فهرست مطالب majid bahrevar

The ‘literary revolution’ planned by the Iranian constitutional intelligentsia and carried out by figures such as Ali Asghar Taleghani and Taghi Raf’at, rather than making new forms of poetry embracing the revolutionary content, proved itself to be an opposition to the classical tradition. The socio-political revolution had also influenced the Iranian literary field but did not lead to genuine literary theorization. The present article is based on Foucault’s archeology, but to expand the notion of the subject in his theory of discourse, the role of the subject will be further discussed through concepts such as the “logic of equivalence,” “discursive otherness,” the “subject position,” and  the “pre-given subject,” as proposed by Laclau and Mouffe. The supporters of the traditional trend in poetry, like the poet-laureate Bahar and the poet-critic, Vahid Dastgerdi, attempting to canonize a neoclassical perspective, interpreted the literary revolution as an evolution or opposition against literary conventions. Employing Foucauldian archeology, the present paper tries to show that the notion of literary revolution goes back to the French Revolution and the later Ottoman and Russian practices, rooted in the zero degree of the emergence of literary revolution in Victor Hugo’s discourse which formed a romantic opposition to the classics. The genealogy of the concept shows how the literary traditionalists and conservatives used discursive strategies such as “destroying the meanings proposed by literary revolutionaries,” “focusing on literary figures from the past,” and “separating the political domain from the literary domain” to develop peripheral meanings and marginalize the definition of literary revolution proposed by the modernists. Extended Abstract1.IntroductionThinkers such as Fathali Akhoundzadeh and Aghakhan Kermani deemed fundamental changes in Iranian literature essential due to the absence of critical expression in classical Persian literature. Later, Aliasghar Taleghani and Taghi Raf’at, influenced by French literature, especially Victor Hugo, and the Russian Revolution, articulated the literary revolution discourse in Iran. Taleghani sought to bring about a literary revolution in Persian literature and criticized classical literature represented by poets such as Hafiz, Rumi, Sa’di, a movement that was resisted by more conservative literary figures such as Rashid Yasami, Abbas Eqbal Ashtiani, Saeed Nafisi, Taghizadeh and Malek-o-Shoa’ra Bahar. 2.Theoretical FrameworkThe present article draws on Foucault’s theory of discourse analysis, particularly his idea of genealogy. To further explain the status of the subject of Foucault’s theory, we have employed the concepts and strategies developed in Laclau and Mouffe’s discourse theory. 3.Methodology The present article employs the qualitative content analysis methodology. Foucault’s theory of discourse analysis has been used to study the ‘literary revolution’ supported by some important literary figures in Iran. 4.Discussion and AnalysisA careful study of reports by literary journals and associations in the final decades of the Qajar era can clarify some ambiguities in the literary revolution in Iran. The present study examines French, Ottoman and Russian influences on the ‘literary revolution’ in Iran and describes both revolutionary and conservative attitudes toward the literary revolution discourse. Our semiotic and genealogical study of the concept of literary revolution identified hegemonic signification employed by subjects in the articulation of discourses. 5.Conclusion Literary figures in Iran reacted differently to the ‘literary revolution’ in Iran. Rather than develop new forms of poetry that embraced the revolutionary content, the revolution was an opposition to Iranian classical poetry because it did not result in genuine literary theorization. The idea of a literary revolution draws heavily on French, Ottoman and Russian literary movements. The genealogy of this idea reveals that literary traditionalists and conservatives employed discursive strategies such as “destroying the meanings proposed by literary revolutionaries,” “focusing on literary figures from the past,” and “separating the political domain from the literary domain.” Advocates of the literary revolution, on the other hand, tried to focus on their central signifier, i.e., “revolutionary dissent.” Select BibliographyAdamiyat, F. 1349 [1970]. Andisheh-ha-ye Mirza Fathali Akhoundzadeh. Tehran: KharazamiAryanpour, Y. 1346 [1967]. “Tajadod-e Adabi.” Jahan-e Noe 4-5: 108-126.Bahar, M. T. 1393 [2014]. Bahar va Adab-e Farsi. M. Golbon (ed.). Tehran: Elmi va Farhangi.Foucault, M. 1387 [2008]. Dirinehshenasi-e Danesh. N. Sarkhosh and A. Jahandideh (trans.). Tehran: Nay.Foucault, M. 1977. “What is an Author?” In: Bouchard, D. F. (ed.). Language, Counter-memory, Practice. D. F. Bouchard and S. Simon (trans.). Ithaca: Cornell University Press. pp. 113-38. Hugo. V. 1834. Littérature et philosophie mêlées. Bruxelles: L. Hauman.Jørgensen, M. and Philips. L. 1389 [2010]. Nazaryeh va Ravesh dar Tahlil-e Gofteman. H. Jalili (trans.). Tehran: Nay.Rafa’at, T. 1297 [1918]. “Yek Osyan-e Adabi.” Tajadod 70: 25-34.Taleghani, A. A. 1296a [1917a]. “Maktab-e Sa’di.” Zaban-e Azad 6: 1-2.Taleghani, A. A. 1296b [1917b]. “Shagerd-e Maktab-e Sa’adi.” Zaban-e Azad 7: 1.Vahid Dastgerdi, H. 1299 [1920]. “Enqelab-e Adabi, Adib-e Enqelabi.” Armaghan 4: 109-113.

