جستجوی مقالات مرتبط با کلیدواژه "ژولیا کریستوا" در نشریات گروه "علوم انسانی"

Intertextual studies are among the important approaches in contemporary literary research. According to the theory of intertextuality, no text exists without a pre-text, and texts are continuously recreated or reinterpreted based on earlier texts. Considering allusion as exemplar of intertextuality, the purpose of this study is to analyze the intertextual relationships of allusions in the poetry of Mirza Mohammad Seil Akhbāri using a descriptive-analytical method. The results of this study indicate that allusions in Seil Akhbāri's poetry are often connected to literary romanticism, mythological themes, religious subjects, and religious figures. Intertextual relationships in the works of this poet are based on the three types of Kristeva's transtextuality - partial negation, parallel negation, and complete negation, among which, partial negation is more prevalent and shows the highest rate of frequency in the poetry of Seil Akhbāri.

Marguerite Duras' unique novel Lover allows us to enter her autobiographical world. What has a significant frequency throughout the story is the narrator's encounter with her mother and her reaction to motherhood. The narrator's descriptions of her mother inspire the reader with a different image from what is usual, descriptions that all indicate an inner hatred towards the mother. A hatred that neither the narrator nor the reader knows the exact cause. To discover this reason, we use Julia Kristina’s theories. In her book titled "The Power of Terror", she talks about a process called "Abjection". From her point of view, the child is initially intertwined with his mother in a symbolic space called "Chora" where there is no boundary for the child and he is one with the mother. In order to be able to become an independent subject and body, the child must then draw boundaries between himself and the first other, or his mother, and in this process he turns to abjection. In this research, taking these concepts into consideration, we first study the narrator and his relationship with his mother in order to find out whether the occurrence of emotions such as disgust and hatred and mental states such as depression can be an estimate of the same mechanism in the unconscious mind of the teenage narrator and finally we will see how writing is used as a solution to overcome these emotions and negative states by the author of the work.

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.

The main topic of the present article is whether the theory of intertextuality - in its classical form and narration formulated by Julia Kristeva, the author of the word intertextuality - can be used as a way to understand the meaning of language and religious texts? And that using intertextuality can achieve a single, complete and final meaning? And assuming meaning, what will be the state of objectivity in understanding the language of religion and religious texts? We have also answered the question that by emphasizing the intertextuality of texts, such as the dynamics and continuous processing of texts, during intertextuality, can the meaning of the text be equated with the author of the text? To gain meaning, Kristeva emphasizes the two components of subject and language alongside structure. Based on these two important components of Kristeva, which form the basis of the formation of intertextuality, the discussion is examined in two axes. Given that meaning is the result of cooperation and connection between language and subject, what is the purpose of understanding the meaning of religious propositions and basically the language of religion in both written and spoken forms? Does intertextuality provide a way to understand the meaning of the language of religion? As a result, we find that the use of intertextuality in the Valley of the Language of Religion cannot achieve a single meaning due to the dynamics of the language and the subject matter of Kristeva.

