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

"Metafiction" is referred to as a postmodern technique in which the author consciously, and in multiple ways, emphasizes the narrative and fabrication of his story. In this article, the novels of Bibi Shahrzad, Good Night Sultan, and The Author Does Not Die, Acts, are examined from the perspective of post-modern metafiction techniques. The purpose of this study is to analyze the novels Bibi Shahrzad, Good Night Sultan and The Author Does Not Die, Acts, he pays homage" from the perspective of metanarratives and has been done in a documentary and library way and with content analysis method. And, he wants to answer these questions: How is the metanarrative manifested in these novels and by what tricks? Can these three novels be considered as extra-fiction novels? As the results have indicated, metafiction techniques such as story writing, metafiction naming, story critique, the presence and involvement of the narrator in the story (such as the narrator / writer relationship with the audience), the relationship with the story, and the characters have been used more or less in all three novels. The author does not die, nevertheless. It is more prominent and artificial.

The “Open end” is one of idioms of fiction that has been taken into Consideration with the emergence of a new stream of story telling. This means that the story ends in a way that the reader feels that nothings is finished. In this finishing pattern, the author uses a variety of techniques such as: creating ambiguous, multiple, and interpretable spaces, leaving the story unfinished and creating a space for suspence and reflection in the reaer sʼ mind. In order for him to receive various interpretations for his story to end, he would eventually be involved with the author in Contributing to the ending of the story. In general, the “Open end” appears in three forms: “ambiguous and obscure end”, “unwritten end” and “multiple end”. The present article, using a descriptive-analytical approach, explores the “Open end” issue in the Persian story “A report on Nader Farabi” by Mustafa Mastour and the arabuic story “Blue Butterfly” by Noor Khater. Finally, the results show that this end pattern is more differentiated in the two stories. In this regard, Mustafa Mastour applies a hybrid paradigm consisting of multiple (in the form of multiple hypotheses) and ambiguous (inaudible) in the form of hypothetical propositions. Whereas, for this purpose, Noor Khater has merely used the ambiguous pattern in the form of vague propositions and unfinished narratives. In addition, unlike Mustafa Mastour, noor Khater explicitly refuses to close the final part of his story.

Malakout is a postmodern novel, and what is important in the analysis of a postmodern novel is related mostly to the description of certain literary techniques, which are used to emphasize the futility of the old meanings. These works have characteristics that without paying attention to them, one cannot expect a logical evaluation of the work. Some of these postmodern features and techniques which are very important in this novel and will be discussed here are as follows: meta-fiction, intertextuality, fragmentation, black humor, pastiche, temporal distortion, minimalism, and finally grotesque.

The present paper aims to study John Maxwell Coetzee’s novel Foe in the light of Pramod K. Nayar’s concept of “anti-spectacle.” Nayar employs the term anti-spectacle to refer to those segments of reality that are systematically and silently omitted from the content of the mainstream media representations due to the gap they create or the rupture they cause in the dominant official spectacle-making currents. In Foe, which is a rewriting of Daniel Defoe’s Robinson Crusoe, Coetzee changes the narrative point of view and employs a circular multifaceted narration to intermingle the Robinson myth, which is the product of narrative spectacle-making, with anti-spectacles that are themselves the offspring of imperial and colonial discourses as well as of the ethics of Protestantism. He re-narrates the protagonist-oriented myth of Robinson from the perspective of European woman and non-European man, as two subaltern groups, to demonstrate the links between Daniel Defoe’s novel and the colonial discourse of the eighteenth-century Europe as well as the interrelatedness of European patriarchy and imperialism. The results show that, in his Foe, Coetzee deconstructs the conventions of Realism and realistic novel in an attempt to emphasize the inability of the colonial language in representing the experience of the other as well as to demonstrate the capacity of the postmodernist novel as a site for anti-spectacle.

Expressionism is a school of literature, painting and cinema that emerged in the early 20th century in the center of German thought. The basis of the view of the followers of this school is the rejection of capitalist society and modernity. And one of the main bases of their thinking is opposition to class differences in society. This style expresses the moods and thinking and inner feelings of the artist and the creator of the work. In this article, these topics are discussed under the headings: "negation of traditional forms", "rebellion and irony and trying to change the existing situation", "absurdism", "passing time and mixing dreams with reality". The most important goal in this The research is extracting and explaining expressionist and postmodernist elements and investigating the function and connection of these elements in the novels "Nash Kash (2013)", "Be Zanu Darnia (2014)", "If You Die (2013)" by Mohammad Reza Guderzi, writer and critic. He is a contemporary who has been able to write many works in the recent period with an expressionist perspective. The research method in this research is based on library-documentary research. So far, independent research and research in the form of dissertations, theses and articles that examines the currents of "postmodernism" and "expressionism" in Godarzi's works View It has not been done, and this article deals with the same issue and by referring to the components of "postmodernism" and "expressionism" it proves the self-concept hypothesis.Keywords: Postmodernism, expressionism, modern literature, short story, Mohammad Reza Gudarzi

