فهرست مطالب jafar jahangir mirza hessabi

Existentialism is one of the philosophical schools that, due to its emphasis and special view on "human", find its way into literature, especially into novels and plays. This school was first founded in Germany by Kierkegaard in the 19th century (Rasekhi langaroudi, 2018:18), and then Jean-Paul Sartre spread it in France.In this school, the human is a lonely and abandoned being who has to do something for himself because there is no helper or necessary existence. Existentialism became popular in Iran in the forties and fifties and many were influenced by it and created many works inspired by it. Jalal Al-Ahmed was one of the intellectuals and writers of that period, who was influenced by Sartre's thoughts at some point in his activities. As a committed writer, he described the suffering of a simple porter worker in the short story "The life who escaped" in order to find a way out of the chaos and social injustice. This article tries to examine the concept of suffering in this story and in this way evaluate the influence of Sartre's thoughts on Al Ahmed. In this research, the mentioned subject has been analyzed in a descriptive-analytic way and with a comparative approach, using some elements and components of the school of existentialism. The results of this research indicate that the suffering that Al-Ahmed portrays in his story is not due to frustration and passivity, but rather by portraying this suffering, he seeks to find a way to improve and enhance the troubled situation of the workers and such viewpoint stems from the theory of "committed literature" that Sartre talks about.

In this research, the mentioned subject has been analyzed in a descriptive-analytical way and with a comparative approach, using some elements and components of the school of existentialism.

Undoubtedly, the environmental factors and the socioeconomic conditions of the post-World War II played a decisive role in the spread of Sartre's existentialism philosophy (Dastgheib, 1975: 75).  This philosophy was trying to free human thought from the prison of restrictive rules, deception and trickery. After the two world wars, people realized the futility of existence and the baselessness and bewilderment of existence and such mental turmoil made them understand anxiety, apprehension, loneliness and destitution more than before.
 Due to the prevailing political and social atmosphere of Iran in the 40s and 50s, Sartre's ideas soon found their way into intellectual circles as an effective discourse. Many intellectuals, writers and translators who objected to oppression and injustice became fascinated by concepts such as " human absolute freedom", "responsible intellectual" and "writer's commitment". The philosophy of existentialism seeks awareness and responsibility to fill the void of meaning in life. Such a view of human beings in a world that is engulfed by disorder and injustice affected Al Ahmad like many others.Sartre held responsibility for the writer and believed that the writer should be committed to his society and people. According to Sartre, the writer was obliged to help build a better world by writing about the injustices and deficiencies of society. Under the influence of such social function of literature and the author's commitment, Al-Ahmad, as a concerned intellectual, paid attention to the underprivileged and deprived society class in his stories (Rahimi, 2015:80). As two committed writers, Jean-Paul Sartre and Jalal Al-Ahmed, both deeply believed in the commitment and responsibility towards society. They saw writing as a means to raise public awareness and depict the pains and adversities in society and life.The short story "the life who escaped" is from the short stories collection of "Setar". Setar is the third short story collection of Al Ahmad after "Visiting" and "Of our sufferings". "The life who escaped" is an existentialist story and the roots of Sartre's philosophical ideas and Al-Ahmed's devotion to ideas such as Loneliness, doubt and inner conflict is obvious in the main essence of this story.In the story "The life who escaped", the worker is in a situation from which he has no escape. Either he must deliver the cargo to the destination where he will get money so that he does not die of hunger, or he must abandon the cargo, while it is not known whether he can find another job or not. In this story, we see how the deterministic situation casts a shadow on the worker and leads him to the abyss of desperation, helplessness and destitution. The worker finds himself in an absurd world and the more he struggles, the more he sinks into this swamp of absurdity and failure.Sartre believes that a person is constantly involved in different situations throughout his life and only he should decide what to do. He is free to choose and stand by his choice; in "The life who escaped", Al-Ahmed portrays this Sartre notion in a fictional form. After two days of unemployment, a worker decides to work as a porter. He is forcibly pushed into such situation, but soon realizes that he does not have the necessary strength to carry the cargo. According to Sartre, every human in any situation, can act based on his decision. So, the worker must choose between his two options; he has to take the cargo to its destination without any difficulty and accept whatever happens along the way or return it to its original place.According to Sartre, the human being is always in the circle of possibilities. But to a certain extent, he can hope for possibilities that are exactly within his scope of action. It is "action" that makes it possible for humans to live. But "action" itself requires motivation, and this motivation comes from a level of understanding and awareness (Warnock, 2007:47). The poor worker in the story of Al Ahmed is also fully aware of the concept of hunger and knows the meaning of empty pockets and poverty. Such awareness motivates him, despite his physical weakness, to get his cargo to destination in order to earn some money.According to Sartre’s philosophy, man is constantly choosing. In fact, planning and choosing different paths imply her freedom and freedom of action. Man is constantly forced to choose. So, man is always free and at the same time, he has to choose. Man has no way to escape from these decision makings. So, as Existentialists say: "human is condemned to freedom".  Al-Ahmad also shows in a fictional and symbolic way how important the consequences of human choices are and well depicts that humans can be selective in any position and situation; even in the position of a daily worker who must carry a cargo to earn some money and get rid of his hunger. The worker can choose to get the cargo to its destination or take it back to its first place and free himself from the responsibility which is beyond his power and abilities. We are only watching the struggle of the worker who wants to push back his submission to despair as far as he can.

