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

"Women's Writing" is a significant approach in feminist criticism. This approach is a distinct female narrative element of male writing, which represents the difference in the application of emotional lexis, more use of colored phrases, oaths, principles of procrastination, losers and syntactic characteristics such as the use of prayer sentences (curses and prayers), Descriptive sentences, questional sentences appear in the form of self-esteem, and, finally, short and simplified sentences. Contents and issues such as historical affliction of self-confidence, and misandry, self-discovery, life concerns and overcoming romantic love are also from the feminine content. Nasim Marashi in Haras and Hanan al-Sheikh (the Lebanese female writer) in Beirut Blues, have different perspectives over war and human relations in the war condition and, in particular, position of women in the family and society. Using a descriptive-analytical method and a comparative approach of the female narrative of war, the effect of war on women's lives and their gender restrictions in the patriarchal society is described in this study and, furthermore, it was shown that female writers emphasized the terrible consequences of the war and expressed its affection and devotion based on their female spiritualities. They have never praised war, though. Both writers, by using emotional interpretations, of colored phrases, oaths and the emotional and praying sentences, and the simplicity and short sentences have considered contents such as historical affliction of self-confidence, and misandry, self-discovery, life concerns & overcoming of romantic love.

The biological dimension focuses on issues related to genetics, body, and physical and natural issues of women. Elaine Showalter considered this axis as one of the four axes or dimensions of examining women's works and stated that by relying on the components and biological characteristics of women, it is possible to distinguish the writings of women and men. In this article, relying on the descriptive-analytical and statistical method, to analyze three important novels by Hoda Barkat (Ahl alHavi, Malkot Hays al-Arze, Brid al-Lil), to examine the evidence, the amount and quality of the application of the components of the dimension of female biology in three axes. It will be discussed in detail to find out what characteristics Hoda Barakat's works have in this regard and to what extent they have been successful in reflecting the biological characteristics of women; because by examining the biological dimension, it is possible to differentiate women from men and determine the specific coordinates of women's language. According to the obtained results, the signs of femininity are reflected both in the content level and in the level of linguistic coordinates in all three novels, but these features are less evident in the novel Brid Al-Lil. The other two novels, due to dealing with women's and romantic issues, are more places where women's language appears. In general, the frankness of the Lebanese author's accent and breaking of taboos in reflecting biological issues is worthy of reflection.

Women's writing was formed at the beginning of the 20th century following the women's movement to assert their rights, but women have been writing for a long time. Women writers have always tried to project their ideas by using writing and emphasizing female themes, and their goal was to redefine identity, break stereotypes and change the pre-defined values ​​of the patriarchal society. In this article, we are going to follow the social and literary activities of women in France by presenting a short history from ancient times to the present day, which leads to the improvement and promotion of women's position in society, then we will define women's literature, its characteristics and concepts. And finally, we will take a look at Persian women's literature, which changes a lot under the influence of French literature and currents such as feminism and the new novel, and we will show that Iranian women writers have also made great efforts to improve the social status of women. The purpose of this study is to provide a perspective of the historical course of women's literary and social activities, which can open the way for writers to conduct female-centered literary research in the field of comparative literature, and also lay the groundwork for studies in the form of social, psychological and feminist criticism.

The research tool of library resources and research documents is based on content and data research method. In the first part of this article, we follow a path of women's activities in the social and literary fields in France by presenting a short history from ancient times to the present day, then in the second part, we look at the expansion of women's writing and the influence of women's literature on the intellectual and cultural currents of society. We will discuss, and in the third part, we will examine Persian women's literature and how it is influenced by French literature and the role of Iranian women writers in improving the social status of women.