In the new critique of the author's dominance of the text. Roland Barth was a prominent structuralist And put forward the theory of the author's death. Barth rejects the traditional view that the author is the source of the text, the source of meaning, and the only person competent for interpretation. In this theory, the author's death is equal to the birth of the reader Because meaning is not at the source of the text And at the text destination. So if we consider the source as "author" and the destination as "reader" Meaning is formed at the destination. Thus, in this theory of creator work, the focus is no longer influential. Rather, it is the work itself Which at any time, being read or seen, means production by the audience. In the present study, the novel "The author does not die" by Hassan Farhangi has been investigated based on the author's "death theory". The results show that the author in this novel, as a postmodern novel of tricks the power of authority and choice to give to the reader, disobedience and character conflict with the author and finally finding the power of the character, emphasis is placed on storytelling, intertextuality, integration, and the blending of the author's real life with the fictional life of the characters. And introduce the novel as a postmodernist novel with an emphasis on the author's theory of death. All of these tricks reduce the text's central author And emphasize the role of the reader.

Over the past decades, the feminist movement has been a point of controversy, especially in the fields of literary creation and criticism. One of the most prominent feminist literary critics is Hélène Cixous, who is mostly famous for her postmodern concept of écriture feminine. The present article first elaborates on four main features of Cixousian feminist postmodernism and écriture feminine: deviations from logical norms, poeticality and defamiliarization, anti-representationalism, and other-consciousness. The results of the study show that contrary to common misconceptions, écriture féminine is not exclusive to the works of female writers and that the works of creative male writers. Then, Bijan Najdi’s short story “The Day of Horsepouring” will be analyzed in the light of the similarities between feminism and postmodernism. This story has been chosen because it is unique in terms of form, narrative structure, content, and postmodern themes, which can be interpreted based on postmodern feminism. The results also demonstrate that Najdi’s unconventional and creative writing style can be considered as a prime example of écriture feminine in contemporary Persian literature.

Metafiction is a story about the process of writing a story in which the author deliberately and by revealing the craft of writing emphasizes the unreal and fiction of his story. The present study is an analytical and descriptive study of metafiction skills in the novel ‘Watching a Wrecked Dream’ by Bijan Bijari. The results suggest that the disorder in this novel is self-conscious and systematic in the form of extravagant learnings such as revealing the preparation, creating parallel and overlapping worlds, intertwining the real and imaginary world, short circuit, intertextuality, creating an artificial structure in the text, etc. These transcendental techniques are an attempt by the author to tell the reader what he reads is neither the representation of objective reality like realism nor the recreation of mental reality like modernism, rather it is a story based on imagination and unreality, except for verbal and verbal games. So in different ways, and most of all, by revealing the craft of writing, constantly reminding the reader of the fabrication and storytelling of the text, he eventually succeeds in creating the metafiction.

Postmodernism emerged from the womb of modernism and in response to it or as its successor. The postmodern novelist seeks to evoke in the reader the sense that all the solid foundations of life in the contemporary world have collapsed. Poststructuralism paved the way for the formation and emergence of postmodernism; Criticism of the postmodernist current stems from the efforts of poststructuralists who have provided the most important and instructive techniques for this current. Due to the incoherence and uncertainty in poststructuralism, the postmodern school has destroyed the traditional conceptions of language, identity, writing and the like. This paper aims to examine descriptively-analytically the most important components of the poststructuralist approach in the postmodernist novel "Night Orchestra of the Wood Orchestra" by Reza Ghasemi to clarify the aspects of the novel's adaptation to the poststructuralist approach. Be. According to the research achievement, the most important elements of the poststructuralist approach are:the postmodernist novel "Night Orchestra of the Wood Orchestra The question of language, the extent of the author's authority, the identity, the determinability of the texts are challenged in the novel The Night Orchestra of the Wood Orchestra.

