جستجوی مقالات مرتبط با کلیدواژه « نمایشنامه » در نشریات گروه « علوم انسانی »

The present study aims to show how ideology leads to different and contradictory approaches to the West. In the play "Jaafar Khan Az farang bargashte" (1300), Jaffar Khan considers the West as the center of civilization and the highest point of cultural development, on the contrary, his family considers the West as a dystopia that not only has no signs of progress, but It is the center of destruction. The French and structuralist philosopher, Louis Althusser offered a new and different interpretation of ideology in relation to Marxist thinkers. Althusser defines ideology as the imaginary representation of people with real circumstances and believes that man and his identity are constructed by ideology. In his view, in the modern age, institutions such as the school, the family, etc., form the general ideology, even without them being aware of it. Hassan Moghaddam, in the play "Jaafar Khan az farang bargashteh" shows the conflict between these two types of views towards Farang or the West. These two opposing perceptions of the West seem to be constructed of two forms of ideology, one that sees the West as a utopia and the other as a dystopia. The present study, which is based on library sources and descriptive-qualitative method, first provides a comprehensive interpretation of the concept of ideology and Althusser theories, then focusing on the structure of the play, the role and effect of ideology on the thinking and approach of characters -as two opposite perceptions- examines and analyzes the West.

Exploring the meaning of literary works has always been the focus of critics in this field, but the crucial issue is the use of a methodical approach to reach the hidden meanings in different layers of the text. The transtextual approach is a holistic apparatus among literary theories, through which hidden layers of meaning can be discovered. This theory does not have a precise formulation in semantics. However, its elements, from a holistic viewpoint, show special semantic capacities in the syntagmatic and paradigmatic axis of semantic, which have not been investigated so far. For example, hypertext, intertext and metatext work on the paradigmatic axis of semantic. Paratext works on the syntagmatic axis of semantic and architext works both on the syntagmatic and paradigmatic axis of semantic. As such, the interaction of these elements leads to discovering the overall meaning of the text. Therefore, in this research, according to the new perspective of "Transtexual interpretation, it is aimed to analyze y Testament of Bondar Bidakhsh, using qualitative and quantitative analytical methods and relying on library and documentary studies. By applying the theories of transtextuality and semantics to the play, we both seek to formulate a new theoretical apparatus and show the hidden layers of meaning in this play. The results of this analysis show that Beyzaei conveys meaning to the audience through paradigmatic and syntagmatic transtextual elements and transtexual interpretation is an efficient theoretical apparatus to analyze this work.

All authors have long sought to find attractive and lasting names for their works, and the discussion about the entitling of literary works has been as important as study on their structure and content, in the discussions of literary criticism. The main approach of the article is based on an interdisciplinary foundation, between literature and linguistics. The article aims to present a comprehensive classification of naming methods of literary works using the knowledge of linguistics and based on the construction rules of the Persian language. The claim of this article is that the writers of Iran and the world, have used very definite and limited methods in the construction of language to entitle their works, whether in Persian or in other languages, and many of these methods are similar. This article is written in a descriptive and analytical way, using the approach of analyzing the names of literary works, based on “construction” and “Persian grammar”. The author of this article has used syntactic and grammatical classification methods in the classification of names. The article tries to reach this conclusion, contrary to what is believed, entitling a literary work is the most difficult part of creating a work; The naming of works follows simple and repetitive patterns, familiarity with which can facilitate the naming of literary works for any contemporary writer.

Time, as one of the important components of "narrative", has always been one of the important topics of the science of "narrative" and the theorists of this field have discussed it. In the meantime, "Gerard Genet", as the most influential theoretician about the time of the text, has presented an independent theory about the factor of time and its role in the narrative, order And it is often distinguished. Looking at the play as a text with a conventional structure and relying on time, which includes elements such as: confusion, conflict, complexity, suspense, crisis, disaster, and landing, which follow each other in a certain order; The present research intends to use a descriptive and analytical method, while examining the temporality of the narrative play "Dehani Per Ya Kalagh" written by "Jamshid Khanian", to answer the question: what effect does the temporal model used in the play "Dahani Per Ya Kalagh" based on the approach of "Gerard Genet" have on Does this work have a structural aesthetic? Since time is one of the influential components in Jamshid Khanian's dramatic works, this article aims to show, based on the approach of "Gerard Genet", the special temporality used in the play "The Crow's Mouth" as a narrative, in order to plan and discover the hidden cause in The events and payment of the structure, creating suspense and attractiveness for the audience and adding depth and richness to the characters have been effective.

