جستجوی مقالات مرتبط با کلیدواژه "رضا براهنی" در نشریات گروه "ادبیات و زبان ها"

The concept of linguistics is closely associated in contemporary literature with Reza Barahani and it comprises one of the most significant postmodern poetic movements. It emphasizes the importance of language over meaning and encapsulates poetry within the realm of language and linguistic forms. While this concept is linked to Barahani's name in terms of its foundations and poetic style, the principles and foundations of this theory can be traced in the postmodern poetry of other countries around the world. In Arabic poetry, the Lebanese modernist and surrealist poet Wadih Sa'adeh is a case worth investigating in this regard. The theoretical principles of the concept of linguistics were elucidated by Barahani, and the collection of poems "Khatab be Parvaneh-ha" (To the Butterflies) was composed and published by the poet under this theory. This article, using a descriptive-analytical method, aims to conduct a comparative study of the poems of Reza Barahani and the contemporary Lebanese poet Wadih Sa'adeh, relying on this theory, namely Barahani's theory of linguistics, to accurately and systematically explore the similarities and potential for critical analysis of the poems of a Lebanese poet with the concept of linguistics. This article has endeavored to uncover and reveal the extent of the two poets' attention to language and its formal, figurative, and purely linguistic features. The basis of the analysis is the American school of

Analysis based on psychological criticism has become popular among literary researchers as a style. This research aims to investigate Reza Brahni"s fiction (The Infernal Life of Mr. Ayaz, and The Secrets of My Land) based on the psychological perspective of Carl Gustav Jung.

The present study is a theoretical study and data collection was done with the use of data collection tools and reference to library sources in a descriptive-analytical method. Evidence and data analysis is evaluated qualitatively.

The study of Brahni"s works shows that archetypes of anima and animus, shadow, persona (mask), self, as well as the concepts of sleep and dream, unconscious and anxiety are clearly visible in Brahni"s works. In addition, the most important and the most used proof of Jung"s theories is "persona" or "mask" which can be found in all the researched novels. Another archetype that is abundant in Brahni"s works is the archetype of "Shadow". Almost in most of his novels, Reza Brahini unconsciously asked the shadow for help and in this way he was able to show the characters of his novel well. Another theory that has a high frequency in Brahni"s novels is "old concepts"; In this way, we see a return to history and civilization or customs and superstitions in the stories.

The review and analysis of the studied novels, based on Jung"s psychological theories in criticism, showed that the characters, symbols and archetypes found in them are to some extent consciously created and elaborated by the mind of Brahni, and in most cases, they are completely deliberate.

Postmodern metapoetry is the result of dialogue with postmodern macro-narrative and faraeasti farapoetry resulting from Iran's civilization and its culturalintellectual characteristics.
These two attitude-writing systems are derived from the theories of Arash Azarpik in the of the seventies poetry decade. In the modernist world, reason, or the objective meaning-giving matter, thinks that meaning is made by the human world and the result of conventions, while according to Azarpik, Logos is the meaningful source of the objectivity of existence, independent of individuals and the world, and meaning is not contractual or arbitrary. Therefore, in following the intellect that follows the subject and the mind, in works and texts such as postmodern metapoetry, the reader is faced with the subject of schizophrenia, the collapse of meaning, the failure of the narrative, all kinds of language games, ungrammaticality, syntax, etc In fara-poetry, the world is not "I" or the subject alone, and outside of "I", the meaningful thing of objectivity independent of people and the world gives meaning to "I" or the subject and the world. Therefore, there is a coherent narrative of dialogue-monologue-centered, wordcharacter, heterosubjectivity and presence in Faraist's farapoetry. This article tries to analyze stylistically two systems of postmodern metapoetry and Fraistian farapoetry, and while introducing them, it will express the features and commonalities.