Julia Kristeva is one of the theorists who have tried to establish a close connection between literature and psychoanalysis by proposing various theories in areas such as literary criticism, feminism, and psychoanalysis. She seeks to examine the relationship between language and the subject in dialectical and dynamic processes by proposing concepts such as the speaking subject, the symbolic and the semiotic, thus clarifying the connection between psychoanalysis and language with the notion of abjection. Abjection is a process through which the linguistic subject, by entering the symbolic realm, considers anything that threatens the boundaries of its subjectivity as the other and tries to reject, deny and repress it. In this paper, Houshang Golshiri’s novel Prince Ehtejab is read based on Kristeva’s theory. In this reading of the novel, we are confronted with Prince Ehtejab’s pain, wounds and the evils of his soul. After a futile attempt to rid himself of all that he assumes contaminated, and to gain purity, tired of rebuilding the past and achieving the desired individuality, he gives up exploring the corners of his mind and surrenders to death. In literature, abjection theory considers the text as the superior signifier of abjection. This process is illustrated in literature in a variety of ways, including the denial of the mother, negation of the mother-child relationship, a constant sense of controversy with the abject, an attempt to defend the privacy of subjectivity, and the emergence of unpleasant words and phrases. It turns the text into a place for exposing the subconscious and the darkness of the soul and whatever casts a shadow of that fear and terror over the subject, so that the individual may attain sublimation and purification. Extended Abstract1.IntroductionJulia Kristeva has tried to establish a close connection between literature and psychoanalysis. She has sought to clarify the connection between psychoanalysis and language through her theory of abjection. Abjection is a process in which the linguistic subject, by entering the symbolic realm, considers anything that threatens their subjectivity as the other and at the same time tries to deny and repress it. In the present article, Houshang Golshiri’s novel Prince Ehtejab has been studied based on Julia Kristeva’s theory of abjection. 2.Theoretical FrameworkKristeva introduced the concept of abjection into literary studies due to the cathartic role of literature. She believes that in literary texts, the writer is a subject that uses her/his work as a venue for talking about crises both inside her/him and in the world surrounding her/him. The present article studies the concept of abjection in Houshang Golshiri’s Prince Ehtejab in order to point out some of these crises. 3.MethodologyThe present article follows a descriptive-analytical method. First, some major concepts in Kristeva’s theory, such as ‘subject’, ‘the semiotic’ and ‘the symbolic’, are explained and the concept of ‘abjection’ is analyzed. Then, using the main components of this theory, Houshang Golshiri’s Prince Ehtejab is examined. 4.Discussion and AnalysisDifferent instances of abjection can be identified in Golshiri’s Prince Ehtejab. An important one can be found in the case of the mother who is constantly denied by the Prince, as are the other mothers in the novel. This might be because their presence is deemed to threaten the independent identity of the subject. The Prince also describes the crimes committed by other masculine subjects in order to distance himself from them and protect his identity. According to Kristeva, the subject finds the abject both repelling and attractive, both endangering and protecting her/his identity, examples of which can be the Prince’s description of his father, Monireh Khatun, and Fakhr-o-Nesa. 5.ConclusionIn Golshiri’s Prince Ehtejab, instances of impurity and sin can be detected in the character of the Prince. His attempt to exonerate himself is futile, making him finally surrender. The novel ends with the death of the Prince, the speaking subject. The present article offers a new reading of this novel and applies a theory through which we can delve into the inner being of humans and the world surrounding them. Thus, a literary text can be regarded as a signifier that reveals human pain, impurities and sins, and help to eliminate them. In this novel, the literary text is a venue for the identification and elimination of impurities and vices. Select BibliographyAliakbari, M. 1393 [2014]. “Nabarabari Sourati az Aloudehengari.” Zanan-e Emrouz 6: 1.10.Firouzi, A. and Akbari M. 1391 [2012]. “Mafhoum-e Ma’anakavi dar Andisheyeh-ye Julia Kristeva.” Shenakht 67: 111-131.Golshiri, Houshang. 1357 [1979]. Shazdeh Ehtejab. Tehran: Ghoghnous.Kristeva, J. 1982. Powers of Horror: An Essay on Abjection. L.  S. Roudiez (trans.). New York: Columbia University Press.Kristeva, J. 1984. Revolution in Poetic Language. L. S. Roudiez (trans.). New York: Columbia University Press.Kristeva, J. 1388 [2009]. Fardiyat-e Eshteraki. M. Parsa (trans.). Tehran: Rouzbehan.Makaryk, I. R. 1385 [2006]. Daneshnameh-ye Nazaryeh-ha-ye Adabi-e Mo’aser. M. Mohajer and M. Nabavi. Tehran: Agah.McAfee, N. 1384 [2005]. Julia Kristeva. M. Parsa (trans.). Tehran: Markaz.Mehraeen, M. and Hajizadeh A. 1393 [2014]. “Matn va Qodrat: Charchoubi Nazari Baraye Tafsir-e Enteghadi.” Naqd-e Adabi 27: 29-67.Payne, M. 1390 [2011]. Lacan, Derrida va Kristeva. P. Yazdanjou. Tehran: Markaz.Selden, R. and Widowson P. 1377 [1998]. Rahnama-ye Nazaryeh-ye Adabi-e Mo’aser. A. Mokhber (trans.). Tehran: Tarh-e Now.

Intertextual studies are one of the most important approaches to contemporary literary research. According to the theory of intertextuality, every literary text is its reproduction and reproduction of past or contemporary literary works. Considering this definition, Talmih can be regarded as one of the most obvious examples of intertextuality. One of the poets who widely used this array in his poetry is Mohammad Kazem Kazemi, the most famous poet of the Resistance of Afghanistan. In this research, the ways in which Talmih was used in his poems has been examined by descriptive-analytical method. As the results of this research show, Kazemi's poems are often linked to religious themes and texts such as the Quran, hadith, the history of Islam, the Prophets of the Prophets, etc., and the intertextual relations based on the threefold rules of Christau between the present text And absent, in the form of partial negation, a negation, and a general negation, in which a partial negation in Kazemi's poems is more frequent.

The purpose of the present study is to explain how a female designer uses visual elements and rules to produce meanings and messages in order to illuminate the creative aspects of women's existence. Clarifying the meaning and message of the poster relies on observing, describing, and interpreting visual qualities. To clarify the layers of meaning, we study it with the components of the semantic process in language theory of Julia Kristeva. The components of the theoretical framework of the research are symbolic, the semiotic, their exchange, and then intertextuality. The method is the analysis of qualitative content by hermeneutic approach.  This shows that both the symbolic and the semiotic in this poster are in constant conflict and exchange. They direct the meaning process. Female and flower`s replacement, flower petals and mouths, flower pot, water and clouds and materials for cultivation, usage of text with a curved font on the pot, and double reference of the text in theoretical defense of female voice show the symbolic and the semiotic exchange. In addition to them, the study of intertextuality like the benefit of embroidery technique to lost women's creativity implies the ultimate meaning. It is that today, just as much as we need to revive feminine traditions such as embroidery, we should pay as much attention to the female voice in different reproductive aspects of their existence. Also writing on the pots show the emphasis on other creative aspects in woman`s existence. Therefore, the poster`s designer pays deep attention to female reproductive aspects  of their existence.