فهرست مطالب zahra jannessari ladani

The present study addresses Louise Erdrich’s The Plague of Doves in the light of Patrick Colm Hogan’s affect notions of narrative concerning the emotional experiences of the subjects. This paper attempts to trace the concepts of affect, emotional narrative, attachment relations, emotional geography and emotional history in Erdrich’s novel in order to explore how emotions and relations are interrelated in the narrative of geography, history, and, particularly, in what affects the narrative and the subjects in fiction. The present paper, specifically, demonstrates how Erdrich’s mentioned novel acts as the affect study and narrative of emotion that vocalizes the history and geography of Native American people of the Ojibwa which have not been divulged due to social and ontological factors. The study thus investigates the ontological and epistemological paradigms in Native American life and history experienced by Ojibwa survivors. In addition, it argues how emotionology works for the minority subjects and how the notion of affect in terms of Hogan’s theory is traceable in Erdrich’s novel. In The Plague of Doves, the affected survivors are haunted with the emotional memory of their present as a consequence of which the subjects continuously shift from the present time to the past – whereby time loses its linearity in the narrative.

William Carlos Williams’s poetry is known for the vividness of its imagery and the minimalism of its form. But what Williams achieves within just a few lines is nothing short of magic. The intimate bond he makes with his seemingly insignificant surrounding world gives an air of sublimity to his poems. The sense of indefinable awe that pervades Williams’s poetry, however, does not stem from a grand and boundless source. Williams finds an almost transcendent aura in the most familiar, mundane, and homely moments of everyday life. This quality of finding the extraordinary in the ordinary has been called the ‘trivial sublime.’ Drawing on theories of the sublime, as well as those of romantic transcendentalism and the genre of haiku, this paper attempts to examine the modality of such sublimity in the poetry of Williams. Such theories will include Edmund Burke's and Immanuel Kant's notions of sublime as well as the theoretical issues proposed by Williams himself.

Meaning-making in the Deleuze-Guattari semantic region is a revolutionary and artistic schizophrenia, contrary to the conventional process of semantics of conventional reason. Revolutionary means minor literature, and artistic means poetic. The poetics of meaning in poetry is held silently as an event similar to the poetic thought event in Heidegger's philosophy of art. Poetry's vow of silence is the creating place of recurring and different meanings that appear in the successive turns and intensities of body without organs. In this way, poetry uses meaning and truth as an event out of habit and as a dignity of existence. Hence, the eventfulness of poetry coincides with its meaning. Surprisingly, Archibald MacLeish builds beingness of poetry in ‘Ars Poetica’ by arranging the paradigms of silence, stillness, and wordlessness on familiar meaning-making. In this way, poetry does not tolerate the conventional meaning because it is concerned with different and intensified eventful meanings as being in the world. The present study is a Deleuzian-Heideggerian reading of MacLeish’s poetic art in the light of the above concepts and considers poetry as an event focused on pure and unfamiliar meaning and truth.

The story of the “fall” in Judo-Christian tradition, particularly the Bible, has functioned as a model for many narratives written by Christian poets such as John Milton. Since the Bible has been written by numerous writers and accumulated through centuries, it is obviously not the word of God, but man’s reproduction of it. The story of man’s fall and original sin, therefore, has been narrated from a human perspective, not a divine viewpoint. Thus, the biblical account of Adam and Eve’s fall carries the ideological strains bearing on anthropocentric knowledge and culture. In other words, this narrative bears prejudicial aspects which are transferred to later historical phases, and crystallized particularly in poetic traditions and narratives like Paradise Lost. Although Milton’s poem reproduces the biblical version of the fall by stylizing and modifying it for reasons pertaining to the socio-political context in which it was composed, still the work is informed with the biblical view of the fall. Compared to the fall narrative in the Bible and Paradise Lost, the Quran’s narrative is not only exempt from any ideological or prejudicial burden, but also renders the event in egalitarian and unbiased terms. Therefore, this essay will explore how Judo-Christian tradition diverges from the divine narrative of the fall by paralleling this tradition to the Islamic one in the Quran as the ultimate and undistorted book of God. Furthermore, the research seeks to show that the semantic divergences in the biblical and Miltonic narratives of the fall signal the essential differences between direct revelation (in the Quran), modified revelation (in the Bible) and poetic manipulation of revelation (in Paradise Lost). As for methodology, Bonn and Paris schools of semantics will be employed to carry out the investigation. This study is significant for it can help both teachers and students to differentiate between Judo-Christian and Islamic traditions while reading Paradise Lost.

