and their relation to the conventions and presuppositions of the novel on one hand, and the social context of that period on the other hand, are analyzed. The authors of that period have vouched for the reality of the events of the stories from authentification narrative strategies and at time, quite directly, presented some viewpoints concerning the relation of the novels’ content to reality, asserting those events as the reiteration of objective realities. Insistence on rendering the events of the novel as reality has its roots in the embryonic nature of this medium, belief in pedagogical function of the novel, prejudices against this new medium, and the intellectuals’ belligerent stance on it.
Volume 9, Issue 36 (12-2012)
Abstract
Sociological literary theory, due to the past tradition of attention to
affect and affected, has enjoyed particular attention in Iran compared to other types of literary theories. And in the study of Persian literature, especially novel, much of the literary researches have been done with this approach .
Philosophical origins of these theories and viewpoints of theorists of this school that often influenced by Marxist theories, in many cases, are inconsistent with Persian literature and since taken from other society with distinct thoughts, opinions and transition, often could not establish deep connections between affects and affected
of literature with social problems in Iran.
With a description of philosophical and sociological origins of this theory, the paper applies it in literary researches of pathology. This study includes: substantial differences in the formation of the novel in the West with Persian novel, inconsistent principle of this theory with principle of Iranian thought and culture, the lack of precise definitions of certain terms in this theory, the absence of coordination between some of the main topics of texts and literary theory, that utmost caused confusion of two different discussions i.e.
societies in literature and sociological literary theory. The consequence of this situation is inability of sociological literary researches in order to find social samples in literature, regardless of the basis of this theory.
Hashem Sadeghi Mohsen Abad,
Volume 13, Issue 52 (12-2020)
Volume 13, Issue 52 (12-2020)
Abstract
Realist novels strive to present an objective image of reality by mainly using impersonal impartial narrators. Moreover, an intrusive narrator leads to a fabricated narrative and overshadows its verisimilitude. The present study aimed to investigate all kinds of intrusion by narrators in the Persian novels from 1921 till 1941 in terms of realism. To do so, first the signs of narrator intrusion were identified and categorized in the novels under study. Then, narrator intrusion was investigated in terms of components of realism. The main narrator intrusion techniques included narrator’s self-expression, explanations about narrative act, judgments about story characters and actions, generalizations of emotions and actions of characters, and delivery of sociopolitical speeches by the narrator/author. The results revealed that some narrator intrusion techniques, especially narrator’s self-expression and explanations about narrative act, had roots in the novelty of the novel genre and had been influenced by the then common narrative models in the traditional genres such as storytelling and the like. Explanations about narrative act may weaken the illusion of reality and verisimilitude by highlighting the constructivism of a literary work. Furthermore, a belief in the educational function of the literature and the delivery of long ideological speeches would lead to the inconsistency of journalistic missions with the realist criteria for novel narration and thus would undermine an absent or impartial narrator.
Shahriyar Shadigu, Nafise Irani, Xadijeh Mohammadi,
Volume 17, Issue 67 (10-2024)
Volume 17, Issue 67 (10-2024)
Abstract
The complexity of language has led to a wide range of methods and scientific approaches in its study, one of which examines the relationship between language and gender. This paper, using a descriptive-analytical method and a library-based approach, investigates how feminine gender influences the language of the novel Koli Kenare Atash. It explores the patterns through which femininity is expressed in the linguistic signs and language used in the text, and subsequently, how these usages represent female identity. In this novel, which seeks to portray the fragmented identity of women within a traditional society, the author initially embodies femininity through the unique application of linguistic codes in the narrative. These patterns include emotional language, monologue-driven speech, distinctive use of interrogative sentences, color terms, descriptive language focused on the body, lexical poverty, the language of silence, prescriptive language, sensory language, and the use of hesitation markers. Through employing these linguistic codes, the author successfully creates twelve linguistic subjects, each embodying various stereotypical roles and gender schemas associated with women.
