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

The present research tries to use the descriptive-analytical method and focusing on the metaphorical meanings of elements of mise-en-scene such as composition and arrangement, illustration and gesture, movement, action and elements such as stage lighting or the role of decor in the design of the scene mise-en-scene in the movie "Passengers" by Bahram Bayzaei. to pay The results of the research show that visual experience creates "imaginary" schemas in the human conceptual system; In other words, image schemas originate from human's sensory-perceptual experiences and his interactions with the outside world, or in other words, his embodied experiences, which are used in the movie Passengers to conceptualize "life and death". In the present work, the metaphorical conceptualizations of the film Passengers and the related concepts directly and indirectly go back to the main theme of the work, i.e. blackness and darkness, meaning mourning, and light and brightness meaning life. In fact, in this film, sadness as darkness, emotional relationship as food, death and the road as distance are represented in a one-dimensional way. In all these one-way metaphors, only visual signs are used for representation. Some other metaphors are also represented as human being as a plant, heart as an object, grief as a place or container, road as a human being, objects as living beings and some abstract concepts as physical beings. A combination of auditory signs such as music, writing and visuals have been used to formulate these metaphors.

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.

Bahram Beyzaei is an artist (author) who has some manifestation of Iranian mysticism in some of his work. However, it seems that mysticism in his works is a manifestation of Iranian imagination and Politics is the main content them. Iranian philosophers have different approaches to mysticism. They have three aspects: 1. Negation of the connection between mysticism and politics 2. The positive influence of mysticism on politics according to the views of the modern world 3. the link between Islamic mysticism and political ideas, which shows the relationship between mysticism and politics. The artistic manifestation of politics through mystical imagination is quite complicated considering the contradictory nature of these two issues; but Bahram Beyzaei has depicted his own mystic in the political individual representation. In this research, we have tried to use the method of content analysis, relying on the study of library and documents and the application of theoretical frameworks in Iranian-Islamic mysticism especially Mulla Sadra's Four Journeys and Wittfogel's approach to Oriental Despotism, analyze the text of the script "The Fateful Day" as a case study. The results of the research show that Bahram Beyzaei has shown the behavior of a mystic in this dramatic work by using mysticism and myth in connection with the watershed economy of the East. And the character of Aref in this work has a dominant political aspect. Also, the four Journeys of Shibli and passing through mystical seven labours are actually a tool for political awareness and enlightenment in the society.

Bahram Beizaei is a scriptwriter, playwright, director, translator and famous Iranian writer who has paid great attention to myths and history in many of his works. Hence, the language and expression, and other elements of his narratives, are very close to the classical school, whose  source of inspiration is mainly taken from ancient stories and myths. In the present study, Beizaei's plays have been examined for their compatibility with classical school. Although this school, like other literary, intellectual, and philosophical schools, is originated in the West, some of Beizaei’s  dramatic works can be evaluated in accordance with the principles of the mentioned school; Principles such as imitating the ancients, imitating human nature, recreating the ancient world, rationalism, instructiveness  and pleasance , clarity and conciseness, elegance, truthfulness, universality, avoiding despicable,  decadent, and exciting  issues, etc., can be found in some of his dramatic works. However, atmosphere, time, space and source of inspiration and other elements were completely indigenous and Iranian.

The present research aims to apply Gilbert Durand's mythological criticism to Bahram Beyzai's dramatic works, including playwrights and screenplays, in order to uncover the underlying mythological pattern. The task was accomplished by utilizing the method of mythological analysis. It involved carefully studying the author's significant work, and identifying the principal sub-myth present in his works. In addition to analyzing the text and metatext (such as exploring the sub-myth present in other works by the author, studying his personal-professional life, and assessing his personal complex), a psychometric approach was employed to uncover his personal and extra-personal myth. The findings of the research indicate that the principal sub-myth in Beyzai's works revolves around several key themes: studying the past to shape the future, battling against oppression and ignorance that hinder the growth of the homeland's fertility, and being willing to sacrifice oneself if necessary to achieve this fertility. Furthermore, the priority of life over death and femininity as the source of life are significant aspects of this sub-myth. Beyzai's personal complex, described in the language of Jacques Lacan, involves a fixated state and difficulties transitioning from the imaginary to the symbolic realm. Lastly, his personal myth can be associated with the goddess Anahita.

