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

The term carnival was used by the great Russian critic and philosopher Mikhail Bakhtin in the 20th century to criticize and analyze literary works. This word was presented to him as a culture; A culture that was brash and open, free and unrestrained, played jokes and games against the domination of everything powerful and holy and imposed beliefs. According to Bakhtin's theory, the components of carnival in the works of Dehkhoda, Mirzadeh Eshghi, and Nasim Shamal are grotesque realism, laughter of death, non-religiousness, relativity and the juxtaposition of opposite concepts and the promotion of polyphonic space. According to the nature of the topic and research objectives, this research is in the field of descriptive, library-documentary research, which has an applied nature, and in its example, two works by Dehkhoda, one by Mirzadeh Eshghi, and one by Nasim Shamal are examined. The sampling method is selective and the data collection method is documentary. By using a descriptive-analytical method, after introducing the carnival and its components in Persian literature, the analysis of the carnival process in the considered works is done by citing examples.

The present research aims to study how the affordances of irony (structural irony) lead to the creation of the style of grotesque (according to Philip Thomson’s theory) in Jean Teulé’s Eat Him If You Like [original title in French, Mangez-le Si Vous Voulez, translated into Persian as Adam-kharan]. Teulé manages to create moments that seem humorous to begin with, but turn into scenes of threat, horror, and torment. The main question is how such a situation arises and what role does irony play in the development of the style of the text. Accordingly, in the present research we have used a descriptive-analytical method to study excerpts from Eat Him if You Like to delineate the influence of structural irony on the creation of the style of grotesque in this novel. For this purpose, first a general definition of irony and grotesque is presented and then different types of irony and their functions which are conducive to the creation of the style of grotesque in this novel are discussed. Findings of the research indicate that in this novel, different types of irony such as dramatic, situational, cosmic and tragic, create two-fold, reversed, unwanted and imposed situations as well as a bleak, disturbing and disgusting atmosphere, which lead to the development of grotesque in the text.

Grotesque, the artistic-literary discourse, makes technical arrangements for the creation of heterogeneous emotional mixtures and the creation of all-encompassing uncertainty, the decipherment of his long-awaited scenes, leading to the technical and content enrichment of the work. The grotesque is at the forefront of the battle with the certainty and it’s the herald of an unfinished world. In the light of the philosophical content of its worldview, it reveals the blunt face of the unattainable world in the form of a simultaneous representation of the two-dimensional contrasts. Bakhtinian grotesque approach focuses on the merry roots of popular literature, in the form of features: inconsistency of dual contrasts, exaggeration, corporeal centeredness, degrading, aggressive language, and absolute anomalies, It has undeniable benefits by enabling the recognition of the capabilities of the narrative text by objectifying their truth-seeking worldview and anti-dogma libertarianism.The novel “The Game of Forgetting”, by the Moroccan “Mohamed Barrada”, is a center of experimentalism on the arrangements of polyphonic literature, especially the grotesque, and has created significant prototypes in this field. Literary representation of grotesque characteristics the following grotesque manifestations: disharmony, abnormal corporeal centeredness, grotesque atmosphere, erotic abnormalities, profanity and billingsgate, and the theme of madness were examined and analyzed in response to the prevailing spirit of one-sidedness and illusion of omniscience.Mohamed Barrada, a pioneering author whose novels are indebted to Bakhtin's discourse theory, recognizes the carnival-grotesque tradition in his laudatory critiques, He has adapted some of the preparations of grotesque realism to his masterpiece of narrative, and has paved the way for the benefit of the rich but veiled Moroccan popular culture.he engaged in literary modeling under the sub-categories of dialogism, For example, he has attempted to create scences focusing on Grotesque wonders, as well as the philosophical and ideological dimensions considered by Bakhtin, And his creative scenes and images each somehow pursue the goals of grotesque discourse. Barrada is also one of the Arab exprimentalist novelists, and Grotesque's discourse, intersects with the new exprimentalist novel, on the subject of border crossing and transgression, norm-breaking, non-dissemination of consideration, embracing with all possibilities and the rejection of pre-determined categories. The main question of this paper is how grotesque elements and images have been effective in inducing the ideas of truth-seeking and exposing grotesque discourse and adapting the concepts of pluralism and confronting the serious tone of the Domineering official culture. In pursuing the research question, we first identified the theoretical topics of grotesque and then examined the grotesque effects of “The Game of Forgetting” and analyzed the inductive concepts of its examples.