Extended Abstract
Extended Abstract
- Introduction
One of the most influential epistemic domains that impact the formation of an individual's social standing is "gender." Alongside factors like social class, ethnicity, and culture, gender shapes social behavior and, consequently, reconstructs individuals’ linguistic behavior. This crucial component exists in a dynamic interaction with language within any linguistic community. On one side, individuals’ gender leads to distinct tendencies in language use, and on the other, language and linguistic signs themselves act as media that construct gender identities and position them within a hierarchy of social equalities or inequalities.
Given the significance of the relationship between language and gender, the issue of how gendered individuals and behaviors are represented in language and literature has become an important subject explored both explicitly and implicitly. Literary and narrative texts, as written media, are key arenas for the expression of gender, often showcasing gender identities through methods like feminine writing, reflecting gendered language in texts, and portraying culturally constructed genders.
This article adopts a specific linguistic approach to examine how gender is represented in literary and narrative texts. For this purpose, the novel Koli Kenare Atash, considered one of the outstanding examples of the feminine writing style in recent decades, has been selected for analysis. This postmodern novel is centered on portraying the "fragmented identity of women" within traditional and marginalized social classes. The author develops this theme by embedding femininity within the linguistic codes of the story, crafting subjects that express specific aspects of womanhood. She achieves this through the use of emotional language, monologue-centered discourse, the distinctive use of interrogative sentences, color terms, descriptive language focused on the body, lexical poverty, body language, linguistic silence, advisory tone, sensory language, and hesitation markers. By exposing the reader to this feminine language, the author not only creates female subjects and roles within the narrative but also encourages the reader to identify with these linguistic subjects and identities.Thus, this study, through an exclusive descriptive-analytical examination of the linguistic codes in this story, seeks to address two main questions:
1. In what forms is femininity embodied in the linguistic codes of Koli Kenare Atash?
2. How does employing these linguistic patterns lead to the creation of female subjects and the associated meanings within the story?
2. Theoretical Framework (Gender from Linguistic and Non-linguistic Perspectives)
Gender, as a domain of knowledge, gained recognition in sociology and feminist discourse before entering linguistic discussions. Feminist theorists were among the first to bring the topic of gender into the spotlight. "The feminist perspective on gender extended beyond a biological reality, as they defined gender as a socially constructed phenomenon" (Janet, 1998, p. 66). Gradually, the term "gender" was adopted in sociological discussions, and many cultural and critical theorists began using it to counter the reductive analyses of the concept of sex. This shift addressed the common misconception that equated gender solely with biological sex. According to these theorists, "gender refers to the social behaviors, expectations, and inclinations attributed to men and women, and thus, unlike biological sex, gender is considered a field of knowledge" (Mohammadi Asl, 2008 pp. 11-12; Ezzazi, 2001, p. 38).
Research in the field of language and gender began in the early 1970s. Initially, these studies focused on examining how gender as a variable influenced individuals’ verbal behavior at the phonetic level and their interaction styles. However, this research evolved over time (Davari Ardakani, 2008, pp. 162-163). Since the early days of gender linguistics, numerous theories have emerged. Robin Lakoff made the first breakthrough with her article Language and Woman's Place in the early 1970s, marking a significant shift in sociolinguistic studies. Lakoff argued that men’s and women’s language differ, and that language reflects and perpetuates women’s subordinate position in society (Mumeni, 2008, p. 66). Lakoff’s article was the catalyst for a series of studies in this field.
Given the significance of the relationship between language and gender, the issue of how gendered individuals and behaviors are represented in language and literature has become an important subject explored both explicitly and implicitly. Literary and narrative texts, as written media, are key arenas for the expression of gender, often showcasing gender identities through methods like feminine writing, reflecting gendered language in texts, and portraying culturally constructed genders.
