جستجوی مقالات مرتبط با کلیدواژه « ادبیات نمایشی » در نشریات گروه « ادبیات و زبان ها »

The purpose of this article is the hypertextuality study of manifestations of metamorphosis in Gholam-Hossein Sa'edi's works according to Gérard Genette's theory of hypertextuality. This theory is one of the five types of Genette's theory of transtextuality which concentrates on inspiration, derivation and effectiveness of the hypotext on the hypertext. Besides, this theory includes two basic types, imitation and transformation. Metamorphosis is considered as one of the most remarkable elements in myths, folk tales, and legends. Based on this process, unexpected and gradual changes demonstrate themselves in the appearance and sometimes in the conscience of the creatures and they transform from one form to another while displaying different performances. Moreover, sometimes they can appear in the combined structure of humans, animals, plants, and objects. Literature is the origin of presence of these manifestations and they have had mutual effects on each other over the time. The mutual impressiveness and effectiveness provide an opportunity to study them with respect to the theory of hypertextuality especially by considering contemporary literatute as the target resources which fewer researchers have focused on it. The results of the study demonstrate that the manifestations of the metamorphosis exist in thirteen stories, one novel, six plays, and three screenplays written by Gholam-Hossein Sa'edi. In this article, based on the descriptive-analytical method, these manifestations were classified and determined in three different groups and then they were studied based on a qualitative content analysis. At the end, impressiveness of these manifistations in Gholam-Hossein Sa'edi's works from ancient literature and folk tales has been studied according to the hypertextuality theoretical framework. The results represent that Gholam-Hossein Sa'edi sometimes has used these manifestations with direct and indirect influence of ancient and religious narratives and folk tales (hypotext) in his works (hypertext), however, in most of the time, he has used his creativity and imagination to make these manifestations in favor of progress of the story.

The concept of "body" goes beyond a set of organs and functions that are regulated by the laws of anatomy and physiology. The body, above all, has a symbolic structure that provides a medium for the projection of cultural forms in their broadest forms. In this study, examples of this assumption will be followed in the study of plays produced in the Iranian dramatic literature of the Sixties and Seventies. An era that was accompanied by fundamental changes. In the mid-1970s, two-thirds of the country's population was young people under the age of 30. The country's education system also grew slightly to threefold. Influenced by the "post-colonial" discourse that flourished after World War II, this broad class at one point turned to the leftism; And turned to jihad in opposition to the regime of the time. The objection manifested in the literary / artistic productions - which are considered works in praise of the mass uprising -. This resistance is manifested in different levels of works; Among these, the "body" will be considered in the present study. Among the works of Art/Literary, an outstanding play by Gholam-Hossein Saedi, “Chub be Dast-haye Varsail” will be analyzed. In order to analyze the various aspects of the "body" in this play, first of all "gender; Appearance" is considered. In the next part, "body movements", and after that, "body stillness and creating illusion and imagination of movement" and its implications will be discussed. Finally, we will consider a topic that is specific to this play. the unique aspect of ‘body’, which has shown itself in the "Metamorphosis of the body”. Results indicate that the process of emphasis on the certain dimensions of body, helped the writer to alienate some characters. This process is possible by usage of the body's capabilities, for example by transforming shape of the body towards the animal figure.

Iranian literature is one of the hallmarks of Iran's long-standing civilization that embodies the customs and art of this land. The play is also a literary genre that has long been prevalent in the culture of this land and has remained in the form of mourning, surrealism, glorifying dances, painting, similitude and ta'ziyeh and more. Ancient Persian literature cannot be regarded as a stand-alone literature, but since ancient Persian literature and art have the same source, It can be said that the writings of the Iranian artist's literatures have been marked by the art of the show, and the dramatic literature has long been synonymous with other arts such as music and painting alongside literature. Persian literature is illustrative and meaningful and encourages the audience to visualize the text in order to get better And it is from this that an artistic interaction is formed between the writer and the reader, and by the act of reading and performing them, the dramatic capacity of the works is manifested. There is no doubt that ancient literature is the basis for the "representation of species" which can be seen in many works such as the works of the military, Attar, Rumi, Ferdowsi, Beihaqi, oufi, Tasuji and others. Since the play is the home of world media and one of the best known ways of enriching Iranian literature; The present study seeks to examine the dramatic capabilities of such works that remain anonymous and a powerful tool for the representation of Iranian history, art, culture and thought And express the place of these works in the field of theatrical literature.