Throughout history, society and literature have continuously interacted and influenced each other. Art has many sub-branches, and one of these sub-branches is fiction, which includes novels and stories. Novel and story have the ability to keep pace with the two dimensions of literature and society. The authors of fiction literature have also expressed the problems and realities of society in their works, according to their social, geographical, cultural and intellectual structure. Therefore, it can be said that there is a logical link between literature and society.

The method of this research is descriptive-analytical which has used library tools.

Due to the fact that all human beings are dependent on their social environment, as a result, they are influenced by the society they live in and at the same time leave their own traces in it. As an artist, the poet and writer sometimes has a significant impact on the surrounding environment, so that this impact sometimes amounts to a revolution. This condition arises from the intervention of parties who are higher than several people. According to Goldman, these several personalities are transpersonal actors.

Reza Brahini, a talented writer, like any writer who is influenced by various environmental and social factors in his society, looks at people and society with an open and alert view. As an informed person, he has always paid attention to the issues of his environment and looked at the issues with a critical and enlightened view, and the situation of the social environment and the concerns and issues of the people in the society have become important to him, and he has tried to somehow The format of the plot or the fictional characters should portray these issues.Brahni is one of the few writers whose female characters in his writings are based on the knowledge of the ruling patriarchal culture. Women in "My Land's Secrets", contrary to the stereotypes of women in Persian literature, are represented in the main characters and have a stronger presence than men in the story. In this novel, with a critical attitude to the history of the revolution, Brahni considers women as the creative and effective forces in the revolution symbolically and in the form of narrative actions. This powerful image of women and their active role and effective activism during the revolution, as well as the power of leadership that was given to them, is rare among social and political novels before the secrets of my land. In fact, Brahni has chosen women to express his thoughts and political ideologies.

place as a phenomenon. In phenomenology, places do have personalities and spirits depicting themselves to human beings through architectural elements and those objects being located at certain locations. Recognizing personality and Genius Loci brings about a sense of place. Sense of place differs from one person to another according to certain individual characteristics. The phenomenology of imagination regards places in the connection they have with imagination. Analyzing phenomenology of place and imagination in prison stories focuses on the location of a prison in order to identify the way a character interacts with the prison in regard to the sense of place. We’ve been trying in this study to deal with prison as a location in the fictional works of Reza Baraheni. In the stories such as Avaz_e koshtegan, Razha-ye Sarzamin_e Man, Ba’d az Arusi Che Gozasht? , and Chah be Chah Well to, Reza Baraheni deals with the location of prisons. The location of the prison is solitary confinement in those stories. Elements such as blindfolds and voices have a conspicuous presence in the above-mentioned stories. Prison, in Baraheni’s stories, helps to bring about identity formation and otherization. In order to escape the pain they feel at the torture chambers, Baraheni’s characters call on imagination with the help of literature and occasionally by means of memories, making agonizing moments of torture somehow bearable.

Revealing the temporal structure in contemporary narrative poetry makes reader vulnerable to the multiplicity of tenses that overlap in one poem and lead to the formation of temporal paradoxes that the narrator uses in the course of the narration to achieve artistic purposes required by the text. Prolepse is one of the two wings of the temporal paradox in Gérard Genet's theory and is commonly used in modern poetry because of the great flexibility it enjoys to move past and present events and their temporal change forward without prejudice to the unity and texture of the text. The technique of prolepse in poetry of Farouk Gouida and Reza Baraheni helps to know possible temporal developments in the structure of events and characters through allusions, allusions and symbols that contribute to involving the reader in the course of text developments and answering questions and suspicions that he sometimes asks. This study relies on the descriptive-analytical approach, as it benefits from the critical pillars of the American School of Comparative Literature, aiming to clarify the functions of the narrative anticipation technique in the poetry of Farouk Juwaida and Reza Baraheni. This research was able to reach that the technique of anticipation in the poetry of Farouk Juwaida and Reza Baraheni indicates the poets' attempt to achieve the temporal surprise in the narrative process by applying three forward-looking types, each of which carries its own mission, including the preliminary anticipation, which aims in the poetry of Farouk Juwaida to anticipate the developments of outer space on Contrary to the future references that Reza Baraheni targets in the opening poems, it is distinguished by the inevitability of falling into the future. As for the declarative anticipation in Farouk Jwaideh's poetry, it has more clarity in illuminating upcoming events, compared to what came in the poetry of Reza Baraheni. In Farouk Jwaideh's poetry, the internal anticipation is subject only to reducing the shortcomings of the future, and in Baraheni's poetry to consolidating future events. In the end, the external anticipation in Farouk Jwaida's poetry is the task of expanding the narrative space and helps, when Reza Baraheni, to realize the realities of the present narration.