Today, in some cases, the cinematic narratives are more popular than fictional narratives, so researchers can explore cultural situation of society by analyzing movies. One of the fictional narratives is postmodern narratives that emerged from 1960 in the Western Literature and shortly after that, cinematic narratives spread. In Iran, while the postmodern situation has become a problematic issue for fictional literature, it seems that this phenomenon is increasingly expanding in cinema. As producing too many worthy movies by postmodernist techniques in Iran, the researcher want to find whether these movies can be consider inherently as postmodern narratives or just they are imitation of postmodern techniques and how it is possible that these postmodernist movies have audience while there is a conflict between tradition and modernity in this society. This research, analyze postmodern Approachs and techniques in two Iranian movies. Wander in the Fog (Bahram Tavakoli; 1388), Gratuitous and Unnecessarily (Abdolreza Kahani; 1391) are examined in this study.

Postmodernism is one of the latest literary schoolsand it is to some extent the latest stylistic evolutionwhich has happened in today’s literature. This school coincides with some political and social changes in the Seventieth solar decades in Iran, and mostly entered into the literary works, through the translation of theoretical texts and it attracted the attention of a number of poets and commentators. Although this movement is completely new and fresh,it is strange and intangible among some critics and audiences, especially because those kinds of literary works could not be definedby standard works of their kind. This article attempts to discussand understand what has happened in modern poetry, called Postmodernism. So to clarify the complexities and strangeness of the movement in Iran, Linguistic, Semantic, Aesthetic, and Form,in some literary works were taken into deep consideration.And then for further explanation, examples of poets attributed to this movement (mentionedby magazines and genealogy books and critics) were mentioned. This research has shown that, to understand the original examples of post-modern movement, there is a need for a new definition in the field of poetic elements, because some of the topics mentioned do not have a precedent in Persian poetry.

The focus of the present study is on Postmodernism as one of the most controversial issues of the contemporary era. In a media-dominated society and with ever-increasing rate domination of technology, Postmodernism challenges man’s belief by establishing lots of controversies in almost every field of study. The French postmodern philosopher Jean Baudrillard believes that in a media-dominated consumer society, postmodernism challenges reality perception and in this sense, he appropriates the terms hyperreality and simulation to describe the  lo’s White Noise as a highly acclaimed postmodern novel, this study attempts to offer a literary study in the light of Baudrillard’s  theory. new postmodern condition. Considering Don DeLil lo’s White Noise as a highly acclaimed postmodern novel, this study attempts to offer a literary study in the light of Baudrillard’s theory

 “Hyperreality” and “simulation” were coined by Jean Baudrillard in his philosophical treatise Simulacra and Simulation. Writing the most notable works on the subject of postmodernism, Baudrillard, as a prolific author, encourages numerous researchers to examine notions such as hyperreality and simulation in their studies. Considering the critical reading of White Noise, John Frow was probably the first critic to apply a Baudrillardian reading of the aforementioned novel. However, numerous other critics such as Leonard Wilcox, John Duvall, Thomas J. Ferraro, etc. draw some parallels between White Noise and Baudrillardian viewpoints. Although many other critics, for instance, Cornel Bonca and Anjeanette Wiese, just to name a few, examine the novel from different vantage points. For instance, in 1996, Cornel Bonca in his paper printed in College Literature entitled “Don DeLillo’s White Noise: The Natural Language of the Species” analyzes the language of the novel. To cite another example, “Rethinking Postmodern Narrativity: Narrative Construction and Identity Formation in Don DeLillo’s ‘White Noise’” is a paper written by Anjeanette Wiese through which she focuses on the characters’ identity and narrative structures of the novel. It is also worth mentioning that Baudrillard’s books and theories have contributed to various fields of studies, namely, sociology, philosophy, cultural studies.

This research is a library and electronic-based research. Accordingly, the researchers aim at focusing on Baudrillard’s numerous books and papers and also various studies were done in light of his works. The discussion is based on Baudrillardian concepts of hyperreality and simulation. In this regard, the researcher endeavors to explore these terms application in DeLillo’s White Noise. Depicting contemporary America as a distinguished sample of Postmodern society, White Noise tells the story of an American family drowning in a media-dominated consumer society and facing a plethora of events  which lead them to believe they are living in a hyperreal world dominated by simulations.

The postmodern world of the given novel portrayed an American lifestyle drowned in the signs and images produced by mass media and consumerism. This study demonstrates the characters’ serious doubts about reality. It is a simulated reality or in Baudrillard’s word a hyperreality that takes the place of reality. Consequently, highly dominated by simulations, the postmodern world of the novel which is also highly influenced by mass media and consumerism moves toward a hyperreal condition which is a reality more real than real.

