ahmad shirkhani

Populism and imperialism use similar forms of domination against women who are considered subordinate and different, which are similar and parallel to each other in many dimensions. The novel "Dancing in a Broken Mirror", written by Mehri Yalfani, an Iranian immigrant woman writer, tries to convince the traditional society of Iran and the modern society of its host, Canada, to listen to its opposition. He, who was always considered a second-hand, alien, Subaltern and other element by his family and society throughout his life, deals with this category in his novel and has a critical approach towards both traditional and modern host societies. In this article, the answer to the question of the manifestation of "otherness" and the identity of immigrant women from two general perspectives in this novel has been analyzed interpretatively and descriptively, and it shows that not only in the traditional patriarchal society, the man is the main decision-maker in all matters. It is for women and women lose their human identity as Other, but also in the modern host society, immigrants, both men and women, and women in particular, are viewed as inferior and they must be subject to the system and culture that It is approved and emphasized by the western society, and it is among these other ideas that the dual character and identity of migrant women is formed, which leads them to a kind of inevitable regret from migration.

Mammals are as one of the important species of arid environment and play a significant role in their stability and function in the ecosystem. Touran Biosphere Reserve is one of the representative reserves of cold winter deserts that has a high biodiversity of mammals. In this study, which lasted between 2018 and 2021, the mammal diversity and threats of Touran National Park, which is part of the Touran Biosphere Reserve, were investigated. According to the surveys, at least 29 mammal species are inhabiting the national park. Among the identified mammals, Asiatic Cheetah is critically endangered, Persian Wild Ass and Persian Leopard are endangered, Persian Goitered Gazelle, Wild Goat, and Urial Wild Sheep are vulnerable, and Sand Cat and Striped Hyaena are near threatened in the IUCN red list category. Four species of mammals in the national park, Persian Wild Ass, Asiatic Cheetah, Persian Leopard, and Caracal are in the Cites Appendix I, and Urial Wild Sheep, Wolf, Blanford’s Fox and Sand Cat are in the Cites Appendix II. According to the Department of the Environment laws, four mammals of Touran National Park are endangered and five species are protected. Touran National Park is one of the most important and few remaining habitats of Asiatic cheetah and Persian Wild Ass in the country, both of which are among the species with high conservation priority in the country due to their high evolutionary distinction. Therefore, more efforts are needed to study and protect this national park.

In this article, eight characteristics of migration literature from the point of view of Soren Frank, in two novels of the kite runner by Khaled Hosseini, an Afghan writer, and especially by Abbas Maroufi, an Iranian writer, have been analyzed with analytical criticism method, and these basic questions have been answered that 1 -How are Frank's social level (thematic) characteristics reflected in the aforementioned novels? 2- What is the approach of the authors of the examined novels in terms of the use of intratextual migration methods and their image in the text of the novel (style and form)? The results show that the expression of the work in the form of a biography of the author and the characters of the novel is observed in both novels, but it is completely specific to the reader from the stories to a famous autobiography. In the category of nationalism, the concept of nationality has gained a new meaning for Hosseini, but for Maroufi, migration is a painful alienation that he cannot adapt to. In the subject of the novel as a European genre, the Kite Runner novel, which considers its audience not regional but global, is known as a western novel, but in the novel, the author's perspective and his approach to the Persian speaking audience have caused his novel to be non-European and Iranian. Evaluated. At the level of form and style, their works reflect the world of intratextual migration, which primarily helps to create this world through a structural-formal mode.

 The effect of One thousand and One Nights on English literature, especially in Romantic period, can be regarded as magical. There are few writers or poets who have not been enchanted by this great work. The British poets of the Romantic period were influenced by this literary work and they did their best to create original works through One Thousand’s inspiring spirit. William Wordsworth, S. T. Coleridge, Lord Byron, and Robert Southey are outstanding poets in their poems parts of One Thousand is mirrored. The impact of this work on each of these poets and the way each of them reacted to it has particular features.This research studies the effect of magical exoticism of One Thousand in Southey’s verse romance Thalaba the Destroyer (1801) from the perspective of Edward Said’s orientalism. A prominent feature of the period, in which Southey wrote his work, was the cooperation of orientalism and colonialism. This colonial context is not only reflected in Southey’s work, but also colonialism is the strategy and orientalism the tool by which Southey encounters One Thousand. Ignoring the fact that magic is a universal literary topic and appears in one or another way in the superstition corpus of every nation, Southey by emphasizing magical exoticism in his work attempts to show its origins in One Thousand to depict west in contrast to the east. This study aims to answer the following questions: 1. How does magical exoticism emerge in Southey’s work and how has it been influenced by One Thousand’s text? 2. How does Southey base the employed magical exoticism in Thalaba on orientalist knowledge, and consequently, how are East/ Islam and West/ Christianity characterized? 