In analyzing grotesque examples, we have followed a descriptive-analytical method based on library data processing, and our focus has been on Bakhtin's grotesque approach, based on the merry roots of popular literature, and in the form of features: inconsistency of dual contrasts, exaggeration, corporeal centeredness, degrading, aggressive language, and absolute anomalies, and by applying the method of technical critique and carefully examining the necessary techniques of a particular literary genre, we have sought the literary representation of grotesque features in the form of grotesque manifestations, including: disharmony, abnormal corporeal centeredness, grotesque atmosphere, erotic abnormalities, profanity and billingsgate, and the theme of madness.

Examining the examples of each of the grotesque features of “The Game of Forgetting”, we find:1. Expressing contradictions in the behavior and movements of the characters or the state of phenomena and being in a situation inconsistent with their position, in Barrada’s work, is a solution to create a heterogeneous and challenging mixture of emotions to discuss the idea of a fluid and possible world by rejecting necessary principles It is undisputedness and completeness.2. In the abnormal corporeal centeredness and extreme attention to the lower parts of the limbs, as the ways of communication with the earth and the material world, the principle of degradation is considered by the author to question the pretense of excellence and sanctity and deliberately highlighted distinctions and replaces the idea of equality and universal anti-class freedom.3. In Barrada’s grotesque atmospheres, the induction of negative, harassing, and anxious emotional states, In addition to creating a heterogeneous emotional duality and laying the groundwork for grotesque indecisiveness and indecision, somehow aims to normalize our view of the second half of life, the death, which is followed by a new birth. Sometimes this is done in the realm of sacred matters, such as the example of the Mushatfah.4. Erotic abnormalities are the culmination of the construction of emotional dichotomies and are tied to killing in order to intensify them. Another purpose - according to the narrator's groundworks in order to to raise the examples - is to set aside considerations in this area and expose it as a real part of life that requires a logical design to find a solution like other phenomena and should be known. That secrecy, as claimed by chaste purposes, is not the solution.5. The vilifications in language of grotesque, by connecting the object to the lower extremities, acquires a destructive-reconstructive nature and so-called carnivalous, and with the help of the capabilities of the inferior culture, unlike the official repressive culture, creates creativity and behind the profanity, the liberating truth of freedom, Has lies. The deliberate choice of blasphemous concepts indicates a deliberate massification of the mass of ideas and images distorts the whole truth considered to be complete.

Thus Barrada, of an exemplary spirit of intolerance and rejection, seeks to recall the excluded elements and to combine heterogeneous elements and that allows another view of a world with a more orderly structure under the concept of relativity. And by projecting any indisputable ideas and dogmatic actions, and believing in the boundaries crossing and coexistence of phenomena, heralds high decisive values such as freedom, happiness, justice, accepting others, rejection of dogmatism and reconcile all the parts of the world again.Keywords: Grotesque, The Game of Forgetting, Degradation, Corporeal Centeredness, Billingsgate.

Grotesque is a type of visual expression that allows the artist to express his or her desired concepts in a different way in art by creating a strange, unusual and unrealistic visual identity. The definition of specific characteristics for the grotesque in art is one of the topics of interest to theorists and has been examined from different perspectives. The current research aims to comparatively analyze selected paintings from Bahman Mohassas (1931-2010) and shots from the movie Songs from the Second Floor by Roy Anderson (2000) through the lens of Mikhail Bakhtin's grotesque theory (1895-1975). It adopts an interdisciplinary approach to seeks their commonalities according to the characteristics considered by this Russian philosopher. The method used in this research is descriptive-analytical. Despite the paucity of research on the grotesque in visual arts, the results indicate that given their different cultural roots, both artists have made good use of the characteristics introduced by Bakhtin and that they share commonalities in this respect

