جستجوی مقالات مرتبط با کلیدواژه « هرس » 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.

Reception theory, places a premium on and holds the role of reader in interpreting the text in high regard. Wolfgang Iser is one of the founders of this theory, which believes a text has two artistic and aesthetic poles and relegates the role of meaning creator to the reader. The texts classified as War literature have always had their audiences in the Persian contemporary literature. By having a critical approach to the Iran-Iraq war, different content and a new structure, "Haras (The Pruning)"of NasimMar’ashi, has managed to change the horizon of expectation of Iranian readers concerning War literature. In this paper, the two artistic and aesthetic poles of this novel will be analyzed based on Iser’s views on the reception theory and then we will refer to the elements that have influenced the interaction between readers and the text, leading to a new perception of war. Furthermore, this article attempts to analyze how this text has managed to satisfy the curiosity of contemporary readers by using modern and original elements.

Contemporary Iranian fiction manifests itself in the southwestern part of the country, Khuzestan, in a distinct way. Writers of this region are distinguished from others in terms of style on the strength of a cultural diversity and special geography and some scholars term this style ‘Khuzestan School’. From among new-generation story writers of Khuzestan, Nasim Marashi, the author of the “Haras” novel, can be cited. Having been well versed in indigenous elements of southwestern Iran, she tells her story. This paper studies regional literature’s criteria such as dialect, clothing, food, climate, customs and beliefs in Haras novel adopting an analytical-descriptive method. Results reveal that realism, geography, and regional identity account for Marashi’s success in telling the history of part of a territory which recalls the second-long war of the twentieth century in its memories. Accordingly, she has managed to add “writing about war” to the three types of southern regional literature (writing about sea, writing about an industrial area, and writing about a rural environment).