The communication concepts represented in Puppet Behind the Guidance by Sadegh Hedayat; a critical discourse analysis

The communication concepts represented in Puppet Behind the Guidance by Sadegh Hedayat; a critical discourse analysisAbstract As one of Hedayat's most important stories, Puppet Behind the Curtain is vitally important for communication purposes. By reading the text and using all the elements in it, we found that the story's text contained a wealth of hidden and overt meanings. We also used the text to illustrate its unique story structure, artistic characterization, and various communication concepts. According to the Fairclough method of critical discourse analysis, we can study the functions of the critical levels of analysis of existing discourse to determine that sexual desire and gender are two dominant discourses in the story and in the core of the discourse. Specifically, the method of analysis used in this study is analytic, and the objects of analysis are the monologues and dialogues in the article, which are analyzed in a systematic manner, and the results are presented in diagrams, figures, and tables. Keywords: Hedayat, Puppet Behind the Curtain, communication, critical discourse analysis, Fairclough.               Introduction and statement of the problem:                    Sadegh Hedayat is one of the prominent and well-known writers of Iran's fictional literature (Kamshad, 2005, p. 201) in such a way that he is considered one of the fathers of modern Iranian fiction along with Mohammad Ali Jamalzadeh, Bozur Alavi and Sadegh Chubak. (Spanalo, 2008, p. 103) The result of Hedayat's years of fiction writing has been able to place him in the spotlight of Iranian fiction literature, and despite the passage of many years since the production of his works, there are still a large number of scientific-literary articles and writings. They are analyzing his works from different perspectivesOne of Hedayat's stories is the story "The Doll Behind the Curtain" which he published in the collection "Shade and Light" in 1933. In this collection, there are other stories such as "The Woman Who Lost Her Man" and "Varamin Nights" is also seen. The story of the doll behind the curtain is one of the few Hedayat stories in which the subject of the story is told outside the country and the main character of the story enters Iran. This is the basis for showing a series of fundamental cultural, religious and social differences It helps to explain the main and central issue of the story, which is the romantic relationship of the main character, "Mehrdad" with the "mannequin doll".Therefore, this type of communication, which is unique both at the time of guidance and at the present time, can be analyzed and through the linguistic examination of the text, it is possible to reach the underlying and hidden layers of the text to determine what Are there discourses in the text? And these ruling discourses inform about the existence of a society with what characteristics? And with what ideological point of view did the author look at his contemporary society? And the discourses ruling the society originate from what elements? And finally, what is the role of communication in this regard? And what is the relationship between the author and his text?         Research Methodology               This article is a descriptive-analytical study of the content of the short story "The Doll Behind the Hedayat Curtain" based on Fairclough's critical discourse analysis theory, and the method of data collection is in a purposeful and library-based manner with a survey tool and like any study. A case has a unit of analysis, and its unit of analysis is the monologues and dialogues used in the story, signs and phrases, and it is clear that the results will not be generalizable.  Theoretical Framework                 In order to properly analyze any story, it is first necessary to examine the elements of the story and the characters mentioned in the story, and then to study the structure of the story so that it can be used in the theoretical development of the analysis with the results obtained, which is considered the analysis of the text of the story. It provided suitable food for critical discourse analysis, therefore, in the first step, the mentioned concepts are planned.  Story elements   The story has a long history among the nations of the world, and in its long and ups and downs path, it has seen a lot of transformations, changes, advances, and various forms. The story has a special geometric texture and composition and has special elements. a kind that distinguishes it from other literary forms and techniques, and in this contemporary art story, in addition to having general and common elements in the story, has special elements and components. "An art story has elements such as plot and foundation Color, character and characterization, dialogue, conflict, scene and staging (time and place) are the angle of view and element of thought and message, and all these elements serve the message and thought of the story in a complete and systematic harmony. (Pervini, 2002: 497)        Story structure                          In relation to the structure of the story, we can refer to Freitag's pyramidal structure. Gustav Freitag, a German thinker of the 19th century, in his book entitled "The Art of Drama", assumes the structure of plays and stories to be a pyramid, which consists of three main parts, the climax action, the point The climax and the falling act are formed and each of these three parts is made of smaller parts in turn. (Dadsima, 1999, p. 537) (Figure 3)   Freitag's five-step pyramid                 Fairclough's critical discourse analysis   "Discourse" is the birth of modern linguistic studies and looks at language as a social phenomenon. Discourse actually considers the structure or texture of language at a level beyond the sentence and analyzes it, and since every phenomenon is understood and found meaning in the form of discourse, it can be claimed that discourse emerges as a completely social phenomenon when language is used. .  In relation to "discourse analysis", it should be mentioned that discourse analysis has its roots in linguistics and today it is an interdisciplinary trend in the collection of humanities and social sciences, and in discourse analysis only the constituent elements of the sentence are not addressed as the main basis for explaining the meaning, i.e. the context of the text. But beyond that, attention is also paid to factors outside the text, i.e. situational, cultural, social context, etc.In relation to the critical word that is added to discourse analysis, it should be said that Norman Fer Clough considers the term critical to be specific to those studies whose purpose is to show the connections that have been hidden from the eyes of society, such as the relationship between the language of power and ideology, in fact Fair Clough "Critical discourse analysis" considers the discovery of the relationship between discourse and social phenomena outside of it.   