The Narratology of Drama has been one of the challenging topics of study in preceding years. Theorists like Brian Richardson and Ansgar Nunning, by publishing multiple books and papers about narratology of drama, attempted to detach the narratology from the restrictions of fiction. Along with Richardson and Nunning, Monika Fludernik used structural narrative concepts to establish an approach that highlights narrative possibilities in playscripts. Fludernik’s propositions, her analysis of dialogues and exploring the roles of different narrators in plays, has been a huge step towards narratology of drama. Researchers in this article will study and analyze Majles-e Ghorbani-e Senemmar by employing Fludernik’s approach in order to explain the narrative structure of this play and to illustrate the practical functions of Fludernik’s approc. Majles-e Ghorbani-e Senemmar is one of those plays with a narrator as a personage narrating the story for the audience. Types of narrators, presentational models of narrating, types of character introductions, use of metonymy, setting, time\space, and finally different types of representation of speech, are characteristics that Fludernik emphasizes on as categories of narrativity. These elements can be traced and explored in the aforementioned play by Bahram Beyzaei. Fludernik’s approach helps us to discover fresh aspects of Beyzaei’s oeuvre that have been overlooked since now.

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.

In Persian literature, the word hero is mostly used in its classical sense in epic stories, and the anti-hero is used as the opposite of the main character of the story. And it is the encounter of opposing characters that shapes the narrative. Wolfgang Iser,,a German theorician who developed a theory for reading literary texts in the second half of the twentieth century, took a special look at the action of characters and intra-textual elements in the narrative. By shifting the focus of literary studies from author to reader, he turned to the methods of reading the text and believed that with a different reading of the literary work, the elements within the text would also change. In this descriptive and analytical method, we deal with the features of characters, anti-hero and heroism in the play "Death of Yazdgerd" by Bahram Beizai. Our aim in this study is to look as a perspective of the reader-centered Iser which character considers the hero and which the anti-hero. The results of this study show that the protagonist and the anti-hero paid for the ellipse do not necessarily follow the author's beliefs from the reader's point of view, and all the characters in the work can be of heroism or anti-heroism.

One of the important ways to understand the meaning of a literary work is to understand its social, political and historical attitudes. Accordingly, the recognition of the theories of other fields of human sciences is important. The oriental tyrant theory of Wittfogel's and Marx's views on the concept of class in society are among the approaches that help us understand how social classes are formed. The oriental tyrant theory shows how tyrant governing the oriental, hydraulic empire-based societies, causes the formation of the classes of society. In Marxism, Marxian class theory explains the impact of private ownership and ultimately capitalism on the formation of classes in society. In this way, it is possible to study communities in literary works. Bahram Beyzai is an Iranian playwright that social classes and conflicts are well represented in his works; accordingly, in order to understand his works, the class attitudes in his works must be known. In this study, based on the Wittfogel's and Marx's class views, his plays, including Arash, Azhdahak, Karname-ye Bandar Bidakhsh, Soltan-Mar [The King Snake], Chahar sandoogh [four boxes] and Dar Hozour-e Bad [in the presence of wind], are classically examined. To this end, while using the qualitative analysis method, we will examine his works by relying on library and documentary-based studies and using the classical theories of Wittfogel and Marx. The results show that plays Arash, Azhdahak and Karname-ye Bandar Bidakhsh are associated with Whittfogel's class attitudes; while plays Chahar sandoogh [four boxes] and Dar Hozour-e Bad [in the presence of wind] are related to Marx's class approach. The play of Soltan-Mar [The King Snake] follow an intermediate class approach, which can be read by both Marx's and Wittfogel's approach.