The present study aims to investigate the potentials of two significant translation paradigms in children’s literature: 1) Skopos paradigm; and 2) equivalence paradigm. The former seeks equivalence in the source text while the latter seeks it in the target text. To this end, three translations of “The Little Prince” by Mohammad Ghazi, Ahmad Shamlou, and Abolhassan Najafi were analyzed. The results showed that the translation by Shamloo, unlike the two other translators, was target-oriented and is based on the Skopos paradigm which fully considersthe children as its specific audience. The two other translators adopted a text-based approach in their translations and sometimes used words and phrases that were complex for children to understand. These two translations might conveniently fall under the equivalence paradigm. The findings indicate that Skopos is a more exhaustive paradigm when dealing with children’s literature as compared with the equivalence paradigm.
Adopting a qualitative approach, this study analyses three translations of the Little Prince's story. to do so, the excerpts of the original text and three of its translations (i.e Abolhassan Najafi, Mohammad Ghazi, and Ahmad Shamlou) were analyzed. The theoretical frameworks used in this study are two important paradigms in translation studies, namely the equivalence and Skopos paradigms. In fact, the selected translations were analyzed from the perspective of these two paradigms.
Based on the analysis of the three mentioned translations of the story, it can be concluded that the extent to which a chlidlren literature story might be successful is highly related to its particular audience, namely the children. The language should be simple and understandable and avoid any kinds of complexities. In this regard, Nida (1969) believes that “the differences between the translations can usually be attributed to three main factors: 1) the nature of the message; 2) the aim(s) of the author and by proxy, the translator; 3) thetype of audience” (as cited in Hatim &Munday, 2004, p. 164)
In children's literature, the nature of the message, the purpose of the author (translator), and the audience is very clear. Nida (1969) also believes that the decoding ability in any language includes four following levels
“1)the capacity of children, whose vocabulary and cultural experience are limited;
2) the double-standard capacity of new literates, who can decode oral messages with facility but whose ability to decode written messages is limited;
3)the capacity of the average literate adult, who can handle both oral and written messages with relative ease;
4) the unusually high capacity of specialists (doctors, theologians, philosophers, scientists, etc.), when they are decoding messages within their own area of specialization. Obviously a translation designed for children cannot be the same as one prepared for specialists, nor can a translation for children be the same as one for a newly literate adult” (as cited in Hatim &Munday, 2004, p. 166).
According to Nida , children have the least ability to decode the message than the other three groups. Thus, in translations for children this essential point should be taken into account. The three analyzed translations revealed that the translation by Shamlou paid more attention to the children as compared with the two others translations. Using simple words, dynamic, and fluent language, he provides a fluent translation which is devoid of complexity and easier to understand for children. But the two other translations by Najafi and Ghazi have taken a different approach as compared with Shamloo and have more complex words and a language that makes it difficult for children to understand. Based on the analysis, Shamlou’ stranslation can be considered under Skopos paradigm, whereas the two other translations have an equivalence-based approach and are classified under the equivalence paradigm.
The present study analyzed three translations of “the Little Prince” story under the equivalence and Skopos paradigms. In the end, it was revealed that the translation by Shamlou is more fluent and reader-oriented. Using words such as “Akhtarak”, “Kavir”, “Sahra”, and so forth, Shamlou has provided a more understandable translation for his specific audience (i.e. children) and adolescents who have limited vocabulary and cultural experience.
Shamlou has also attempted to translate the text in a colloquial style; therefore, decoding the messages is simpler for children with low literacy levels. Thus, Shamloo, categorized under the Skopos paradigm while taking into account his specific audience (i.e. the children who have little cultural experience), has provided a more fluent translation. The other two translators adopted a text-based approach in their translations and sometimes used words and phrases which complicated the text for children to understand and follow. The translations provided by these two translators should be considered under the equivalence paradigm.