In other words, the approach of critical discourse analysis is a formative series of discourse analysis in linguistic studies that has advanced discourse analysis from the level of description of texts to the level of explanation in terms of theory and cognitive method, and in terms of the scope of the research, it has also expanded it from the level of the context of the situation. The person has expanded to the macro level, meaning society, history and ideology.Fairclough's critical discourse analysis model is derived from the interaction between power and language. He considers discourse to include text and social knowledge of text production and interpretation, and believes that this social knowledge is related to three different levels of social organization; the social conditions in which discourse occurs It has happened, the level of the social institution that includes the discourse in a wide range and the level of the society as a whole.According to Farclough's opinion, discourse analysis with a critical method also has three levels of analysis: the level of description, in which the text is based on the characteristics of cognitive language, including phonetics, phonology, syntax, word formation, and semantics, and to some extent, usage. then it is the turn of the level of interpretation, which deals with the interpretation of the text based on what is stated in the level of description, taking into account the context of the situation and the concepts and strategies of the application of language and intertextual factors, and the third level which is the level It is explained, it explains why the production of such a text is among the permitted possibilities available in that language for the production of text in relation to the factors of the cognitive society, history, discourse, ideology and power and contracts and social cultural knowledge. (Fairclough, 2001: 91- 117)Therefore, it can be said that if we consider discourse analysis to be the level of description, the critical analysis of discourse brings it to the level of interpretation and explanation, and while describing and interpreting the text, it answers the question why among the possible linguistic options, this text should be and during a specific event, why do people use certain expressions? In this regard, critical discourse analysts also believe that literary texts are also in the service of communication like other texts. The ability to analyze with a critical attitude and method.                "History, social structures and ideology are considered as the main sources of knowledge in linguistic criticism, and the analysts of the critical discourse analysis approach believe that the production, understanding, reading and analysis of texts are related to factors such as micro and macro contexts, including philosophical, historical, Political, cognitive, ideological society and discourse are related, because the relationship between people and society is not random and arbitrarily, but is determined by social institutions and other factors involved in the discourse, and the literature and literary texts of each period are also produced in a specific context. It is analyzed and interpreted." (Agha Golzadeh, 2012, p. 22)                                 From the results of the above sections, it is clear that in the story of the doll behind the curtain, gender is the main discourse and this discourse is at the center of other discourses such as modernity and patriarchy. The aforementioned discourses along with the points mentioned in the analysis in the story of the doll behind the curtain of confrontation; The ruling tradition in the eastern life and the modernity of the western life inform that the victim of the conflict between the two is the female gender, especially the traditional eastern woman. In fact, it should be said that Hedayat lives in a historical period of disorder and is a witness to a world-wide war, and from He suffers from the chaos of his society, he tries to awaken the reader's mind with his writing art and under the influence of his stories, he shows the dire and unpleasant situation of the society. He reaches a dead end in his stories and in This story and his other stories we are witnessing a tragedy, he tries to explain the causes of this impasse so that the reader can avoid falling into the trap of darkness and despair so that we will not witness this kind of tragedies again. The characters of the mentioned story and his other stories in their speech and even their behavior are reminiscent of the representative of the upper class and show well how each of them suffers in a society with a chaotic situation and why this storyteller in the work Like his other works, he has turned to drawing gloom, darkness and dead ends, it is related to his society, because he is guided by a realistic writer and a realistic writer sees and depicts the society as it is; A society in transition where ideological institutions such as school and family and centers of power such as tradition and religion have constantly influenced the people of the society and for anyone who wants to disobey these centers of power, it will lead to isolation. They claim to be the only available option.But Hedayat as an author is a person who is actually not separated from the main character of his story. He is essentially Mehrdadi who takes refuge in voluntary and self-made isolation with his emotional and sexual virginity, which according to critics runs throughout his life. Zand, that the society brings time for the intellectuals in front of him. An intellectual who, like the main character of his story, is introverted, isolated and lacks the ability to communicate with others, and this lack of communication with the society ultimately leads him to become a real tragedy. Gives.Hedayat, in the role of the narrator, and as it has been said, manifesting himself in the role of Mehrdad, instead of in the story, speaks frankly and unassumingly about rejecting the ideologies of the mentioned society and challenging them, and he considers his ideology to be without ideology, because as It was said that Hedayat believes in the confrontation of indigestible western modernity in the eastern society with its innate traditions, and his constant effort is on the aimlessness and absurdity of knowing meaning, which is done on behalf of the characters in his story.Therefore, it can be said that the story of the doll behind the curtain is a story that well depicts the alienation of modern man in the world and modern society and shows how man has reached a dead end in today's one-dimensional world, which is dependent on objects and Loneliness takes refuge.Years ago, Hedayat well raised the problem of the multiplicity of the citizens of today's Iranian society and especially their conflict between tradition, religion, family, modern society, the place of women and men, and showed the whole by proposing the specific issues of each category separately. Show how the woman as a second class subject is stuck in the patriarchal power of the traditional and transitioning Iranian society and becomes a victim in order to prove her position and take it back.