zeynab nowruzi

From Jung's point of view, the process of individuation is a kind of maturation and psychological development during which the center of personality shifts from "I" to the "Self". Literature has a long-standing connection with the human psyche, and similar to dreams and myths, poetry and art are expressions of innermost human desires and aspirations. As a mystic thinker, with the purpose for human unity, Molavi tries to offers a refined model for an individuated person in the story of “Hosh-Roba Fortress”. In King Lear, Shakespeare too, portrays a man in a journey of inner progress. It can be said that both Molavi and Shakespeare portray the circular movement of self-discovery in the form of beautiful human pictures in these two works. In the present essay, an attempt is made to do a comparative analysis of the process of individuation in the story of "Hosh-Roba Fortress" and King Lear. The findings show that the journey of each one of the heroes is a symbolic representation of their psychological search for individuality during which the younger prince and King Lear go through a difficult path in their journey from the conscious to the unconscious, experience an encounter with the unconscious forces, reach the final integration with the anima archetype and establish a connection with the hero's’ consciousness in a way that, with the guidance of the wise old man, they put behind the inner shadows and outer personas and finally find their selves and, according to Rumi, “They are born again”.

The foundation of the story is based on imagination, even when it is a transcript of objective reality as it passes through the filter of the author''''''''s mind, it departs from reality. In the process of diverging from the principle of reality, there are some degrees that pulling the text into different domains of the supernatural. This can bring the story into the realm of all kinds of fantasy and fantasy stories or reflect unreality in the story. In the meantime Fantastic stories are on the border of reality and imagination and they combine reality and fantasy in which it is not easy to distinguish between the real and the unreal. The fantasy itself encompasses different types of stories in different styles, which also includes surreal stories. In this research, while describing the many features of various types of supernatural stories, and explaining the fantastical and surreal peculiarities among the various types of supernatural fictions and the pivotal unconscious is identified as the main difference of the supernatural codes in surreal stories and other types of fantasy stories. Key words: Reality, Imagination, Supernatural, Fantastic, Surrealist fictions.

One of the grounds of changing contemporary literature in Iran is translation or interpretation of foreign literary works which studying that can express the necessities, the creativities and the harms of this category well. Sometimes Contemporary poets have conformed or idiomatically domesticated the component parts of original context to literary and cultural requirements of Persian speaking community by displacing, increasing and decreasing them. The present article is based on expressing  domestication methods in moving from "extra - system" (original context) to "system" (target context) and understanding  the poets success or unsuccess in translating foreign literary works to Persian poem according to Yuri Lotman's theory and here we just study poetic translations of an fable  entitled "The Fox and the Crow"  by Lafontaine as example.

This research has been performed by a descriptive method and content analysis & the relationship quality among the culture elements with the context and extra – context background of the original work compared to its translations has been expressed by Lotman's semiotic theory of culture. It has been tried to show the creativities and deficiencies of the new texts against the original text while referring to different methods and ways of domestication and brief comparison of contemporary poets translations from "The Crow and the Fox" story by Lafontaine.