One of the main characteristics of story writing in sixth and seventh decades in Iran is, trying to open new doors to the story world and increase the level of story writing. Among the efforts made between storywriters in these two decades, a few works of Bijan Najdi have a special position, since his works are pose as the important background of presentation and genesis of postmodernism approach in the Iranian contemporary story writing.
In the present study, we try to present both the postmodernism analysis on the short story "Passing again through the same streets" by Bijan Najdi, and also determine the rhetorical elements related to postmodernism and their relationship with Najdi's poetry. For this purpose, first; postmodernism and the main components of its fiction such as short circuit, metanarrative, ontological content, grand narrative collapse, and … are represented, replying on critical criticism theory in this field such as, David Lodge, Peter Shia, and Barry Louis, and then the existence of each components is proved with samples from stories. It can be argued that, in addition to the fact that the presence of these components together, suggests the postmodernism of this work, the rhetorical elements have also added to the poeticism in the form of exaggeration and irony indices

The impacts that contemporary poetry in Iran has received from the mid-twentieth century literary and philosophical schools should be critically and deeply scrutinized. This essay explores the emergence of contemporary poetry in Iran and in line with one of the prominent movements of postmodern American Poetry, which is, “Language Poetry.” The two key concepts in language poetry that have influenced recent poets of Iran are “story-telling” and the “routine.” The researcher answers two questions: How does language poetry define story-telling and how this definition is reflected in contemporary poetry of Iran? How are the routine and identity related in the contemporary poetry of Iran and America? This research shows that both schools define story-telling as a kind of experimental autobiography in which pieces of everyday life, images, and sounds from media and consumerist culture, vague memories, myths, and the unconscious are woven together. Recent poetry in Iran shows a deconstructive approach towards poetry, story-telling, and identity. Of course its rich tradition creates some differences such as the recurrent, yet scattered presence of mythological figures. This analysis reveals the affect of media on the most private realms of life regardless of culture and geography. Contemporary poetry in Iran purges emotionalism and lyricism in order to return to vague stories of everyday life; it diverts from heroic (epic), didactic, romantic, and revolutionary inclinations to scattered autobiography. This degree of fragmentation in language and meaning reveals the rapid technological and psychologically-disturbing changes in contemporary life, whether in Iran or America.

In a general definition, Intertextuality is a term that has refered to the relationship between texts. Not only, in the era of postmodern the intertextuality doesn't simply mean the interplay of each other texts, But also it has an unbreakable bond with the other features of postmodern texts such as uncertainty, relativism, disordered time, paranoia, and criticism of the past and so. The article, whit the goal of the representation of intertextuality impact in the narrative of postmodern works, has analyzed its relationship to other features of postmodern texts in the novle of Suge moghan by Mohammad ali Aolumi. The present study shows That the conscious and unconscious stream of Narrator's mind in the historical, mythical and oral intertextuality, has created a postmodern narrative of the terrifying world in which has lived it. Therefore Intertextuality in the novel, has led to break and crumble of grand narratives such as the Shahnameh, polyphony, lack of knowledge of the universe, lack of representation of reality, etc.

Metafiction is a postmodern story writing technique that has many complexities due to its predisposing features. Theoreticians, such as David Lodge and Brian McHale, have identified these features, but until now, no classifications have been provided. Due to the widespread and scattered features of metafiction features, there exists some overlaps between them that impede understanding the application of each. In this article, as the first step, metafiction and theories about this story writing technique have been investigated. Afterward, the most important element, that is, the short circuit, is reviewed, and, by through reasoning, a new division is introduced, which also includes exposing the literary technique. This feature, previously described as independent, is categorized in this paper as part of the short circuit. In addition, some of metafiction's features such as metafiction naming are identified and defined. This feature, despite the importance, has not been previously mentioned as a metafictional feature.

Following the birth and flourishing of modernism and postmodernism in the literature and arts of the West, Iranian fiction writers have variably been affected by these movements and have produced works following their leads. One such work is the novel Farhad’s Body by the contemporary writer, Abbas Maroufi. As this novel presents some of the postmodern features, it is worth being studied in the light of McHale’s (1887) theory of postmodernism. McHale’s theory is mostly a philosophical one, yet our approach here is to apply a practical method based on evidence from the text and answer the following questions: is it a modern or postmodern novel? Is the dominant in this novel ontology or epistemology?

Brain McHale is one of the theoreticians who believe that postmodernism is a continuation or a step further than modernism. Three key concepts of his theory are “the dominant”, “ontology” and “epistemology”. McHale maintains that in modernist literature, the dominant is epistemology, while in postmodernist literature, it is ontology (Payandeh, 2009). Based on this theory, in postmodern novels ontology has a higher position than epistemology does and ontologically, the story creates and describes a world or worlds. In this new world or existence, the text does not care whether its perceptions are correct or not, rather it tends to experience and explain the reality. That epistemological aspect is sent out to the margin in postmodernist novels means that they can also be considered in terms of their modernist qualities, yet they are less important than the ontological aspects. Therefore, based on McHale’s theory, a novel can be considered in terms of both its modernist and postmodernist orientations (Payandeh, 2011).          