The present study focuses on Malcolm X''s autobiographical account of his prison life based on Foucault''s notions of prison in Discipline and Punish. The researchers seek to show that the ambivalent nature of imprisonment helped Malcolm attain knowledge and power through paradoxical mechanisms. On the one hand، the prison house acts as an oppressive force on the psyche of the black man. On the other hand، the ubiquitous nature of the literal prison and the racial prison as dominant discourses in the US play a very crucial role in the achievement of knowledge (both about the self and the other)، and in the production of new knowledge paradigms by black people. This might lead to the achievement of power by the oppressed، and a possible reformation in the dominant culture of the oppressor. This research applies Foucault’s theory of the psychology of the prison to The Autobiography of Malcolm X. The objective is to show that the paradoxical nature and role of the prison (detected by Foucault) reveals itself in Malcolm X’s autobiographical account as well.

This essay will indicate that Herman Melville's Billy Budd, Sailor inherently possesses cultural, philosophical, and literary paradoxes. To examine this, we will focus on these paradoxes in three domains. First, we will elaborate on some paradoxical themes, such as democracy, which stem from American culture. In the second domain, we will trace Melville’s inclination toward the representation of paradoxes in his ambivalent place within the American romantic tradition. Here, we will argue that since Melville belonged to the Dark Romantic movement, he disavowed Emerson’s optimism and sublime, and introduced man as a Manicheancreature who determines his destiny by choosing freely between good and evil.Billy Budd is generally known as a romance, but a close look at the work shows that the text is not faithful to the definition of the romance, since it is highly philosophical and this is beyond the capacity of the romance. This philosophical characteristic pushes Billy Budd towards the definition of the novel where man’s inner world is depicted. Thus, Melville employs an ambivalent literary form to manifest the ambivalent and paradoxical nature of American culture. To gain this objective, the essay will follow three theoretical domains: a historical-cultural reading of Billy Budd; an examination of the theory of American Romanticism, both Emersonian and Dark; and eventually, Henry James’s theory of the novel.

This Study focuses on the relationship between tradition and modernity and their reciprocity and/or opposition in Iranian short fiction. For this purpose، six short stories have been selected from Beshno Az Vey Chon Hekayat Mikonad، a collection of short stories written by the most recent Iranian short fiction writers. These stories are as follows: Shahrnoush Parsipour''s «Bagh-e Farrokhleqa،» Mansour Koushan''s «Ayne-ye Sangi-e Madarbozorg،» Monirou Ravanipour''s «Kanizoo،» Amir Hassan Cheheltan''s «Asrar-e Marg-e Mirza Abul-Hassan Khan Hakim،» Asghar Abdollahi''s «Dar Posht-e An Meh،» and Jafar Modarresi Sadeghi''s «Shazdeh kouchulou.» Besides being recent، the mentioned stories best suit the approaches adopted for the analytical purposes of this study. The researcher seeks to examine the notions of tradition and modernity in these stories through feministic and deconstructionist criteria and prove that there is a negotiation between the two discourses in the selected material. In other words، the researcher is going to propose that some modern Iranian fiction is capable of representing both modernity and tradition rather than depreciating tradition in favor of modernity. It should be stressed that the researcher is not going to extend her conclusions to all contemporary Iranian short fiction.

Stanley G. Weinbaum was one of the American science fiction writers of the 1920s and 1930s who anticipated virtual reality early in the development of the genre in the United States. The machine in Weinbaum’s science fiction plays a crucial role in the production of virtual space and time. Not only does Weinbaum’s gadgetry function within the domain of spatial alterity, but they also provide temporal escapes in terms of time travel requiring no physical presence on the part of the traveler. But the consequent alterity is not necessarily utopian, as one is usually witness to the destruction or modification of the invented gadget as soon as the utopian plans of the inventor yield dystopian results. Weinbaum appears to have launched an allegorical relationship between the function of the mind and the machine as two agents capable of procuring virtual reality not only as means of escape, but also maturation. Creating his fiction, Weinbaum seems to have been inspired by Francis Bacon’s mindset in The New Atlantis. The present research seeks to study the influence of the Baconian utopia of science on Weinbaum’s interpretation of the machine and the mind in the process of the production of technology. Employing a comparative method, the researchers try to discover the similarities and differences between Weinbaum’s science fiction and Bacon’s fictional utopia to prove that the Baconian utopian-scientific discourse in the seventeenth century was resuscitated by Weinbaum’s science fiction in the early twentieth century.