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

Fantasy is a type of story that has been noticed in the literature of children and teenagers in recent years. The Possessed of Badyan Island is a teenage novel and a fantasy story written by Badri Mashhadhi. In the present research, this story has been analyzed in terms of the elements and structure of fantasy and climate literature by analytical-descriptive and library method. In this research, a new definition of the genre of fantasy has been presented under the title of climatic fantasy, and by examining the mentioned novel, it has been shown that the story of The Possessed of Badyan Island is a climatic fantasy. Also, by using the climatic fantasy genre, in addition to creating a gothic and scary story with a local atmosphere, the author not only satisfied the need for excitement of teenagers, but also directed the attention of teenagers from similar foreign to local and Iranian examples. It has also used the climate fantasy genre to familiarize the audience with the culture, history, customs, superstitions, etc. of a specific region. Therefore, this story can be considered an example of an Iranian climatic fantasy story.

Modern fantasies are the continuation of myths and folk tales being directly or indirectly influenced and inspired by the characters and elements used in these genres. Characters from another world, which seem to us impossible, stepping into the real world of the people and their behaviours, like mythological characters, seem implausible and far from our access. The characteristics and actions of fantastic characters reflect our own dreams and desires, exactly like as the ancient myths and epics which have reflected our ancestors` concerns and wishes and answered their questions.In the novel Eyeglasses for the Dragon, by mohammadhadi mohammadi the author attempts to draw the attention of the new generation to the significance of legends, epics, folk tales, etc. In this article, an attempt has been made to compare the similarities and differences between the dragon in this novel and mythological-epic dragons (particularly the ones in the Shahnameh) and consequently answer this important question: if the purpose of the fantasy is drawing the attention of the young generation to fairy tales and the element of the dragon is supposed to appear in the fairy tale, why has the dragon not been mentioned even once in the whole novel despite the presence of the two story tellers in the novel, i.e. Bibi Torang and Naneh Ejdeha?

Gogol wrote in the midst of the literary tradition of Romanticism and Realism. If fantasy is the characteristic of romanticism and reality is the basis of realism, Gogol's works can be placed between fantasy and reality, which, according to Todorov, is the realm of fantasy. In this article, by studying the realm of fantasy based on Todorov's views, three levels of fantasy are selected from his point of view as elements of analysis. Afterwards, The characteristics of these levels are retrieved in ‘Nevsky Prospekt’, ‘Nose’ and ‘The Overcoat’ stories. In syntactic level the narrator and Language, In Semantic level Animistic descriptions, Synecdoche and Imaginary creatures and in Pragmatic level the midst of dream and reality and narrator's intervention, create fantastic realm. This article explores how to achieve the realm of fantasy in Gogol's stories and introduces methods that have been retrieved according to the characteristics and elements of narrative of them. These methods can be used as a measure of the fantastic realm or a way to create it.

Mahmoud Shukair is considered one of the most prominent writers affiliated with realism, especially when the local conditions in Palestinian society matured, which led to the dominance of the realist trend in the Palestinian novel. These political circumstances and events did not leave a trace of romance in literature, but rather imposed positive realism on literature, so Mahmoud Shukair turned to his society, and the concerns and pain of his people’s children became one of his active themes and the main themes of his ideas. His writing became an objective extension of the real-life story, in its connection with the Palestinian child's concerns and suffering. Some of his novels were a reality full of creativity, such as "I and Jumana," "Maryam's Words" and "Dreams of the Skinny Boy". That made us trace three types of realism in it, most notably documentary realism, which tends to convey reality as it is, and realism and the symbol that came to a realistic necessity, which prompted the writer to use it as a means to express his views, as a result of the suppression of freedom of expression, and the imposition of cultural siege. The third form in the stories is "fantasy," which is represented in the way the writer seeks to stimulate and stimulate the imagination of the child and is embodied in the child's dream of transcending the time and spatial limits… to fly into a new reality. We have come to the conclusion that his fictional production depicts reality, and conveys it faithfully, to expose it and then to change it with his new means, such as fantasy and symbol. This is what distinguishes Shukair in his narrative construction. We have sensed solutions and proposals that call for changing the reality; this in itself is positive in the narrative construction, and is in harmony with the realists’ positions, values and calls to criticize and change reality.