As a committed thinker and writer, Jalal Al-Ahmad always sought to create an escape route from the political and cultural dead ends and find a way to get out of the chaotic social situation. Influenced by Sartre and others such as Camus and Celine, he started writing realistic stories. Stories that narrate the pains and sufferings of downtrodden and oppressed people. Hoping to draw public attention to social problems and take a step, even a small one, toward their correction.He narrates the helplessness of an abandoned human well in the story "The life who escaped". The man in Al-Ahmed's story, in a symbolic way, must take responsibility for the heavy burden that is on his shoulders. There is no one to help him. The worker in Al Ahmed'sstory, with all his desperation, is free, as free as Sartre has repeatedly pointed out. from the existentialist viewpoint, all humans are free, even a prisoner, a cripple or a man under the gallows.In his suffering image, Al-Ahmad is looking for existential possibilities that implicitly open a way to hope, life and justice.

Le présent article est le résultat d'une étude du roman de Romain Gary, Les racines du ciel (1956), qui vise à fournir une critique psychologique de la simultanéité de la Métamorphose et de la Modernité du point de vue de Carl Gustav Jung. La Métamorphose de l'homme moderne s'opère derrière l'oubli de sa véritable identité. Romain Gary essaie d'expliquer les problèmes individuels des gens face à la modernité brutale de la vie quotidienne avec des métaphores et des métamorphoses. En fait, il cherche son identité perdue à travers les lignes de ses œuvres. Il vit dans différents pays avec des noms différents. De son enfance jusqu'à sa mort, il a connu différentes vies, dont l'une a suffi à faire d'un être humain ordinaire un écrivain unique. Dans cet article, l'analyse de l'intensité des sentiments face à la modernité et la crise d'identité qui en résulte dans les sociétés d'aujourd'hui et une meilleure compréhension des raisons profondes et inconscientes de la métamorphose des héros de Romain Gary et de leur processus mental sont envisagées. L'un des moyens efficaces de sortir de la crise de désintégration de la personnalité dans les sociétés modernes est la connaissance de soi à travers la lecture jungienne des œuvres de grands écrivains tels que Romain Gary, l'analyse et l'étude de la profondeur des sentiments de leurs héros et la reconnaissance des facteurs qui ont conduit à ce phénomène omniprésent. Ici reconnaître la crise d'identité du point de vue de Jung est examiné dans ce roman important.