Reza Barahani in the 70s proposes a new theory called "languageality". The aim of which is the freedom of language from the shackles of meaning, conventional imagery and other issues that he believes are imposed on language. Baraheni's theory attracted some attention as much that Seyyed Mehdi Mousavi tried to use some of these topics in the old form of lyric poetry. Fereshteha khodkoshi kardand is mentioned as the first collection of postmodern sonnets. In the language of this collection's sonnets, there are certain grammatical approaches that indicate his influence on Baraheni's theory of linguistics. In the present study, with a descriptive-analytical approach and by the method of poetry language library, this work has been studied in two axes of grammar and syntax. In the morphology part, the deviation that Mousavi has done under the influence of Barahani in the field of Letters and compounds has been examined and in the syntax section of the deconstructions that have taken place as a result of escape from patriarchal syntax and launcher displacements application are explained. In the end, it was found that the confusion of vocabulary and sentence syntax showed a disturbed and chaotic structure in the text of the sonnet, which, while different, lacks the necessary aesthetics and emotion.

Point of view is one of the most important terms in contemporary narrative studies, because it is an attempt to reduce the narrator's control over the text and a method to show the narrator's perception and view of the target topics and relationship establishes with other characters. Todorov pays attention to the cognitive and intellectual aspect of the point of view and uses it to control the characters' insight into various events or to inform the narrator's understanding of other characters. Reza Barahani and Farouk Gouida are modern poets in contemporary Persian and Arabic poetry who pay attention to the events of the narrative and the behavioral changes of its characters when faced with various issues, as they value the narrator's participation in the narrative, so that the narrator in their poems has the freedom of action and the power to move to any place and time, but often, instead of direct intervention, they summarize and analyze the events after their occurrence. Since Todorov's critical theory in examining the point of view has a significant impact on literary criticism, the present research has applied this significant impact in the poetry examples of two modernist Iranian and Arab poets in order to understand the narrator's basic views on challenging issues in the real and imaginative worlds of the two poets. This descriptive-analytical article intends to examine the point of view patterns of two poets from Todorov's viwpoint, according to the American school of literature. The results indicate the dynamics of the three main techniques that Todorov has considered in the classification of the point of view, including the "back view" technique, which is distinguished by the narrator's preoccupation with the deep expression of the subject in the " Gouida " poem, and on the contrary, the narrator in the Barahani poem is evasive of it. The technique of "simultaneous vision" in Barahani's poem is distinguished by the peaceful coexistence of the narrator with the character or his participation in his life's affairs, and in Gouida's poem, it is used in the context of the narrator's conflict with the character and questioning him about his actions and thoughts. In the "view from outside" technique of Barahani's poem, the narrator deliberately hides the truth, and in Gouida's poem, it shows her inability to discover the truth.