Female characters in the plays of the 13th century and the beginning of the 14th AH, have different manifestations and are presented in a paradoxical way. The social and political changes in this period emphasize the discourse of improving the position of women and have fueled fear and anxiety about the presence of women equally. In this research, we focus on the roles of women in some of the plays of this era by critical discourse analysis. This plays have been described, interpreted and explained by the descriptive and analytical method suggested by Norman Fairclough. First of all, at the level of description, we have discussed the function of female characters in the plots of plays. At the level of interpretation, looking at the social events related to women in this period, the relationship between women's activism in the play and their level and role in the society is examined, and finally, in the third stage, the reason for the gap between the change of social paradigms and the role Women are explained in plays. By the analysis of the plays in the discourse context of the era, it was concluded that although in this era, the key role of women in the society and their promotion to the level of the speaking subject is always emphasized as one of the manifestations of progress, but still the dominance of the patriarchal discourse and The fear of killing women has so powerfully cast a shadow on the dramas of this hundred-year era that the role of women is either associated with concepts such as cunning, deception and conspiracy, or the female characters remain as objects of men's opinion games and seduction

In relation to the Sacred War, dramatic literature includes many great plays, many of which are based on narratology and the conflict created by narration, storyline, and the point of view. If we accept that one of the play pathways, crosses the storyline in terms of analyzing the hero’s actions and their impact on story advancement through a visual narrative, then the interrelation between narration and criticism and its effect on the play and its storyline, can be determined. The Sacred War plays are good cases for such analyses because of using narrative capacities for storytelling or reviewing and recognition of characters’ history and life events. This research, using descriptive and analytic methods, investigates one of the main elements of plays, i.e. conflict across one of the most successful plays of the Sacred War theater. are employed in ‘Three passes of good life of a noble teenager and Ziba” by Alireza Naderi NajafAbadi? Conflict is one of the mode important structural elements and advances the storyline. Besides, focusing on conflict and recognizing the inner worlds of the character, Robert Mckee represents the three levels of conflict in terms of character action analysis. Thus, this research focuses on the levels and kinds of conflict according to Robert McKee’s extensive works to descript this viewpoint and element.

Criticism of literary works based on archetypal criticism is one of the types of psychological criticism based on the theories of Carl Gustav Jung. He considers the products of the collective unconscious to be examples of archetypes, which appear in cases such as self, shadow, anima, animus, etc. Finds; The manifestation of the mental and psychological aspects of the characters of the play and the place of the inner unconscious in the play of Al-Harr al-Riyahi caused this article with the aim of analyzing the archetypes in this work based on Jung's theories and using the descriptive-analytical method with a new approach to this Ashurai work. to study The archetype of the self, the shadow, the feminine element (anima) and the use of different colors are among the archetypes in this play. Analyzing the play of Al-Harr al-Riyahi based on Jung's theory is one of the ways to penetrate and deeply understand the content of the play, and the knowledge of the unconscious of the characters of the play leads to the recognition of the hidden secrets and deep concepts of this type of works. Among the archetypes used in this play, we can mention the self and the shadow, and the contrast between two mental states in this play represents the contrast between these two archetypes. Har Riahi is a symbol of self-awareness and awakening (self), and Shammar bin Dhi al-Jawshan is a symbol of neglect and submission (shadow) to the self, that is, the opposition of good and evil, which has been the focus of many religions throughout the world. In this play, the archetype of color is also reflected in the characters of the play. The use of black color has been used to express certain concepts such as turbidity and hostility, which the archetype of the shadow is frequently involved with, and the color white evokes the concept of purity and innocence, which is observed in the expression of states related to the archetype of the self, and finally the color Red is an indescribable expression of eternal life and immortality, which finds its meaning in the pure blood of Imam Hussain (peace be upon him).

Criticism of literary works based on archetypal criticism is one of the types of psychological criticism based on the theories of Carl Gustav Jung. He considers the products of the collective unconscious to be examples of archetypes, which appear in cases such as self, shadow, anima, animus, etc. Finds; The manifestation of the mental and psychological aspects of the characters of the play and the place of the inner unconscious in the play of Al-Harr al-Riyahi caused this article with the aim of analyzing the archetypes in this work based on Jung's theories and using the descriptive-analytical method with a new approach to this Ashurai work. to study The archetype of the self, the shadow, the feminine element (anima) and the use of different colors are among the archetypes in this play. Analyzing the play of Al-Harr al-Riyahi based on Jung's theory is one of the ways to penetrate and deeply understand the content of the play, and the knowledge of the unconscious of the characters of the play leads to the recognition of the hidden secrets and deep concepts of this type of works. Among the archetypes used in this play, we can mention the self and the shadow, and the contrast between two mental states in this play represents the contrast between these two archetypes. Har Riahi is a symbol of self-awareness and awakening (self), and Shammar bin Dhi al-Jawshan is a symbol of neglect and submission (shadow) to the self, that is, the opposition of good and evil, which has been the focus of many religions throughout the world. In this play, the archetype of color is also reflected in the characters of the play. The use of black color has been used to express certain concepts such as turbidity and hostility, which the archetype of the shadow is frequently involved with, and the color white evokes the concept of purity and innocence, which is observed in the expression of states related to the archetype of the self, and finally the color Red is an indescribable expression of eternal life and immortality, which finds its meaning in the pure blood of Imam Hussain (peace be upon him).

his research is a comparative study between the literature of Iran and the literature of Spain on the subject of women and his place in the family and society. The case study of this research focuses on short stories by Jalal Al Ahmad and three plays by Federico Garcia Lorca with the names of Blood Wedding Names, Yerma, Bernarda Alba's House.In this comparative study, the status and role of women in the family and society in the literature of Iran and Spain are examined. To restrict the research field, Jalal Al-Ahmad's short stories and Federico Garcia Lorca's plays have been recognized as two authoritative authors in both countries. In the beginning, a brief overview of the history of life and socio-cultural activities of both writers has been presented, and the woman, his position and image have first been studied separately in each and every one of the works, and then adaptively.The following is a familiarization with the history of life and the days of Jalal al-Ahmad and Federico García Lorca; in order to become familiar with the historical, political and social context of their life, a comparative study of the status of women in their works is desirable.

