Search published articles
Showing 12 results for Sadegh Hedayat
Volume 2, Issue 2 (10-2014)
Abstract
The title of the story is the threshold to the mysterious world of the text. Thus it must be selected artistically to show the quality of the text, despite its quantity and restrictions. Sometimes, the title sheds light on the world of the text and lights the text`s whole material, but sometimes, it hides the text and the reader does not resieve any sign of it. It makes a tension in the mind of the reader to draw him/her to the text, and makes him/her to arrange his/her disturbed mind by reading the text and finding the meaning of it. This research is aims to investing ate the most important textual and extra textual factors, which are efficient in choosing the title of Sadeq Hedayat and Zakaria Tamer`s works, and study the structure and context of the titles and their relation with intra-textual and extra-textual factors that are used to hide the meaning of the text. have several res sons. Attracting the reader and closed political conditions (extra-textual factors) are the main reasons. These titles show the familiarity of the two writers with rhetorical devices. Also they are the reflection of the difficulties and hard conditions of the people`s life and the writer`s current cultures.
Volume 2, Issue 3 (10-2011)
Abstract
In this research, the two stories “Alavieh Khanoom” and “Haji Aqa” of Hedayat and the “Rotchyld Violin” and “Lady and Cute dog” of Chekhov have been analyzed and compared from the social satire viewpoint. The content of stories is corruption that has been depicted as humor and funny. A piece of characters is representative special class. There are special moral and personality similarities between the characters of the stories, (e.g. Haji Aqa and Yakof and also Lady Anna of Chekhov’s story and Alavieh Khanoom). But what differs in the work of authors, is in their attitude. Chekhov criticizes with tone of hopefully, while despair is seen in the Hedayat’s stories to superfluity. The important notable topics in the works of these authors include: social problems, injustice, and existence corruption between the various levels of society and sympathy with the people, all of which have been represented with biting satire and make the audience to express sympathy. The purpose of the study is to find out the commonalties and compare the authors in the method the pay to social satire.
Volume 2, Issue 3 (8-2014)
Abstract
Qazieh is comic literary style, which was created by Hedayat in his book “Vagh Vagh Sahab”. Beside its application in comic, Qazieh has not been recognized and followed strongly yet. In Qazieh, we confront with Naghizeh style, but features of language, form and content, make it outstanding. Two aspects of Qazieh that bold its prominence are: First confronting poem in a folksy style, and demolishing rhythm and intentionally. In addition, criticizing the hidden social, cultural, and literal problems of the society makes it unique. This essay re-analyzes Qazieh in Vagh Vagh Sahab, and indicates the methods that Hedayat uses in creating Qazieh.
Volume 3, Issue 11 (6-2006)
Abstract
Razi.A,.PH.D.
Bahrami.M
Abstract
Sadegh Hedayat is the most distinguished and contemporary author of black literature at the field of writing story in Iran which his works has formed on the basis of excessive despair. In this essay, it has first introduced signs of despair at his states and works, then analyzed causes of his despair with regard to historical, sociological and psychological approaches. It should be emphasized that his pessimism feeling has originated from his personal characteristics as well as various mental, political, social and family factors. Thus, mental- philosophical atmosphere and common literary schools of Hedayat's age have been explained. Also, political events of Iran and world have been described especially during the reign of Reza Shah ,which was the first era of black literature in Iran. Moreover , it presents family and social problems causing Hedayat's despair.
Kavoos Hasanli, Siamak Naderi,
Volume 6, Issue 23 (10-2013)
Volume 6, Issue 23 (10-2013)
Abstract
Sadegh Hedayat is one of the most famous Iranian author's. Novel, "Boof –e- Koor" is the most important posts. His historical geography and climate in various areas of studies has various Iranian cities. These studies can be clear in some of his works, including "Boof –e- Koor". The "Boof –e- Koor" Much has been written about yet. But this focus has been Descriptions similar to situations where old stories in "Boof –e- Koor" Rey, three to seven centuries AH. Applicable Ray Old Town Historical Geography descriptions "Boof –e- Koor" as documented for the first time this has been done A sign of the attention is directed at the payment and confirming the words of his novel "Boof –e- Koor", is full of techniques, and the book is accurate." Despite the complexity of the story of The "Boof –e- Koor" and innovative elements of the real world that is reflected back to the severance of the third and seventh centuries AH Ray has... In this paper descriptions of the same place, "Boof –e- Koor" with historical geography Rey, based on five main elements: the structure of the city, and Cultural characteristics of the city, City Brand Positioning, topographic features of civic, social and cultural elements that have been reviewed and adaptive recognition.
