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Showing 5 results for Periodization
Naser Gholi Sarli, Fatemah Saadat Derakhshan,
Volume 3, Issue 10 (12-2010)
Volume 3, Issue 10 (12-2010)
Abstract
In historical studies, period is a regulative concept. It helps historians of arts and sciences classify historical information. In most literary histories, periodization is the most essential basis of division. Periodization also was applied in literary studies like rhetorics. For example, Shawqi Zaif has divided the history of Islamic-Arabic rhetorics into periods. In this article, we are to propose a schema for periodization of history of Persian rhetorics. System of Persian rhetorics was originally derived from Arabic rhetorics but the quality and quantity of adaptation in different periods wasn’t the same. In some cases, Persian rhetoricians came up with important innovations in periodization and sometimes they made use of rhetorics of the other civilizations for instance Indian rhetorics in order to study aesthetical aspects of Persian literature. Base on the historical era they were living in and the similarities of their approaches, we can distinguish four different periods: 1. Localization Period: This period, as the first period of Persian rhetorics, includes the most important books of Persian rhetorics: Tarjoman al-balaqa, Hadaeq al-sehr, and Al-mo’jam fi ma’air ash’ar al-ajam; 2. Interpretation and Imitation Period: Most of rhetoric books in this period are interpretations of previous period; 3. Pseudo- Indian Period: In this period, a few rhetoricians try to apply Indian rhetorics to Persian literature; 4. Scholastic Period: The last period is a contemporary one and includes new rhetorical textbooks.
Naser Gholi Sarli,
Volume 5, Issue 19 (11-2012)
Volume 5, Issue 19 (11-2012)
Abstract
Literary period functions as a regulative idea for literary critics in the narrative of literary history. Literary period is a time-section; although in literary history and criticism, it has also other implications and associative meanings. Some of these secondary meanings which can be called components of literary period are: zeitgeist, the conditions of literary production, dominant norms, change and evolution, binary oppositions, individual or collective idealistic narrative, and concept of spatiality. Zeitgeist and the conditions of literary period offer theories about factors extrinsic to literature that manage establishment and change of general and literary periods. The concept of period as time-section ruled by a series of literary norms ascribes some kind of internal unity to literary periods. Periodization based upon organic idea of evolution compares every period with one of the life’s stages of an organism. Some critics understand literary period in terms of binary oppositions such as classic and modern. Others give literary period a spatial aspect. However, literary history is a result of individual or collective idealistic narrative. It is not a concept but an idea. It is not related to knowledge but to thinking.
Naser Gholi Sarli,
Volume 6, Issue 23 (10-2013)
Volume 6, Issue 23 (10-2013)
Abstract
Criticizing and Rethinking of Periodization in Literary History Abstract In historical and literary studies, periodization is a regulative idea for classifying the literary and historical information in diachronic axis but its application in literary history has been subject to some critiques. This article is to study the critical debates about periodization in literary history and the rethinking of the concept. We can divide these critical debates in two groups: some critics call the very notion into question and refer to as invalid concept. Instead, others engage in rethinking and revising the concept for appropriate application in literary history. Imposition of a static framework on cultural and literary dynamics, averaging effect and contrast with uniqueness of literary works, combining histories of different literary genres, lack of conformity with reality, artificial homogeneity and consistency of change and evolution schemas, problems of terminology and descriptive, anachronism, lost years and centuries, ignoring the distance between literary production and literary reading, logical sequence, ignoring ethnic and gender groups and dominance of period concepts on critical thought are some critiques against periodization and its application in literary history. Rethinking of periodization, being based upon new historical and literary findings and sometimes focusing on redefinition of temporal limits of periods, is current in different frameworks: feminist approaches, according to ethnic and gender groups, and redefinition of literary periods based on new critical concepts. Keywords: literary history, theory of literary history, periodization, literary criticism, literary theory.
Volume 14, Issue 6 (3-2023)
Abstract
Preparing and compiling a comprehensive educational curriculum is closely related to the writing of textbooks. Following educational goals, the periodization of Persian literary history can provide a theoretical framework for Persian language training programs for non-natives. In this paper, we argue over a particular approach to this periodization. The periodization is based on the reverse historical order, literary genre, literary form, and figures. These criteria are moving in reverse historical arrangements from the contemporary period to the past and narrating the variety of literary forms and genres around prominent poets and writers of each period. To evaluate the function and the validity of this approach, the produced content (the book: The Living Tree) was taught to two groups of non-native students of the Persian language (intermediate and upper-intermediate levels) and the results of a survey on their learning were analyzed. The analysis showed that both levels are satisfied with the resulting educational content.
