فهرست مطالب negin binazir

The history of thought associates man with goodness, reason, law, order, and religion; on the other hand, it regards woman as the ‘other’ and associates her with evil, contravention, defiance, and mysticism. In accordance with the common grounds between mysticism and femininity such as defiance, linear reasoning, and uniaxial discourse, as well as concepts such as life’s essential femininity, love’s dependence on the soul, creativity and creative ability of women, and the constant presence of women in religion, the present article reflects on Rouzbahan Baghli’s Kashf-al-Asrar to showcase how Rouzbahan’s lived experience and aestheticism creates a carnal and feminine dimension. This study claims that through anthropomorphism and the mystical conceptualisation of beauty, the central/conceptual metaphor of the ‘bride’ creates a metaphorical system which presents a unification of beauty, femininity, and carnality. This metaphor serves as Rouzbahan’s mystical centrality in conceptualising the truth, the prophet, the angels, the creator, and himself.

Recreation is the most innovative possibility in the field of adaptation: the way and the material of confrontation, digestion, transformation and appropriation of the great and previous text(s) by the author or creator allows a divergent and different creation. In this respect, the recreated text is secondary, but not second-rate. It embodies repetition and otherness at the same time. By presenting definitions, capabilities, and possibilities of new creation, this study analyzes the reasons for stagnation, inertia, and the limitation of new creation in children's and young adult literature in Iran. It shows that the perception of tradition as something outdated, the didactic-moral orientation in the creation of texts, the ignoring of various philosophical, mythological, religious, and historical texts, etc., the ignorance of the importance of the story/novel in transforming experiences, enjoyment and improving creative thinking of children and young people, and the consideration of the audience as an object of the generation, i.e. the consideration of the audience as passive and inactive, which has reduced recreation in Iran to changing the point of view, characters, place and time, tone, ending, etc. After analyzing the reasons for this stagnation and time marking, this study shows the expansion, capacity, multi-layered (nested) and eclectically intertwined aspects of western youth novels by comparing Iranian and non-Iranian youth novels. These novels have benefited from various intellectual, epistemological, and artistic texts and sources as well as from one statement, allegory, idea, or main theme.

Considering human as an embodied perceiver and body as a socio-cultural phenomenon; cultural body, physical shape and behavior, holy and impure body, object-body, subject-body, etc. were proposed and valuated in different discourses. Julia Kristeva’s abjection theory deals with language, subject, and the impure/ abject relationship. Abjection is the process of ejecting something considered unclean by the subject and with this scheme she tries to defend her subjectivity’s sanctum, a subjectivity created by lingual ejections and dejections. Since the impure/ abject always exists in some way, there always exists the tension between subject and impurity. In-process subject makes connections with her body, others, or other objects in language and through language. The present article considering body experience in sociology discourse deals with Kristeva’s abjection theory and object-body of subject/ girls in Farhad Hassanzadeh’s “Hasti”, Fariba Dindar’s “Dear Squirrelfish”, and Shadi Khoashkar’s “Diaries of the Back of the Class Tree” novels. It shows how symbolic order/ thing portrays subjects/ girls’ bodies during puberty and especially when faced with menstrual blood as unholy, impure, and unclean. The belief to the objectiveness of body is appeared in/to forms and attitudes such as subjects’ nausea, secrecy, rejection, escape, denial, panic, and shame. The new body situation is ejected and pushed to the side as the impure. This abjection both denies the teenager the possibility of body’s common and reasonable living during teen hood and keeps her in the fear and anxiety of the manner of escaping from this impurity.

