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

Regional culture, encompassing the collective beliefs, thoughts, emotions, attitudes, and interactions among members of any indigenous community, is recognized as a rich source in the production of literary works. This common ground has led prominent writers such as Jalal Al-e Ahmad and Gholamhossein Sa'edi to delve into the study, research, and scrutiny of the culture prevalent in various regions of Iran, especially lesser-known areas. The author of this study aims to investigate how indigenous and regional cultural elements are employed in the production of literary works based on two works by Gholamhossein Sa'edi, "Ahle Hawa" and "Tars-o-Larz."The methodology employed in this study is comparative-analytical. The results of the investigation indicate that Sa'edi, in writing "Tars-o-Larz," deliberately incorporates numerous instances and narrative elements such as time, place, characters, and plot twists derived from the collective indigenous and regional beliefs of the southern people. For instance, the concept of time in "Tars-o-Larz" aligns with non-calendar-based and mythological folk beliefs.

One of the tools of a researcher in the field of literature is sociological critique, with which he can analyze the world of the text. In this study, we try to re-read the six stories of fear and trembling of Saedi through qualitative analysis and based on library studies and Pierre Bourdieu's theory of action. we tried to examine the habitus, capital and position of characters in the field and their relationships separately. The research achievements show: 1- Poverty and lack of cultural and economic capital are the most important factors to create and spread superstition, fear and especially its imposition as a habitus of the villagers. 2- poverty is the prominent habits of people in fear and passivity field, which they constantly reproduce it in different ways. 3- Despite the lack and poverty of capital, the residents try to maintain their position in the field and even try to improve it. Depending on their position on the field, the basis of their relationship changes and they even turn to conflict. 4- When the residents leave the village or a person or persons enter it, the residents feel danger; especially those who have economic capital are more afraid and shivering than others. 5- The solidarity of the inhabitants with the progression of the stories decreases gradually, and in the sixth chapter, the relations of the inhabitants are completely destroyed. 6- As the stories progress, the level of activism of the characters decreases and they move step by step towards reactivity.

The relationship between literature and social phenomena and events is one of the fields of study in recent years, which has received much attention in literary approaches and cultural studies. To the extent that the sociological criticism of literature has been considered according to theories such as Lukács"s theory, according to the main assumption that social changes and transformations occur in literary works. Sociology of literature and its transformation into a literary approach and theory With the application of George Lukacs" ideas, it took on a scientific and critical form. The theory of "reflection of reality" is the most literary sociological theory of this Hungarian thinker and thinker in literary criticism, which is well demonstrated in the realist style which is a reflection of the nature and totality of society.; Rather, it is a dynamic, deep and true reflection of reality that depicts the author"s mental structure, which is itself a reflection of the society, in its heart. Therefore, the purpose of the upcoming review is to analyze and sociologically analyze the works of one of the prominent and renowned writers of the realist style of Persian literature, namely Gholamhossein Saedi, based on the theory of Lukacs.

This research will discuss and analyze a selection of Gholamhasan Saedi"s stories using the descriptive-analytical method using Lukacs"s theory.

The findings of the research show that Gholamhasan Saedi"s works reflect social issues well.

Saedi has depicted the problems that are plaguing the people of the society in the struggle of modernity developments and the passage of traditional manifestations in most of his stories. Isolation, distress, superstitions, anxiety, loss, lack of concentration are among the common problems in Saedi"s stories. He not only strongly reacts to these conflicts and contradictions, but also attacks the backwardness in the society which is rooted in traditions and false beliefs.

To this end, two plays were examined, "Zahak" by Gholam Hossein Sa'edi and "Infernal Machine" by Jean Cocteau. The findings of this study suggested that both of the authors paid attention to the myths of their culture, and they adapted their works, especially these two works under analysis, from these myths. Sa'edi, by recreating the myth story of Zahhak and Cocteau by recreating the Oedipus myth in their works, intended to show the conflict between contemporary man and the political system and fate. It was concluded that “Jamshid” myth that manifests as an intellectual myth in the story of Zahak can be considered as the personal myth of Gholam Hossein Sa'edi. Also, Oedipus myth chosen by Jean Cocteau which shows human disarmament against his fate, is like his own personal myth. Finally, according to the comparative analysis of the works of these two authors, some common features such as using drama for enlightenment, having satirical look at myth, using the fantasy literature, and paying attention to the death theme discovered.