Preparing and compiling a comprehensive educational curriculum is closely related to the writing of textbooks. In the educational curriculum of the field of teaching Persian to non-Persian speakers, teaching literature has a fundamental importance. Many students start learning Persian because of their interest in Persian literature. On the other hand, the literary variety of the Persian language is considered the most prestigious variety of the Persian language, and the Persian standard language has also been greatly influenced by the literary variety.
Teaching Persian literature to non-Persian speakers requires paying attention to the history of Persian literature and presenting educational content in an appropriate kind of historical order. On the other hand, the periodization of Persian literary history, following educational goals, can provide a theoretical framework for Persian language learning programs for non-natives. In this paper, we argue over a particular approach to this periodization; in such a way as to satisfy the language learners and facilitate the learning of educational content. In any given scheme, the level of language skills of the learners should be taken into account and a perspective should be drawn for them to get acquainted with the history, development, and evolution of Persian literature. Every new scheme needs a detailed and comprehensive evaluation to measure its effectiveness in terms of goals and educational content.
The purpose is to provide a new plan for teaching Persian literature to non-Persian speakers, taking into consideration the level of Persian language knowledge of learners and Persian literature courses, and the validity and reliability of this plan were tested by applying it in a group of non-Persian speakers. Before adding the proposed plan and concept to the educational curriculum, it is necessary to evaluate its effectiveness in teaching Persian literature to determine its sufficiency in teaching educational content and to evaluate the level of satisfaction of language learners with such a concept. The latter is important because Persian literature is the main reason and motivation for learning Persian language.
In this article, we have designed and proposed a special type of periodization that has the following criteria and features, taking into account the mentioned cases among the different approaches and methods of periodization of the history of literature.
1. This periodization is based on reverse historical order; That is, contrary to the conventional histories of literature, the educational content starts from the contemporary period and proceeds in the reverse order to earlier periods. The reason for adopting this historical order is the simplicity of the contemporary literary language and its proximity to the standard Persian language. The literary language of previous literary periods becomes more difficult for language learners as we move further away from the contemporary period.
2. Literary genres: In this periodization, literary genres are distinguished from each other and each literary genre has its periods that can be different from other literary genres.
3. Literary form: In addition to literary genres, Persian literature includes various literary forms, each of which has its language. Therefore, it was necessary to consider this variable in the aforementioned periodization.
4. Prominent literary figures: Each period of Persian literature, its literary genres, and literary forms are associated with the great poets and writers. Dealing with these prominent men of letters can suggest outstanding examples of Persian literature in each period, genre and literary form to be included in the educational content, and introduce learners to the great poets and writers of Persian literature.
To evaluate the effectiveness and the validity of this approach, the produced content (the book: The Living Tree) was taught to two groups of non-native students of the Persian language (intermediate and upper-intermediate levels). First, the progress of language learners was evaluated based on the scores obtained, and then the learners were surveyed about the effectiveness of the proposed scheme and their level of satisfaction, and at the end, we analyzed the results of both sections. The analysis shows:
1. Language learners who learn Persian literature with this method and periodization have more progress in learning Persian literature than other language learners.
2. At both intermediate and upper intermediate levels, the overwhelming majority of language learners are highly and very highly satisfied with the teaching of this content.
Hossein Hassanrezaei, Morteza Ghasemi,
Volume 15, Issue 59 (9-2022)
Volume 15, Issue 59 (9-2022)
Abstract
Abstract
"Revolution" is one of the important issues that cause extensive changes in various political and social aspects of the society. The revolution has such an important effect on the periodization of art and literature that the literature of some countries is divided into "literature before or after the revolution". One of the most important theories about the relationship between literature and revolution is Jurgen Ruhle's theory. The present paper tries to periodize the literature of the Islamic Revolution in general, based on Ruhle's classification, and also investigate the rupture or unrupture of intertextuality in revolutions. For this purpose, the definition of intertextuality has been discussed first, and in order to classify the literature of the Islamic Revolution, Jurgen Ruhle's triple periodization (the period of sentimentality, the period of doubt and the period of rupture) has been used. Finally, the rupture or unrupture of Intertexality in revolution has been scrutinized. This research, which is written with a descriptive-analytical method, uses various linguistic theories, Harold Bloom's "reality" theory, and other related theories to further confirm Ruhle's theory, and concludes that it is possible to use the classification of Ruhle as a criterion for periodization of Islamic Revolution literary works. In addition, although revolutions cause intertextual rupture, this rupture does not include all the components of the tradition, because the slow and continuous flow of the tradition is more rooted than that the political and social events of a specific period or system cause it destroyed completely.