Awareness of the nature of language construction, human focus on the nature of human sciences and knowledge and their critique and analysis in the form of Meta Post, Anti, the collapse of metanarratives and the transcendence of established patterns and rules paved the way for the formation of metanarratives as ontological narrative of postmodern man.considering the similarity and homogeneity of the nature of metanarrative, Deconstruction, play, suspension, uncertainty, stability, etc., the present article explores and analyzes three teenager novels of "The Emperor of Words" by Ahmad Akbarpour, "When Moji Was Lost" by Hamid Reza Shahabadi, and " Edson Arantes do Nascimento and His Himalayan Rabbit" by Jamshid Khanian with the life of a teenager who is himself in a threshold position and experiences and lives the mentioned characteristics more and more accurately than any age period. Three teenager novels were reread and analyzed on two levels, meta-narrative frame-breaking at the level of the author and the world of fiction. Relying on revealing the techniques of story writing, author-narrator-character-audience participation, the narrative pattern of narration, three-way dialogue, historiographical and intertextuality meta narrative shows that how these components advance the story in a context of constant uncertainty, suspense, and transformation that leads to endings such as a complete rewriting of the story, the author retreating from his or her intellectual position and author acknowledging his/her disability and helplessness.

Roaming is a phenomenon of modern life and experience and also a possibility to be in the city/ street. An existence in halt and an experience in hurry, a paradoxical life of being viewer and viewed, of desire to be lost and found, of perception without concentration. City and roaming subject find meaning and identity in interaction, intertwined link and exactness with each other. City gets spatial in subject’s strolls and it is studied and read as text or human body. The present article has dealt with reading and analysis of two novels; Sara Salar’s “I’m probably Lost” and Sina Dadkhah’s “Yousefabad, Thirty Third Avenue” from “roaming subject” viewpoint. It shows how city’s components and phenomena such as passages, park statues, streets, etc. are read and narrated by story characters as text and also experienced as the physical in relation to characters’ perspective, regrets, concerns, and memories. City/ Tehran is the pivotal character in both novels which turns into a surreal landscape in daydreaming and imaginative power of stroller parallel to present life and yesterday’s memories.  Characters’ roaming whether in afoot roaming case of Saman, Neda and Leila Jahed or in automobile roaming of Hamed Nejat and Gandom, which is a new style of roaming, narrates an unusual and different and a special relation of subjects’ attachment to city/ street. 
 
 

Considering space as an original matter and natural concept in ancient Greece thought in contrast to assuming it as something abstract, continued, quantitative, and measurable in modern thought has resulted in different concepts, conclusions, and formalizations. With the essence of space and the truth of residing diminishing in the sphere of modern thought, Martin Heidegger strived to focus on the concepts of being-in-the-world of Dasein, residence, inhabitance, and spatiality through visualizing space and considering space’s truth. In Heidegger’s words, we are ‘residents’; essentially-spatial Dasein, in a spatial world. The present study was an attempt to analyze and re-read Beshr-e Hafi’s narration in Tazkirat al-Awliya considering the essence and truth of space in Heidegger’s thought. Emphasizing on this important issue that Dasein’s existence is engaged in his conditionality, the present article deals with situational analysis of what happens in ‘one day’, ‘on the way’ for Beshr-e Hafi. It shows how Beshr-e Hafi’s decision and stance concerning a simple, ordinary incident makes that incident his own (owning event) and expands the options before him. After this event, Beshr-e Hafi is recalled by a divine message and he achieves safety and relief on the ‘path’ that is apparently a place for passing and moving on. He is there, inhabits there, and this residence paves the way for the quadripartite unity of the Geviert; the Fourfold of the heavens, world, mortals, and gods. Living and being of Beshr-e Hafi is realized on the way with becoming and transforming and he achieves serenity on the way to residence.

Modernity and the paradoxical consequences of modern experience, especially the modern patterns of creating a homogenous society, have detached humans from their individuality and personal identity. In such a situation, the victims are the subjects and objects who are doomed to live in a socially disconnected world. Existentialism and the story of situation have both reacted, employing their own philosophical and literary devices, to loneliness, stress, fear and absurdity of the modern experience. The current study has investigated Bahram Sadeghi’s novel “Malakout” [The Heavenly Kingdom] and two short stories by using the parameters of the story of situation and Kafka’s worldview. The paper attempted to show how the characters of these stories live in vain in the routines of everyday life and how they are trapped in situations which neither they can fully comprehend nor they .are able to set themselves free. In search of self and the meaning of love and peace, they try hopelessly to exit the labyrinth of modern life. Such a situation has affected every aspect of their lives and seemingly death is the only way out.