The notion of bureaucracy is derived from the French word Burecratie, which is made up of two words: Bureau meaning desk and cratie meaning power. In 1759, Vincent de Gournay introduced this term to the socio-political terminology of France. Divansalary is the Persian equivalent of this term which refers to an organization which operates within the framework of law. In his Shabneshini-e-Bashokouh, a collection of twelve short stories, Sa’edi centralizes Bureaucratic life and order to conduct a psychopathology of clerks using an ironic and humorous language. Through characterizing his fictional characters as psychopathic, belittled, and illusioned people, Sa’edi criticizes the framework of Iranian official order in the late 1330s. In the present study, we aim to examine the author’s individual ideology in his creation of his critical attitude toward clerical life through Shabneshini-e-Bashokouh, Khabha-e-Pedaram, Dayere-e-Dargozashtegan and Mofattesh through processing and analyzing the fictional space. To this purpose, in order to analyze the story space, we have used Jean Weisgerber’s theories which are based on the mutual connection between human and space. Weisgerber believes that space should not be regarded as just a framework or décor in a literary work. It should rather be considered as a main character in the story. He believes it’s only through seeing story space as a character and analyzing it that we can get to the real meaning of a literary piece.

Magic realism is one of the characteristics of realism in the second half of the twentieth century. Kamal and Saedi are among the pioneers of this style. Al-Marhoum</em> and Azadaran-e Bayal</em> are prominent examples of this style. In this paper, the writer's methods are analyzed with a descriptive-analytical method based on the American school of thought. The need to know the content and elements of magical realism with regards to the social, cultural, and political problems of the two countries (Egypt and Iran), myths, and beliefs is the necessity of research in this respect. The results show that the authors used magical realism to express the political and social problems in their society. The element of "magic", "illusion", and "imagination", after the element of "reality", forms the foundation of these two stories. The background of both writers' tendency towards magical realism style should be considered through the psychological aspects of the characters in their stories and common individual characteristics. In Al-Marhoum</em>, the components of magical realism; Such as "symbolization", "mystery", "sound and smell" have a more prominent presence, and more examples of the elements of "duality", "myth" and "sound and smell" can be observed in in this novel.

The purpose of this article is the hypertextuality study of manifestations of metamorphosis in Gholam-Hossein Sa'edi's works according to Gérard Genette's theory of hypertextuality. This theory is one of the five types of Genette's theory of transtextuality which concentrates on inspiration, derivation and effectiveness of the hypotext on the hypertext. Besides, this theory includes two basic types, imitation and transformation. Metamorphosis is considered as one of the most remarkable elements in myths, folk tales, and legends. Based on this process, unexpected and gradual changes demonstrate themselves in the appearance and sometimes in the conscience of the creatures and they transform from one form to another while displaying different performances. Moreover, sometimes they can appear in the combined structure of humans, animals, plants, and objects. Literature is the origin of presence of these manifestations and they have had mutual effects on each other over the time. The mutual impressiveness and effectiveness provide an opportunity to study them with respect to the theory of hypertextuality especially by considering contemporary literatute as the target resources which fewer researchers have focused on it. The results of the study demonstrate that the manifestations of the metamorphosis exist in thirteen stories, one novel, six plays, and three screenplays written by Gholam-Hossein Sa'edi. In this article, based on the descriptive-analytical method, these manifestations were classified and determined in three different groups and then they were studied based on a qualitative content analysis. At the end, impressiveness of these manifistations in Gholam-Hossein Sa'edi's works from ancient literature and folk tales has been studied according to the hypertextuality theoretical framework. The results represent that Gholam-Hossein Sa'edi sometimes has used these manifestations with direct and indirect influence of ancient and religious narratives and folk tales (hypotext) in his works (hypertext), however, in most of the time, he has used his creativity and imagination to make these manifestations in favor of progress of the story.