Nasim Shomal, Iraj Mirza, Nayyere Saeidi and Habib Yaghmayi have versified "The Crow and Fox" story chronologically. These versifiers mainly aim to put unfamiliar culture elements in native culture forms according to the present times aesthetics culture. Iranian culture system hasn't accepted the entered content from extra – system in the same existing form and has made it similar to fixed norms of its memory and since literal type of the source text is didactic and adjustable with those norms has organized system and traditional poem form because traditional form is an element that has been located in the center of semiospher of Iran's literal culture and any disagreement with that has been considered a riot. The reality of focusing on the type of expression is the result of a one – to – one correlation between the level of expression and content and the effect of expression on content (Lotman & Ospenski, 1390: 52).
Decreasing, increasing, changing & moving that these poets have performed, show socio cultural features of that age and any way in most cases in order to guarantee the necessary consistency, are directly associated with the orientation to the past; for example, Iraj Mirza has changed a western story in to the form of classic Persian poems by choosing traditional measure and form, using ancient words and grammar and direct conclusion at the end of poetry. This approach can be considered one of the harms of domestication; because translation that is a means to introduce new ideas and methods will become a tool for maintaining traditional taste. Certainly in these versified translations, didactic &critical aspect has been dominated the satire aspect of the original work. Iraj Mirza has made the text critical by changing the symbol (salamander instead of phoenix) and Nasim Shomal has changed not only the tone & style of a foreign work, but also its direction and aim and has created a text with his own intended critical purpose by decreasing and increasing the elements, lexical reviews and speeding up the language. Nasim Shomal poem it at the service of society not ethics and it can be said that the intended meanings of the original author have been dominated by the author's ideas and beliefs and the target language words. In Nayyere Saeidi's poem  Intertextuality & musical and Gnostic terms and word selection related to Iran's culture sign system have made the text strong but insisting on bringing same synonyms in the manner of some ancient Persian works has added redundancies to his poem. We can also observe encountering two different cultures in La Fontaine and Nayyere Saeidi's treatment with fox trickery and flattery. Each of them considers himself far from this forbidden phenomenon by a different method; La Fontaine does that by mock in and scorning and Iranian poet by adding adjectives that can be interpreted ethically and permit a connection with the focus of Iranian traditions.
Habib Yaghmayi has selected fluent words in his translation and cared about the intimacy of poem language and word flexibility phonetically. Although Yaghmayi tries to define every innovation in terms of traditional Persian literature, language naturalness along with the application of old word makes his poem like a city in which old buildings are next to new buildings These applications are an effort for transferring language from "diachronic" limitation to "synchronic" range; also the existence of movement and cinematic pictures have shown his work newer and more modern. In Yaghmayi's method, the present traditional relationship between expression and content that can be seen in other translations of the story, is not known as the only possible relationship; although this works expression affects content more than other translations. The expression type is not naturalized except in some rare examples and utilizes dramatic art. This method of extra – system has been absorbed and the poet invalidates the last translations of this story by a new movement with creativity so that Habib Yaghmayi's poem is replaced by Iraj Mirza work in textbooks. Reticence and word choice or selectivity in words has also been from old & bright favorite traditions of Iranian and is located in the center of semiospher & the texts which have had this feature like Yaghmayi translation, have had the most life & longevity in Iranian culture. This work is the only translation which has become strong in dispute with other systems and domestication in interaction with creative methods of imagery has resulted in its richness; since besides employing the elements of culture which are located in the center of semiospher, hasn’t paid any attention to the marginal elements of the culture which are being forgotten. His way of expression is a combination of modernity & tradition. Yaghmayi has used Nezami's poem that itself is very organized and its mixture with the original text has created a more valuable text. To compare the ways of addressing "The Crow and the Fox" story by the translators shows gradual development of domestication & poets interaction in moving from extra – system to system.

The results of the study show that the poets have conformed the texts with literal traditions and Islamic – Iranian culture symbols in this process and this domestication has been performed in three systems including lingual, literal and mental in images, thoughts, expression methods and language processes. Decreasing, increasing, changing and moving that these poets have performed, express social and cultural features of its own age. Adding measure& rhyme has been performed for preserving the spirit of Persian classical poetry and its traditional form and didactic and critical aspect has been dominated the satire aspect of the original work. In versified translation of Habib Yaghmayi, the movement and Cinematic pictures and language simplicity and intimacy have shown the work newer and more modern. This work is the only translation that has become strong in dispute with other systems and domestication in interaction with creative methods of imagery has resulted in its richness Yaghmayi poetry has more validity & stability in the memory of the culture of Iranian society; since besides employing the elements of culture which are located in the center of semiospher, has paid no attention to marginal elements of culture which are being  forgotten. His expression style is a combination of modernity & tradition. His imajic &dramatic expression has been observed from extra – system & has combined traditional values located in the center of culture system with that. Also analyzing domestication techniques & aesthetics elements in this research show that the poetries have become more complete in order of composition time & Habib Yaghmayi translation is the result of the perfection of poetry language towards more brevity. It seems that at the rest of this research direction, we can also address analyzing domestication in the story works obtained from translation.

Fantasy literature has been raised in the field of literary criticism. In this kind of literary we face events that the reader at first glance cannot decide which of these events is true or false. Throughout the novel the reader finds out the events that occur are real and consider the events as natural by the rational justification and considering some conditions. Fantasy literature is placed in structural and content areas and people like Todrov in structure and Freud such in psychological and content discussion as those discussed defined and explained it. Both of theorists knew doubt and fear as the main features of fantasy literature. Fear and doubt exist in the reader, the narrator and the characters. Doubt is a notion that Todorov emphasizes on it, while Freud considers fears more. The authors of this paper analyze the structure and content of the novel "Derakht-e Anjir-e Maabed" written by Ahmad Mahmoud with regard to fantasy literature. For analyzing the novel, first the totality of the work described incompliance with the fantasy literature, as well as the conditions and justifications for the fantasy literature that Todorov distinguishes are studied in this paper, then the elements and techniques of fiction novel comply with fantasy literature reviewed and analyzed. Among these elements and techniques, the kind of describing characters, point of view, and focal disruption represent the doubt of character, and stream of consciousness, contents, association of meanings, and contrast gives the reader the chance to realize the doubt in characters and the text in his impressions. The results show that there is a variety of hesitance in this novel, hesitance of reader and hesitance of narrator and character. So the novel "Derakht-e Anjir-e Maabed" proves well to belong to the fantasy literature because of prominent the feature of doubt, occurrence of strange events, and specific narrative in connection with elements of story.