Extended abstract
Statement of the problem: Literature is one of the tools that revolution uses to achieve its goals, but is the relationship between literature and revolution permanent? Will the form and content undergo a fundamental transformation with the revolution? What is the fate of literature after the revolution? Is the intertextual relationship with the literary tradition completely cut off? In this case, how is the literature of the revolution periodized? The present paper tries to answer these questions with the descriptive-analytical method and based on Jurgen Ruhle’s theory about the periodization of revolutionary literature (the period of sentimentality (promotion), doubt, rupture) and also by taking the help of the theory of intertextuality.
Discussion:
Literature has an important role in the spread and acceptance of the revolution because of its elements such as rich emotion, influential music and language, therefore it has always been the focus of various political parties. Different groups have profited from it to excite people, propagate beliefs and mock enemies. From this point of view, literature has a persuasive function in addition to its aesthetic function. But literature is not the messenger of the revolution forever, and after a while, it separates its way and goes on its own independent way. Therefore, from the point of view of Jurgen Ruhle, the literature of the revolution is divided into three periods:
1- Period of emotions or political romanticism: In this period, most of the writers support the revolutionary ideals and use their art and talent in the way of the revolution and its realization and promotion.
2- Doubt period: In this period, there are doubts about the past and the artist has doubts between society, personal life and revolutionary goals.
3- Disruption period: In this period, unlike the first period, literature is not the voice of the revolution, but it moves away from it and sometimes even opposes the ideology of the government.
The same theory can be applied to the literature of the Islamic Revolution. The late 1970s until the end of the imposed war (1989) can be considered the period of sentiments and promoting the revolution. During this period, artists engaged in political struggle, opposing the Pahlavi government and promoting the foundations of the revolution, and there was a widespread interest in religious literature and revolutionary rituals. Since the imposed war occurs during this period, the atmosphere and revolutionary discourse continues until the end of the war. The second period begins with the end of the war, and with the formation of the reform discourse, it becomes more and more important, and it can be considered until the middle of the 80s (2006). During this period, some artists adjust and change their revolutionary opinions and beliefs, and the ideological view becomes less.
The intense religious, political and war themes are declining and not only are there no signs of passionate revolutionary themes, but "doubts in ideological certainties and writing from lived experiences are the most prominent features of the literature of this period" (Saadat, 1384, vol.1: under fiction). From the mid-80s (2006) to today, in the works of some artists, doubts come close to breaking. In this period, in Mastur's interpretation, we can see the "bifurcation" of literature, that is, "those who write against the values of the revolution and those who write in support of them" (Hariri, 1383: 63).
The issue of the relationship between literature and the revolution can also be examined with the approach the rupture or unrupture intertextuality. For example, because in the first decade of the revolution, Nimai's poetry was suspected to be secular, the literature of the revolution turned to other formats, and Nimai's poetry was abandoned for a while. This indicates that with the change of the political-social system, the artistic discourses will also change willy-nilly and intertextual break occurs in some of the themes or forms. Of course, it should be noted that a complete break from the literary tradition is not possible; Because it is not possible to completely reject, deny or remove the tradition.
Conclusion:
Considering what has been said, it should be said that literature does not remain in the service of the revolution forever, but according to Jurgen Ruhle, it goes through three periods (the period of sentimentality, doubt, rupture) after the revolution. The same periodization can be applied to the literature of the Islamic Revolution. From 1979 to the end of the war can be considered as the period of emotions, promoting and supporting the revolution. 2- The end of the war until the end of the reform period (mid-2000s) can be considered a period of doubt about the ideals of the revolution. In this era, doubt in ideological certainties and religious beliefs spread, and writing about love, lived experiences and paying attention to the form replaces the preaching of religion, war and supporting the revolution. 3- From the middle of the 2000s onwards, it should be called the break(rupture) period. During this period, some artists wrote against the values of the revolution and completely distanced themselves from the first period. In addition to the division of Ruhle, from an intertextual point of view, although revolutions cause intertextual rupture this rupture does not include all the components of the tradition, because the slow and continuous flow of the tradition is more rooted than that the political and social events of a specific period or system because it destroyed completely.
"Revolution" is one of the important issues that cause extensive changes in various political and social aspects of the society. The revolution has such an important effect on the periodization of art and literature that the literature of some countries is divided into "literature before or after the revolution". One of the most important theories about the relationship between literature and revolution is Jurgen Ruhle's theory. The present paper tries to periodize the literature of the Islamic Revolution in general, based on Ruhle's classification, and also investigate the rupture or unrupture of intertextuality in revolutions. For this purpose, the definition of intertextuality has been discussed first, and in order to classify the literature of the Islamic Revolution, Jurgen Ruhle's triple periodization (the period of sentimentality, the period of doubt and the period of rupture) has been used. Finally, the rupture or unrupture of Intertexality in revolution has been scrutinized. This research, which is written with a descriptive-analytical method, uses various linguistic theories, Harold Bloom's "reality" theory, and other related theories to further confirm Ruhle's theory, and concludes that it is possible to use the classification of Ruhle as a criterion for periodization of Islamic Revolution literary works. In addition, although revolutions cause intertextual rupture, this rupture does not include all the components of the tradition, because the slow and continuous flow of the tradition is more rooted than that the political and social events of a specific period or system cause it destroyed completely.