This article adopts a specific linguistic approach to examine how gender is represented in literary and narrative texts. For this purpose, the novel Koli Kenare Atash, considered one of the outstanding examples of the feminine writing style in recent decades, has been selected for analysis. This postmodern novel is centered on portraying the "fragmented identity of women" within traditional and marginalized social classes. The author develops this theme by embedding femininity within the linguistic codes of the story, crafting subjects that express specific aspects of womanhood. She achieves this through the use of emotional language, monologue-centered discourse, the distinctive use of interrogative sentences, color terms, descriptive language focused on the body, lexical poverty, body language, linguistic silence, advisory tone, sensory language, and hesitation markers. By exposing the reader to this feminine language, the author not only creates female subjects and roles within the narrative but also encourages the reader to identify with these linguistic subjects and identities.Thus, this study, through an exclusive descriptive-analytical examination of the linguistic codes in this story, seeks to address two main questions:
1. In what forms is femininity embodied in the linguistic codes of Koli Kenare Atash?
2. How does employing these linguistic patterns lead to the creation of female subjects and the associated meanings within the story?
2. Theoretical Framework (Gender from Linguistic and Non-linguistic Perspectives)
Gender, as a domain of knowledge, gained recognition in sociology and feminist discourse before entering linguistic discussions. Feminist theorists were among the first to bring the topic of gender into the spotlight. "The feminist perspective on gender extended beyond a biological reality, as they defined gender as a socially constructed phenomenon" (Janet, 1998, p. 66). Gradually, the term "gender" was adopted in sociological discussions, and many cultural and critical theorists began using it to counter the reductive analyses of the concept of sex. This shift addressed the common misconception that equated gender solely with biological sex. According to these theorists, "gender refers to the social behaviors, expectations, and inclinations attributed to men and women, and thus, unlike biological sex, gender is considered a field of knowledge" (Mohammadi Asl, 2008 pp. 11-12; Ezzazi, 2001, p. 38).
Research in the field of language and gender began in the early 1970s. Initially, these studies focused on examining how gender as a variable influenced individuals’ verbal behavior at the phonetic level and their interaction styles. However, this research evolved over time (Davari Ardakani, 2008, pp. 162-163). Since the early days of gender linguistics, numerous theories have emerged. Robin Lakoff made the first breakthrough with her article Language and Woman's Place in the early 1970s, marking a significant shift in sociolinguistic studies. Lakoff argued that men’s and women’s language differ, and that language reflects and perpetuates women’s subordinate position in society (Mumeni, 2008, p. 66). Lakoff’s article was the catalyst for a series of studies in this field.
- Discussion and Analysis
- Theme and Structure of the Novel Koli Kenare Atash
As a postmodern and metafictional work, this story unfolds as a painting that evolves alongside the reader and in step with the characters. The images depicted in the narrative represent a multifaceted identity of women within Iranian society. The main character, a girl named "Ayneh" (meaning “Mirror”), embodies her name, appearing fluid and reflective as she adopts different personas and plays various roles across different narrative levels.
- Linguistic Patterns of Femininity
Gender portrayal in narrative literature is not determined merely by counting male and female characters or examining their gendered behaviors. Instead, "it influences all aspects from the production to the reception of the text, such that the background, assumptions, and expectations of the author, the nature of the work itself, and the reader’s background all play a role" (Stevens, 2008, pp. 92-93).
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- Imperative Sentences: This type of sentence, another form of declarative language, is where female characters in the story employ commands and requests to express desires, wishes, and aspirations.
- Transitive Sentences: In the story, due to their perceived powerlessness and lack of agency relative to men, female characters often occupy the role of the object. As a result, transitive active and passive sentences appear frequently, positioning men as the subject and women as the object.
- Constrained Sentences: Another way femininity is expressed emotionally is through the use of sentences modified with various adverbs—such as intensifying, descriptive, manner, additive, and conditional adverbs—to heighten emotional impact and emphasize the ideological discourse of femininity.
