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

The aim of the present study is to compare and evaluate the narrative style in the novel Alley of Medaq, by the successful Egyptian writer Najib Mahfouz(winner of the 1998 Nobel Prize in Literature) and the film Cafe Setareh, the first adaptation of the well-known Iranian director Saman Moghadam. Therefore, it can be said that this research focuses on explaining the nature and quality of narrative transformations from literature to cinema in both literary and cinematic works. In the work of cinema, which is the product of the interaction of literature and cinema and narrates a slice of women's lives(as part of the lower class of society) in the struggle with superiors and socio-economic conflicts made above, the presence of female narrative is obvious, while this method of narration There is no clarity in the literary work, ie the alley; Inferior people give birth to inferior offspring and, thus, propagate their inferiority. Overall, the narrative in the film has changed in creative ways:

The collection of my memoirs, I am alive, is a completely feminine work with emotional, meaningful, meaningful and healthy prose. The book has a respectful tone, rhythm, smooth expression, clear sentences, clarity of language and an attractive and readable finish. The extensive use of verbal and spiritual arrays, original sensations, appropriate hints and assurances, good suspension, observance of similes and eloquent expressions, have made the book readable and pleasant. The present research has investigated this precious work by descriptive-analytical method and from the perspective of structuralism. . "I am alive" is the starting point of the female narrative in the works of captivity and it is derived from the model of patience and perseverance of Hazrat Zainab (PBUH). The language and prose of the story combined with other elements such as plot, time, accurate and calculated characterization, suspense and expectation, all express the author's skill in story writing.

Women writers in Iran and Arab countries have always been able to express their stance in writing their fictional works and were welcomed by the public in this respect. Story writers emphasized that women show the reader a special meaning of the female experience that male literature is not able to reveal. Accordingly, they tried to write works directly related to the experiences of women. The current study was conducted in the fields of formation and development of women's writing in the fictional literature of two countries based on the American School of Comparative Literature and the descriptive-analytical method. The results of the research indicate that the first period of women fiction writing in Persian and Arabic literature expresses the feelings of oppression, suffering, and deprivation. The second stage, is the period of restoration of women's identity and raises the issue of the right to choose, women's freedom, and discrimination of women's identity. Getting out of negativity and promoting the acceptance level of the women's role from the home environment to different levels of society, including political, economic, social, and cultural features, and choosing the hero among women, are among the most important features of women’s fictional works in the third period of women’s writing in Persian and Arabic literature. The women writers' efforts to show a female narrative and represent women's identity are presented in different ways at different levels of the text such as the use of words, characterization, and the choice of the female hero and narrator.

Due to the nature of war in the minds of men and women, there are significant similarities and differences between the conceptual metaphors and schemas used in the male and female narratives of war. In the formation of conceptual metaphors in female and male narratives, different areas of origin in female and male narratives of sacred defense have been used. The cultural meaning of sacred defense in female narratives is different from the cultural meaning of this phenomenon in male narratives. The present study is a descriptive-analytical study that has studied the conceptual metaphors and cultural schemas in the feminine and masculine narratives of the sacred defense with the help of the library method. And the femininity of war can be examined in the form of conceptual metaphor theory and schemas? What are the similarities and differences between the conceptual metaphors and schemas used in the male and female narratives of war? What areas of origin have been used in the formation of conceptual metaphors in male and female narratives? What is the difference between the cultural meaning of war in female narratives and the cultural meaning of this phenomenon in male narratives of war? The results indicate that the differences between male and female conceptualizations of war can be examined in the form of conceptual metaphor theory and schemas.

Based on the question "whether as womenchr('39')s literature, there is a category of chr('39')Different approaches to womenchr('39')s fiction is formed. Language and linguistics community of researcherchr('39')s social and feminist critics, especially feminist and postmodern, linguistic theories about the characteristics of women and men of the differences are presented. In this study various approaches regarding the review and critique of linguistic features, Women light on the analysis of womenchr('39')s fiction, as a method of feature selection in linguistic, ideational literary works, has been emphasized. Its novel, "habit - we", "like you said Lily," and "My Bird" is selected. The research method is descriptive - analytical studies based on feminist approach style, these works are analyzed.  The findings of the study suggest that authors of works on different levels of the text: the literal (term), the syntactic level (use of words) and level discourse (text and point out features of s) feminine narrative provided and try to have the representation of female identity.

"Dream of Tibet" like previous works of Fariba Wafi has been a successful story, but still has reiterated her earlier concerns. The success of this work at the same frequency lies on paying attention to plan, method and the new styles of author for effective writing of her contents and concerns. Due to achieving this, methods, plans and outline of the novel are to be considered due to analyzing relationships between themes and innovations of the novelist to advance the novel. Theme of the novel represents the importance of dialogue and love in life. The plot of the novel is based on dialogue. The author has studied the effects of lack of dialogue and the creation of an opportunity for dialogue, on the other hand to understand the causes of the crisis of a life without dialogue turned to dialogue, in which of this dialogue discovers the factors that make their life critical. The author also has used characterization and narrative modes of expression based on mystery to know the status of women and the factors affecting women's lives. First person point of view and female narrator coincided with tis layout and content are selected; the narrator is not involved in the main story, and she just narrates the story to uncover the secret of a woman's life crisis.

Female writers in the field of fictions resist to social division into male and female; they deal with the problem of identity and the status of Iranian woman in a social change and combine the criticism of patriarchic society with the women’s effort to find themselves. However, the type of this resistance needs to be explained. Every writer uses a specific narration method, design, sign to express his/her thoughts and concepts. Fariba Vafi is a hard-working story-writer in the contemporary time, whose main concern is the issue of women. My Bird is her first novel, which seriously deals with women’s issues with a specific method. In this paper, the connection between deep structure and the method of narration in this novel is explained. Using the first person narrative, the writer represents the story from the viewpoint of a woman, so that she could express women’s objection to their status. Sometimes, the narrator’s objections about women’s situation are reflected in form of description of the current status quo in an obvious manner. However, many concepts and deep structure of the story are presented as implicit information. By drawing the unpleasant situation of woman in society and family, the narrator informs the reader of this situation, which leads to improvement in the conditions. The frequency of quotations about the situation and the descriptions in comparison with actions indicate that the woman is constantly at home and in the kitchen and has no other time but to quote out of the kitchen window, to think and ponder or to write letter about the issues she always deals with.

With the advent of linguistic researches in the early seventies on the conditions of the women in language, an overwhelming turn came into the sociolinguistics. The most important rationale behind this attitude was the surge in Feminist movements in the modern times. Women authors strongly believe that masculine/male literature reinforces traditional sexual clichés and that in their works, portrays women as dependent and victim. They contend that the image depicted by men in their works of women is more frequently than not unrealistic. In other words, women/females in most of the literary works are considered as “others” to men/males and, henceforth, in male-dominated literature, the women question and the women experience are not dealt with. Quite on the contrary, the role assumed for women is what men ascribe to them and deem more suitable. This led to women arguing that, since they are endowed with special biological features and feminine experiences like sympathizing, cooperation, sensitivity and special power to observe, they are more likely to convey a special aspect of femininity to the reader, which is absent from male/masculine writing/écritude. Female writers in Iran could establish their place in writing fictional works and, hence, be widely received by the audience. This paper, via applying the Theory of Language and Social Semiotics, tries to delve into two novels: ‘Sovashon-by Simin Daneshvar-and ‘Adat mikonim'-by Zoya Pirzad. The methodology is descriptive-analytic. This paper substantiates the claim that women in different strata (syntactic, semantic and cognitive) of these two novels struggle to represent their identity in various ways