فهرست مطالب nasser dasht peyma

Considering the significance of ecopoetry and how it widens the ecological horizons of the readers, tracing the ecopoet’s mental transition from the moment of direct sensual experiences in Nature to the act of composition enables the readers to fathom out what lies behind the poetic imagination, bringing about the ecological sense of union with the natural. As for the purpose of this study, the researchers intend to examine the ecocentric-ecopoetic elements of the selected ecopoems out of Mary Oliver’s New & Selected Poems, Vol. 1 with the aim of bringing to light the fact that Oliver’s main attempt is inviting her readers to reach mental growth through her bringing forth the consciousness that derives from the power of imagination and acute attention given to the world of the non-human, enabling the speaker-poet and her readers to do away with the barriers of self-centeredness and take part in a collective reunion with Nature. Accordingly, the general framework that has been used to conduct the following research is Ecocriticism and its celebration of ecological wholeness between human and non-human agents.

Since the last decades of the 20th century, trauma theory has gained academic status for analyzing literary representations of various forms of violence, oppression, and social upheavals. Drawing upon the Freudian model of trauma and more recent categorizations of post-traumatic stress disorder, this paper aims to study Fadia Faqir’s third novel, The Cry of the Dove. The author, who writes about and from diaspora, leads her young Muslim female character to fight for her identity in a Western country. The paper analyzes the literary strategies and narrative techniques in this feminist trauma narrative to indicate how the author has tried to represent what is originally marked by voicelessness. In order to imitate the forms and symptoms of the impact of trauma, the novel’s narrative style features fragmentation, non-linearity, repetition, poetic prose, and stream of consciousness. This paper proves that the interplay of these techniques helps the reader understand the evasive nature of traumatic experience and engage her or him emotionally with the narrator’s story. Cathy Caruth, Anne Whitehead, and Laurie Vickroy are among the main theoreticians of the research.

There have always been many controversies with regards to the existing gaps between human beings and Nature, most of which have come into notice in particular at the current age of fragmentation and uncertainty. While we postmodern individuals take pride in our access to better means of living through technological advances, there have been times we have not been able to live a concordant life on this vast planet. However, postmodernism’s backing up the issue of decentralization has come in handy in literary studies on the one hand and has been influential in Nature-oriented studies on the other. That said, the present paper aims to examine the selected poems chosen out of Mary Oliver’s Truro Bear and Other Adventures: Poems and Essays in order to show the significant role of the poetic language in bringing about some sort of ecological symbiosis, made possible through enriching the internal bond between the speaking human agents and non-speaking, non-human individuals.

This paper aims to analyze the impact of the traumatic experiences on the identity formation of Shaila Abdulla’s main character in Saffron Dreams and elaborates on how she manages to overcome her diverse emotional burdens. The author, who is concerned with Muslim women’s multiple identities and struggles in the American Diaspora, discusses the challenges of living in the increasing Islamophobic climate in the aftermath of 9/11 through the life of her heroine, Arissa Illahi, a Pakistani writer and artist, who loses her husband in the collapse of the World Trade Centre. Judith Herman’s conceptions of trauma and recovery are applied to discuss the impact of trauma on the identity formation of the character and how she succeeds to go through the process of healing. The paper also analyzes the literary strategies and narrative techniques in this feminist trauma narrative to indicate how the author has tried to represent what is originally marked by voicelessness. The results of the study demonstrates that although the traumatic event of 9/11 and its consequences has devastating effects on Arissa, she as an artist is able to utilize her psychological resources and to take advantage of familial ties to cope successfully with the traumatic experiences in her life, tolerate adversities, and even develop an optimistic view point about new possibilities for her future life. This paper supports the aim of contemporary feminist traumatology which is to make women’s trauma visible, give meaning to it, and ultimately create frameworks that promote the healing of trauma. Cathy Caruth, Judith Herman, and Laurie Vickroy are among the main theoreticians of the research.

AbstractThe study of drama is one of the most interesting, thought- provoking and pleasing experiences in the field of English literature, but it seems there are some reasons why it may not look like to be so for some of the students of drama in the context of Iranian universities. It seems, first of all, there are some plays which appear baffling when students read them for the first time; secondly, some of expert university teachers follow their fixed sanctified method of drama teaching when they encounter so dissimilar plays. This paper explores innovative and resourceful teaching methods for teaching of drama in the context of Iranian universities. The purpose of this paper is to provide drama teachers with ideas and suggestions for responding to any classic, modern, and postmodern plays that they might encounter as part of the course at university. The present research paper gains significance as the findings may shed more light on groundbreaking and ingenious teaching methods for teaching of drama in the context of Iranian universities. Keywords: drama, drama teaching, ancient Greek drama, medieval drama, Elizabethan and Jacobean drama, modern and postmodern drama

This article is a comparative study of similar experiences in the American short story collection, Fire and Forget: Short Stories from the Long War edited by Roy Scranton and Matt Ghalagher and the Persian short story collection, A Vital Killing by Ahmad Dehghan as they belong to two different languages, different cultures, and different worldviews. It is an exploration of an overwhelmed psychology in the American short story collection, Fire and Forget: Short Stories from the Long War edited by Roy Scranton and Matt Ghalagher and the Persian short story collection, A Vital Killing by Ahmad Dehghan translated recently into English by Caroline Croskery, and examines the concept of memory within trauma criticism. From amongst the short stores of each collection, three have been selected: “Tips For a Smooth Transition”, “The Train”, and “Big Two-Hearted Hunting Creek” from the first and “The Passenger”, “Stamps”, and “A Vital Killing” from the second. The article shows that characters have undergone traumatic losses; therefore, they suffer a painful psychic traumatic wound that keeps haunting them repeatedly.

The processes of cultural transformation in Britain in the second half of the 20th century, the fall of the Empire, immigration from former colonies and the expansion of the multiculturalism, have influenced new ways of looking at the conceptions of identity of diasporic subjects within Britain. Examining these experiences, diasporic novelists write about the second generation immigrants in contemporary Britain who accentuate hybrid existence and complex identities. Hanif Kureishi in The Buddha of Suburbia delineates the formation, the existence, the refashioning of the conceptions of cultural identities of predominantly the second generation immigrants, British born migrants of his own generation and the challenges the perceptions of such identities as essentialist and fixed concepts. The novel depicts a protagonist whose cultural identity is fragmented and far from homogeneous. London with its heterogeneous character is symbolized as a place of social encounter and cultural intermixture, a decentered place that stimulates the exploration of transnational models of identity. Kureishi’s writing can be seen as an example of the fact that many conceptual binaries, such as centre and periphery, self and other, inside and outside, have been challenged and have given way to more mutable concepts of hybridity, transculturation, border lives and ‘in-between’ space.