The present study investigates the intertextuality in the stories of Azadaran Beil and Tatar Khandan by Gholam Hossein Saedi based on the theory of Mikhail Bakhtin. What is referred to as intertextuality today is a term that can be called discourse between texts. Intertextuality is the study of the discourse of texts in literary and cultural works of the world. Before Ferdinand de Saussure's theories, everyone believed in the independence of texts, but Saussure's theories lack the validity of these theories. Based on this theory, Bakhtin believes that texts and their speakers consciously or unconsciously benefit from each other's intellectual and literary sources. The authors of this article intend to analyze these two works with the method of content analysis and with the aim of knowing more about the works of this author based on Bakhtin's theory and with the library method; The findings of the research show that the author was influenced by the Quran and Islamic beliefs and also mentioned some popular beliefs during the stories. The expression of proverbs and myths, irony and bringing part of prayers and supplications are other indicators of these works. Saedi has sometimes mentioned other stories in his works, and in terms of content and theme, he has been influenced by Sadiq Hedayat's Buf Kor and Kafka's Metamorphosis.

Gholamhossein Saedi followed writers such as Sadegh Hedayat, Bozorg Alavi, and Jalal-E Al Ahmad in search of social perfection and full-heartedly felt the sufferings and hardships of the society and acted with great excellence in repaying them in his stories. He was one of many writers of the last hundred years and the top story writers in the forties. The stories of that decade reflect the spiritual failures of the intellectuals after the coup on August 19, 1953, and this theme can be seen in many of his writings. One of the most important features of that period was the censorship, ruling the space of writing stories and poems, which caused a group of writers to turn to playwriting and use its symbolic aspect to express their intentions and content. Saedi was also among these writers. He was one of the most successful writers in Iran's dramatic literature. The political themes of Saedi's works were more visible in his plays. According to the political conditions of the 1940s, the subject, and the content of his plays, he has expressed openly or mockingly and satirically issues such as tyranny and oppression, freedom of expression, land reform law, and the confrontation of people's poverty with the current of modernization. Three prominent intellectual cinema films of the years before the Islamic Revolution: Cow, Mina's circle, and Peace in the Presence of others, are taken from Saedi's stories. In addition to analyzing Saedi's works, it will highlight the influence of Saedi's works on the Iranian cinema of that period. To reveal his role and position in the intellectual cinema of the years before the revolution.

Carnival is one of the prominent  theories of  Mikhail Bakhtin,the great critic of the twentieth century in literature. Features  that make  a literary work  can be  called carnival are the language  of  the street and market, humor, laughter , imcompetence, grotesque, etc  that  can be mentioned in describing a carnival work. Carnivals are public and folk festivals in which different classes of society are worded and the wise, fools, clowns and kings are ridiculed. One of the works that can be read by carnival” Azadaran-e Bayal” is the work of Gholam Hossein Saedi. This article is based on descriptive-analytical method and library method. The research  finding indicate  that the author disrupts the dominant and one-  sided discourse in this work and provides space by creating multiple  and reciprocal characters and situations to creat discourse and reflect  different voices to express social and cultural truths. In this novel, The explanation of the multilateral and functional contradiction between characters and cultural and religious situations in society, combining contrasting things by creating  situations and artistic spaces ,as well as, reflecting the effects of death and love at the end of stories, creating distorted and crazy characters who breaks balance of logic  and formality, the use of slang in different situations, the existence of fear and panic in the atmosphere of the stories, the creation of humorous and funny situation with special and self- attributed methodes, etc  expresses the signs and components of carnavalism in this work.