With the transformation of modernity from a cultural and intellectual stream into a socio-political system along with the constructive results and the enormous achievements of this trend, contemporary human has more than ever realized the impossibility of his emancipation. The failure of the clarity and transparency promised by modern reason, and the scope and extent of ambiguity, turbulence, dispersion, contradiction and loneliness indicate the captivity of man to the industry structures and consequences, power, technology, and reason sovereignty (Thorn, 2001; Nozari, 2001). Foucauldian power and Kafkaesque situation are two of the consequences of the modern world, two trends that, in their contexts of the philosophical, literary, sociological and political aspects, analyze the mechanisms of modern power, the hegemony of modern consequences, and the state of human captivity in the complex maze of this world. They also respond to this process, and strive to find a way into human emancipation. This essay, first deals with Foucault's intellectual foundations and Kafka's view of the concept of power, its mechanisms, and the human situations formed in modern power, then, explains the relationship between these two views and areas, and finally analyzes the story of Shahr-Bandan i by Javad Mojabi simultaneously from the above-mentioned perspectives.

Many texts have been analyzed from the Foucauldian power perspective; for instance, "A Survey on Power and Political Culture in Kalile va Demne" by Javad Dehghanian (2011) and "The Analysis of Power Relations in Keikhosrow Story Based on Foucauldian View" by Sima Erami (2012) can be mentioned. In connection with the story of circumstance, one can refer to The Magics of Story (four essays on story writing) by Hossein Senapour (2008) and “The Intertwining of Magical Realism and Story of Circumstance” by Binazir and Razi (2011). There are two distinguishing points about the present study, it is for the first time that Shahr-Bandan is analyzed from this point of view, and the other is that the current essay analyzes this novel in terms of Foucauldian power and Kafkaesque situation simultaneously and in a consolidated manner.

The essence of the modern power presence, the extent and ways of expanding it, and its reproduction are fundamentally different from the traditional power. In the traditional structure, power was what was seen and manifested, so it owed much of its hegemony and authority to being seen. This power was exercised on those who could stay unseen and remain in the dark. However, disciplinary technology, as one of the most important techniques of modern power, is applied by its concealment and invisibility, and its authority lies in its concealment. The principle of visibility is imposed on the subjects, those over whom power is implemented (see Eco, 2007; Foucault, 2009). Disciplinary technology has a significant relationship with the human body and dominance over it that deals with the organization, normalization of subjects, and the training of docile bodies based on the principle of subject visibility. The principle of visibility enables both continuous surveillance, strict control and meticulous care, and enforces the application of other disciplinary technology, namely the normalizing punishment (see Dreyfus, 2006; 244; Foucault, 2009: Miller, 2005; Creator, 2006). Many of the concepts and keywords that have been elaborated and analyzed in Foucault's intellectual system had been projected, predicted and perhaps warned in Kafka’s fictional world (Kafkaesque) many years ago. Certainly, Michel Foucault's elaboration, explanation and formulation of the process of modern power and its mechanisms in the body of society differ from the fictional world of Kafka. However, both Foucault and Kafka depict the wondrous and crisis-stricken man captured under the control of modern power; controlled, and cared under the constant watch of this continuous surveillance so that through tricks and ploys become a submissive and humble citizen. Many common concepts bring the two currents closer together such as hidden power and maze, the extent and manner of its expansion, constant presence in the most private moments, power monitoring, the constant monitoring and intervention of power and its powerful arms, the police and spy atmosphere, conforming, assimilating, stripping people of their identities and eliminating individuality, subject formation, conspiracy, tagging, and the subject's obedience and resistance points.