The study is descriptive-analytic method that used content analysis and library documents. After carefully studying the novel, and collecting and classifying the necessary data, the postmodernist features and related indices were analyzed based on McHale’s theory.

Holding a sort of epistemology based on the theory of possible worlds (various levels in epistemology) for the different narratological  levels of Gérard Genette, McHale makes a new design and maintains that the intersection of narratological levels \ by involvement of those levels, cause ontological considerations (Bameshki, 2014). The novel Farhad’s Body presents certain ontological questions by applying such techniques as intertextuality, lack of ontological certainty and some meta-fictional features. As such features bring about the ground for the intersection of narratological levels, they intensify this process. These features are studied and the various sorts of narrative intersection and their instances in the text of the novel are shown for justifying the stance that we have taken in analyzing the text. Evidences show the presence of both kinds of intersection in the novel:
Movement from meta-fiction to fiction: in the intersection of these two worlds, the presence of real and historical characters in the novel and also the presence of fictional characters from the previous works is an example.
Movement from fiction to meta-fiction: examples of intersection at the level of narration are characters addressing the reader, narrator addressing the reader, or the interaction between the narrator and the reader.

Another intersection presented in the novel is the changing of the narrator to a character.
In Farhad’s Body, existence and being are shown in the form of a multidimensional concept. The writer has tried to personify the real in imagination, and has presented the amalgamation of reality and imagination as a major motif so that the reader may contemplate on their own existence with a new outlook. A major question that is usually posed is how much human being is real and how much it is unreal. This is the major question incorporated in this novel and is explored by three techniques of “intertextuality”, “lack of ontological certainty” and “meta-fiction”. We are also faced with multiple and overlapping worlds and stories within story whose interaction with each other is evident within the novel and this opens five ontological layers of worlds to us:- World of reality (the reality that the author and the reader have in it)
- The fictional world of the novel Farhad’s Body by Abbas Marrofi.
- The fictional world of the novel The Blind Owl by Sadegh Hedayat.
- The world of peripheral worlds like Shirin and Farhad
- The world of dreams of the painter.
Through creating parallel and intersecting existential beings, Marrofi sets his characters with distinct and even contradictory identities moving and fluctuating in multiple worlds so that the reader would be wandering confusedly among these fake worlds not knowing them from each other. Therefore, the borderline between the world of reality and imagination is destroyed, and this is a method in postmodern fiction which emphasizes the ontological nature of the novel. One can see that the creation of intersected worlds in this novel corresponds to the change in the dominant element. In fact, change is that of epistemology in Modernism to ontological postmodernism which highlights the ontological questions of the story. This is because rather than depicting the intuition of the characters from the world around them, this novel explores the parallel worlds made out of the reality and imagination. In reading this novel, we are to be faced with this fundamental question: which world and with what features is presented in it?

Through intersecting ontological levels and challenging our usual perception about the separation of the reality and imagination, the novel Farhad’s Body implies that this novel can have roles and effects similar to those of reality. Analyzing the novel based on the theory of McHale, we concluded that the dominant element in the novel is ontology because its world is a reflection of multiple and overlapping worlds. These worlds well represent the existence of reality and imagination whose borderline is not always clear. Also, we can see two kinds of intersection in the narrative level of the novel which are from fictional to meta-fictional and vice versa. The instances of such intersections are the presence of real and historical characters in the novel, and the interactions between narrator and the reader, the character that addresses the reader, moving from one milieu and being to another and the restricted movements of fictional characters among the real and imaginative beings in the novel. The text shows that reality and imagination can have interaction and influence each other. Finally, it can be said that Farhad’s Body is a modernist novel in certain respects and postmodernist in some others.  

This research is investigating one of the most common types of postmodernism fictions named metafiction. This kind of writing including self-referential and disclosure techniques not only exposes fiction but also explores the word out of context. Patricia Waugh emphasizes on this kind of writing with using methods and techniques that metafiction’s writers used it to write a story about story. This paper is based on reviewing and criticizing a fictional work and it is written according to the library method. This research with scrutiny about metafiction’s general characteristics like: centrality of language, Framework, The story as an artifact, parody and ontological Metafiction’s nature, proceeding some writing techniques and methods that are hidden within this general component's. Then it criticizes Iranian metafictions. It has been concluded that the works that are described in the name of Metafiction in our country are far from the postmodernism’s escape, and precisely based on predetermined criteria and parameters, and the artificial and mechanical aspects of these stories conflict with the normal nature of postmodernism.