Extended abstract
Statement of the problem: Literature is one of the tools that revolution uses to achieve its goals, but is the relationship between literature and revolution permanent? Will the form and content undergo a fundamental transformation with the revolution? What is the fate of literature after the revolution? Is the intertextual relationship with the literary tradition completely cut off? In this case, how is the literature of the revolution periodized? The present paper tries to answer these questions with the descriptive-analytical method and based on Jurgen Ruhle’s theory about the periodization of revolutionary literature (the period of sentimentality (promotion), doubt, rupture) and also by taking the help of the theory of intertextuality.
Discussion:
Literature has an important role in the spread and acceptance of the revolution because of its elements such as rich emotion, influential music and language, therefore it has always been the focus of various political parties. Different groups have profited from it to excite people, propagate beliefs and mock enemies. From this point of view, literature has a persuasive function in addition to its aesthetic function. But literature is not the messenger of the revolution forever, and after a while, it separates its way and goes on its own independent way. Therefore, from the point of view of Jurgen Ruhle, the literature of the revolution is divided into three periods:
1- Period of emotions or political romanticism: In this period, most of the writers support the revolutionary ideals and use their art and talent in the way of the revolution and its realization and promotion.
2- Doubt period: In this period, there are doubts about the past and the artist has doubts between society, personal life and revolutionary goals.
3- Disruption period: In this period, unlike the first period, literature is not the voice of the revolution, but it moves away from it and sometimes even opposes the ideology of the government.
The same theory can be applied to the literature of the Islamic Revolution. The late 1970s until the end of the imposed war (1989) can be considered the period of sentiments and promoting the revolution. During this period, artists engaged in political struggle, opposing the Pahlavi government and promoting the foundations of the revolution, and there was a widespread interest in religious literature and revolutionary rituals. Since the imposed war occurs during this period, the atmosphere and revolutionary discourse continues until the end of the war. The second period begins with the end of the war, and with the formation of the reform discourse, it becomes more and more important, and it can be considered until the middle of the 80s (2006). During this period, some artists adjust and change their revolutionary opinions and beliefs, and the ideological view becomes less.
The intense religious, political and war themes are declining and not only are there no signs of passionate revolutionary themes, but "doubts in ideological certainties and writing from lived experiences are the most prominent features of the literature of this period" (Saadat, 1384, vol.1: under fiction). From the mid-80s (2006) to today, in the works of some artists, doubts come close to breaking. In this period, in Mastur's interpretation, we can see the "bifurcation" of literature, that is, "those who write against the values of the revolution and those who write in support of them" (Hariri, 1383: 63).
The issue of the relationship between literature and the revolution can also be examined with the approach the rupture or unrupture intertextuality. For example, because in the first decade of the revolution, Nimai's poetry was suspected to be secular, the literature of the revolution turned to other formats, and Nimai's poetry was abandoned for a while. This indicates that with the change of the political-social system, the artistic discourses will also change willy-nilly and intertextual break occurs in some of the themes or forms. Of course, it should be noted that a complete break from the literary tradition is not possible; Because it is not possible to completely reject, deny or remove the tradition.
Conclusion:
Considering what has been said, it should be said that literature does not remain in the service of the revolution forever, but according to Jurgen Ruhle, it goes through three periods (the period of sentimentality, doubt, rupture) after the revolution. The same periodization can be applied to the literature of the Islamic Revolution. From 1979 to the end of the war can be considered as the period of emotions, promoting and supporting the revolution. 2- The end of the war until the end of the reform period (mid-2000s) can be considered a period of doubt about the ideals of the revolution. In this era, doubt in ideological certainties and religious beliefs spread, and writing about love, lived experiences and paying attention to the form replaces the preaching of religion, war and supporting the revolution. 3- From the middle of the 2000s onwards, it should be called the break(rupture) period. During this period, some artists wrote against the values of the revolution and completely distanced themselves from the first period. In addition to the division of Ruhle, from an intertextual point of view, although revolutions cause intertextual rupture this rupture does not include all the components of the tradition, because the slow and continuous flow of the tradition is more rooted than that the political and social events of a specific period or system because it destroyed completely.
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