فهرست مطالب آزاده نجفیان

The two decades 1990s and 2000s could be regarded as the period of establishment of women’s literature and the formation of a feminine discourse in Iran. Shiva Arastui is one of the authors who attempt at de-stereotyping the notion of femininity by bringing women under focus. This article focuses on a critical study of the two discourses of power and gender and their mutual relationship in the short story “Shazdeh Khanom” (“The Princess”). The story advances on two internal and external levels. On the external level, the prevalent political discourse is undergoing a change due to the Islamic Revolution, and consequently, the individual’s position as subject in society, including the definitions of woman and femininity, changes. On the internal level, the narrator finds herself standing between tradition and modernity. Backed by social consciousness, she refuses to blindly accept parts of the tradition, but still remains a subaltern in the patriarchal society. These changes are not unilateral. As a change in the discourse of power leads to a change in the discourse of gender, the change in the discourse of gender and gender identity gives rise to women’s consciousness of their rights and demands, and this, in turn, obliges the higher ranks of society to recognize women’s existence and to accommodate themselves to the new definitions.

Women’s literature has undergone enormous changes in the past two decades. In the 1990s and 2000s not only did the number of women writers increase, but also the quality of works produced by women improved significantly. The publication of literary magazines, translations of modernist and postmodernist works and different literary workshops are among factors contributing to the development of new styles and forms of fiction writing, resulting in higher self-confidence among female fiction writers. In her works, Shiva Arastui tries to abandon the clichés associated with the concept of femininity. The present article offers a critical study of the discourses of power and gender and their relationship with each other in Arastui’s “ShazdehKhanom”.

Theoretical Framework

The present article relies on the ideas of Norman Fairclough on critical discourse and how power and hegemony develop in the society. He sees discourse to be made up of social practice, discursive practice (including the production, distribution and consumption) and the text. Discourse analysis, to him, is the analysis of each aspect separately and in interaction with one another. This article tries to find out whether there is a significant relationship between the discourses of power and gender in fiction.

The present article is follows a descriptive methodology and draws on text analysis to provide answers to the main questions of the article.

At the external level of “Shazdeh Khanom”, the dominating discourse of power is changing and the conflict between the discourses of the monarch and the people has brought about a change in the social hierarchy and, consequently, the subjectivity of individuals. New roles and expectations, which had been previously absent in the traditional discourse, develop for revolutionary women. At the internal level, the narrator is poised on the boundary between tradition and modernity. Fully aware of the changes, she refuses to fit in with the expectations created by tradition and the feminine discourse. Arastui provides us with a picture of the Iranian society in transition.

Any change at an upper level, in turn, brings about changes at lower levels, and movements at the base of a pyramid cause movements in upper levels. Women’s development of a new definition of their individual and family identity and their conscious attempt at fighting for their rights lead to changes in tradition, which control and direct women’ actions and behavior, and force the discourse of power to rethink its methods and practices in relation to members of society and their subjectivity. Women, as a result, use writing as a critical reaction to the discourses of gender and power and try to raise awareness about their status and situation, resulting in the formation of a feminine discourse that forces other discourses to accept their presence, new definitions and expectations.

The years 2000-2010 made a period of fundamental changes in the dominant discourses of power in Iran. The rivalry between the two discourses of reformationsim and conservatism created a gap in the ruling hegemony and brought about the possibility for Iranian citizens to rethink their rules and functions in the society and to redefine their individual identities. One of the social groups among which the effects of these political and social changes can be observed is that of female writers. This study takes on to study six stories by three eminent female writers of the 2000s decade (Shiva Arastoui, Zoya Pirzad, and Fariba Vafi) with a critical discourse analysis approach. As the main result, this study demonstrates that the transformation of the ruling discourses of power and gender has had a direct effect on the points of view, narrative styles, and subjects of these stories. Employing the first-person point of view, and a female narrator indicates that women have gained a voice significantly more powerful than the past. Addressing issues regarding the problems and concerns of women from various social classes and using straightforward, linear narratives, female writers create a social awareness of the needs and situations of this minoritized gender and also attract a wider audience. On the other hand, as the change of the ruling discourses has had a direct effect on the works of female writers, the latter have, in turn, used writing as a social act and a means for applying their power in order to gradually change the discourses of power and gender through a critique of the existing gender stereotypes

Image is a new term with an ancient background in Persian literature as in rhetoric there is a reference to imagery. Biouk Maleki is one of the famous poets in the field of children literature who has published seven collections of his poetry till now. This study is an analysis of imagery in six collections of his poetry. The elements that make imagery are discussed and then the most frequent images in his poetry are analyzed. In order to make images, Maleki uses personification and simile more than other techniques in constructing imageries; nature is the major imagery that he uses in his poetry.

Abdolali Dastgheib is one of the prominent pioneers of Persian New Criticism who has dedicated nearly six decades of his life to research and criticizing and analyzing Persian literature. His works in this area exceed 100 books and articles. This study investigates characteristics of Dastgheib’s Criticism methodology, focusing on 15 of his books on works of Jalal Al-e Ahmad, Mehdi Akhavan Saaless, M.A.Beh Azin, Mohammad Ali Jamalzadeh, Sadegh Choobak, Gholamhosein Saedi, Sohrab Sepehri, Ahmad Shamloo, Mahmood Dolatabadi, Bozorg Alavi, Foroogh Farokhzad, Ahmad Kasravi, Ahmad Mahmood, Sadegh Hedayat and Nima Yooshij. Based on this study, the characteristics of Dastgheib's criticism can be summarized as: 1- Employing simple lexicality close to colloquial language, 2- Constant inclination to analyze and criticize the content and the social message of the works, 3- Lack of a clear and consistent methodology, 4- Incoherent stylistic. 5- Angry and aggressive tone. In his criticism, Dastgheib is clearly inclined to Marxist scholars and Socialist-Realist approach. This closeness and resemblance is reflected in five areas; regarding art as a social matter, regarding realist art to be authentic, insisting on committed art, prioritizing content over form, and paying attention to character and characterization.

This study looks at the frequency of the prominent people and characters of the episodes in Sa’adi’s Boostan. The writers, then, have used terms that are technically used in writing stories to express their purpose, terms such as ‘character’, ‘roundedness’, and ‘flatness’. By character we mean an entity in the story that all the events and activities revolve around it. More specifically, the study seeks answers to the following questions: . What kind of characters are more prominent in the episodes of Boostan?. What are the features of the round and flat characters in Boostan?. What is the proportion of men and women characters?. What is the proportion of good and bad characters?. What is the proportion of religious, Mystic, historical, mythical and figurative characters?