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

Verbal violence is one of the main topics in the field of sociolinguistic studies. The purpose of this research is to study the dimensions of gender-based verbal violence based on Culpeper's perspective. The participants in the research were female employees working in the institutions in Tehran, who were selected based on purposive sampling. The data were collected through semi-structured interviews, and were subsequently categorized and analyzed based on Culpeper's social cognitive theory as a postmodern approach. The findings revealed both forms of verbal violence, namely, Bald On-record and Off-record, which include humiliation, insulting, blame-shifting, threatening, flirting, and, deceptive affection. Based on the findings, men use verbal violence purposefully, intentionally, and consciously, and women perceive verbal violence as rude, hostile, and irritating. Furthermore, women’s experience of gender-based verbal violence in the workplace shows that such behavior is a self-serving tool for men to benefit from gender stereotyping in order to attack women’s face, maintain and promote men’s face, advance their sexual harassment, and at the same time, excel in workplace competitions ahead of their women co-workers. The results also disclose how “language” that is affected by social norms, gender stereotypes, context, emotions, and individual desires can become more than a communicational tool, and be used as gender-based verbal violence in the workplace.

Beyond the one-sided tenet based on the self-centeredness of totalitarian and fascist regimes, is engraved the elimination of the other from the domain of power and legitimacy, and the deprivation of human rights and citizenship within the framework of the self-written law of considering the other as an inferior race and a hostile enemy in opposition to the integral values of the totalitarian system which defines everything and everyone in the form of a single self-believer in the manifesto of the central totalitarian state, and, by denying the identity of another as an alien, tries to redefine the collective identity in the framework of extreme and fascist racism. Following such an idea, the present age has turned into a hegemonic era of war, violence bloodshed, and genocide, and, the elimination of racial minorities in order to homogenize the belief-ethnic structure of societies under the domination of totalitarian governments shows itself on the injured face of human rights. The result of a hostile attitude towards others and trying to subjugate racial groups is resorting to violence and horrible crimes which has turned the contemporary period into a scene of prehistoric killings and violent behavior and removed the characteristic of civility, coexistence and peaceful human dialogue from its face.

In order to insist upon discursive reconfiguration of violence in Shakespeare’s comedies, critics bring examples of civic and political violence, and matrimonial/domestic and erotic manipulations in plays’ real and fantastic worlds. In plays such as The Merchant of Venice, The Taming of the Shrew and A Midsummer Night’s Dream, the manifests of non-physical violence could be identified in an epitomical manner, and afterwards one could see how such manifests of violence could be recognized in Shakespeare’s other comedies.

Considering the reconfiguration of violence and elimination of physical violence, the present study reads violence in Shakespeare’s aforementioned comedies as a discursive violence. For devising a definition of this kind of violence, it uses Slavoj Zizek’s ideas on the issue of violence and how he defines violence discursively. In his definition, Zizek discriminates between the objective violence, which comes from impersonal, exclusive, systematic and so-called objective nexuses of power and subjective violence, which comes from subjective rendition of each individual from implementation of violence in sites for which objective violence has not defined any containment strategy. In the case of subjective violence, intentions and motivations behind violence are murky and uncontainable, giving its operation the necessary fluidity. While discussing the manifests of subjective violence, the present study finds instances of what Zizek calls to be antimonies; discursive points around which two rational arguments can be represented without any promise of resolution.Literature ReviewIn the first part entitled “Objective and Subjective Violence in Shakespeare’s Comedies”, the study discerns between two kinds of violence in Shakespeare’s comedies through the utilization of Zizek’s notions on violence in Violence: Six Sideway Reflections. In “The Antimony of Victimization in Shakespeare’s Comedies”, the study utilizes Zizek’s notion of antimony next to notions of other critics such as Dympna Callaghan in Shakespeare without Women, Natasha Korda in “Household Kates: Domesticating Commodities in The Taming of the Shrew, Emily Detmer in “Civilizing Subordination: Domestic Violence and The Taming of the Shrew”, Michael Taylor in “The Darker Purpose of A Midsummer Night’s Dream” and Lisa S. Starks-Estes in Violence, Trauma and Virtus so that a less optimistic interpretation of seemingly emancipative and empowering moments for the marginalized characters – or the plays’ others – could be represented, which in turn, could show the workings of non-physical yet effective violence and subjugation against such characters. Finally, in “Discursive Laughter in William Shakespeare’s Comedies”, the present study brings Edward Berry’s discussion of Carnivalesque and Hobbesian laughter and locate Shakespearean laughter in the middle of them.

In the present study, it is indicated that the domain of the marginalized characters of Shakespeare’s comedies is in a site where the objective violence has no authority and it is subjects themselves that need to inflict the violence on them on the basis of their rendition of it. Zizek observes that these renditions are affected by what is not included in the symbolic order of the objective violence and that is why Petruchio starts not behaving in a physically violent manner, Shylock is not treated in a conventional legal term and Hermia and Helena are not contained through rational means of recuperation. It is as if all of these characters need to be dealt within antimonic sites where every possibility of resilience and liberation can be recuperated through subjective interpretations of the suppressors.