Literary works as the crystallization of individual and social thoughts have had a significant impact on the cultural and social upliftment of the society, in fact, a society can be known by examining the content and topics of its literature. Women have penned the distant past, but literary critics never thought that the writings of women writers could be a reflection of their inner and feminine characteristics. Real questions were raised about women's writing in the 20th century. Until then, only man thinks and does not consider woman as a human being who is the same and different from him at the same time. The written word and therefore literature has been monopolized by men, and the few women who have succeeded in raising their names in the history of world literature have not played a role in its fate and evolution. In fact, the term women's writing includes important concepts; this is because men's novels and writings are never mentioned, and this indicates a kind of intellectual superiority or even the real superiority of men's writings over women's; but women found writing a place for change, which provides the possibility of transforming social and cultural structures. Since women's movements are a social trend and literature is also considered a socio-cultural production, therefore, the mutual influence of these issues on each other can be investigated. Few books have written about the role of women in literature. As a reflection of society, literature is more than anything the fruit of time, place, view and social thought. Women, in turn, have a great contribution to the formation of world fiction. But have women's literature and writing influenced the fate and promotion of women's social status? What factors have played a role in the flourishing of women's writing, and finally, is the issue of women's writing limited to raising a literary feature or is it beyond this field? Due to the dominance of patriarchal culture, the image of women in literature is unrealistic, and in other words, women are interpreted as "other" in most literary works. . "Understanding the relationship between language and gender within the scope of linguistic studies is quite difficult, that's why the involvement of related social, historical and cultural studies is necessary" (Barekat, 2016: 36). Therefore, the social institutions that are reproduced in the literature are not only the expression of the individual thoughts of the artist, but also tell about the conditions of their time and society and are written based on the collective and group consciousness of their period. For a woman, writing was forbidden to enter the world and she always had the desire to violate this prohibition. Since the founding of the French Academy by Cardinal de Richelieu, for a long time only men could become members, and in fact, the Academy was like a guardian temple of the language. A kind of rejection that kept women away from a center of power, namely language. Although the mother is the first person who transmits it to the child, this deprivation actually indicated the reduction of the role of women in society, which led to many struggles to achieve their true position; Therefore, language and, as a result, literature, is the place to express many of women's desires, and they consider it a manifestation of equality between the two sexes. On the other hand, this issue allows them to occupy themselves with the creation of new literary types, create their own literature, and step into the unknown lands of writing. In fact, this non-acceptance by traditional literature prompts them to experience a new literature that is more free and easy. Finally, it can be said that if a writer's writing is considered feminine, it is because we are constantly faced with feminine themes. Expressing the inner experience and female senses is a new achievement of female writers for literature. But "the reflection of women's voices in the field of novels and literature is the only image of gender and social identification, and a review of the literature is indicative of this" (Tavakoli, 2012: 31). Women's writing style or feminine writing and the presence of women in the writing scene as a social phenomenon are not separate from each other because feminine writing is a song of difference and praise of femininity, and this is a kind of recognition for women who had to hide their identity under pseudonyms. It is also considered a social movement.

The intellectual conditions of the second half of the 20th century and its currents, such as abstract art, Einstein's theory of relativity, nihilism, the new novel, structuralism, the events of May 1968, made it possible for a critical-protest spirit to emerge, which, through access to language and speech, leads to liberation. Women contributed and opened new fields for women's writing in France. Under the influence of feminist trends, female novelists reached a new understanding of femininity and found more freedom to express their opinions and break tradition in the heart of modern fiction writing. In Iran, the number of translations of French works and the inspiration of feminist movements and the new novel provided an opportunity for contemporary women writers to rely more on the form and language of the novel and to experiment with new types of writing. Since 1339 and the birth of women's literature, the social position of women novelists as well as the number, topics and tone of women's novels have evolved significantly. Their widespread presence in the field of story writing was a reflection of the change in thinking and striving for freedom. The period after the Islamic Revolution can be considered as the period of establishing the position of women in the field of fiction writing, in which they sought to redefine their position in society by testing new forms and themes. Therefore, women's literature and writing has played a significant role in the cultural process of the society, presenting a new image of women and promoting their status.