Thanks to its powerful arms in Shahr-Bandan such as the men in brown, the restaurant apprentice, the constable, the judge, and the sweeper, discipline technology controls and monitors the doctor, his family, and the whole city in all institutions and organs with different and varied ways and mechanisms. The capillary presence of pieces of the power puzzle, as Deleuze calls it "a sequential space" (see Deleuze, 1394), can be found in all trades and movements of story characters, especially in all aspects of the doctor's life in Shahr-Bandan. There is nothing hidden from the power surveillance. The capillary presence of power scares the lawyer and confirms the driver's statements and the constant presence and surveillance of power. "Sir, isn’t it better for a man to have such freedom to take any road he wishes . . . whistle, dance, it’s even rude to say, fart. Forgive me, if he would like to piss a little, stand and escape. No, I swear by your mustache, isn’t it rude to put people in this spinning grave, surrounded from four sides by iron, and say just go ahead, no one has the right to choose his way to his home . . . flashlight, gun, speech, again gun, flashlight, speech, again flashlight, gun, bang. You like to stop somewhere to piss; they appear like a jinn checking your urine with a flashlight to make sure you hadn’t transgressed the rules” (Mojabi, 2013). The lawyer in Shahr-Bandan is caught in a powerful puzzle, and gradually loses his identity after his home, family, assets, and then, his identity card and name are being seized. He is a subject with a new name that puts him in a special category. "A house with that characteristics was considered as part of the public property. That vain imagination did not leave him. He had demanded for his authentication. He had no ID in that engine-house; the paper in which the identity of his wife and children were recorded, contained surprising data. His wife was a widow and his children were in the custody of the Guardianship Office of the Orphans. He shouted: I'm alive, here I am,..." (Mojabi, 2013). There were no signs or documents of the lawyer, his properties, and his being alive in the identification department and in any system. All of his past, properties, and roots had been removed. The lawyer, after a lot of effort and struggle against the powerful position, force and its mighty dominance, gets frustrated and adjusts himself to the circumstances. Hence, the power process in a professional plan both accused the lawyer of murdering a young person in order to subjugate him, and in order to get him involved in the power game, assigned him a position in the new government to make him part of the power body.

Shahr-Bandan depicts fear, loneliness, concern, desperation and frustration of a modern man caught under the control of disciplinary technology's power and position; a situation in which he has the ability neither to understand nor to get out. The purpose of this system of continuous control and surveillance is realized in the process of disciplinary punishment in the life of the lawyer; this process gradually, through seizing the home and family as well as tagging and conspiracy, paves the way for the project of subjectivating the lawyer and by accusing him of murdering, denying his citizenship, and reducing his identity to a number both swallows the hero's individual identity and completes the process of subjectivation for him.

Contrasting the soul and the body and considering humankind as a spiritual entity were formed in Plato’s philosophical system. This duality was dominant until the twentieth century in Western philosophy. At the end of the twentieth century, the body and its conceptual-visual correlations became the focal point of Maurice Merleau-Ponty’s studies, the phenomenologist philosopher. In Merleau-Ponty’s thought we are bodily perceivers. Every kind of cognition, perception, awareness, and connection of a person with herself, her and others’ surrounding world is possible only through/with the body. The body is not an individual, independent, and nonchangeable term, but like all other terms, knowledge, subjects, and objects, it is constructed and represented in relation with power discourses. Studying school stories, the present article shows how the discourse of power in educational institutions exerts its authority over the bodies with its powerful arms. The process of power with disciplinary technology and its techniques such as normalizing punishment, panopticon/monitoring of power, engineering principles, hierarchy, etc. supervises every part of students’ physical activities. And with presenting and imposing patterns regarding the manner of standing, the style of sitting, rites of speaking, type of clothing, and appearance constructs the ideal body of educational discourse. The building-space of the school, appropriate to disciplinary and supervisory patterns, has an important role in continuing supervision and monitoring. Using insults in animal terms (calf, mule, dog, etc.), the disciplinary agents impose an animal body on the students and, through this process of subjectivization, gradually correlations and metaphors of a new animal body are created for them. In school stories, the ideal bodies are those that are tame, quiet, and obedient. Disciplinary technology with different mechanisms judges, normalizes, and puts into hierarchy the incompatible and revolting bodies.