In the stories of Haft Peykar, one can see the most significant components of the grotesque style, such as the feeling of fear, latent ridicule, strange and surprising shapes, ugly adornments adorned with ornaments, and so on. The adaptation of the Haft Peykar narrative section to the grotesque components, especially the grotesque, which the new view of the two critics in this field, namely Kaiser and Bakhtin, reduces its negative aspects and, while changing the conventional standards of beauty, considers this style as a kind of ugly aesthetics, with a significant clarity. In this stories, some physical and mental issues that have been pushed back from human life, along with its ugliness and filth, are portrayed in complex, astonishing, contradictory and unexpected ways.  In this research, while using library and documentary studies and using qualitative analysis method and taking into account Kaiser's view, we have categorized, and analyzed the grotesque category and its index components in Haft-Peykar stories. The findings of the research show that Nezami in these stories has been able, with amazing skill, in the content and form of the work, to show the ugliness and filth in ways close to the characteristics of a grotesque work.

Grotesque is a pseudo-literary and artistic comic in which the writer or the teller derides abnormalities with an unpleasant and disgusting and funny exaggerated one. Grotesque elements create a dual space in a literary and artistic work and create a structure that combines opposing thoughts. Grotesque both absorbs and repulses, makes laugh and scares at the same time. Grotesque typically depicts human beings in an exaggerated and crafted way and behaves with regular structures such as time, cause and effect, and logic as if they were otherwise possible. Bahram Sadeghi and Gholam Hossein Sa'edi are among the impressive writers of the 1340s in Iran who picture the life of middle class people after the failure of the coup d'état of 1332. Sadeghi and Sa'edi have both studied psychiatry. Sadeghi and Sa'edi’s originality is in displaying and analyzing the distressed mind of man and showing his psychic conflicts and so they create stories with Grotesque atmosphere. In this paper, while addressing the reasons and the grounds for creating the Grotesque space in the works of these two writers, Grotesque elements of Gholam Hossein Sa'edi's fictional works and the collection of the stories named Trench and the Empty Tanks and Heaven, the long story of Bahram Sadeghi, are studied based on Philip Thompson's theory and the similarities and differences of these two authors are depicted. According to this study, Grotesque elements are more frequent in Sa'edi’s works than those of Sadeghi’s as there are 216 elements in Sa'edi’s works and 75 elements in Sadeghi’s.

Carnivals are public-critical events that mock the seriousness of official culture and ruling norms and display equality and freedom together. In the carnival, freedom and temporary release from the grip of the ruling order are formed along with authentic connections between different classes of society, regardless of hierarchies and permanent prohibitions. By ridiculing baseless and superstitious thoughts and beliefs, carnival shakes minds and raises the level of society’s awareness. Laughter in the carnival destroys the fear of power and taboos that have formed in the individual and society over the years and brings the suppressed and silenced voices to the ears. Such an event is both a tourist attraction that brings economic benefits to the host community and a show whose actors are citizens and whose performance is their presence. A presence that shows individual and collective maturity. This critical writing reviews the concept and components of a carnival and the clear message of each line is why we don’t have a carnival. In fact, this is a negative question or a rhetorical question that the author is not looking for an answer to, but his goal is to draw the audience’s attention and make him think. Understanding the concept of carnival is intertwined with understanding the concept of pluralism, and naturally, societies that have lived under the rule of despotic sultans for many years should pay more attention to this openness.

"One Thousand and One Nights” The Sublime Example of Grotesque in Oriental Folk Literature Abstract Heeding the modern criticism and literary theory is an effective method for reading a text and achieving the deep meaning of it. Such an approach causes the reader’s vast understanding too. Therefore, nowadays the study of literature influenced by modern critical theories is profoundly attractive for researchers. The classic literary works are no exception. “One Thousand and One Nights” as the most comprehensive collection of Middle Eastern folk tales has always drawn sociologists’, anthropologists’, art and literature researchers’ attention to itself. Hence, by studying and analyzing it’s long and short tales and defining Grotesque features of them (e.g. incompatibility, disharmony, funny, terrifying and hideous issues) readers will respectfully find out that “One Thousand and One Nights” is not a collection of mere nonsensical absurd jokes. This paper is attempting to clarify that due to various contents, combination of comedy and tragedy, literary delicacy, mysterious themes and so on “One Thousand and One Nights” is the sublime example of Grotesque in Oriental folk literature and oral tradition.