Bahram Beizai, the author of the best plays, is a prominent figure in Persian prose and a theater and cinema director who is fascinated by Iranian culture and civilization. His plays are of great importance because of the many adaptations he has made of such ancient treasures. It can be said that Beizai is a kind of continuation of Ferdowsi's way in re-reading and recreating history, myths and epics, and he has inspired his plays from ancient sources both in the form of plays and screenplays. This article tries to categorize the main roots of the play with Beizai with a "reading-oriented" critique method in a descriptive-analytical method, in order to conclude with a favorable summary of the author's play sources and the author's specific processing and approach in dealing with this root. Ha come to action. The result shows that Bahram Beizai does not deal with a specific period of history, but in his works various historical adaptations such as mythical history, epic, Ashura, history of Iran before and after Islam can be seen. In most of these readings, he has tied his works to contemporary currents and ideas.

Bahram Beizaei is an Iranian author, filmmaker, theatre director, scenarist, and prominent and stylish researcher. Benefiting from myth, epic, and historical backgrounds and folklore of Iran and the world, he has created artistic work; thus, his works are contemplative and extensively linked to intellectual topics, Persian cultural themes, and other nations. His play titled ‘Arash’ also possesses such salient feature. This point should be further noticed that based on intertextual approaches and theories, the creators of artistic works may not too rely on their own personal experiences, information, and intact subjective faculties for the generation of such works, but by considering pre-existing texts, they edit their works where these texts are assumed as the foundation for culture, idea, art, and literature of their time. We have tried in the present article to conduct a content analysis on the play of "Arash" and with reliance on librarian and documentary studies and based on the theory of trans textuality of Gerard Genette (as one of the theorists of Intertextuality). The findings achieved from this study suggest that this play is composed of Inter-textuality, hypertextuality, metatextuality, arcitextuality, and paratextuality elements which are noticed with some frequency where this has caused this work to have new conceptual potential and deserving of altered review. In the intertextual view of this work with its contemporary text, the poem "Arash" by Siavash Kasraei, Beizaei challenges the myth and Kasraei depicts himself and his society's desire; However, both works are associated with the myth of water and the demon of drought. On the other hand, in metatextual analysis, the existing classes in the play "Arash" can be considered in accordance with the existing classes in Wittfogel 's theory of Oriental Despotism, which is defined on the basis of the Hydraulic Society and the relations that govern it. From the perspective of contextual analysis, this work is related to the plays Azhi Dahāka and Kārnāme-ye Bandār Bidakhsh. In terms of contextual analysis, this play is similar to a kind of tragedy that is not unrelated to the story of Christ and Ta'zieh of Karbala.

This paper attampts to analyze the functions of the capacities of language from the perspective of verbal irony in the representation of historical events in the two plays "Jangnameh Golaman" and "Fathnameh Kallat" based on the idea of Meta historiography. Accordingly, we first attempt to provide a definition of Meta historiography and the importance of irony as an important component in Meta historiography, and then elaborate on the types of verbal irony and its function in the dramatic text and analyze the components in the study samples. Therefore, the framework of the discussion is a combination of the linguistic and stylistic studies of Deirdre Wilson and Hayden White. The method of this research is descriptive and analytical and it is possible to analyze the components with sample mining. The findings of this study show that in two plays by Bahram Beizaie, a verbal irony is a linguistic device for employ the potential capacities of language and a tool for historical implications. This linguistic capacity manifests itself sometimes in parodic and significant statements and sometimes in the interpretive and analytical context of the text, given that the mechanism of creating irony and sence in the playchr('39')s text cannot be extrapolated without considering the meta text of history