Volume 7, Issue 2 (5-2016)
Abstract
"Forgiveness" is a collection of stories of Sadegh Hedayat’s Three drops of blood. It narrates the story of a woman whose jealousy causes the death of the first and second children of his husband’s second wife and the latter. The history is full of sense of reproach and suffering of the feelings of jealousy. In this study, we try to analyze, following the theory of Landowski on the human feelings and the patterns provided by experts as Greimas, Fontanille and Landowski about the human emotions’s production, the "jealousy" through the perspective of semiotics of passion. The aim of this research is to show how this feeling takes the discursive properties. We will also examine how the status of emotion of jealousy in this story corresponds with the systematic patterns of semiotics of Paris school and its recent theories. This review will provide and assess the applicability of these models on the Persian literary products.
Volume 7, Issue 2 (9-2019)
Abstract
Comparative literature has always provided space for the different nations to talk to each other and interact together. The intertextuality that reflect an audience’s interpretation of the text, can be used according to the tenets of comparative literature. Sadegh Hedayat, as one of the pioneers of modern literature in Iran, including writers who have a deep acquaintance with Western literature, especially French literature, has been influenced by many foreign-language writers. The short story of Whirlpool, which takes place in a bitter and naturalistic perspective, is one of the works of Hedayat which is strongly influenced by the naturalism, and especially the naturalistic novel of Pierre and Jean by Guy de Maupassant. The theme of treason, which leads to the ruination of a seemingly happy family, and the narrative structure of this story are the link between these two works. This theme is developed in two works using the rules of the naturalism including elements of determinism. The main issue in the present article is to find the roots and examples of treason in two works by relying on the narrative structure and the analysis of the behavior of characters in confronting this familial crisis. Finally, we will try to achieve the main goal of this comparative study which is a description of the elements of naturalism in Whirlpool and its coincidence with the naturalistic elements of Maupassant’s novel.
Nadeem Akhtar,
Volume 8, Issue 30 (7-2015)
Volume 8, Issue 30 (7-2015)
Abstract
Sadegh Hedayat visited India and was back to Tehran in September 1937. But his exact date of arrival in India is still a mystery. However, it is confirmed that he visited many cities of incredible India like Bombay, Bangalore, Hyderabad etc. in the years 1936-37. Hedayat’s tryst with India was quite friendly and his later writings covered a great deal of depiction of that country. The stories that he had written in the post period of his visit to India consists of beautiful tapestry of Indian believes, culture, customs and tradition and his seminal work The Blind Owl can be seen as one of the finest pieces of Indo Persian literature where he made a fusion of Iranian plot with the elements of Indian customs and culture. It was the article- Hindustan Dar Aieneh-i-Buf-i-Kur, written by Dr. Syed Akhtar Husain which made the world realize that, a writer who had spent around two years in India and infused India in his Persian writings, ironically, remained unnoticed by the Indians. Hedayat who depicted the history and culture of India in his writings at the time when India was witnessing the twilight of Persian literature in the sub-continent. Dr Hussain believes that Indian scholars must come forward to write details of Hedayat’s footsteps in India in order to pay him their debt. Being a student of Indo Persian literature and of Dr. Syed Akhtar Husain, I deem it my duty to write in this article about the foot prints of Sadegh Hedayat in India through his letters and stories. This article is a result of my visit to the places where Hedayat was moving during his stay in India, his friends and hosts in India and ups and downs he faced in the country- all has been covered in this paper along with the photographs.