A great amount of the verses in the Holy Qoran deal with communicative correspondences, and are therefore good cases to be analyzed in terms of dramatic discourse. This article aims to study the different types of dialogue in general, and then studies dialogue as an important mode of discourse. Then, on the basis of the current theories in discourse analysis, it studies the story of the presence of the angles in Abraham's house, which takes place according to the verses 69-73 in Hud chapter, 51-58 in Hijr chapter, 31-32 in Ankabut chapter, and 24-34 in Zariyat chapter. The present article studies the turns of the dialogues, and their dramatic potentials to proceed the story. The article concludes that the interactions available in this story and its likes may be set well in the framework of dialogue analysis, and this approach can pave the way for better dramatic adaptations of the Holy Qoran.

his article in the structure of the theory of Paul.c. Castango to explain the role of the language and it`s multiple abilities in creation of the structural elemants of the Mahmoud Teymour’s drama “Shelter No. 13”, considering. The current stady aimed at investigating different type of Dialogic beat and various functions in the Mahmoud Teymour’s drama “Shelter No. 13.
The results of this research indicate that Dialogic beat are known as the most basic recognizable unit of linguistic and intellectual actions and it constitute the main part of the drama and with an emphasis on rapid time break can altering ongoing flow of the means also the result obtained indicate that linguistic and metalinguistic implications are highly considered in discourse of this drama and conversational pulses are used in high level. “tum talking” is the most frequent conversational technique and refrain “riffing”, “deletion”, “halt” and “cut” are other linguistic tools that the writer used them as a factor to “analyze the thoughts and emotions”, “space creation”, “conflict” and “expressing the intensity of crisis”.

Playwriting in war, certain concepts are concepts of sacrifice and dedication that in this concept has the effect of critiquing and analyzing the works, to identify the strengths and weaknesses of the role has become increasingly. In this paper, the authors have tried to present three dramatic and "Badriya, I did not know", "brother die" and "the heaven on earth", with an example of how expressions of devotion to review these works, to analyze the causes and Factors affecting the expression of devotion in their text. The study was qualitative and case study for the content analysis method was used to analyze data. Made according to the latest national, familial, religious and richness Attention was also a significant presence of male and female ratio is approximately equal to the original aim of the paper "Analysis of the plays and position devotion in them," The the present study show The result, In total, 90 times depending on the play of devotion components is considered. The author also draws attention to issues of national, family, religion is also flexible. The presence of women in this field can be considered as the main feature plays in Western Azerbaijan province.

A symbol is a mark or word that indicates, signifies, or is understood as representing an idea, object, or relationship. It is something that is represented by something else and a physical object that stands for another object, person, or idea. It is the sign of the object or something that adds to the feeling of an object or the other. In this way, the artist offers facts, not directly but as symbols. Symbolism is the representation of one thing for another using a person, object, or idea. It is also a powerful force for communicating meaning; certain themes or ideas affect the mind of the audience more pro foundly when presented indirectly through a symbol than when presented overtly. However, symbolism has a different usage in different aspects of art and symbols appear differently and in every course are unique and the meaning of this word in psychology or literature, drama, architecture, etc... are not the same. In architecture, it`s clear that architecture is not simply the ‘design of buildings’ that are mere physical enclosures. On the contrary, it is an expression of thoughts, preferences, beliefs and emotions in built form, symbolically communicating and imparting relevance to its users. In that field, architects can use patterns to shape the building and create unique buildings with the same patterns. Symp toms can be a contributing factor in promoting a sense of place with the audience. On the other hand, dramatic art is another aspect of art that uses symbols and symbolism. There are many kinds of symbols. Normally, dramatists weave clues into the work to indicate that certain elements are intended to be taken as symbols. The Blue Bird is a famous play in symbolism whose text and places have symbols in themselves. In this study, the researchers aimed to compare the differences and similarities of symbolism features in dramatic literature and architecture in Maurice Maeterlinck’s play The Blue Bird. The method used is descriptive analytical and the tools used are library studies and analysis of data from library studies. As a result, in some cases, places can create imagination and viewers can percept what they are, and the pain and sorrow can be shown in physical elements. Also we can use physical elements in writings and dramas with words and emotions. Using words, geometry and decorations, ideas and elements engage emotions of the reader.