Grotesque images in Shams Langroudi's poems can be considered according to the social and personal developments of his life. He has always been very influenced by the events around him. Shams Langroudi depicts adversity and bitterness in the form of his poems and using the tools and aspects of grotesque for the audience of his works.    Until the publication of "Grotesque in Literature" in 1957 by Wolfgang Kaiser, grotesque was only a violent comedy. But Kaiser and Mikhail Bakhtin introduced other dimensions and aspects of grotesque, such as comedy and horror, disharmony, incoherence, and grotesque exaggeration to literature. In this research, using analytical-descriptive method and using library sources, while examining the grotesque poems of Shams Langroudi, we try to find out which aspect of the grotesque aspects is used in his poems and has more expression? Given our knowledge of his character, it is expected that the comedic aspect of horror will be more prevalent in his poems. The result of the research, however, indicates a higher frequency of inconsistency than other grotesque aspects in Shams Langroudi's poems.

The Constitutional Revolution is the most fundamental socio-cultural change that transformed the traditional worldview of Iranians; Therefore, the poets of this period created works appropriate to those conditions because they realized that they should compose the poem for the people that satisfy their political and social feelings. These changes can be seen in various fields of contemporary poetry, including debate.Debate is a literary form in which two people exchange views on moral, political, religious, and legal issues, and usually a third party judges between them. Another form of this debate is Dialogue.Debate was influenced by political, social, cultural, and intellectual developments; as far as its types, themes, forms, and techniques is concerned with Bakhtin's theory, the similarity of the political and social conditions after the constitutional revolution in the Iran with the conditions of the Bakhtin period and Stalin's oppression had a great impact; Therefore, the writers study the aspects innovation in the debates of the debates from 1922 to the Islamic Revolution (1979), with a descriptive-analytical method based on traditional and contemporary Persian debates. they have studied and found the poet has explained part of his method of thought and created a different atmosphere in all these conversations.

Background and purpose of the research:

Some works have been published about debate in Persian poetry; Among them, the following can be mentioned: In the dissertations of Parvin Seyyed Almasi (2010) as "Study of the structure and content of Parvin E'tesami's debates" and Ismail Sharifi (2012) as "Comparison of debate technique in two styles Khorasani and Iraqi"; Mehdi Rahimi (1996) in his treatise entitled "Debate in Persian poetry (from the beginning to Parvin E'tesami)". Narges Mohammadi-Badr and Hashem Mehdizadeh (2016) in the article "Reflections on the evolution of the debate from the Assyrian tree to Nimaee poems"; Ali Akbar Amini (2002) in his article "Dialogue in Contemporary Iranian Poetry"; Mohammad Reza Roozbeh (2013) in the article "Shafi'ei's innovations in the field of debate" and Reza Zarrin-Kemar (2017) in the article "From Debate to Conversation: The Impact of Coup d'etat of 28 August on polyphony in contemporary poetry based on two poems by Akhavan-Sales and the Hushang-e  Ebtehaj» ; Vida Sabzevari Beidakhti et al. (2021) in the article "Study of reasoning method in Parvin E'tesami's debates based on Toliman's theory"; But no one of them has dealt with innovative ways of  Nimaee debating; However, considering the importance of political and social developments and their direct and indirect impact on the literary works of each period and the place of dialogue and debate in the world and life today, it is necessary to study this issue and discover new ways of debate in contemporary poets.