- Repetitive Phrases: The last form of emotional language involves repetition. Women in the story sometimes repeat words or phrases to draw attention, evoke feelings, and express emphasis or appeal.
- Descriptive-Body Language: The use of feminine and bodily terms is another linguistic feature unique to female characters. Known as "body writing," this type of language emphasizes the gendered positioning of women and men as subjects in the narrative.
- Lexical Poverty: This term, coined by Roger Fowler, refers to "the lack of sufficient vocabulary to convey a specific concept" (Fowler et al., 2011, p. 109). In some instances, the language of the female characters reflects limited vocabulary due to illiteracy, cultural deprivation, low social status, or other factors, leading to ambiguity or inadequacy in conveying meaning.
- Use of Body Language: In communication schemas, messages—whether verbal or non-verbal—are encoded according to the situation and exchanged between sender and receiver. Female characters in the story, as message senders, frequently employ non-verbal codes. In other words, they communicate with others not only through verbal language but also by drawing on other modes of expression.
- Linguistic Silence: In many instances, rather than using words, women communicate through silence or absence of speech. This linguistic trait in female language suggests both the submissiveness of women and their perceived weakness in verbal communication. In this story, women rarely engage in verbal expression or speech.
- Advisory Language: As mothers and nurturers, and due to their caring and self-sacrificing nature, women often impart their experiences to their children and others around them, positioning themselves as advisors or guides.
- Sensory Language: Women’s attentiveness in descriptions and their focus on making experiences tangible for the audience lead them to use sensory language more frequently than men. In this story, sensory language emerges through descriptions and imagery that engage the five senses, creating a multisensory effect.
- Hesitation Markers: Another feature of feminine language is the use of hesitation markers. These words form a linguistic code that conveys the speaker’s sense of uncertainty and hesitation (Lakoff, as cited by Mahmoudi Bakhtiyari & M. Dehghani, 2012, p. 549). The use of such words in women’s language is attributed to lower self-confidence, lack of assertiveness, and their unstable social position in a patriarchal society.
- Female Subjects: In the previous section, the linguistic patterns of femininity in this story were introduced. Through the use of these linguistic patterns, the author creates subjects throughout the story that symbolize the fragmented identity of women, embodying distinct expressions of femininity.
4. Conclusion
Gender is one of the most important external, non-linguistic factors influencing the formation of language. As a cognitive variable, it stems from the sex of individuals and leads to the manifestation of specific social behaviors, which in turn influence linguistic behaviors. This article, based on this approach, examined how female gender affects language and the role of language in reconstructing feminine identity in narrative texts. For this purpose, the novel Kooli Kenar Atash was selected.
Through the analysis of this novel, it was found that the linguistic patterns used in the story are feminine, and the author, by incorporating these patterns into the narrative, has created female subjects. These female subjects carry specific connotations of femininity, embodying gender stereotypes and archetypes associated with women in lower, marginalized social classes. Thus, it can be claimed that Kooli Kenar Atash is a thoroughly feminist novel, written to depict the fragmented identity of women. The feminine language employed in this novel not only reflects the insecure and powerless position of the second sex in society but also becomes a tool of self-oppression for women, perpetuating the hierarchical gender inequalities.
Volume 19, Issue 77 (12-2022)
Abstract
In this paper, the rage and violence against women have been studied in two different cultures (Western-Iranian) in an analytic-comparative manner, which explicitly depicts how this rage and violence strengthens the patriarchal foundations and sacrifices or even eliminates women. After investigating the theories connected with the feminist criticism and specifically its most significant component i.e. violence against women, the present research analyzes the examples of typical and thematic violence in the two novels of “The Infatuations” by Javier Marias and “On Foot” by Belgheis Soleimani, so that it can unveil the violence against women in these two novels. The analyses show that notwithstanding the different beliefs in the two communities, violence against women is far identical but only different in their type of imposition.
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