The use of imagination in fiction narratives is the main theme of fantasy. Fantasy is an artistic type that uses magic along with supernatural tools in literary works; But over time, the human mind no longer accepts its traditional and repetitive content; For this reason, fantasy in the story has evolved to adapt to the conditions and surprise the audience, and has become a form of pristine and new imagination. Although fantasy imaginations and its lane patterns are predetermined and clear, along with the evolution of literary schools, surrealist manifestations that lead to imagination with rebellion, breakdowns, and liberation from the law of nature, and their purpose is to repeat, fresh freshness. And reference to the inner dimension and apply the subconscious; It is seen in fantasy stories. The present study,

Novel is an important branch of children's and adolescents’ literature. The events resulting from the stages of growth, physical and mental maturity, crisis of individuality, love and various conflicts of this age are some of the topics raised in adolescents’ novels. In this particular literary genre, the conflict of the adolescent character in the story is depicted with the outside world or the world inside him, which is usually associated with the process of intellectual development. Eventually, the hero of the story must find a way to cope or overcome her/his crises. The fantasy novel is one of the most suitable ways to acquaint the adolescent audience with these external and internal conflicts. The importance of fantasy for adolescents is to communicate with their subconscious. Fantasy stories, without direct expression, in a symbolic context, makes the reader delve into her/his unconscious and confront her/his fears, anxieties and failures. Many characters, places and events in the fantasy world can arise from her/his conflicted psyche or repressed desires.From this point of view, fantasy can be measured with dreams and the rules governing the interpretation and the decoding of dreams can be applied to it, something similar to the work of psychotherapists. With this method, the author can introduce the injuries and tensions deposited in the subconscious of the character of the story. Fantasy can be called the dream of the waking world.

Undoubtedly, magic and sorcery have a history as old as human history. Fantasy and its process are topics that can be explored in the literature. Iranian epics also have such dimensions. Especially since they have a close relationship with myths, legends and epics. Mandatory components in fantasy texts are magic, sorcery and sorcery. This article is an attempt to pay attention to the similarities and differences between the use of this component in the Garshaspnameh system with Faramarznameh and Banogshspnameh. To achieve the result, an attempt has been made to first provide a brief definition of fantasy, and then to examine the characteristics of Gershasp and Faramarz and Banu Gosps in these systems. Finally, by mentioning the evidence, the frequency of use of magic and the reason for the superiority of Garshaspnameh in the fantasy dimensions of magic should be compared. In comparing the frequency of use of these elements, first there are Garshaspnameh letters, then Faramarznameh letter, and finally Lady Gashsapnameh letter. Among the reasons for this superiority in the Garshaspnameh are the existence of travel and its types and the poet's mentality, as well as his closeness to the Khorasani style compared to the other two poems.

Realism means observing the realities of life as they are. The realists believed that "the reality presented in Romanticism is fleeting; Because they portray life as more adventurous and exaggerated than reality. This is while the realists show the ordinary life of people as it is and the reader acknowledges its truth ”(Shamisa, 1391: 78-77). A realist is an external or objective school in which the author does not express his feelings and emotions in the story. He sought to discover the facts so that the reader by reading the work to reach the conclusion that he has read and understood the reality (Hosseini, 1388: 159). Magical realism is a style in which unusual and unnatural phenomena occur and the writers combine ordinary and magical events without any justification and create a story. Hassan Kamal is one of the contemporary Egyptian writers who wrote the story of the "deceased" from the point of view of magical realism, in which he shows the audience strange and surreal events; Where a person named the deceased plots to infiltrate other corpses and complete the flow of unfulfilled deeds and aspirations. The novel "Almarhum" by Hassan Kamal is about two characters, one of whom is related to the world of the dead and in his opinion has a mission from God, and the second character is a writer and a doctor and tries to be the narrator of this person's life.

The present article is a comparative study of the causes of mutiny and morbidity in the works of two modern poets Nosrat Rahmani and Henry Charles Bukowsk in the light of Jacques Lacan's theories of three registers of Imaginary, Symbolic, and The Real. The research first explores these registers in these poets’ works and then analyzes their psychological and social motivations. One form of mutinous act in the poetry of Rahmani and Bukowsk is their persona’s explicit confession to their addiction in alcohol and drugs. Their insubordination has pushed the narrators’ to the threshold of ignominy, despair and death, yet still, none of these consequences seem enough to make them leave the world of fantasy. Jouissance, or pleasure associated with pain and guilt, pushes them towards death. The study concludes that the source of these issues is the repressed feelings that arise as a result of the subject's confrontation with the Big Other. The personas have been caught up in a symbolic cycle, and in order to bring it to an end, they have no choice but mutiny and morbidity. By entering into the Real order and recognizing the lack, they become traumatized and endeavor to retreat to the Imaginary realm of the mother to soothe their pains.