In this study, it was attempted to analyze “The legend of Saint Julian the hospitalier” (La légende de Saint-Julien l'hospitalier) by Gustave Flaubert using Gilbert Durand’s method. Inspired by the paintings on the windows of Rouen’s city cathedral, Flaubert imagined and wrote the second narrative of “the legend of Julien L'hospitalier”. The present inquiry aimed at examining this narrative according to myth-criticism and myth-analysis method.
During the 1950s, one of the significant incidents in the French literature was the emergence of a set of literary criticism methods which were known as “new criticism”. The basis in conventional criticism was majorly considered to be “judgment” or evaluating works of art, whereas new criticism attempts to describe and interpret such works without judgment. Words such as theme, creative subject, the relationship between the writer’s and the reader’s second identities, imagination, awareness, myth-criticism, and myth-analysis are some of the main themes in “new criticism”. Myth-criticism and myth-analysis have originated from the beliefs and opinions of Gaston Bachelard (1948), whose beliefs have influenced Gilbert Durand (1979) as well. To establish myth-criticism, Gilbert Durand (1979) neglected material imagination criticism related to Gaston Bachelard’s (1948) thoughts so as to lay out a new approach called myth-criticism and myth-analysis. In fact, the readers of Durand’s works have constantly observed a perpetual continuity in his methods of literary criticism. For instance, myth is the mutual, permanent feature in his various studies and investigations. The methodology of Durand’s (1979) literary criticism involves establishing a second valuation of myth epistemology. Durand’s (1979) works are among the best works dealing mythical thinking. For Durand (1979), both myth and imagination are the starting and ending points of any science or art research. This means that myth and imagination are analogous to an intersection in which historical, social, and philosophical subjects along with psychological motives enter one another. In Durand’s (1996) method of literary criticism, reading myth is a key to understanding any work of literature arts, or even science.
This study sought to provide answers to the following questions: How does Flaubert’s system of imagination produce meanings in this narrative? Which myth has this system of imagination been inspired by? Why have these images been imposed on mind? What other images are contextually called into mind by the images and to what kind of images do they refer? It was hypothesized that since a pure literary work is inspired by its own discourse and cultural texture as well as the myths of that culture, such a work must be formed through religious, heroic legends. The present study was conducted in line with two purposes. Firstly, this study was set out to introduce a subjective-objective method for text analysis so as to gain access to the main sensory-cognitive and imaginary core of the text and its author through different images and diverse verbal networks. Consequently, the researchers can ultimately reach a creative self and understand meaning among such thick layers. The second purpose of the study was demonstrating the position of the creative self. As a result, there are certain questions posed such as how can a myth-criticism critic reach these complex figurative networks? Is empathy alone enough for reading a text, or should one resort to structural analyses related to the author’s imagination? As a matter of fact, myth-criticism and myth-analysis enable the critic to consider literature subjectively and, at the same time, to take it as an element which is self-critical. Subsequently, the role of empathy is highlighted in this criticism. According to these two objectives, another purpose was formed: how can this method be implemented on “three stories, the legend of Julien L'hospitalier” by Gustave Flaubert (1965). Imagination is benefited by the rules governing its products and involves a fixed syntactic combination. The presence of images is indicated by predetermined rules; yet, it is believed that individuals also influence the predetermined structures, since individuals live in their own particular cultural context and both influence the context and its structures and are influenced by rules governing the context. Symbolism is the product of environment in which humans evolve and change as it involves features that are particular to the human mind. Among these features, the desire or libido defined by psychology should be taken into account. Geographical and global facts, social structures, awareness on female fertility, awareness on masculine power, all of these external, and the objective data of cognition are integrated with our deepest desires so as to form our representation of the world. Between these two dimensions of reality, one objective and the other intrinsic, there is a perpetual exchange between constant reciprocating imaginations, which is called anthropology path by Gilbert Durand (1992), since it distinguishes the movement of human mind. This path specifies the definition for imagination. As a result, imagination according to Durand’s (1992) theory is a dynamism which indicates a representation of the world through the twofold impact that is, being influenced by the environment, desires or libido. On the one hand, desires or intrinsic commands shape the representation of the outer reality. On the other hand, necessities and objective commands of the environment help shape intrinsic desires. Symbolic images forming the imagination are created through such interaction. Ultimately, a question can be posed as the research prospect: Can one find a method based on which instead of focusing on concept (as Durand does) focus on linguistic creativity? It is believed that such focusing on linguistic creativity is completely essential because, in this way, a connection could be made between language and imagination