One of the functions of American school in Comparative Literature is the possibility to equalize literary works from different geographic regions that do not share any historical grounds. In fact, this school gives us a platform to go beyond the limits of the French school as a condition of historical confrontation. This study uses this cross-border thought approach to conduct a comparative analysis of two literary works by Athol Fugard and Gholam-Hossein Sa’edi, both of whom compete over the concept of other. In fact, both authors seek to focus on the binary interactions existing in society regarding the idea of other. On the other hand, colonization has changed, and it does not appear as a direct governing system or a puppet ruler as it once did. Instead, in today’s world, it appears with a different approach and as silent domination. The plays The Island and Parvarbandan attempted to react to the social and cultural change and conflict they were faced with accordingly. This common ground makes these works worthy of comparative analysis. Therefore, with regards to the textual capacity and the atmosphere of both plays that portray domination and hegemony, their consequences on characters, and the reaction of the oppressed other and using the comparative approach, this study attempts a postcolonial reading of the plays. In fact, this study seeks to analyze these texts in cultural and deconstructive frameworks as well as the characters’ reactions and the narrative direction of the plays.A historical examination of postcolonial studies' roots reveals the traces of one of the field's pioneering thinkers, who first defined the notion of “the other” in the conflict between colonialists and colonized. Frantz Fanon addressed the question of “the other,” particularly in the case of blacks, by using the theoretical potentials of Hegel's discussions in phenomenology as well as Adler's theory on individual psychology. Inspired by Hegel's key theories on master-slave dialectic, he regarded the colonized as an” other” who could not embrace the role of “self.” In his paper, “Racism and Culture,” Franz Fanon defines race as the issue of “the other,” for example, superior/inferior racial relationships, in the context of the struggle between indigenous and colonial cultures. Racism, according to Fanon, follows a solid and immutable logic. A living nation, in his perspective, gets its essence from the exploitation of other people and, as a result, reduces those people to inferiors (see Fanon, 1972: 63).The representation of “the other” as an imperfect “self” in Bhabha's discourse implies not just the colonists' oppressive or proprietorial characteristics but also a more complex desire. In this case, the colonizer is subjected to these forms of representation in the same way that the colonized is, and he or she is simply caught up in the game of desire and fantasy established by the colonial context (see Mills, 2003: 159). In his book, The Colonizer and the Colonized (French: Portrait du colonisé, précédé par Portrait du colonisateur), Albert Memmi delves deeply into the mimicry-based relationship between the colonizer and the colonized. He argues that placing oneself in the shoes of another is an unconscious deed made by colonized people in an attempt to better their status. When a colonizer receives all advantages, profits, and credits and possesses wealth, honor, authority, or technical facilities, even though he has violated the colonized people's rights and has held them in servitude, he is seen as a unique role model for the colonized. The colonized imitates this role model to such an extent that his identity becomes entwined with that of the colonists, and he, therefore, ignores his true self. However, over time, the colonized understands that colonial culture had consistently put him in the position of a humiliated colonizer and that by accepting colonial values, he had actually signed his own conviction. Such a person not only does not benefit from the advantages of colonial society but his identity is gradually resolved in the relations of such a society. The colonizer gives in to his role model's demands and praises him, but the colonizer also finds a way to humiliate him, and that is ridiculing the colonizer's clumsy imitations. This is the point at which the colonized revolt against the "other" and his acts, hoping to get rid of him as quickly as possible; so, he rejects the colonizer, and the roles are reversed. The colonized people’s earlier desire for the colonizer and self-rejection turns into the colonizer's rejection and return to the actual self, their infatuation changes into extreme hatred of the outsiders, and they pursue self-detection. According to Memmi, the colonized cannot avoid this multi-stage colonial relation, as though each step is a prerequisite for the colonized to go to the next level and, eventually, achieve his freedom and deliverance (see Memmi, 1972: 155-158). 

This study was conducted using a comparative analytical method, and its data were collected through a desk research approach. Through a postcolonial and cultural studies lens, we examine Gholam-Hossein Sa’edi's play, Parvarbnadan (cattle fatteners, Fatteningly ), and Athol Fugard's drama, The Island, to conduct a comparative study of the concept of "the other" in both literary works. 