Contemporary debates, influenced by political and social circumstances, are often written in the form of dialogue. The purpose of the parties to the debate is to weaken and destroy each other; But the purpose of the conversation is to clarify the issue and reach a common ground and accept each other.Start with a question; Existence of rhetorical propositions; Enjoyment of freedom and authority; Intertextual connections with myths and multifaceted actions are components of dialogue that are all seen in contemporary debates. Form of poetry; The role of the poet in poetic narratives; Use of monologue (poet's conversation with himself); Existence of multilateral dialogue; The use of the carnival style and the use of the grotesque are some of the innovations in Nimaee debates that are not found in traditional debates.In traditional debates, the reader pays attention to the text only from the point of view of the poet or narrator; While new debate shows its emotions, it leaves the judgment to the audience; then, in contemporary debates, we are confronted with a kind of hidden narrator who remains silent in order to events to manifest themselves through inner monologue, polyphony, and dialogue. Belonging to the personal world and paying attention to individual feelings draws the poet to the self-talk, and the poet's “you” and “me” is expressed in social pains and the collective "me and you". Traditional debates had lyrical, romantic, and educational content and ignored the social structure of their society; While the contemporary poet, in addition to believing in the connection between the individual and society and their interaction, even pays attention to philosophical concepts.Ancient debates are mostly two-sided; But Contemporary debates are sometimes three- or four-sided. Nimaee debate moves from a state of bilateral conflict to a multi-voiced space with the expansion of the characters present in the poem.Multilateral dialogue can lead to the application of the carnival and grotesque methods of Bakhtin in contemporary debates. The concepts and values ​​that govern society are challenged through the use of carnival and tools such as criticism, satire, irony and ridicule.The components of determining grotesque instances are imperfection and metamorphosis; Exaggeration; It is also called the "grotesque body ", a mixture of conflicting emotions and the human body and related concepts. Contemporary debate uses symbolic character and language, and aesthetic techniques. The atmosphere of ancient debates is based on confrontation and its argument is based on controversy; but Nimaee debates are based on interaction and dialogue.

Nimaee debates have been written in a new form and structure and express the social and political themes and problems of modern man. Most conversations begin with rhetorical questions and statements that require an audience. The audience is not always a specific person; Rather, it can be the poet's personal or social self. In new debates, dialogue is based on freedom and authority, and neither side is superior to the other; Hence they interact with each other.The poet is usually active in the field of poetry and is not the only narrator. In most cases, debates are formed with the presence of different characters in a narrative atmosphere and create a multi-voiced world. Belonging to the personal world and paying attention to individual feelings sometimes leads the poet to debate in the self-talk.Using the symbolic element, the poet creates symbolic characters and leads the reader to the realm of the multiplicity of poetic meanings and concepts. By creating a carnival atmosphere, he criticizes the political and social situation. The disruption of the values ​​that govern society creates multi-voiced societies with diverse discourses.

Adherence to form and technique in the story constitutes the framework of Golshiri’s ideas. To demonstrate the movement and dynamism in the literature, he broke with tradition and turned the story into a means for knowing himself and others. Following the mentioned perspective, the novel Prince Ehtejab seeks to explore the depths and penetrates the hidden layers of the characters’ minds, discovers and knows oneself and others, and expresses the realities of society by disrupting the continuous order and sequence of time. Moreover, he used the grotesque genre to open his readers’ eyes to truths overlooked in everyday life in the face of reality. In this article, authors have studied modern techniques in this novel using analytical and library research methods and revealed that the novel Prince Ehtejab has been able to indicate the author to be a modernist. Furthermore, given the characteristics of deviation from accepted norms, metamorphosis, induction of a bitter and odious laughter, personification, depiction of madness in a romantic sense, depiction of dark and terrifying locations, description of horrific tortures, and presentation of a bitter death using metaphor and trope, he has illustrated the events occurred to four generations of an ancestry using the grotesque genre.