Volume 9, Issue 1 (5-2021)
Abstract
Hedayat’s world is filled with nihilistic notions. A world that lacks meaning and is filled with inconsistencies and multi-layered discrepancies. Fictional characters, paintings, translations among other works justify the nihilistic notions behind Hedayat’s cultural life both directly and indirectly. Hence in his stories, Sadegh Hedayat is a character directed to a world of oblivion. This bleakness and descent are more perceivable than any other concept in his work life. However, on the other end of the spectrum is Yuval Noah Harari. A historian who views the world, God, and humans with almost the same perspective long after Hedayat. In the mind of this renowned historian, a strong emphasis on the power of humans in material life is noticeable. As a result, in this article, an effort is made to expound and compare Harrari’s view in his book Homo-Sapiens along with Hedayat’s short stories concerning three basic elements; God, Human, and the world. In addition, the important aspect of this study is to explain the origin of such viewpoints. A comparative study based on the American school demonstrates that both writers carry the same view about those basic elements mentioned above, and rely on modern biological theories such as Darwinian theory. In the minds of these two writers, humans do not carry any holy or humanistic value; accordingly, the confusion that runs through the minds of Hedayat’s characters respond to this notion
Volume 13, Issue 54 (3-2017)
Abstract
This study aims at investigating theoretical principles of Persian paintings’ in “Blind Owl “in order to highlight the function of this element besides other internal and external origins as the main sources of inspiration of this novel. Research methodology is descriptive –analytic by using and compiling library data .The results showed that the writer who is familiar with painting characteristics’ founds to great extent the basis of his modernist expression on this these principles. As the main characteristics of Persian painting, it should mention psychoanalytic elements, dereism, poly narrative, typical characterization and disclosure of time and space. We can easily pursue the traces of these features in this novel as its foundations. The main scene of this novel, to say the story of old and fairy –faced is a prevalent phenomenon in the history of painting whose elements such as nymphaea, water, cypress etc. establish a kind of symbolic correlation between this novel and Persian painting.
Volume 13, Issue 62 (5-2025)
Abstract
Dash Akol, the renowned hero of Shiraz, is one of the most prominent figures in Iranian folk and formal literature, with various narratives about his life and character in the local folklore of Shiraz. Inspired by these narratives, Sadegh Hedayat wrote the short story "Dash Akol" in 1932. Hedayat’s storytelling prowess and widespread reputation led his version to gradually become the dominant and established narrative of Dash Akol, ultimately overshadowing and erasing other local accounts. The alterations Hedayat introduced into the story profoundly shaped a new image of Dash Akol, transforming him into a flawless hero embodying ideals of masculinity and moral chastity. These changes not only reinvented the character but also reflected the cultural and social transformations in early 20th-century Iran, which were widely championed by intellectuals and writers. This study seeks to distance itself from Hedayat’s established narrative and instead examine alternative accounts of Dash Akol found in local Shirazi sources. These narratives often fundamentally differ from Hedayat’s version, offering distinct portrayals of Dash Akol’s physical traits, romantic relationships, and his death. The paper explores the cultural and literary motivations behind Hedayat’s revisions, demonstrating how his idealization of Dash Akol constructed a new mythical hero that aligned with the era’s cultural shifts and was likely influenced by Iran’s mystical, mythical, and intellectual discourses. This reconstruction not only reveals the interplay between dominant narratives and cultural change but also provides fresh insights into the adaptation of folklore into modern literary frameworks.
Introduction
Dāsh Ākol, the legendary pahlavān (hero) of Shiraz, holds a unique position in both Iranian folk and formal literature. Rooted in the culture of lūtīgarī (urban chivalry) and javānmardī (chivalric ethics) of Shiraz, numerous oral narratives about his bravery, conflicts, and life have circulated among the city’s inhabitants. Inspired by these local tales, Sadegh Hedayat, the pioneering modernist Iranian writer, penned the short story Dāsh Ākol in 1932. Hedayat’s literary prowess and his status as a prominent intellectual figure gradually elevated his version to the status of the “official” and canonical narrative of Dāsh Ākol, overshadowing other local accounts. This study critically examines this process, arguing that Hedayat’s alterations in representing Dāsh Ākol’s character not only reflect Iran’s sociocultural transformations in the early 20th century but also embody the intellectual efforts to redefine national identity through literature.
Theoretical background
This study is grounded in two key concepts of narratology: canonical narrative and alternative narratives. Drawing on Monika Fludernik’s Towards a Natural Narratology (1996), canonical narratives are products of the cultural and institutional power of dominant groups, sustained through repetition and naturalization. These narratives often homogenize reality by marginalizing or distorting peripheral voices. Gerald Prince, in Narratology: The Form and Functioning of Narrative (1982), emphasizes the significance of alternative narratives, which emerge from oral
Main Discussion
Physical attributes: From imperfection to idealization
In Shirazi oral traditions, Dāsh Ākol is described with notable physical disabilities: his right hand is severed, and his left leg is amputated. The term “kal” in the Shirazi dialect, meaning “disabled,” refers to these traits, portraying him as vulnerable and flawed. However, Hedayat eliminates these imperfections. His Dāsh Ākol is a “burly man with a noble face,” bearing only facial scars. This transformation idealizes him as a paragon of physical and moral perfection, reminiscent of the “ensān-e kāmel” (perfect human) in Iranian mysticism.