Genetic stylistics seeks to identify the individual and social origins of personal style. Since the theme is a stylistic feature and affects the other stylistic elements, too, identifying it in Beizaee’s historical screenplays is effective for recognizing and analyzing personal style. In answer to this question, “what is the dominant thought in Beizaee’s historical screenplays and what is its origin?”, it can be said that the theme: “life is Shamiran”, is the dominant idea of Beizaee’s intellectual level and is expressed by motifs as disability or death of king, rape, homelessness of woman and child, murder, nightmare, return of the dead, ritual display of Shamiran and the persistence of turmoil in a chaotic and disorganized historical context. The origin of this idea is rooted in two reasons. The first is Beizaee’s attention to oral literature and folklore, since Beizaee is one of the first scholars in the field of dramatic literature and dramatic rituals of Iran. He took the word Shamiran from folklor and used it as the equivalent of Chaos in his researches. The second reason is attention to history. Iran’s defeat against Russia led Iranian to consider history as a way to save and develop the country and for this reason, translation, compilation, rewriting and recreation of history and production of historical dramas and novels are expanded. This affected Beizaee on the way that he became acquainted with the failures of Iran in the study of history from ancient times to the present and by examining the sufferings of the people in turmoil and failures, the statement “life is Shamiran” was generated in the intellectual level of his historical works.

The word "Rend" has been used in Persian language from long times ago and it has many positive and negative meanings in old literature.Hafez, contradictory to most of his antecedent poets, does not have a shallow and negative assessment of "Rend” and in contrary, he announces them as anti-hypocrite, perplexed, rebellious and truth-seekers who generated several individual and social revolutions in a hard unsociable way .Many Hafez researchers see this concept as his most important intellectual achievement. Based onthe result of these features, we can indicate activism of "Rend" as a theatrical character. Bahram Beyzaei (a play writer whose attention to ancient literature can't be denied) is a fitting choice for following this concept, as it maybe the heroic and revolutionist morale of his work in association to myth and ancient patterns confirms enigmatic, rebellious and frenzy nature of his characters. In this article, in addition to indicating aspects of "Rend" and "Rend-goonegy" in "Ghazaliat of Hafez" and discovering the essence of this concept, it will be analyzed in “Three Puppet Plays” of Bahram Beyzai.

Bahram Beyzyai is one of the prominent Iranian writers, researchers and artists who has created valuable and abiding works in the field of drama. Although some scattered works has been done in a few writings to introduce the typology of his works, but it is hard to find a certain classification and typological analysis of his works which has been scientifically accomplished. Among the theories of typology, Northrop Frye's theory of archetypes has a noteworthy place and can be considered as a functional classification of typology. He accommodates each of the literary genres of comedy, romance, tragedy, and irony / humor with one of the myths of spring, summer, autumn and winter, and assumes six types or phases for each of them that results in an accurate inter-typical classification. So, two outstanding works of Beyzyai named "Four Boxes" and "In the Presence of wind" can be evaluated and criticized typologically on the basis of Frye's theory. Through a method of qualitative analysis and based on library and documentary studies, it has been tried, in present research, to propose a typological analysis of above mentioned plays on the basis of Northrop Fry's theory of archetypes. The results show that "Four Boxes" and "In the Presence of wind" should be classified as the first type of comedy.

Ancient Iranian literature is an appropriate source for playwrights and screenwriters to adapt them for the stage. Ancient Iranian literature lacks some aspects of dramatic literature like dramatic narrative or characterization. Thus they have not been used frequently by dramatist. Bahram Beyzai who is well versed in Ancient Persian literature has adapted ancient texts to dramatic ones. “Straw Curtain” is a script that can be a good example for dramatic adaption from a literary text. Bahrām Beyzāi (1938 in Tehran) is an outstanding Iranian film and theatre director, screenwriter, playwright, film editor, producer, and researcher who is famous for his special use of literature and a unique language that preserves traditional Persian language. In this paper Beyzai's adaptation of “Straw Curtain” is analyzed based on Aristotle's views on six factors of a drama components and the relation between plot and character. Beyzai has presented new portrayal of the primary character in “Devout Woman” so that the central female character is not passive.