Sociological analysis of types of violence is an important issue that can be addressed using the views of theorists such as Bourdieu. This article uses a descriptive-analytical method to analyze the female characters in the novels "My Bird" by Fariba Wafi and "The Forbidden Book" by Alba Accessups. And by comparatively examining the extent of the impact of violence in the social, cultural, and activist contexts of women and men, it shows how violence (especially explicit and active male violence) and the representation of the limitations of women in both societies are externalized. Forms of systemic, symbolic, covert, and actionable violence are imposed on women with the complicity of perpetrators in the absent strata of society. The results of the study in comparison between male and female social actors show that women are victims of various types of violence and social controls, in the production and reproduction of capital in social and cultural spaces are inferior to men. The rate of violence against men is lower and much lower than that of women and children. The activism of men in society by resorting to male domination and patriarchal rule of societies in five types of violence (symbolic, systemic, physical, sexual and linguistic) is more than women and children. Systemic violence and symbolic violence covertly harm women more than physical and verbal violence. On the other hand, the complicity and dominance of women communities and women activists paves the way for male domination over women.

Language is a social phenomenon. What happens in society is reflected in language. For this reason, the social study of language can reveal facts about the language community. If a society is violent, rude or sad, it manifests itself in language. With this assumption, the present paper examines the rate of the three social characteristics of violence, politeness, and sadness and happiness and its reflection in the Persian language in the last five decades. The two main questions of the research are: Has the Persian-speaking community become more violent, rude and sad in the last five decades? Is there a connection between important political and social events and the rate of these changes? To answer these questions, a corpus from the past five decades were analysed, including movies, newspapers, stories, speeches by politicians, and songs. The corpus was divided into five decades, in each decade one or more important political and social events took place in the country: the fifties (revolution), the sixties (war), the seventies (construction and reformations), the eighties (kindness and election issues), and the nineties (moderation and sanctions). In this corpus, we have sought to find, analyse and determine the frequency of language tools that show the desired characteristics such as metaphors, adjectives, forms of address, and taboo words. This study shows that generally the Persian-speaking community has become more violent, rude, and sad at least in the last two decades. There is also a clear relationship between the main socio-political events in each decade and the rate of increase or decrease of these characteristics.

The present-day novels are associated with the experience of humans , coupled whit the realities of past and present life in fact the present novel, despite the new developments, is still seen as a patriarcnal footprint and women who are rulnerablet to violence the article addresses the issue of violence against women in the novels of tuba and the meaning of the night, women without men dogs and the high winter works of shahrnoush parsipour using literary criticism.Violence however is the same act of a particular person (a group of individuals or a particular group) who attacks and attacks on the life or property of others. The technigue usea in this research is content analysis. The result of thers the technigue used in this research is content analys is the result of the study is that. Violence plays an essential role in these novels and appears in violence forms (revealing and hidden) and condemns woman . in fact the worst violence used in these novels is psychological violence. Sometimes it’s in speech and sometimes in theology and it’s examples are: false criticism humiliation mischief disgust in sult ridicule cornering and shouting trampling and in fact, it can be concluded that shahrnoush parsipour as a woman in society has exposed woman in their novels in a way of violence, and has brought some kind of reader that seems to be present at the scene and is close to witnesses it has been the events that saw the oppression and humiliation of woman in two

This article focuses on the notions of ‘derealization’ and ‘violence’ to discuss the status of the racial ‘other’ in The Nickel Boys (2019), the acclaimed work of African-American writer, Colson Whitehead, from the perspective of new left thinkers and critics. Drawing on the views of Butler and Slovej Žižek, this paper argues why the United States of America, despite its democratic claims, has been torn by apartheid. To this end, the notions of ‘subjective’ violence, ‘objective’ violence, and ‘grief’ are discussed to depict such strategies as derealization which were deployed against the racial ‘other’ to eliminate him gradually from American society. It is argued that with the emergence of the ‘biopolitical’ structure and its focus on the management of the body, the hierarchy of ‘us and them’ was not done away with. On the contrary, it just replaced the old strategy of ethnic cleansing with a panopticon one which managed the racial ‘other’ by ‘derealizing’ and, thus, reducing him into a ghostly figure of ungrievable life who would be vanished soon. It can be drawn that in this system, the racial ‘other’ stands somewhere between death and life leading an Agambian ‘bare life’ of liminality in which he is treated as less than human.

In recent decades, following socio-political changes and changes in society's attitudes towards women's issues and whispers of their freedom, novelists have paid special attention to the issue of women and the society's attitude towards women's responsibilities and rights is shown in their works. . It is necessary to study the image of women in literature and society; Therefore, in this study, two novels of the wandering island of Simin Daneshvar and Ahoo Khanum's husband by Ali Mohammad Afghani were examined. The purpose of criticizing these two works is to examine the confrontation between women and their discrimination and social violence. The issues discussed in this article are: manifestations of patriarchy, violence against women, society's attitude towards women, belief in male superiority, female weakness, feminism, and so on. Sociological books have been cited in these studies. At the end, the issues discussed in the stories are compared with each other and it is determined which of the elements is more colorful and which is less prominent in each story. The results showed that in both novels, society's negative view of women and the unequal situation between women and men is the main cause of violence and discrimination against women.