This paper aims to examine the major effects of popular culture of folklore culture in the production process of Iranian dramatic literatureand studying the solutions for localizing the literature. This interdisciplinary study, tries to discuss the effective roll of folklores roll of developing Indigenous patterns of creative writing for the dramatic arts. Hamid Amjad, as one of the Iranian contemporary dramatists, uses various aspects of folk culture in create and representing dramatic world, and his works are proper example for research for studying some factors such as
language and tone, beliefs and customs, behaviors and subjects, and common signs of Iranian folklore culture.
This study is organised with gathering library data and the method of direct expose of dramatic texts, and with analytical method tries to determine the potential of Iranian folklore culture in organizing the ideas and realize them using techniques of playwriting. Findings of this research shows that some of the most important indexes of Iranian folklore culture, like folk tales, folk feasts and folk language was attend in creating dramatic texts by Hamid Amjad. Comparative comparison with some dramatic concepts and elements, like characterizations, subject, creating folk spaces and native language and culture, shows the different aspects of this usage. finally, research shows that using the elements from folklore.

Politeness phenomenon is one of the subjects which have been observed by researchers of different domains , e.g. psychology, sociology and anthropology. Politeness has also been investigated in the area of pragmatics. One of the concepts following politeness is linguistic impoliteness. Different people such as Goffman (1967), Brown and Levinson (1987), Bousfield (2008), Culpeper (1996;2003;2011) and Rudanko (1996) have worked on (im)politeness phenomenon. . In spite of the large amount of investigation on western culture, less research has been worked out on this notion in Persian. So, the aim of this study is investigating the function of this notion through describing it in Sayyadan drama of Ruye Sahneye Abi series written by Akbar Radi. The data was investigated through the five strategies proposed by Jonathan Culpeper (1996; 2003) on linguistic impoliteness and the notions, e.g context, social norms and emotions, he added later in 2011. The most frequently used strategy was positive impoliteness and the least used one was mock impoliteness. The synthetic ones were at the second level and negative impoliteness was at the fourth level. There was no withhold politeness among the data. Finally, new cases were introduced.

Bahram Bayzai’s cinema can be considered as a visual interpretation of the Persian myth. Bayzaihas tried to modernize the myths and present new versions of them by breaking the old versions and making new ones. In this way، he makes the narrative structure of his works closer to the myth. Discovering and elaborating different aspects of form and structure of Bayzai’s works will not be possible without considering the theories of structuralists such as Claude Lévi-Strauss. In this article، drawing on structuralism and narratology in the works of theorists such as Prop، Barthes، and Strauss، the form and structure of the time in four of Bayzai’s works have been compared to their counterpart،mythical narratives. I have concluded that in his cinematic narration time becomes closer to its mythical structure; in other words، time becomes endless، fixed، and sacred.

This article seeks to explain that any fundamental study about Taziyeh inevitably leads to a chronological investigation of theatrical play in Iran. Therefore, this article, has reviewed the studies conducted by western and Iranian scholars in this field and the eight approaches, using documents and the library references, and employing a historical-expository methodology. Finally, it draws the conclusion that these scholars’ persistence in finding a single origin for the Iranian theatrical play of Taziyeh has led them to ignore its extensive connection with other possible original sources; hence, there remains a lot to be explored about the theatre in Iran.

The Medieval period is usually known for the demise of dramatic literature mainly because the Church considered "acting" a sin unless supervised by authorities. This article, by reviewing performance strategies common among European people in the medieval period, discusses people's interventionist roles in re/shaping liturgical 'texts'. It argues that the religious rituals of the period were sites of socio-political tensions between authorities, on the one hand, and the people, on the other. The aim is to challenge the dominant idea of the pre-modern era, that is, the medieval period, in which power was disseminated to people on a top-to-bottom basis only. In other words, the article contends that people were busy negotiating their own versions of body/politic(s) with authorities.

Story-telling has always existed through time in different lands. However, it so appears that it has not undergone much of a development in Iran. Before the emergence of Islam in Iran, the Parthian Gossans and Sassanind musicians made use of music, dance, songs, probably a number of actors and actresses. In the course of change of religion from Zoroastrianism to Islam, story-telling preserved its nature, though it lost its characteristics such as dance and music, mainly relying on the artistic features of the narrator. Due to restraints existing in the Islamic period which followed the interpretations of the religious teaching concerning arts and drama, story-telling was somehow limited to the narration of merely one person called "Tazieh" (passion play). The very same constraint, however, reinforced drama and became the source of development for Tazieh.