 The Island is a manifesto in which two men are sent to Robben Island for opposing apartheid and its brutal policies. This play, however, is also a statement on theater, asking, "What is the point of drama in a society founded on antagonism and repression?"  According to the play, humanity will continue to suffer in the most inhumane ways unless they can find a meaning for their suffering and express it (see Walder, 1984: 76). Sa’edi's play, on the other hand, is a prod against an indifferent society, and the playwright used the metaphor "lamb" to portray the indifference of such a society and describe the current hegemony. Here, the author is a concerned person who, like the repressed characters of an island, must remain in exile and lose his identity and humanity, a point that Fugard also accentuates in his work. The main characters in both plays are oppressed and imprisoned for fighting against the government and for having resistant morale.  In The Island, two black prisoners, John and Winston, are detained in the notorious Robben Island prison off the coast of Cape Town, South Africa, for their political stances against the government. On the flip side of this study is Fatteningly, whose protagonist (Meem) is a well-known activist and writer now serving a temporary prison sentence awaiting trial. Here, it is necessary to examine the discursive and ideological forms of the two plays. This enables us to determine how colonialism establishes its subject positions via representation. In this respect, Steven Sloman presents a diagram in his article "The Struggle for Postcolonialism" that is beneficial for comprehending the complexities of this issue: Diagram 1. The Semiotic FieldThe diagram above depicts colonialism as a system of power and dominance from left to right. The line “A” symbolizes the numerous beliefs regarding how colonial oppression is carried out via direct political and economic control. The lines “BC” and "DE" indicate several notions connected to the ideological regulation of colonial people or subjection through establishing consent. Theories that highlight colonialism's efficiency, which we observe moving along the line A, are fundamentally "direct political" theories or theories based on colonialism's "brutal coercion." In other words, these theories deny the fundamental assumption of resolving social conflict via the intentional development of concepts about the "self" and their internalization or "actualization" by subordinated subjects. On the other hand, theories that depict colonial power primarily along line BC - which embodies the ideological stance of economic colonialism along with line A - highlight the structural strength of state apparatuses in the formation of colonial relations. In his play, Fatteningly, Sa’edi uses lamb fattening as a metaphor and narrates the same sequence. This structure adheres to line "BC," according to which controlling ideology promotes instinctive desires so that colonized people may focus only on these things while neglecting current political-ideological concerns. As a result of such a policy, a society in which everyone thinks alike is formed. On the other hand, these herds are uninformed that cattle fatteners' ultimate focus in fattening ignorant animals is to transport them to the slaughterhouse. Totalitarian regimes do this by slaughtering and eradicating the personality or identity of human herds. On the other hand, this connection may be seen as suggesting that the government, by duping the masses and legitimizing racial discrimination, sends dissidents like John and Winston to a secluded island to live as enslaved people doing subordinate labor.The crucial point is that the process of otherness is characterized by intricate representational power processes; power is essentially oppressive. It deals with human subjugation and seduction via a variety of, at times contradictory, images. Another character in this drama is a lady who uses lures and cooks fatty meals to fatten and castrate Meem.In The Island, government authorities attempt to assign tasks to two convicts in order to transform them into animals or to remove the last traces of humanity from them. Furthermore, this task serves as both a shield and a sword for both prisoners. In other words, this task may be used for both self-defense and action and warfare against the colonizers (i.e., the state). Theater, in fact, is the instrument that these two characters use to avoid alienation.The body serves a particular purpose in both plays. In The Island, the human body narrates the anguish of oppressed individuals who have been banished because of their protest and whose body endures unending oppression in the process of "becoming other," which has pushed them to perform meaningless and dreadful tasks. The island evokes the setting for a tragic play in a tiny, lonely place, which is a metaphor for the country's terrible situation. People are condemned to the worst penalties in this country, and the state humiliates the spirits and bodies of the people by forcing convicts to do complex and meaningless actions, punishing them or turning them into obedient slaves.  If we consider locations such as the small world of postcolonial society, we observe how characters are treated and how they are compelled to live a passive, submissive life. All of the activities performed against Meem's character in Fatteningly are performed in order to transform him into an obedient character. As a result, actions such as edacity, castration, and physical punishment are examples of behaviors that are applied to the body, and governments use these activities to accomplish colonial aims in the process of "otherness."