The present study is mainly concerned with the analysis and investigation of expressionistic tenets in select odes by Ahmad Adib Peshawari which can also be traced in his other works such as "Book of Kaiser." Expressionist images of supremacist incidents and war atrocities in his poetry to a great extent are akin to contemporary Western literary and artistic schools. These tenets were created as a result of hard experiences of the involved nations in the war. The underlying assumption of the study is that expressionism is a universal school which emerged from similar experiences all around the world. This disproves the claim that Adib’s poetry was under the influence of Western European literary schools or the works of avant-garde German writers. Apart from anti-militarism, criticism of the chaotic Wilhelmian world and apocalyptic prophecies of war repercussions, his poetry also enjoys a creative expressiveness in literary style, notably in image-making, symbolic characterization and abstraction. These representations also resemble to some artistic and literary schools of the period.

Attār of Nishapur, as a physician, mystic and poet it is not improbable for him to present an eastern view about character growth and mental health of men stemming from his outer experiences and mystic journeys. The aim of present research is to expound the literal and mystical comments of Attār concerning extrovert and introvert personality types based on the ideas of Jung and his followers. Attār uses mystical experience to cure the mental abnormalities of people in his confused society based on capacity of individuals and social groups, and in this way, he explains the perfectibility of men and the personal obstacles and attributes of them. Attār exposes the archetype of perfection and mental health by putting away shadow and anima, and puts the spiritual individualization aside from common masks. Finally, extrovert and introvert characters of individuals are dissolved in mythic-archetypical plots and epistemic experiences.

The communicative role of letters in travel writings, especially the travel diaries through the cultural-political discourse of foreign relationship was already used by the historians and politicians. Back from the Qajars’ political-literary discourses, we find diary and travel writing as a chief genre. Although writing of Nasir al-Din shah of Persia (1831-1896) for the first time seems that the published and translated diaries relating to his tours in Europe was simultaneously a way to get familiar and influence power by the foreigners; particularly his diaries of the two visits of England in the colonial time of Queen Victoria (1819-1901) and their economic relations to the Persia, but Nasir al-Din shah wrote nothing about political consequences and economic aspects of his tours. In this paper, by a Foucauldian historic scanning through the Anglo-Persian political, economic and cultural relations, we want to be aware of the untold facts. We also need some parallel references such as other diary from shah’s retinues, histories, documents, and its reflections in the press. So we can solve the inconsistent problems by using both textual and contextual discourse analysis in order to overcome the contradictionsbetween. Now, through reading of such a shocked narration, it is easy to know narrator’s characteristics, interests, suppositions, attitudes, and worries which is made up from exercised power in shah’s political behavior and utterance. Totally the relationships never restricted to the Iranian progressive living style, but it formed the English identity in time of civilization and scientific promotion as well.

The never-ending magical discourse of Hāfiz of Shiraz has become an artistic puzzle and through the analysis of his words، many have provided with recurring themes. Particularly، the ghazals of Hooshang Ebtehāj (H. A. Sāyeh) bear the rich textual and extra-textual resemblances to the ghazals of Hāfiz and declare a historical and inmost dialogue with the Hāfizian art and thought. In this paper، I aim to present dialogism to put Mikhail Bakhtin''s literary-social theory of the text in practical use by application of a Persian poetical tradition، «Javāb-Gooyee» and Sāyeh''s approaching to Hāfiz. By this we can also criticize some remarks on the decadence and imitational style of his poetry. In general، the Sāyeh’s dialogical Hāfiz-oriented ghazals will be studied intertextually and discursively on the basis of some views of structuralists as Roland Barthes and Julia Kristeva. I should conclude briefly that Sāyeh''s dialogism haunts between the text and the community. On one hand، his intertextual references are often restricted to the syntagmatic axis، especially to reproduction of lingual codes، rhetorical devices، and prosody of Hāfiz and on the other hand، his historical discourse، especially on three characteristics namely society، human، and love take a polemical stand against discourse of Hāfiz.

In addition to the destructed infrastructures and martyred warrior countrymen during the Iraqi's and their supporter's imposed war against Iranians (1980_1988), there have been irremediably body and soul harmed civilians like non-combatant woman and children. It would be instructive to analyze the artistic reflections of war and the Iranian's resistance specifically reported by those authors and poets who have experienced war at first hand. Qaysar Aminpour (1959-2007) is one of the earliest and most authoritative writers and poets who illustrated the imposed war in their works. He is regarded as a prominent literary figure among contemporaries, both in children's literature and resistance poetry. This study aims at analyzing his literary statements in order to figure out how war affects children and how they react to war. The relation between the concepts of childhood and warfare in Aminpour's works will also be examined through an interdisciplinary approach. Altogether, the author's attitude and art indicate that he never neglected children's needs and irritation.

The aim of this article is to examine and explain the manner of translating Arabic poems into Persian ones. A library method has been used to collect the necessary information, then for presenting the information an explanatory and analytic method has been applied. The important achieved results of the article show that free and interpretive translation methods were the first used strategies for poetry translation. Latter on, aesthetic aspects of poems received much less attention and translators tried to benefit the application of a scientific method instead. Furthermore, it was found that religious and instructive poems had the highest frequency of being chosen for translation.