  Myth is one of the original sources of children's stories. Every child's imagination contains all the experiences that human beings have had in their history. The scope of this reflection is especially evident in the fantasy genre. Fantasy also has an essential affinity with myth. The direction of both implies something beyond reality. Myth should be considered as a Minoan story, the origin of which is usually unknown, and is a description of a natural action, belief, institution, or phenomenon that is inextricably linked to religious mirrors and beliefs. In children's stories, elements of myth and fantasy are widely used. 

The present study aims to investigate the connection between the fantasy stories of children and adolescents with myths in a descriptive-analytical way by studying the fantasy stories of the eighties. In our opinion, these aspects are the origin of fantasy stories. The aspects studied in this article are: plant-human characteristics, mythical characters such as giants and fairies, magic, the archetype of the hero's journey and sculpting, and animism. The stories studied in this research have been selected from the authors of the field of children and adolescent literature. DiscussionUsing mythical elements is not a goal for a fantasy writer, it is a very effective tool. With these elements, he can create a new world full of surprises for the audience. Because the child is a myth and the subconscious layers of his mind are still connected to the mythical world and its connections; So he will enjoy the story the most.The story of 6,000-year-old Green Man by Fariba Kalhor is based on the ideas of plant-human myths. This story is a description of a green human life that is six millennia old. He has been the companion of many people and scientists. Even the title of the eleventh chapter of the book is human-plant. The six-thousand-year-old green man, like the legend of Gil the Lost, seeks the mystery of immortality.Another story in which human-plant features are evident is the famous pea story of Qasemonia. This story is rooted in the Persian myth of the plant growing from tears. In chickpea stories, which have been rewritten based on ancient stories, we encounter the birth of a plant from human eyes.The story of the grove fairy by Hossein Fattahi uses mythical characters such as the fairy. In creating the unreal characters of the story, in addition to the capacities of those characters, the author has also paid attention to their mythological aspects, such as pigeons and crows. The important point is that the author pays attention to the ecology of the southern region. The author has chosen the characters of his story from the birds and plants of the same area. The grove fairy, who is one of the most important characters in the story, is originally a palm tree.   Animals are often used in children's stories; As we saw in this story or in the story of autumn on the train, written by Mohammad Kazem Mazinani, part of the story is based on the relationship of the child's character with animals.     The magic object expresses one of the most important human needs. Many fantasy stories are based on the pattern of the magical object, and we will confine ourselves to the story of the three magical whistles. In this story, too, the child character of the story takes refuge in a magical whistle in the face of danger and insecurity.The fantasy world is also a world of wonders. Some of these creations are in the form of animal-shaped sculptures in fantasy stories. The two stories of the boy who became a crow by Mohammad Kazem Mazinani and the wolves do not cry are written by Mohammad Reza Yousefi based on metamorphosis. Rebellion against oneself and against one's false traits can be the basis for writing a beautiful educational story. To do this, the author has resorted to symbolism, the wolf is a symbol of the ugly and predatory aspect of man.A large part of the texts produced for children and adolescents deal with the issue of animism in different forms, which, in addition to representing the mythical mentality of their creators and their audiences, in addition to poems, poems, anecdotes and poems. Are also important from an aesthetic point of view. The animation of objects is very evident in the story of autumn on the train. 

Mythology is the source of inspiration for children's stories. Because every child in his imagination provides the seeds of all the experiences that human beings have gone through in their history. The child discovers fire like a primitive human. There is no way that the early man walked and the child did not walk in his childhood world and his games. The subconscious layers of the child's mind are still connected to the mythical world and its connections, and therefore the poet and writer of children and adolescents in the moment of composing poetry for them, especially poetry in which the dominance of consciousness is less, inevitably Myths take refuge in their mentality and communicate with that audience through that part of their mind.   Many aspects of mythic insight are influential in children's stories, especially children's fantasy stories. But in the meantime, mythical characters, the re-creation of mythical stories, the archetype of the hero's journey, and animism have an undeniable effect. Applying myth to a fantasy writer is not a goal but a very effective tool. Using mythological elements, he can create a new world full of surprises for the audience. It can be said that any story that has benefited the most from the myth has been more welcomed by children and teenagers.    The space that pervades fantasy stories is highly dependent on mythological elements, especially animism and discernment. Diagnosis in fantasy stories is not cross-sectional; It can be seen throughout the text of the story. As it turns the story into a whole. The use of these recognitions has helped a lot in instilling a special fantasy space that is an expression of wonder.