Since violence represents suppressive aspect of power, a violent relationship between the inferior and superior parties is inevitable. By combining philosophical and everyday life concepts, Žižek depicted different dimensions of violence. The novel At the ISIS table narrates the suffering of the Izadi people who encountered the invasion and genocide of ISIL. Using Žižek's model, this study had an attempt to explain the different layers of ISIL violence against Izadi people to show how the author has represented different dimensions of violence in the events of the story and has applied the issue of violence as a narrative theme. The results of the research showed that all types of violence in the novel are influenced by the violence of the gods mentioned by Žižek. By applying systemic violence, ISIL intends to de-institutionalize the family and other social foundations. ISIL's methods for repressing women are active and symbolic, and at the same time, it has not neglected active methods such as using women against women. ISIL used takfir of the "other" to justify violence against its members, and the Izadis were doomed to destruction as a manifestation of infidelity that hindered the realization of the caliphate's objectives. In the present novel, women are the biggest victims of violence, and their inferior position has historically added to ISIL's power to commit systemic and absolute violence against women.

This article investigates different types of violence in relation to otherness and perception of hidden audience aboutThis article investigates different types of violence in relation to otherness and perception of hidden audience about violence in the novel of Laughter-seller Gypsy. Gypsies are almost absent in Iranian literature; being othered and marginalized signifies the hidden violence obliterating their footprint from literature. Laughter-seller Gypsy is one of the rarest novels representing the strange world of gypsies. It narrates their wanderings, and the violence they bear from insiders and outsiders. Violence can be found in two dimensions in this novel: violence as imposed by non-gypsies on the travelers, and the other type installed by gypsies upon themselves, which reflects the external pressures. The author takes advantage of “counter-storytelling” and uses gypsy narrators to make the violent atmosphere tangible. Also, by breaking the clichés up, it challenges the black and white image of gypsy characters. The dominance of the hierarchical system, racial and ethnic discrimination, insults and curses, accusations, division of gypsy and non-gypsy society, ban of marriage between travelers and villagers, murder, plunder and torture are some types of violence in the Akbarkermaninejad’s novel. This novel reflects the personal and social violence, seeking its causes through a deep investigation, and develops empathy of audience. Violence is a habitus for gypsies and they not only don’t stop it, but also do it themselves. Facing the “cultural other” adjusts the violence of the later generations of gypsies, however, the new generation with medial identity always remains in lower position. Although it has come to the center, it has been pushed to border right in the center.

New Iranian fiction is the birthplace of modern and progressive ideas. For example, it is an arena where women play a role both as writers and as influential heroes in the creation of events. In this new literature, women are the subject of problems in many stories. One of these problems is violence against women. In this paper, we made an attempt to investigate violence, its types and tools and various causes of its occurrence in selected novels of the 1940s entitled Sang-e Sabour, Showhar-e Ahou Khanom, Shazde Ehtejab, and Suvashon by means of which to portray their authors’ attitudes toward women’s rights and issues in the society. Analyzing the contents of the aforementioned works, the most violence in its hidden and overt forms can be seen in Showhar-e Ahou Khanom, followed by Sang-e Sabour, Shazde Ehtejab and Suvashon, respectively. Numerous factors play a role in the occurrence of this violence: culture, customs and traditions, religious beliefs, family and the patriarchal attitude and women’s ignorance of their rights, are among the causes. The issue of violence against women in the novels shows that the writers of this period, as intellectuals and reformers in the society, have a feminist attitude and try to defend women’s rights by protesting against the ruling sexist traditions and criticizing the patriarchal domination and showing the unfavorable social conditions and inferior status of women.

Persian old literature has always proclaimed kindness and moderateness and has avoided violence, dispute and vengeance. Therefore, Iran society and history has passed through different and stressful paths. Literature represents a vague and blurred image of uncontrolled violence in its deep layers though disputes and war has woven with Iranian society warp and woof. Nizami Ganjavi is one of the Iranian poets and advocate of peace that love and friendship is felt in his poems. However, in the depth of his works, the traces of the mentality based on violence and lack of moderateness can be found unintentionally. For instance, war is one of the main content of Nizami poems and even the traces of violence can be seen in the realm of love. The lover Majnun tends to act violently for possessing of Leila, in Makhzanoal- Asrar(Treasure of Mysteries) two scholars with different scientific viewpoints debated so that they are ready to kill each other and finally, Alexander destructs the Zoroastrian temples violently and abolishes their religious rituals and put fire on their magnificent cities and transfers Iranians academic texts to Macedonia. On other hand, the manifestations of moderateness in Nizami verse are wonderful. Shirin invites Khosrow to moderation and hospitality of the people. Bahram prevents war with his compatriots with intelligent planning and the kings respond the protestors.