 The present research is based on American School of comparative literature. The approach of this study if that of Francois Youst in regard with exotic trend and its various types. Studing a particular type of exoticism, that is magical exoticism, the exotic affinities between One Thousand and Thalaba in colonial context are investigated. The findings are assessed based on Said’s theory of orientalism.

 Exotic representations deal less with the expression of ‘truth’ and ‘reality’ of strange cultures, especially if such representations are placed within colonialist discourse. In his famous Orientalism (2004), Said explains the function of orientalism in details and shows how the knowledge of orientalism and imperial power have supported one another in the period of colonialism. The study of the internal world of Thalaba shows that the discourse of orientalism and colonialism have been active in various ways. One Thousand is limited doubly in Southey’s work. The first layer of limitation is related to the representation of One Thousand in Southey’s romance. The second layer is formed by footnotes, which they possess no literary qualities but are used to confirm the truth of events in Thalaba. Being inspired by the magical exoticism of One Thousand, Southey finds it possible to move along the colonial aims in Thalaba and it also indicateshis stance towards this eastern literary work. Establishing a sharp distinction between sorcery and faith in God, this poet implicitly depicts the position of magic in the western culture. In fact, Southey introduces East as the origin of sorcery and divine faith is as a major feature of the West. This is no illogical claim that the system of sorcery in west has further affinity with the same system of sorcery in One Thousand than in Southey’s work. Such attempts are performed paralleled with orientalism for making unreal dualities which Said reveals in his work. Choosing the near east as the milieu of Thalaba, the magical representation of One Thousand in Southey’s work, Southey’s confession that sorcery in One Thousand has inspired him all show that he considers magic as an eastern phenomenon and this is used to promote Southey’s imperial agenda” (Bolton, 2007: 199). The second form of limitation and appropriation of One Thousand in Thalaba is made possible by lengthy footnotes. These footnotes clearly assert the major role of orientalism in the representation of the eastern literature. “The exotic context can justify the events of the story or the innate intellectual principles” (Youst, 2017: 191). The ‘principle’ that Southey seeks to justify is related to the representation of magical exoticism in One Thousand: East is the land of magical powers and, in contrast, west is the cradle of faith in God.

 “One Thousand” has been the source of inspiration for many western literary works and western writers, based on the type of the relation they had with it, have tried to show its effect in a creative form. Magical exoticism is the central topic in Southey’s romance. Far from the imagery of magical exoticism in One Thousand, Southey depicts the duality of sorcery and faith in God and therefore denies magic through resorting to divine faith. To take such a position towards One Thousand, Southey makes use of the discourse of orientalism in order to present magical exoticism as an essentially eastern phenomenon, meanwhile this work is employed to make Thalaba more alluring. The cooperation of Southey with the discourse of colonialism is vivid in his work’s lengthy footnotes. Taking advantage of magical exoticism in One Thousand for the creation of Thalaba and adding orientalist footnotes to it, imposes a double limitation on One Thousand. The first layer of this limitation is formed by Southey’s representation of One Thousand by which Southey rejects sorcery and so assumes his eastern source as superstition. The second layer refers to the orientalist function of the text’s footnotes that exerts power on One Thousand and appropriates it, and thereby, tries to prove that west, unlike east, is the cradle of intellectualism and divine faith.