One objective of the comparative literature approach is to investigate the conceptual and methodological biases in various territories without considering the historical context of the relationships between these territories. Based on comparative literature methodology, we first evaluated the similarities of the concepts of " the other" in two dramas (Fatteningly and The Island) and then attempted to analyze the dualities in these works through analyzing the dual system of "the self" and "the other." In the next stage, we tried to compare these works. As Fugard grew up in a colonial territory, he became interested in structures that arose from dual racial conflicts, such as white/black, which were finally internalized by the society. The issue of race and the problem of inferiority, implemented through white hegemony against people of color, is one of the most prominent keywords in Fugard's works. Most of Fugard's focus in his work was linked to this colonial theme. In terms of the typology of "the other,” since Sa’edi lives in a different culture than Fugard and has no experience living in the colony, he highlights the subject of autocracy in many of his plays rather than colonialism, which accelerates people's otherness process as a consequence of its hegemony. In fact, the hegemonic forces in these two works take a stand against the characters because they want these characters to go through a process of alienation during which the characters first get alienated but eventually resist and take an aggressive approach against colonialists or dictatorial powers.

An effective element of narration structure is “time”. In most of the cases, narration time is against the real time. A narrative discourse is characterized by the time as a principle and typical representation of events of the story. Gerard Genette, the French structuralist theorist, provides the most comprehensive discussions about time components and the effective factors on narration tempo. Accordingly, the current study applied Genette’s theory to study the concept of time and the factors effective on acceleration or deacceleration of tempo narration in Saedi’s Gharibe dar Shahr adopting a descriptive-analytical approach. Results indicated that the volume of text against the time of event, and the use of more deaccelerating elements in narration in different parts of Gharibe dar Shahr resulted in a negative acceleration of the story and slowed its tempo.

Confessional literature is a branch of literature that includes works that somehow tell the personal biography of the author. Love letters between writers, poets and world famous figures are typically of this category, are very attractive, and attract the reader's attention. This has happened in all cultures and literatures of nations and Persian and Arabic literature are no exception to this rule. Letters of Gholam Hossein Saedi, Iranian writer to Tahereh Koozegarani and Ghassan Kanafani, Palestinian fighter and writer to Ghada Al- Samman, are considered as one of the most enduring romantic heritage of contemporary Persian and Arabic literature Which not only represent a poetic event, but also a combination of confession, burning love and nostalgia and show the power and greatness of love that afflicts everyone regardless of power, personality, pride and... .This study is a descriptive and comparative analytical approach to the formation of love and their lovemaking in these letters. Letters in which with the accuracy and honesty hidden in them, another aspect of the life of these two writers can be understood and from another perspective, the character and life of these loving lovers can be revealed. Avoidance of decorative sobriety and false masks, competition for love, crying and suffering for the sake of distance from the beloved, waiting for him and fear of losing him, seeing the beloved in a higher position, writing a letter as an objective solidarity of love And asking the beloved to do reciprocity is one of the most important common themes in the letters of these two famous Iranian and Palestinian writers.

The rhetorical and sociological critiques are two writing tools available for literature researchers. They are used for analysis of the writing. Now if we can provide a methodological and purposeful relation between these two types of critiques, the narrow boundary between literature sociology and sociological critique become more evident. Meanwhile the dynamism and fluidity of writing tools is strengthened and the capabilities of author and the capacities of its writing are known more than ever. The main question of current research is represented like this, how relevant and discussable is the relationship between rhetorical critique and sociological critique while performing literature researches? And essentially how can we achieve the dynamism and fluidity of critique through this path? In the current study, we tried to apply mixed method (basic and applied researches with quantitative and qualitative focuses) and by using library research over three less known stories of Gholamhossein (Stories of Morgh-e-Anjir, Pygmalion and Seda Khone), detect the boundary between literature sociology and sociological critique in a practical manner. In addition, a methodological relation is created between rhetorical critique (knowledge semantics, expression and prosody) and sociological critique (Pierre Bourdieu’s action). Overall, Research findings indicate that: 1) Using the knowledge of rhetoric, one can understand the habits of people, their capital and position in the field of social space, 2) As soon as there are changes in the capital and position of individuals, purposeful changes take place in the rhetorical sector. 3) With regard to this, not only the story is examined in the literature layer of the text, but also the functionality and dynamics of the literature are explained. 4) It is also possible to understand the abilities of a writer such as GholamHossein Saedi, how delicately he writes and gives a rhetorical color to sentences, and with this change, the characteristics of sociologists also change. This research is an introduction to new research in the field of literature and is a beam between multiple beams.