Fiction has the potential to explore psychological issues at the individual and societal levels. Considering this characteristic and capability that the seemed, Reza Baraheni's novels have in this field, analysing five novels: Razhae sarzamine man, roozegare doozakhie agaie ayaz, Avaze koshtegan, Azadeh khanom va nevisandeash And Ba'adaz aroosi che gozasht by this contemporary author, based on the theory of escape from freedom by Eric Fromm, Frankfurt School social psychologist. This analysis shows that in these works, some characters have the characteristics of the theory Escape from Freedom of forum. In Razhae sarzamine man, the Timsar Shadan is the power-hungry (sadistic) and destructive characters, sarhang Jazayeri is the power-hungry (masochistic), Soodabeh have the following character and Houshang, and Farzam the destroyer character. In the Avaze koshtegan Torturer are power-hungry (sadistic), the Ismaili father is power-hungry (masochistic), the Ghased, Moallem and Ghasemi, have a follower character, Sultan Mahmud in the roozegare doozakhie agaie ayaz, the power-hungry (sadist) and the destructive, The people have followers, In Azadeh khanom va nevisandeash Bibogli and Shadan, the power-hungry (sadist), and Ba'adaz aroosi Che gozasht? Birjandieh has a follower and destructive personality.The consequence of the existence of such personalities in society is irreparable damage to the family and society, as well as helping to establish a dictatorial system in society.

According to Gérard Genette, analepse is one of the new techniques which is utilized for presenting the events of the narrative and anachronism that the poet uses to establish the relationship between events and characters with the past when the narrative revolves around a particular subject or stops. The analepse technique in contemporary narrative poetry, along with saving the narrative from monotony and linearity, assists the clarification of the depth for semantic changes in the narrative and the changes made in the psychological and social states of the characters. In their narrative poems, Farouk Gouida and Reza Baraheni avoid the linear system of time and ascribe great importance to the features of the past in numerous fields such as strengthening the context of some of the events and comprehensible moments of the narrative and clarifying the ambiguous angles in it. By means of a descriptive-analytical approach, based on the American school of comparative literature principles, the current study aims at implementing the impacts of analepse from the Gérard Genette’s perspective in the poetry of Farouk Gouida and Reza Baraheni. As the results have indicated, the analepse technique in the poetry of Farouk Gouida and Reza Baraheni is directly related to the intensity of pain and sorrow that these two poets faced in the past. Furthermore, it assists them to know the origins of the problem and offer similar conditions for it in the past. Analepse in Farouk Gouida's poetry, with its general, internal, and external types, has emerged to fill the semantic gaps and complete the shortcomings of the present. However, in Reza Baraheni's poetry, it occasionally tends to change the meaning of the event within a subject belonging to the narrative and is accompanied by the insistence on repeated returns.

Heteroglossia is one of the most common critical methods in demonstrating the creativity of a conversational style in relation to another language and consciousness. According to Mikhail Bakhtin, heteroglossia is realized in linguistic intertwining with more than one voice in different linguistic units, in which the other can play an essential role in showing the intrinsic and social characteristics of the narrator. Narrative dialogue in the poetry of Farouk Gouida and Reza Braheni is often based on heteroglossia in the face of different values and ideas, which in addition to its great importance in freeing the narrative from the narrator's dominance and avoiding the monotony of one-sided expression, In terms of form and content, it has become a useful technique to attract the viewer's attention and convey different views on narrative events. This study, by adopting a descriptive-analytical method in its study, intends to implement patterns of heteroglossia in the poetry of Farouk Gouida and Reza Braheni from the point of view of Mikhail Bakhtin and based on the principles of the American school of comparative literature. Summary of research results in selected samples of their poetic texts indicates that heteroglossia is distinct in Farouk Gouida's poetry based on its functions in the types of hybridization, stylization, and pure dialogue with the dynamics of the languages that they represent public opinion to prepare the conditions for the poet to accept his desired ideologies and ideas. Therefore, the discourses of Farouk Gouida have a greater geographical scope compared to the common discourses in Reza Braheni's poetry, because heteroglossia in Braheni's poetry is often characterized by conscious individual hybridization or high emotional interaction with characters.