Mikhail Bakhtin considered popular literature to be the most suitable field for the emergence of carnival thinking. The distinctive feature of this thought is the disruption of the dominant discourse on traditional literature through the transformation of language and values in literary works. This article tries to analyze Iranian folk tales from this point of view. For this purpose, seven collections of Iranian folk tales have been analyzed in a descriptive-analytical way. The prominent features of carnival literature, such as freely raising issues related to the material life of human life Like eating, drinking, birth, marriage, and finally death as a natural process of life - and not a tragic and catastrophic thing - are important elements of carnival and grotesque thinking, which are discussed in this essay. The result of this research shows how different personality types are in conflict with each other in the stories, and with the transformation of superior and inferior levels, the discourse of dominance collapses. In these narrations, by breaking the norms of power in the society, the possibility of multi-voices is provided in the stories, which is one of the distinct characteristics of carnival literature. Also, the use of free language, without moral restrictions, which includes unusual words, profanity, and unusual words, helps to create a humorous atmosphere of the carnival.

Grotesque can follow various goals and intentions due to its extensive range of functions including criticizing the prevailing conditions in society and depicting politically forbidden subjects. However, what is of great significance is its effect on its audience and the developed special feeling in the audience. The mentioned feeling is usually accompanied by fear, hatred, disgust, and bitter laughter, which is the main goal of the grotesque that aims at reaching the third meaning that is created in the artist’s conscious or subconscious mind and is reflected in their work and affects the audience. The Symphony of the Dead is a novel that reveals the inner contents of the characters in a modern way, provides recognition of their soul and psyche, and depicts the painful and disgusting situation of the characters, horror and oppression, elements of superstition, ignorance and cultural poverty in society, and the fall of humanity and its plunge into the abyss of annihilation. All the elements in this novel lead the mind to the concept of the grotesque. In the present study, the authors have addressed the grotesque elements in this novel using a library-analytical method and have concluded that this nivel in a twenty-four hour period has depicted the events of the society during 1952-1956 using the grotesque genre -consciously or unconsciously- due to the fusion of reality and fantasy, the desperate, eerie, and hateful atmosphere, intellectual death and stagnation, contradiction, the fusion of human-animal elements, and the expression of strange, exaggerated, and unnatural images.

Adherence to form and technique in the story constitutes the framework of Golshiri’s ideas. To demonstrate the movement and dynamism in the literature, he broke with tradition and turned the story into a means for knowing himself and others. Following the mentioned perspective, the novel Prince Ehtejab seeks to explore the depths and penetrates the hidden layers of the characters’ minds, discovers and knows oneself and others, and expresses the realities of society by disrupting the continuous order and sequence of time. Moreover, he used the grotesque genre to open his readers’ eyes to truths overlooked in everyday life in the face of reality. In this article, authors have studied modern techniques in this novel using analytical and library research methods and revealed that the novel Prince Ehtejab has been able to indicate the author to be a modernist. Furthermore, given the characteristics of deviation from accepted norms, metamorphosis, induction of a bitter and odious laughter, personification, depiction of madness in a romantic sense, depiction of dark and terrifying locations, description of horrific tortures, and presentation of a bitter death using metaphor and trope, he has illustrated the events occurred to four generations of an ancestry using the grotesque genre.