Fantasia is the literature that discovers reality from the depths of what is not reality. Fantasia is a broad term describing the books and effects that make impossible and miraculous events possible and believable. Among the features of fantasy in the novel, we can refer to the logic of the private narrative, the origin of self-awareness, the origin of the linguistic aspect, the origin of penetration, methods of imagination, free style, unpredictability, surprise, open ending, fragmentation of structures, linguistic manipulation, creating game conditions and .. . This research may study; The relationship between fantasy in the novel "Frankenstein in Baghdad" by Ahmed Saadawi and the terrible events in Iraq, based on a descriptive-analytical method, extracting the elements of fantasy first and then applying them to the novel. It aims to highlight the features and dimensions of the miraculous and to show the relationship between the fantasy in Frankenstein's novel and the events in the Iraq war. One of the results of the research is that the writer in this novel has entered the valley of fantasy completely, because of the importance of violent horrors (mass massacres and booby-traps to kill Iraqis) and the fear of the reader’s astonishment in front of the fantasy technique and the failure to reach the writer’s goal. Najwa, dreams and visions may sometimes reach a degree that is difficult to define or become impossible, and we believe that the reality of reality makes the writer to implicate the reader in strange events and strange spaces and with full awareness expresses his obsessions and insides through this narration, so he tells the story with a plan studied before and uses modern techniques and fantasy and is satisfied Creating an unrealistic character.

Fantasy is the most imaginative genre of story. In the imaginative stories, the writers create a secondary world with new rules by passing beyond real world and breaching the cumbersome rules and frameworks. These worlds include amazing events and fantastic creatures. Samad Behrangi is one of the writers of child and adolescent literature that he connects the adulthood world to childhood world by using fantasy. By emphasis on this style, he expresses the social, cultural and ideological issues for novice readers in tangible way. In this regard, cognitive metaphors play an important role in better perception of some complicated and abstract concepts by children. This article has tried to examine fantasy and cognitive metaphors used in fantastic stories of Samad Behranghi in order to depict how this author, thoughtful and interested in the children and adolescent training, has analyzed the bio-social experiences for less experienced child and adolescent readers using cognitive metaphors. This descriptive and deductive content analytical research showed that the conceptual metaphors in Behranghi's stories imply collectivism and appropriation with socialism beliefs and conditions. Concerning the contextual metaphors, three volumetric, motor and power schemas were mentioned and power schema is related to thinking and eliminating obstacles by Behranghi in the considered goals in the story. The structural metaphors are in the first rank in his stories. The frequency of directional metaphors is the same in the fantasy and real stories

The present study examines Shakespeare’s King Lear according to the Lacanian Psychoanalysis specifically in the light of the Lacan’s four discourses concept. The main question concerns the madness of King Lear and the subsequent turmoil ravaging society after the dominant stability and order in the beginning. The study shows that when King Lear as the master signifier and the locus of identification for the barred subjects, is removed from the discourse, the truth of discourse is going to be revealed, the veil of fantasy is torn apart, and the king and society find themselves in madness. The researchers first present a lengthy introduction mainly discussing the history of psychoanalytic criticism and showing how dramatically it is changed after the radical psychoanalytic innovations made by Jacques Lacan. The next part is totally allocated to explaining the theory of the discourse of master and its constituent components such as the master signifier, the other, the object petit a and the truth.

Folk tales , It is full of adventures that have a proper narrative and story structure and Most of the dramatic elements are also suitable for converting to film and animation.In this study, using content analysis method, the narrative elements contained in folk tales and selected text means “Mashdi Galin Khanom” are shown.There are certain types of characters in these stories and Elements such as : conflict, parley, crisis, knot, suspension and imagery, Conflict, Conversation, The crisis, Knotty, Suspension and fantasy spaces, in these tales have an important effect and provides a good context for the adaptation of the script; In addition, it has been discussed in a magic and fantasy theme and its value for dynamic visualization; We find that fantasy elements are abundant in these stories that make the screenwriter better use of this particular kind.It is possible to communicate between animation and Iranian culture by adapting these stories filled with ancient Iranian culture

Providing an introduction to the formation of magical realism, first in Latin America and then in Europe, in response to questions regarding the characteristics of this movement, the reasons for the supernatural elements at the same level as the realities and the objective of the changes in the tales fairies and myths, we comparatively and analytically explored three main factors of magical realism in the Ndiayian's novels. First, we determined the role of fairy tales in this kind of literature and the process by which the reader becomes familiar with supernatural creatures. In the second part, we discuss the role of myths and their use in changing human cultures and beliefs. The third part is devoted to the third factor, namely the Fantastic. After discussing different definitions of this word and its differences with the Marvelous, we study its role in this French writer's work and explore what goes on in the reader's mind when doubting. In this article, whose main objective is to study these three factors, we also demonstrate how the author modifies messages transmitted through fairy tales and the fantastic to subvert paternal models and gives women independence to establish a new reading.