Time is a significant and essential component in the creation of a novel. It has such a fundamental position in narrative, some critics believe that the most significant feature of narrative identification is its time. The authors’ playing with time increase the attractiveness of narrative, and indicates the way s/he chooses the events. By going through the authors’ playing with time, we realize the significance of an event in the author's view to achieve her/his goal. Genette, French structuralist theorist, has played a significant role in the development of the concept of time in narrative, as one of the important components of the advancement of narrative. Considering this issue, the present research paper has explored affecting factors on the speed of narrative, through a descriptive-analytical approach in Sa'edi’s Smiling Tatar in the light of Genette's Narratology. The speed of narrative is explored to find out the duration of actions/events over time and find out what the portion of a book is devoted to them in a specific span of time. The results of this research indicate that in Sa'edi’s Smiling Tatar, the author creates a modern story by creating a narrative, based on non-linear structure, in which the element of the time is very cardinal. Based on the concept of time in Genette's narratology, it can be concluded that in different parts of Sa'edi’s Smiling Tatar, due to having a lot of reducing factors of the text narrative speed, the validity is negative and the speed of narration is slow.

One of the works of Gholam Hossein Saedi, in which the characteristics of the Gothic genre can be seen, is the collection of stories "Fear and Trembling". In this collection, which deals with the lives of the people of the southern coast, the author has crossed the boundaries of reality, filling it with apprehension and anxiety. The Gothic genre, which first appeared in architecture in the twelfth century and expressed mystery and horror, became a genre in fiction in the eighteenth century. In such works, the authors engage the readers with horror and mystery by creating a terrifying atmosphere and detailed and imaginative descriptions. The characters in these works are unbalanced, psychotic and sometimes criminal. The reference to secluded, remote, and uninhabited environments is another element of such works. In this series of stories, Saedi seeks to show the cultural and social backwardness of the beach dwellers by creating a frightening and sad atmosphere by referring to delusional and superstitious people and referring to the descent of calamity and death in various forms. Attention to the unnatural elements that bring this collection closer to the works of magical realism is one of the manifestations of the Gothic literature of this work.

The recent approaches in comparative literature are looking to do a more in-depth study of the encounter of the various discourses, compared to the past. One of the most essential aspects of the Postcolonial discourses is the dialectic of “self” and “other”, a contrast that can appear in various forms, in one of which the enlightened can reappear as the “other.” The plays Small a, Capital A, and No-Good Friday are emblems of the Postcolonial discourse that have been penned in order to expose the colonial discourse ruling over its society and era. The protagonists of the two plays (Willie and the man on the terrace) are some of the enlightened people who rise against the ruling colonialism, despite living in the margins of the discourse dominant on their society. This research aims to study these two Postcolonial discourses using the comparative approach and based on Edward Said’s definition of the enlightened, and considering the existing ideological discourse in order to shed light on the similarities and differences of these two discourses regarding the definition and function of the enlightened person and to introduce a more sensible definition and image of the enlightened, compared to other existing characters. The findings of this research show that although there are differences between the two protagonists of the plays, these two enlightened people accept the popularity of the anti-colonial discourse as an ethical matter. Resistance against oppression, resilience, and seeking the truth are a number of actions adopted by the two enlightened people.