Grotesque is a kind of literary-artistic genre with a variety of intricate meanings. However, most scholars and researchers have consensually acknowledged its most conspicuous components as follows: transformative, ridiculous, disgusting, and horrifying. Grotesque is a compromise between paradoxes -laughter and what is not aligned with laughter which ultimately results in a comedy-tragedy situation that provokes the audiences’ paradoxical response. Research on grotesque in Western art and literature is very extensive and has been addressed by many theorists and artists. Kaiser and Bakhtin are two great theorists with two different views in this regard. In art and literature of Iran - both classical and modern - many instances including prominent components of grotesque can be mentioned though they are not recognized as the grotesque genre as research studies on this subject is very limited in Iran and are restricted to recent years. The present study aimed at addressing grotesque in the words of one of the greatest poets of classical Persian literature, Mawlana Jalaluddin, whose speech is a brilliant idea with a depth that has not yet been reached. Rumi's Mathnavi-ye-Ma'navi is a raging and boundless sea of transcendent meanings that opens the gates of truth to the thirsty seekers of knowledge and sweetens the wishers of truth with the nectar of knowledge. In Mathnavi, Rumi chooses the form of storytelling to express his thoughts and beliefs and uses a variety of techniques to express his purpose to not only sweeten the bitter advice but also intensify the charm and appeal of his speech. One of these techniques is the use of satire in the narratives, which is a bitter and black humor and has a meaning far beyond the ordinary humor. Rumi is an illustrator of a truth that not only lies in the surface layers of the upside-down, contradictory, deceptive, and wandering world but also has been forgotten for the sake of the cyclical repetition of everyday life. These two aspects of the world - a deceptive appearance and a full-of-truth reality- create a contradiction, whose purpose cannot be described by humor. In this regard, the mysterious world of grotesque is the only means helping us unravel its mystery. Humor is present in most of Masnavi's anecdotes. In some of these anecdotes, the humor is accompanied by the structure, concept, and elements that assimilate it to the concept of grotesque, are no longer intended to make the audience laugh, and are a bittersweet in case of occurrence. Rumi deals with the inner world in humorous anecdotes, confronts these evil forces and powers by depicting the contradictions and dissonances in the inner and outer world, and teaches human the way of self-control and emancipation to attain his true nature and humanity. The present descriptive-analytical study examined the function of this genre in Rumi's thought and beliefs and concluded that the presence of grotesque in Rumi’s anecdotes is indisputable. By contrasting and centralizing personality and situation, using obscene words and erotic literature, realistically expressing the imaginary elements, linking the human and animal elements, and using the elements and themes of grotesque, Rumi illustrates the story of the fall of man into this mortal world and regards it as an initiation toward conscious ascending. Moreover, Rumi contradictory not only expresses the limits of human understanding and his inability to deeply discern the reality but also considers human as a creature of the creator that shares in the good of His essence, can achieve the truth that lies under the guise of sinfulness and has created a rust on the face of godliness with the awareness and disguise of evil, and can ascend to its original position with a wise and wicked love. The use of numerous functions of grotesque in Rumi’s words expresses the profound and insightful mystical notions that lead to true love and human evolution. Among these individual and social contradictions, inconsistencies, and anomalies, Rumi strives to attain salvation and save the human soul from pollution and uncleanness and informs his audience regarding the lack of insight that leads to misunderstanding of the truth.

With the establishment of the Safavid government, Iran entered a new phase in history and literature. The special attention to popular culture during this period led to popular literature and folk tales. Addressing folk tales during this period is not only about entertaining and preserving ethnic values and historical events, but also reflecting political, social, ethical issues and criticizing the rulers of the Safavid society in a humorous fashion. These stories were generally narrated in cafes and public spaces where ethical issues were not respected. Hyperbole, paradox, intermingling of human and animal elements, offensive language, profanity, cursing, are the main features of these stories that put them in the Grotesque genre. In this paper, after describing Grotesque and its characteristics, the authors have studied this species in folk literature by relying on Eskandar Nameh of transcriptive writing, by using a descriptive-analytic method and collecting the findings. The grotesque themes of this work appear to be a function of expressing the events of time and criticizing the inadequate characters (depersonalization, derangement, abnormal and disturbing appearance), hyperbole, paradox, and offensive language, torture and curse are Grotesque features in these works, and it seems, they function to express and criticize the events of the time.Keywords: Folk literature, Eskandar Nameh by Naghali, Humor.

Grotesqe is one of the most affective theoretical object for browbeathing problem’s contemporary world. Approximately, Grotesqe is a fictional and aerial object, because many objects immingle in it and you can see abnormalcy, singularity, laugh, abhorrence plus hallucination. Grotesqe had concerned in art and literature consciously or unconsciously, but in lately century, it has concerned in modern literature especially in story.Grotesqe had concerned in art and literature consciously or unconsciously, but in lately century, it has concerned in modern literature especially in story Therefor in this article, the most important ingredients of Grotesqe in Harry Potter have studies by Tomson’s theorys and with descriptive and analytic style and documentary and library method. Harry Potter’s critical study shows this story is a kind of Grotesqe according Kiser’s attitude, because there are basic Grotesqe’s ingredient in it. Propensity to this style in this story is owing to boredom contemporary homosapiens that it has erupted in to huff with noumenon and using surrealism and irrational images.