With the emergence of modern thought and formation of concepts connected with modernity, the meanings of individuality and the body underwent considerable changes. The politicization of the body and globalization of the media brought about changes in perceptions of the body. In the 20th century phenomenology, especially the philosophical ideas of Merleau-Ponty, the body has a central place and attracts a lot of philosophical attention. In the present study, the mechanisms of disciplinary technology and how they construct the body of students are examined through a sociological point of view, mostly by drawing on Foucault’s ideas. The panoptic principle of power has a central place in disciplinary technology. In the present study attempt is made to examine how this principle is followed in school stories and in the structure and elements of the educational institutions.

Theoretical Framework

In cultural and sociological studies of the body, the body is far from an individual, independent phenomenon or an absolute, static and unchanging concept; it is rather affected and represented by constructing institutions and power discourses. Foucault puts the body in the center of his studies and according to him, the relationship between the individual body and the social/cultural body is impossible without considering power relations. In the present study, disciplinary technology and its effects on the body in schools will be examined by relying on the ideas of Foucault.

In the present study, disciplinary technology and its ways of constructing students’ bodies are examined from a sociological point of view, based on the ideas of theorists in this field, in particular, those of Foucault. For this purpose, school stories by writers such as Choobak, Al-e Ahmad, Darvishian and Moradi Kermani are reread and analyzed so that elements of the complicated network of disciplinary technology are analyzed.

School buildings are designed in a way that students are kept under constant surveillance. The principle of panopticon is also followed in the hierarchical supervision of the principal, schoolmaster, teacher, monitor and the like, through which any abnormal bodily behavior is reported and the perpetrator is punished. School authorities rely on different forms of verbal and nonverbal intimidation and reprimand to bring students’ bodies under control. However, some students choose to protest such a structure in different ways, resulting in behaviors considered by disciplinary technology as abnormalities. Disciplinary technology executives, following the principles of panopticon, try to force the subjects to have a uniform look and outfit so that any disobedience is immediately detected and reported.

Bodily experiences, the lived body and bodily features of the students are directly associated with their acceptance, flexibility, subjugation, resistance and opposition. Disciplinary technology is used at school to produce docile, subjugated bodies, so that, as school authorities claim, qualified, efficient workforce is trained for the society. Due to the association between bodily experiences and feature and future social roles, while these students might be subjugated and docile, they do not necessarily turn into efficient workforce.

Dasein is a lonely, individualized human who releases himself from both inauthentic being and immersion in mass crowd (Kierkegaard), horde (Nietzsche) and Das Man (Heidegger) with his own choices, and prepares many possibilities and situations against requirement, certainty, and necessity for himself too; the possibilities that separate him from happenings of life and move him towards transcendence. Boundary/crisis situations like pain, suffering, despair, failure, fright, journey, ageing, death, and so on are the best conditions for confronting the self and existential borders; fragile situations which by disintegrating fixed mindsets, established schemes, and packed experiences pave the way for taking a leap towards self-understanding. The present article explores the life-journey model of flying Shams considering existentialist philosophy key concepts (authentic self, individuality, choice, possibility, lived experience, movement, boundary situation, journey, and death). By analyzing quotations and manner of living of Shams, it explicates the ways by which Shams experiences and lives the journey as life, with a conscious choice, and in this inner experience and personal world (Sartre) breaks himself off from everydayness and mediocrity and moves continuously towards the transcendent and infinite with consciousness, self-knowledge, and subjectivity. Journey is the best option for Shams to remain anonymous, non-adherent to repetitive and public norms and forms, and to experience boundary situation. One of the most important boundary situations, which is more likely to encounter during a journey, is understanding the death presence as the most fundamental option of Dasein. In moving towards death, Shams experiences existential development, desires death, and also by observing the instability of possibilities and finite affairs of existence his faith to absolute truth becomes harder and firmer.