The theory of poetry of "linguistics" is attributed to Reza Braheni, who made him famous during the leading poetry. Language poetry has innovation and abnormality. Influenced by the Western school and Derrida's linguistics, Braheni denies the meaning and his poems live in a language game, without external reference in a text-language world. language game, word movement, and a series of meaningless texts were events that took place in this text-language world, But Dal poetry, which is one of the literary genres of the school of the originality of the word, is alive to the word according to the theory of "man-word"; Man is alive, and as long as man is alive, no field of art will be obsolete from the word. Everything that is revealed in man already exists and is present in the word, and everything that is revealed in the word already exists and is present in man, and these two are co-creators and creators of each other. Therefore, Dal-poetry is word-character and plays a role in the text. Dal-poetry is word-character. The word is alive, it is an actor and it plays a role. In this research, which has been done by descriptive-analytical method by using library resources, we intend to study "Language Poetry" by Reza Braheni and “Dal-Poetry", one of the literary genres of the word originality School, from the perspective of intellectual origins and their characteristics and differences.

The criticism of fiction in Iran began with basic moral criticisms which reduced art and fiction to a means of refining morality. With the rise of the Tudeh Party and the specific historical circumstances of Iran, it gradually moved towards ideological criticisms and a kind of almost homogeneous Stalinism. From the 1960s and with the advent of avant-garde magazines such as Jong-e Isfahan (The Isfahan Anthology) and the translations and writings of such individuals as Abolhassan Najafi and others, Western literary theories were introduced in Iran. Reza Baraheniwas one of the few academics who managed to distance himself from the traditional atmosphere of the university and apply modern criticisms and theories in his articles and research books as well as in his creative works. However, unlike Najafi and Golshiri who managed to create a coherent system of humanistic commitment and form, he stood somewhere between social commitment and formalism at least in his book entitled Story Writing. By elevating the concept of ‘sacred art’ in the post-revolutionary years, some religious intellectuals sometimes encountered the same theoretical contradiction on issues related to aesthetics. Nevertheless, the more the passion of the revolution was reduced, the more Braheni turned to the theories of structuralism and formalism and distanced himself from the combative commitment of the 1960s which inevitably led to a conflict of form and content in his Story Writing. Therefore, it can be said that as one of Baraheni’s most prominent books, Story Writing is an instance of the criticism which formed in the transition from the paradigm of ‘committed literature’ to the paradigm of ‘art for art’s sake’ and consequently formalism.

In Persian poetry, the issue of form has gone through so many alterations. In the last decades and after the emergence of Modern Persian poetry, these formal changes have been more significant and controversial. One of the latest noteworthy theories in Persian contemporary poetry has been proposed by Reza Baraheni in Accosting the Butterflies. In the latter and particularly in the theoretical section titled “Why I Am No Longer a Nimaie Poet?” the author claims that Modern Persian poetry has been beset with a crisis and attempts to find a solution for the mentioned conflict by discussing the flaws and impasses in Persian free verse and blank verse poems. In this book, poems and theories are inspired by postmodernism and other western literary theories such as formalism and deconstruction, and the ideas of the kind “languagality”, “polyphonic poetry”, adoption of sound and breath, and “narrative interruption” are introduced to Persian poetry for the first time. By reviewing Barahani’s poetic form in various periods of his career and studying the impacts of postmodernism on his ideas, the present paper aims to analyze Baraheni’s latest theories on poetic form, and represent a novel classification for properties of form in Accosting the Butterflies.

The contemporary writer, Reza Barahani, has criticized the social and political structure of his society in his novel Ruzegar-e Duzaxi-ye Aghaye Ayaz. In Frankfurt school’s critical approach to art and literature the disapprobation of situation of society and the correction of internal contradictions of society is important, so we aim to study the novel due to theory of Herbert Marcuse and Theodor Adorno to show that Barahani has questioned the existing condition in society by referring to the problems of society. The most important component of the theory is that revolutionary art can criticize social realities in the best form and content because of its distance from the problems in society. The result shows us that Ruzegar-e Duzaxi-ye Aghaye Ayaz is revolutionary in both form and content.  Barahani’s novel has questioned and criticized all Iranians ruling powers up to that time and believes that the root of all the problems is despotism and silence of people in face it. Formally, this is one of the first works that has welcomed new forms and has been written in modern form.