Shahnameh, as a great work in the field of Eastern epic literature, has a great potential for dramatization. This possibility, of course, requires a knowledge of the original text as well as a knowledge of the Eastern drama. Relying on his knowledge and awareness of Eastern narratives and Eastern drama, Bahram Beyzaie, the prominent playwright, pays special attention to the narratives of Shahnameh and their dramatization. The present paper focuses on four of Beyzaie's plays, all of which have been adapted from Shahnameh. More specifically, this descriptive-analytical study explicates the techniques used by Beyzaie in "Azhedahak", "Shab-e-Hezar-o-Yekom", "Sohrabokoshi" and "Siavashkhani" in his dramatization of the original narratives. The results show that in order to dramatize the stories of Shahnameh, Beyzaie has paid much attention to the tools of Eastern drama such as naqqali and tae'ziyeh. In addition, the playwright has deployed elements and techniques such as characterization, conflict, monologue as well as tools of metadrama such as play within the play and distancing in dramatization of the original narratives.

An Islamic play is a play that it's structure is presented in a special framework of the play؛ It's difference with other plays is in it's islamic perspective. The play Al-Hurr Al-Riyahi by Abdul Wahed Abdurrazzaq is included in the islamic play which is written with the focus on the events of Karbala, focusing on the character of Hurr Riyahi. Abdurrazzaq, through the character of Hurr and by recounting the event of Karbala, has linked it to the situation in Iraq at the time. Examine the structure of this play and the degree of it's adaptation to the reality of Ashura in drawing the course of events and discover the author's style caused to analyzed this work with descriptive and library analytical method and based on the structure of Gustav Freytag german theorist. The five principles of Freytag were derived from Aristotle's theories and includes: Introduction، Rising action ،Climax، Falling action and result. An analysis of the play shows that the author has departed from the conventional and classical principles of playwriting and has turned to postmodern theater and Bertolt Brecht؛ because Abdurrazzaq Abdul Wahed, knows the dimensions of the Karbala incident beyond that It can be expressed with a classic and conventional narrative. So in his play did not adhere to the conventional principles of playwriting and with his work Offers a suggestion in the field of Ashura playwriting.

"Archetypes" are important psychological elements. "Archetypal criticism" has always been considered one of the important types of literary criticism. The theory of archetypes is based on the thought of Carl Gustav Jung, a theorist in the field of psychological sciences. In this theory, the structural elements of myth, which are present in the collective subconscious mind, are analyzed. According to Jung, there is a kind of universal experience in these elements that is repeated in different forms and in all generations. Contemporary psychologist and theorist Shinoda Bolen also contributed to a more accurate understanding of archetypes by supplementing Jung's theories and elaborating on their manifestations in daily lives of individuals. In the present study, by means of mythological and psychological criteria in Shinoda Bolen's theories, two famous theatrical "woman" characters have been the subject of comparative studies. They are "Julia" from the play "Miss Julia" by August Strindberg and "Ensie" from the play "Sing in May" by Akbar Radi. Although created in two different geographies and cultures, both characters bear significant similarities from Shinoda Bolen point of view. This study also shows the fact that quoting mythological and psychological elements in the creation of theatrical characters can lead to the production of a similar pattern in the process of this creation. A pattern that transcends temporal and spatial boundaries and relies more on archetypes than any other element.

"Five Plays" written by Mirza Agha Tabrizi is one of the first plays in Persian literature. It shows the corruption in Nasserite period with a humorous tone. Despite the lack of unity of time, place and subject, these plays are important because they contain some historical facts. The status and validity of the dialectic element in plays is an important factor influencing the presence of colloquial expressions in this type of literature. In folk literary texts, the grammatical and lexical structures of the vernacular language are the focal point due to their prominence. According to their capabilities, these structures sometimes explicitly (sometimes ironically) depict images of social realities, which are criticized by the author. This descriptive-analytical research investigates the words and expressions of pop culture that increase the theatrical capacity of narratives and also effectively reflects social situations. According to the findings, in Mirza Agha Tabrizi's plays, grammatical elements, ironies, adjectives, language in Five Plays by Mirza Agha Tabrizi is purposeful. The purposeful presence of marked popular words directs narrative reports, social critique and fluent style of the author.adverbs and verbs derived from popular culture (with high frequency) are recurrent. Due to its transparency and communicative capability in theatricality of plays, they can be of help to the author. Therefore, it can be said that marked word choice of colloquial