According to poststructural feminism, the patriarchal, phallocentric society is based on binary oppositions. Poststructuralism subverts the patriarchal assertions of difference which impose an arbitrary closure on the differential field of meaning and reduce woman to that which is not man. Poststructuralist feminists, Irigaray and Cixous, call for defining the feminine in terms of “differance,” and believe the appreciation of differences open up new opportunities to women. Inspired by Derridean deconstructionist ideas, they came up with the theory of “écriture feminine” or “feminine writing” supposed to subvert the hierarchical power relations in language and literature. Reviewing this style of writing, the present article investigates if Assia Djebar’s novel, Fantasia: An Algerian Cavalcade, can be considered as an example of écriture feminine. Djebar develops a writing and language fitting to redefine the feminine which has always been marginalized and marked as “the other” in a phallogocentric system. Her style of writing puts this autobiographical novel in the category of écriture feminine.

In contemporary literature, "female language and writing" and "modernism" have related meanings. Rule-avoidance, basic mentality, internal monologues and the psychological state of the language are presented as the characteristics of women's writing, which are also the elements and provisions of modern stories. Modernism in literature can be seen as the result of the tendency towards democracy and polyphony, which in the 20th century, the time of breaking with traditions and collapsing contracts, had turned into serious human issues. The theory of women's writing was also the model proposed by those who were trying to disrupt the formed structures that reinforce patriarchy with grammar avoidance and discontinuity in language. Therefore, both allow the existence of polyphony, pluralism and democracy. The effort of this research is to cast a new opinion on Shazadeh Ehtejab's novel and find new story details in it. So that first by explaining the elements of the mentioned novel, its modernist nature is justified and then by analyzing the characterization of the women in the story, their verbs should be explored in order to examine the extent of their independence or dominance, traditional or modern, in relation to the modern structure of the story. The result of the research showed that in this novel, Golshiri has created coherence in accordance with the modern characteristics of the active and indomitable female character of his story by using modern storytelling methods. His narrative arrangements introduce the reader to the characteristics of women's writing in which patriarchy is reduced in the text and a suitable platform is provided for a female character like Fakhr al-Nasa to challenge the rule of discrimination and guardianship with her authentic identity and her unconventional and libertarian actions.

The feminine literature is one of most important topics in contemporary literary criticism. following the Women's movement to achieve equal rights with men, “Feminine writing style” was developed as branch of feminist criticism in the mid-20Th century. According to feminists, men are not able to represent women's experiences in their works, so it is necessary to express these experiences in women's language.Using statistical- descriptive and analytical methods, this research has attempted to study the components of feminine writing in Hoda Barakat’s novel "Hajar al-dahk" in two lexical and syntactic layers. This result was obtained by studies: In lexical domain: intensifiers, hedges, repeated words and color terms, in syntactic domain: simple sentences, short sentences, compound sentences, incomplete sentences, and interrogative sentences used as soliloquies are among the components highlighted in the novel. It is worth mentioning that, although war literature demands its own language, this issue could have no significant impact on the type of language of the author, and she has maintained her own specific feminine language. The lost identity of women in society has played a significant role in shaping their particular language and could be the main cause of feminine writing components formation.

As feminist movements gained momentum in the second half of the twentieth century, many literary theorists set out to address the possibility and quality of feminine writing. One of them was Hélène Cixous, the French critic who introduced the theory of écriture féminine in her classic paper “The Laugh of the Medusa,” causing a lot of controversy in Western academic circles. In Iran, too, many researchers have dealt with écriture féminine to analyze it from literary and socio-moral perspectives. Nonetheless, for certain reasons, including the absence of a complete Persian translation of “The Laugh of the Medusa,” many studies conducted by Iranian researchers suffer from ideologically-laden or inaccurate readings of Cixous’s theory. The present study launches a critical examination of one of the most frequently read Persian articles on écriture féminine to identify certain established stereotypes in related theoretical Persian studies. The paper, then, attempts to resolve the ambiguities about écriture féminine within the context of Poststructuralist Feminism and by citing Cixous’s own words. Thus, the questions tackled by the present study are how écriture féminine has been received in theoretical Persian studies and whether these receptions have been accurate. In so doing, the study first provides a brief explanation of the main themes of Cixous’s paper and, then, the selected theoretical Persian studies are critiqued. The findings demonstrate that, contrary to conventional suppositions, not only is écriture féminine not limited to the writings of female authors, but it does not necessarily reject any such socio-moral institutions as marriage, pregnancy, and motherhood, either.
 

