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

As a new form of the visual arts, conceptual art moves beyond the conventional aesthetics of art; it defies the previous aesthetic standards of art and, with its revolutionary and rebellious spirit, alienates itself from concepts such as beauty, form, and material. Such qualities lead to a question: in the absence of beauty, form, and material, what other factors can bind and define conceptual art in the domain of art? This article reveals that in want of conventional components of visual arts, conceptual art tends toward linguistic-narrative arts and recognizes its poeticality. Although poeticality in conceptual arts is different from the orthodox definition of poetry, it connects to mechanisms which create poeticality at a macro level: metaphor, defamiliarisation, and self-referentiality.

"Complex systems theory" deals with the relationship between system components, collective behaviors in it and the quality of its interaction with the environment and expresses irregular, nonlinear, unpredictable, and complex behaviors in systems and assumes a finite order pattern in all of these irregularities; That is, the existence of drastic changes, irregular behaviors, unpredictable changes, critical movements, etc., which, Although they are chaotic, they have a regular pattern in the long-term and with repetition. In the study, by criticizing Khosrow and Shirin's narrative based on the theory of complex systems by qualitative analysis, the unpredictability of its events is analyzed and with emphasis on the interactions between the components of the story, their identity and the system as a whole and its chaos is determined. The richness and variety of actions and interactions Among the many independent variables, self-organization, adaptability to maintain their survival and interests, and impact on the environment, are key elements of this system that make it possible to apply this theory in its analysis. Khosrow and Shirin narrates the love and union of Khosrow and Shirin, but the murder of one, and the suicide of the other, make it romantic and poetic. From a systemic point of view, Khosrow's chaotic behavior in his marriage to Maryam and Shekar and Farhad and Shirin's suicide can be considered as systems with unpredictable and irregular behaviors that the function of each is an attempt to create the desired situation and, in a systemic sense, balance with the environment.
.

Like intertextuality, intratextuality is an important notion in textual analysis and narratological studies. It does not deny functional and conceptual similarities with intertextuality, which is a more familiar narratological term. While intertextuality seeks interconnectedness among hypertexts and hypotexts, intratextuality sets about to discover and decipher it within the structural totality of a single work. In other words, the emphasis is laid on self-reflexivity rather than other-reflexivity in that the objective is to unveil the connectivity that in-text narratives, sub-narratives and frame stories maintain through sustained allusions and dialogues. The major questions of the research include: What is intratextuality and what are its characteristic features? Are they discernible in the narrative fabric of David Mitchell’s Cloud Atlas? What structural and thematic roles, if any, do they play? Background Studies: Bakhtine’s Dostoevsky's Poetics (1929), Kristeva’s Desire in Language: A Semiotic Approach to Literature and Art (1969), Barthes’ Image-Music-Text (1977), and Genette’s Palimpsests: Literature in the Second Degree (1982) are among important sources on intertextuality and its principal categorisations. In his article "Moonlight Bright as a UFO Abduction: Science Fiction, Present-Future Alienation and Cognitive Mapping" (2011), William Stephenson claims that Michell’s sci-fi novel is highly polyphonic and multifaceted. In his article, “Speculative Fiction as Postcolonial Critique in Ghostwritten and Cloud Atlas,” Nicholas Dunlop argues that Mitchell’s postmodern novel harmoniously mixes different and heterogeneous narrative styles as well as typical aspects of sci-fi and fantasy novels. George Gessert’s 2005 article, “Cloud Atlas by David Mitchell,” predominantly deals with plot-development, characterisation, and story-telling techniques, beside such themes as inhumanity, slavery, and apocalypse. In Close Reading with Computers: Textual Scholarship, Computational Formalism, and David Mitchell’s Cloud Atlas (2020), Martin Paul Eve uses computer-assisted charts to analyse lexical and grammatical distributions in the novel to prove the unity and harmony of narrativity despite all apparent heterogeneities. To answer the stated questions, this narratological study first offers a brief digest of the term intratextuality, which recognises and endeavours to locate intertextual relations and echoes inside the narrative structure of the same work, and then probes its applicability to the Mitchell’s Cloud Atlas. Genette’s well-known hypertext and hypotext as well as his five-partite categorisation of transtextuality, comprising intertextuality, metatextuality, paratextuality, hypotextuality, and archetextuality are also contextualised in the novel. In addition, notions such as organic narration, self-reflexivity, self-allusiveness, symmetricality, and in-text relations are deemed pivotal throughout the mainstream discussions This research shows that identical characters and incidents, one way or another, keep reappearing in all of the six nested stories of the novel, thereby constructing a tightly-knit network of reciprocal references and allusions within its narrative structure. Furthermore, the sustained recurrence of such motifs as reincarnation, dominance, quest for truth, death and symbols and images associated with them in all narratives creates an intratextuality of self-reflexive themes, which reaffirm themselves in every new intratextual dialogue. Transtextual relations are also discernible in the novel, predominantly in the repeated titles of the six narratives in two halves of the novel, protagonists’ comments on characters and incidents in a previous narrative, and in recurring themes and motifs which expand and modify in every new appearance.