The concept of "body" goes beyond a set of organs and functions that are regulated by the laws of anatomy and physiology. The body, above all, has a symbolic structure that provides a medium for the projection of cultural forms in their broadest forms. In this study, examples of this assumption will be followed in the study of plays produced in the Iranian dramatic literature of the Sixties and Seventies. An era that was accompanied by fundamental changes. In the mid-1970s, two-thirds of the country's population was young people under the age of 30. The country's education system also grew slightly to threefold. Influenced by the "post-colonial" discourse that flourished after World War II, this broad class at one point turned to the leftism; And turned to jihad in opposition to the regime of the time. The objection manifested in the literary / artistic productions - which are considered works in praise of the mass uprising -. This resistance is manifested in different levels of works; Among these, the "body" will be considered in the present study. Among the works of Art/Literary, an outstanding play by Gholam-Hossein Saedi, “Chub be Dast-haye Varsail” will be analyzed. In order to analyze the various aspects of the "body" in this play, first of all "gender; Appearance" is considered. In the next part, "body movements", and after that, "body stillness and creating illusion and imagination of movement" and its implications will be discussed. Finally, we will consider a topic that is specific to this play. the unique aspect of ‘body’, which has shown itself in the "Metamorphosis of the body”. Results indicate that the process of emphasis on the certain dimensions of body, helped the writer to alienate some characters. This process is possible by usage of the body's capabilities, for example by transforming shape of the body towards the animal figure.

Attention to existence has a special place in the works of Gholam Hossein Saedi because it shows sociality and concern for existence. Although the author seeks to break the shackles and dependencies, he has also used the components of existence "death, suffering, fear and sin" in his works. The purpose of this article is to clarify the components of the philosophy of existence in the collection of stories of Gholam Hossein Saedi.

The research method in this article is descriptive and analytical and the information is collected by searching library resources.

The whole effort of the philosophy of existence is to cover the various aspects of humanity that value the sum of the physical, mental and social forces of man. While adhering to this philosophy has brought the responsibility of commitment to Gholam Hossein Saedi. Following Sartre, Saedi touches everything to show the traces of death and despair in his works. In Saadi"s works, we talk about the loneliness of the human subject, the inability to live and the emptiness of life and existence, and the presence of death, suffering, guilt and fear is felt everywhere.

The results of the research indicate the influence of Saedi"s worldview on the analysis of philosophers. The course of events of Gholam Hossein Saedi"s stories, for the depiction of social issues; He is free from any moral or religious claims, and his language reflects the daily life of all the weak and miserable sections of society. In most of his stories, Gholam Hossein Saedi has attacked the prevailing ideology in all aspects and tries to challenge all the social, cultural and economic sufferings of the society by challenging religious ideas and beliefs among different layers by challenging the institutionalized values. See the community; But after the rejection and condemnation of religious ideology, it offers nothing but despair, frustration, exhaustion, emptiness, and abandonment to a series of naturalistic or realist events and laws, an attractive or liberating solution for mankind. In fact, Saedi"s main message is to express the loneliness and anonymity of the human soul. He does not intend to please the reader with unreasonable things.

This article has analyzed narrative views in three contemporary writers’ stories based on the Simpson’s suggestive model (1993) in which narration and viewpoint is investigated regarding linguistics. He has offered four main views of time, place, psychology and ideology, and mentions ideological perspective of the writer through an analysis of narrative position. This study has been done via a descriptive-analytical approach using the aforementioned model. It intends to adapt the model with the three works from these three writers and specify the extent and how the writers use these views, narrative position and their roles in developing the stories and ultimately highlight their ideological perspectives in the story. In this study, the data are assessed based on defined measurements in Simpson’s theory. The narrator in Al-e-Ahmad’s story is the first person and in Sa’edi and DowlatAbadi’s stories is the third reflective person who explains internal thoughts and emotions of the main characters in the story. The dominant modality is positive in the stories that shows certain perspectives of the narrator regarding issues of the story. In a chapter of Dowlatabadi’s story, we witness a negative modality which shows his obscurity and doubt. Investigating the three stories from these three writers which have followed various form and content concerns, can detect writers’ different styles based on their narrative style analysis.