The present study tries to investigate "femininity" and its relation to "death" in The Balcony by Jean Genet, with the help of Julia Kristeva and Maurice Blanchot’s views. These two concepts have always been abjected as "other" in the history of Western phallogocentrique thought. According to Hélène Cixous, the root cause of this abjection of women resides in language, the one which is based on binary oppositions. According to the researcher, the reason of death abjection should also be sought in language; Blanchot mentions this gap in his article "La Littérature et le Droit à la Mort" and considers the task of literature to give the reader the experience of death, and thus to fill this gap. In the play Balcon, Jean Genet, by crossing the boundaries of symbolic order, deconstructing the binary-based language, and relying on the semiotic mode of signification rather than symbolic mode, creates a new language that can be called "feminine" by Cixous and Kristeva’s criteria. With the help of the motherly features of its language and narrative, this work has been able to instill the experience of death as one of its main elements, and has fulfilled the task of literature, according to Blanchot, in granting the experience of death to the reader.

Cixous, like Lacan, sees language as theorem. Therefore, by inviting "feminine writing", he intends to deconstruct the language. Inspired by Derrida, Cixous rejects signals with fixed and clear meanings. Accordingly, the most important feature of women's writing is ambiguity and ambiguous metaphors. The present article seeks to examine how feminine writing is formed in the plot of "Purple Pencil". In this regard, in the main elements of the story (in characters, actions, causal relationships), he discovers and interprets fluid and multimodal signs, according to the paradigms of the theory of "feminine writing", in a descriptive analytical method. The results show that: First, feminine writing is not merely based on the style and form of writing (story superstructure), but through a Cixous character, and the causal relationships of the events of the story, can have a plural appearance (deep in the story construction); Second, the way out of gender repression is through language. The research that has been done so far, according to the Cixous Yi approach, has often paid attention to the style of expression and the poetic techniques of form. The innovation of the present study is that, firstly, it expands women's writing, from the level of style and manner of expression, to the level of plot and theme. Second, it examines, for the first time, the Cixous approach to women's writing in the context of children's fiction.

According to the French thinker Michel Foucault, power is so pervasive that it can overshadow many areas of human life. This influence penetrates even in the language of literary texts and it manifests itself in the form of metaphors, signs and symbols. Lyrical Story in a Footnote is written by Mahsa Mohebbali is one of the stories of technique-oriented and form-based, which shows the author's familiarity with philosophical approaches and also his mastery in the field of storytelling. But one of the most challenging points in the text is the non-desirable image of the female character in the story. Despite the femininity of the narrator and the writer, the question arises as to why such an idea is portrayed by the female character in the story? In the present study, based on Michel Foucault's theory of power, one can point to the penetration of masculine power in the language of the story. Of course, the concepts such as the protesting and rebellious bodies, as well as some of Nietzsche's views, such as the ethics of masters and slaves, show that some seemingly fragile images of women are themselves are in opposition to masculine language, but in the end it can be proved that this story is one of the concrete examples of Michel Foucault's theory of power: because masculine power is present in many linguistic elements. They have penetrated and overshadowed it.

One of the main topics in criticism of feminism and linguistics is the difference between the language of man and woman, which is visible in all aspects of language. In the past, women were never considered to be readers and readers, so men wrote for men, and even knew the best language for those men, and knew best speech to be masculine. This masculine mastery of language and its components is also evident. But in contemporary storytelling, special attention has been paid to gender. The present study investigates the differences between the writings of men and women in contemporary novels before and after the revolution. The purpose of this study is to investigate whether gender contributes to lexical differences in vocabulary and syntax. In this research, I turn off three novels, Sowshoon, the House of Idrissi and the Lights, from female writers, and three novels from Ahmad Khan's husband, the Prince of Inquisition, and neighbors from male writers. The novels examined with linguistic features have been examined in the field of vocabulary. According to Likoff, women are different from men when they speak or write when using them. Careful use of word colors, polite shapes, resonant pronouns, null traits, indirect speech, avoiding racketeering and verbs, and emphasizing resonators, statistical analysis of each of the characteristics showed the performance of the Farsi-speaking women writers in using Likaf's views. And confirms it.