Colonial literature refers to a branch of contemporary literature that emerged during colonial domination or afterwards with the purpose of liberation from the yoke of colonialism in the colonized countries. Of the main themes of this literature, one can mention the confrontation between characters and the themes that set the oriental writer’s ‘self’ as confronting the western ‘other’ and the interaction between them. In the literary fiction in Iran and Egypt, many writers have written on this subject. The present investigation is a comparative study of the two novels, namely the Mysteries of My Land by Reza Barahani, and Palace Walk by Naguib Mahfouz. Both works date back to the occupation of the writers’ lands by western countries. The findings of the study, obtained through content analysis, adopting a comparative approach, suggest that, by expressing and evaluating such fundamental and post-colonial concepts as ‘other’, the core and the periphery, gender, beliefs, freedom-seeking, and the fight against colonialism, the writers have sought to show their “selves” and “other” or the core and the periphery.

During 1990s, certain trends appeared in Persian poetry, which were generally different in terms of both language and method of expression and content from those from the previous periods. The common aspect of all the poetical trends from the 1990s was transcending beyond the common and normal language and expression of Persian poetry. One of the most important and most influential poetic trends from 1990s was “the Language poetry” trend, pioneered by Reza Baraheni. In this study, the Language Poetry trend is analyzed. The theory of “linguality” proposed by Baraheni is briefly introduced, in the first place, followed by figuring out the main indicators of Language poetry from among his viewpoints. The most important indicators of the language poetry are syntactical discordance, de-semanticization, multiphonicity, projective dislocation, polylogia or lingual lunacy and so forth. It is argued that there is a gap between poetical theory and poetical implementation in the poetry of Baraheni as in Nima and Shamlu.

Abstract Each literary work is a sign of its writer’ ideology and thoughts, and is based on the social and political context of the community. Reza Baraheni, the author of the Novel “Mysteries of My Land”, as a social reformer, influenced by the atmosphere of the ruling community in Iran, especially Tabriz during the years from 1959 to 1979, expressed his social-political ideas with the aim of reforming society. Thus analyzing the writer’s thoughts is important from the point of view of post-colonial literature. The present study is done via the content analysis method to investigate the intellectual themes of the novel, such as tradition and modernity, social disadvantages, status of women in society, Self and the Other, apolitism, lack of self-esteem, and subaltern and hegemony, and anti-colonialism .The research results depict that this novel, drawing on the components of post-colonial literature, illustrates themes such as the confrontation between tradition and modernity, the male dominance of the traditional society, western subaltern and hegemony, moral issues, lack of self-esteem, and identity fragmentation. But, on the contrary, relying on mythological beliefs and ideas to achieve the former identity, the novel also promotes the struggle against the belief in the supremacy of Western race as well as anti-colonialism.

Julia Kristeva is one of the most important researchers in the realm of semiotics (1941). Her ‎specific semiotics is known as Semanalysis. In addition to taking into consideration signifying ‎systems, Semanalysis pays attention to drive-oriented non-signifying systems, as ‎well. Accordingly, Semanalysis has two aspects: symbolic and semiotic. The ‎symbolic aspect involves with language, signification and social contracts, but the semiotic ‎deals with those drives, emotions and psychological energies which are canalized, in a way, ‎into language. The present article, in a case study, tries to ‎analyze a poem by Reza Barahani on the basis of the model proposed by Kristeva. Such an ‎analysis reveals that the semiotic comes into language by means of such techniques as ‎phonemes working independently of communicative function of language, pause and ‎interruption, repetition, rhythm, homophony and synonymy. In the end, it is revealed that the ‎application of this model in the realm of practical criticism is, no doubt, of high advantage. ‎