E. M. Forster, the great British novelist in the first half of twentieth century, achieved his worldwide fame by writing A passage to India. He is the first outstanding British novelist that criticizes in his novel British colonialism in India, and, this very factor has been the reason for the postcolonial analysis of the novel. Through a descriptive-analytic method, this paper presents the theory of postcolonial feminism, and then, investigates the position of Forster in postcolonial discourse. After, the approach of the novel’s women to colonialism is analyzed. There are three groups of women in A Passage to India: the first group are married British women who have passively accepted the colonial oppression. They follow the colonizer’s policy in their dealings with the natives. The single British women form the second group. The women of this group resist the British oppression and they intend to deliver the natives from such an oppression. From their postcolonial stance, this group fails to represent the demands of the native women with their variety of race, culture, and ethnicity. The second group of women suppress the native women through their representation. The third group of women in the novel are the native women who are triply oppressed.   Edward M. Forster was one of the most well-known British novelists in the twentieth century. Great part of his fame origins from his A Passage to India (1924). Written in a masterly style and having a coherent structure, the novel reflects the colonial experience of Britain in India. Unlike the novels that had partially dealt with the question of British colonialism, A Passage takes a critical stance to this question and this make the Forster’s work as the greatest “anti-colonial” novel in English literature (Morey, 2007: p. 254). Of course, it should be noted that the first half of twentieth century witnessed the decline and collapse of British empire and this context contributed to the formation of Forster’s thought and creation of his novel. Besides, the central role of women in the novel has made it possible to analyze the relationship between women and the colonial experience. In Passage, women show a range of reactions to colonialism, from supporting it to resisting against it. These two aspects of Forster’s novel has drawn the attention of postcolonial and feminist scholars. With an analytic-descriptive method, this article introduces the basic concepts of postcolonial feminism, and then, studies the position of Forster in postcolonial discourse to analyze Forster’s women’s approach to the colonial experience. From postcolonial feminist perspective, this paper focuses on female characters in Passage and classifies them into three categories: Anglo-Indian women, single British Women, and Indian women. After, the reaction of each category to the experience of colonialism will be investigated. Furthermore, the application of postcolonial feminist approach to the novel will uncover the interaction among the three groups. Feminist movement and postcolonialism have some common aspects. Women and the colonized find themselves similarly in a marginal status in regard to patriarchal and imperial system and they both attempt to find a resisting site in dominant space. Mohanty points out the feminist theory and criticism have always benefited from gender differences to define the identity of women. The result of such an emphasis on gender differences in relation to other non-western women has led to the formation of “third-world difference”. By creating such a difference “ the western feminists attempted to ‘colonize’ and appropriate the basic complexities and conflicts which were the characteristics of women’s life from different classes, religions, cultures, races, and social castes” (p. 260). Displaying the oppression of third world women through racial bias in western feminism, postcolonial feminism dislocates the centrality of gender in and tries to acknowledge the racial and social differences in women’s of postcolonial societies.
     The Anglo-Indian women, the first group, place themselves in the position of colonizers in their dealings with the natives. The colonial principles and standards exist in the simplest form in their thoughts and they are placed in the position of the natives when compared with the men of colonial society. Colonial binaries makes them underlie their racial differences in relation to the natives. By introducing the single British women, the second group, in his novel, Forster ponders on the topic of women in colonial discourse. A study of their representation in Passage reveals the encounter between colonial power and its internal critics, on the one hand, and the second group’s tendency to appropriate all differences among women in its challenge to colonial power. The second group of women have failed to achieve all their goals. They have been mainly successful in inspiring change in native males (Dr. Aziz) to resist the colonial system. But, they have offered a monolithic image of women generally. Racial, ethnic, cultural, social varieties and the relevant experience of each of these conditions for the non-western women is rendered trivial in western feminism and it has led to a return to former structures of dominance and colonialism (Mohanty, p. 260). Passage shows that Forster is conscious of the painful condition of native women. The image of native women here corresponds with Spivak’s notion that if the male colonized are dominated by colonial rule, women in colonial societies suffer doubly. They are dominated both by colonial rule and their patriarchal societies (1988, p. 90-91). Women in Passage can be divided into three groups. The first group includes the wives of colonial staff in India. In fact, they are female replica of male colonizers. They emphasize on colonial binaries and regard themselves superior to the natives racially and inferior to the British males because of their gender. Like the natives, they are exposed to colonial suppression and are generally passive. The second group, the single british women, are considerably active. They claim that they want to establish a bridge between themselves and the natives and criticize the colonial experience. They are more responsive to the oppression of male natives but show no interest in speaking out the oppression the native females or Anglo-females suffer. They can be regarded as representatives of white feminism that ignores racial and cultural differences particular to native women. They are responsible for the formation of a new kind of suppression within the discourse of feminism. The third group are native women in the novel. They are, similar to the first group, exposed to direct oppression but for them it is tripled. Firstly, the colonial structure oppresses them and this oppression is intensified by patriarchal dominance over them. Their painful oppression if enhanced further when they are ignored by western feminism and thereby represented by them.

In addition to the economic advantages of globalization, it also causes some challenges in the field of culture. As a major challenge raised by globalization, homogenization drives aside the heterogeneous local cultures, replacing them with the homogenized global culture. Ireland has also been challenged by such homogenizing global cultural flows and Brian Friel reflects such a challenge and a solution to it in his Faith Healer. For Friel, the form of monologue play is an expression of his glocal solution. Possessing the prominent features of the concept of glocalization such as interpenetration of the local and the global, heterogeneity, transcending the borders, increasing the agency of the local, monologue play provides the glocal condition for the transaction of Irish culture with global culture. Investigating Faith Healer and its performances, the present study exposes the affinities of glocalization and monologue play in Faith Healer.