Romantic relationships: From taboo to noble love
Local sources rarely mention Dāsh Ākol’s romantic engagements, except for a rare account from Kākā Rostam’s follower. According to this narrative, Dāsh Ākol harbored a romantic attachment to a young male follower who had a sexual relationship with Marjān. To protect the follower, Dāsh Ākol falsely claimed responsibility. Such homoerotic undertones align with lūtīgarī traditions. Hedayat, however, reconfigures this entirely. In his story, Dāsh Ākol secretly loves Marjān, the daughter of Hājji Samad, concealing his passion until death. This shift is not merely literary but reflects early 20th-century social changes. Intellectuals sought to purge “immoral” elements (e.g., homosexuality) from literature to redefine a “modern” Iranian identity. By substituting heteronormative love, Hedayat refashions Dāsh Ākol into a paragon of chastity compatible with emerging modern ethics.
Death: From rrebel to victim of unjust murder
Local narratives attribute Dāsh Ākol’s death to his conflict with Alā al-Dawla, the ruler of Fars. One account claims he was betrayed, arrested during a sanctuary in Shahcheragh Shrine, and tortured to death. Hedayat, however, reimagines his death as a duel with Kākā Rostam, who treacherously stabs him from behind. This unjust murder evokes Shi’ite paradigms (e.g., Imam Hussein) and mythic Iranian tropes (e.g., Siavash), symbolizing heroic sacrifice marred by betrayal. By aligning Dāsh Ākol’s demise with these archetypes, Hedayat elevates him to a timeless, transcendent hero.
The analysis of Hedayat’s motivations
Hedayat’s revisions align with early 20th-century intellectual projects:
Sanitization: Transforming Dāsh Ākol into an idealized “perfect human” embodying national virtues (chivalry, loyalty, chastity).
Modernization: Erasing non-normative elements (homosexuality) and replacing them with romantic love, compatible with modern morality.
Mythmaking: Framing his death through Iranian-Islamic tragic tropes to foster audience empathy.
National Identity: Crafting a hero rooted in tradition yet harmonized with modern ideals.
Conclusion
Hedayat’s Dāsh Ākol is not merely a literary adaptation of Shirazi folklore but a project to redefine Iranian cultural identity on modernity’s threshold. By erasing physical flaws, reconfiguring romance, and reconstructing heroic death, Hedayat creates a character that bridges Iran’s mystical heritage and the needs of a transitioning society. These changes highlight the power of canonical narratives in shaping collective memory while underscoring the necessity of alternative narratives to uncover historical complexities.
This study demonstrates that literature not only reflects reality but actively reconstructs it. Hedayat skillfully reframed folklore into a modern mold to bolster national identity and advance intellectual discourse. However, reviving alternative narratives allows us to critique this process and unearth hidden historical layers. Ultimately, the article emphasizes preserving narrative diversity and resisting cultural homogenization.
Introduction
Dāsh Ākol, the legendary pahlavān (hero) of Shiraz, holds a unique position in both Iranian folk and formal literature. Rooted in the culture of lūtīgarī (urban chivalry) and javānmardī (chivalric ethics) of Shiraz, numerous oral narratives about his bravery, conflicts, and life have circulated among the city’s inhabitants. Inspired by these local tales, Sadegh Hedayat, the pioneering modernist Iranian writer, penned the short story Dāsh Ākol in 1932. Hedayat’s literary prowess and his status as a prominent intellectual figure gradually elevated his version to the status of the “official” and canonical narrative of Dāsh Ākol, overshadowing other local accounts. This study critically examines this process, arguing that Hedayat’s alterations in representing Dāsh Ākol’s character not only reflect Iran’s sociocultural transformations in the early 20th century but also embody the intellectual efforts to redefine national identity through literature.