Abstract The overthrowing of motives and mythical vision whether in the form of reproduction and recreating old myths or in creating modern myths indicates the roots of myths in minds, language, soul, and world of man and the inevitability of this communicative circle. The present study by emphasizing on fertility myth and the archetype of martyring god – which is one of the fundamental motives in mythical world- analyses the image of Mirza’s revolt and character in the poems of Guilan’s poets. And the article shows how the temporal and historical revolt of Mirza in the world of poetry, in fertility myth, and in transforming Mirza to hero-god has moved away from time fence and became eternal. Mirza is a vegetal god, who revolts against the tyranny and suffocation of the time. His murder/death is a conscious choice for awakening of the society. He is born again in plant/ tree body every year and with his own blood, he waters Guilan’s jungles (fertility and rebirth). Keywords: Fertility Myth, Martyring God, Mirza Kouchak Revolt, Contemporary Poetry.

Motifs and mythical thoughts through human history go into a variety of formats to survive and are reconstructed, recreated and reproduced in ideas and different worlds. One of these realms and worlds is a mystical world. Motifs and common points of the world of myth and mysticism in foundations of knowledge,interpretability, sacred time and space, symbolic language stem the possibility of convergence,communication and interaction between these two worlds.
The present article, based on Attar's narration in Tazkirat al- Awliya, explains how Rabai after passing through the stages of the heroicsecret school (Unusual birthday, rite of passage/ Captivity, slavery and minstreland hero's Journey / Journey to the Kaaba) is raised as the goddess and Great Mother's womb. Rabaidisplayed dual and contradictory character in the ancient pattern of her mother goddess and female dutifulness. She is a compilation of virginity and fertile. Rabai is both the virgin, and the mother (making a theme for spiritual birth) big men such as Hassan Basri, al-Hallaj. She isalsoboth minstreland mystic, that poured the love on the body of the ascetic mysticism in an expression of all her feminine sides. Rabia in all lenity and kindness, is strongly fearsome and notorious (terrible, kind mother in the myth). After passing the ritual of initiation, in moving toward the center(Kaaba) and towardachieving equilibrium, evolution and unity, Rabaiherself became a center for the mystics of her time.

The unconventional and beautiful structure of Mathnavi requires that the reader، in order to understand more deeply and to get more artistic enjoyment from Mawlana’s words، not to encounter Mathnavi’s text with his conventionally lingual and mental patterns. Furthermore، the semantic schema of ignored and hidden without considering the semantic grounds and organic link of pieces and components of the textin a reductionist reading. Accordingly، the present study، by considering one of the epistemological and ontological approaches of Mawlana، explains the manner and reason of the fall of oppositions and the originality of relative attitudeand the cohesion in Mathnavi. The present study shows that how Mawlana goes beyond the closed and repetitive fence of this structure in spite of the presence of binary oppositions in Mathnavi. Avoiding making definite and final conclusion and seeing the concepts in coherence and spectral view are among Mawlana’s infrastructure principles in thinking throughout Mathnavi which is transferred to the reader through expressions like “from the viewpoint”، “different directions”، “from the perspective”، “in relation to”، “towards you”، “on one hand”، etc. This article by re-reading some of the stories of Mathnavi –which are outlined with this fundamental idea—، shows that how concepts in slippery and fluid form join together in the universality of Mathnavi. Looking closely at these concepts for several times، this fact will be highlighted that in Mathnavi no concept is defined once and for all but each of them is outlined many times - from a specific perspective and angle- so that the reader would not consider any meaning as the final one and awaits another aspect of that in another line، story or volume.

Mathnavi is a rule-rejecting and deconstructive text that destroys the accepted presuppositions of its readers about language, form, meaning and narrative of the text. The first impressive point about the tales is their innovative structures. The present article, after a brief review of the literary deconstruction, on the basis of the original version of tales and anecdotes and by disregarding the digressions and detachments of the narrator, investigates the deconstructive reading of tales by Mowlavi, trying to search for the additions and omissions of the poet in four selected tales in order to draw out the principles of his reading. In the world view of Mowlavi, all things and objects find their final meaning in relation to The Spiritual and The Creator, and at the same time they reveal all the explicit and implicit elements and concepts such as movement, collapse of absolutes and possibility of impossible, which are the sources of different readings of the tales as well as the reason for their dynamic and generative character.