Shaukat Bukharai is one of the poets of the late Safavid period. His Divan consists of nine ode, lyric poems, quatrains, vocabulary, fragments of lyric poems, a piece and a chronogram. The most important feature of Shaukat's poetry is subtlety and imagination to the point of exaggeration. His mystical piety and admiration are evident in his poems. In fantasy, he has gone beyond other Indian poets, and sometimes this fantasy and the themes of his creations have taken his poetry away from understanding. To receive Shaukat's poems, one must find his imaginary world. Shaukat followed Saeb Tabrizi in poetry. In his Divan, besides Saeb, he also mentions Indian style poets such as Orfi Shirazi and Talib Amoli and Naziri Neyshabouri, but among the earlier poets, only the name of Hafez Shirazi is mentioned in his Divan. Although Shaukat is not well known in Iran, he had a large followers in Asia Minor and the Ottoman Empire. Among the Ottoman poets, three prominent poets are completely influenced by the style of Shaukat Bukharai. Shaukat's Divan has been translated and described into Ottoman Turkish several times. Today, most manuscripts of Shaukat's Divan are kept in Turkish libraries.

Historical novels usually use historical events and materials and choose characters from historical figures. However, we should not confuse an author with a historian in terms of artistic production with is an imaginative process. In fictional texts, characters are freed from their specific historical era. Belgrade Druze is a historic novel in which the writer attempts to form an intertextual link between historical and literary events. This would outweigh the literary side against the historical side. This article attempts to show the novelist’s approach to the narration of historical events in the novel. The article finds that that Rabie Jaber, the writer, makes use of the real function of the novel to establish a relationship between the reader and historical events

Decentralization refers to the mental ability of a child with which he or she jumps from one concept to another.  This often breaks one’s focus, but it promotes mental actions, encourages cognition and strengthens creativity. The phenomenon is manifested by certain techniques in children’s literature. These techniques are examined at the levels of text and image. Of these two, the image is of great importance. Some child-created pictures not only reflect decentralization but also break the anticipation of the audience. Thus, as a child sees such pictures, he or she is surprised and gets out of normal conditions, which causes the decentralization of his mind. In the present study, efforts are made to review the counter-anticipatory decentralization techniques in ten selected stories by Yaghoub Al-Sharoni (1931-2017), an Egyptian contemporary novelist. The stories are dealt with through a descriptive-analytic method and based on statistical data. The research addresses the manner of using unexpected images. The most important visual techniques found in the stories are the change of background, building up fantasies and introduction of geometry in the images.

Regarding realism as a non-significant and marginal movement of contemporary literature, the authors tried to modify it. Coined and introduced by Rudy Rucker, transrealism is a postmodern movement that consists of fantasy and science-fiction elements as well as realistic features, not to mention that the realism which is used in transrealism is not the sheer one. Time travel, new inventions, alternative worlds, aliens and supernatural elements can be observed in transrealistic works. Satire is another pivotal element of transrealism alongside the aforementioned features. It is employed in order to criticize society and mankind’s follies. Metafiction is considered as a method of narrative in postmodern stories which is also observed in transrealistic works. In metafiction the narrator tries to indicate that the story is artificial. Kurt Vonnegut’s apocalyptic novel, Cat’s Cradle, can be regarded as a transrealistic literary work. It indicates elements of science-fiction, fantasy, as well as satire, and employs them as tools for repressing inhuman deeds. Employing science-fictional, fantasy and apocalyptic literature features, the transrealist author provides a nonrealistic atmosphere. Synchronically, it represents realism. This dichotomy generates an ambiguity and a suspension on the border between the nonrealistic and realistic world. This paper intends to examine the features of transrealism and its objectives in Kurt Vonnegut’s Cat’s Cradle. Besides, it attempts to demonstrate the diversity and complexity of the contemporary narratology by highlighting the narrative features of the very novel.