Theoretical background
This study is grounded in two key concepts of narratology: canonical narrative and alternative narratives. Drawing on Monika Fludernik’s Towards a Natural Narratology (1996), canonical narratives are products of the cultural and institutional power of dominant groups, sustained through repetition and naturalization. These narratives often homogenize reality by marginalizing or distorting peripheral voices. Gerald Prince, in Narratology: The Form and Functioning of Narrative (1982), emphasizes the significance of alternative narratives, which emerge from oral
Main Discussion
Physical attributes: From imperfection to idealization
In Shirazi oral traditions, Dāsh Ākol is described with notable physical disabilities: his right hand is severed, and his left leg is amputated. The term “kal” in the Shirazi dialect, meaning “disabled,” refers to these traits, portraying him as vulnerable and flawed. However, Hedayat eliminates these imperfections. His Dāsh Ākol is a “burly man with a noble face,” bearing only facial scars. This transformation idealizes him as a paragon of physical and moral perfection, reminiscent of the “ensān-e kāmel” (perfect human) in Iranian mysticism.
Romantic relationships: From taboo to noble love
Local sources rarely mention Dāsh Ākol’s romantic engagements, except for a rare account from Kākā Rostam’s follower. According to this narrative, Dāsh Ākol harbored a romantic attachment to a young male follower who had a sexual relationship with Marjān. To protect the follower, Dāsh Ākol falsely claimed responsibility. Such homoerotic undertones align with lūtīgarī traditions. Hedayat, however, reconfigures this entirely. In his story, Dāsh Ākol secretly loves Marjān, the daughter of Hājji Samad, concealing his passion until death. This shift is not merely literary but reflects early 20th-century social changes. Intellectuals sought to purge “immoral” elements (e.g., homosexuality) from literature to redefine a “modern” Iranian identity. By substituting heteronormative love, Hedayat refashions Dāsh Ākol into a paragon of chastity compatible with emerging modern ethics.
Death: From rrebel to victim of unjust murder
Local narratives attribute Dāsh Ākol’s death to his conflict with Alā al-Dawla, the ruler of Fars. One account claims he was betrayed, arrested during a sanctuary in Shahcheragh Shrine, and tortured to death. Hedayat, however, reimagines his death as a duel with Kākā Rostam, who treacherously stabs him from behind. This unjust murder evokes Shi’ite paradigms (e.g., Imam Hussein) and mythic Iranian tropes (e.g., Siavash), symbolizing heroic sacrifice marred by betrayal. By aligning Dāsh Ākol’s demise with these archetypes, Hedayat elevates him to a timeless, transcendent hero.
The analysis of Hedayat’s motivations
Hedayat’s revisions align with early 20th-century intellectual projects:
Sanitization: Transforming Dāsh Ākol into an idealized “perfect human” embodying national virtues (chivalry, loyalty, chastity).
Modernization: Erasing non-normative elements (homosexuality) and replacing them with romantic love, compatible with modern morality.
Mythmaking: Framing his death through Iranian-Islamic tragic tropes to foster audience empathy.
National Identity: Crafting a hero rooted in tradition yet harmonized with modern ideals.
Conclusion
Hedayat’s Dāsh Ākol is not merely a literary adaptation of Shirazi folklore but a project to redefine Iranian cultural identity on modernity’s threshold. By erasing physical flaws, reconfiguring romance, and reconstructing heroic death, Hedayat creates a character that bridges Iran’s mystical heritage and the needs of a transitioning society. These changes highlight the power of canonical narratives in shaping collective memory while underscoring the necessity of alternative narratives to uncover historical complexities.
This study demonstrates that literature not only reflects reality but actively reconstructs it. Hedayat skillfully reframed folklore into a modern mold to bolster national identity and advance intellectual discourse. However, reviving alternative narratives allows us to critique this process and unearth hidden historical layers. Ultimately, the article emphasizes preserving narrative diversity and resisting cultural homogenization.
Volume 16, Issue 63 (6-2019)
Abstract
“Dash Akol” is one of the most important fictions in Persian literature. This short story is different from other fictions of Sadegh Hedayat. Sacrifice and “gheyrat” are important concepts in this fiction and this is questionable. The hypothesis of this article was that, unlike popular belief, “Dash Akol” is not entirely realistic but it`s a semi-Modernist short story because of central subjectivity of Akol. In other words, characterization in the second part of this story is Modernist. A Modern subject has three features and all of them are observable in the main character of “Dash Akol”: 1) Consciousness 2) Agency 3) Personhood. Akol have some secondary features too: 1) Overthinking 2) Attention to the unconsciousness 3) Solitude 4) Thinking about death. This short story is written in a period of contemporary Persian fiction that Modernist literature arose and this story has shown the evolution of contemporary Persian fiction.
| Page 1 from 1 |