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

In the interdisciplinary researches of recent decades, much attention has been paid to the relationship between philosophy and literary theories. However, the characteristic of this type of research has been mostly a kind of "general" and "imprecise" encounter with "philosophy" and "literary theory". The current research, by adopting an interdisciplinary approach, shows that "European" literary theories can be divided into two types of theories that are in interaction and dialectic relationship with "analytical" and "Continental" philosophies. Theories such as reader response, phenomenology, psychoanalysis, etc., are oriented towards "Continental philosophy" (European) due to their interpretive and subjective approach, while theories such as formalism, structuralism and its subcategories, such as narratology and structural anthropology, have affinities with analytical philosophy. This article will show that analytical philosophy, through features such as concreteness, objectivism, experimentalism, precision, repeatability and fixed results, and its distance from subjectivism and relativism, has commonalities with "Russian Formalism" and "Structuralism" and the key terms of the theories of formalism (the dominant element) and structuralism (common patterns) are integrally related to Thomas Cohen's scientific-analytical approach and his key terms, paradigm and normative science.

Stand-up Comedy is a type of audio-visual art that has received serious attention in recent decades. It is a combination of verbal and dramatic arts derived from Oral literature and deeply ingrained in folk culture. Stand-up comedy encompasses different forms of art and performance such as storytelling, acting, music, presenting and oration. Comedians engage with the audience directly on stage, regaling them with amusing anecdotes about life and societal matters, inducing laughter and providing a mental release. The findings of this survey indicate that owing to the distinctive features of stand-up comedy, this form of art will gain significant popularity in future. This particular form of contemporary art serves various purposes including, entertainment, education, creating social solidarity and empathy, as well as critiquing political and societal issues. Its notable interartistic features encompass storytelling, being audience's oriented, being critical, improvisational, flexibility, and drawing on informal language and colloquialisms. The present article explores the history of stand-up comedy in Iran, its functions, its structure and defining characteristics. Additionally, the article delves into the significant themes, elements, styles, and techniques employed by comedians in crafting their performances, and three cases of Iranian performances are analyzed as examples.

The relationship between fiction and cinema has occupied an important place in most books written about cinema. Theoretical ideas and practical perspectives and researches in the fields of convergence and divergence between these two categories have become the basis for many researches and studies around which different opinions and contradictory arguments have emerged.
In fact, today's literature, and especially novels and short stories, has unwittingly embarked on a path that shows a tremendous desire to become a filmmaker, and the works created in the field of fiction are similar to the works that are exemplary. We can clearly examine and determine the highlights in the field of cinema in some countries (Kheiri, 1989: 62). Watching any image or set of images (fixed or moving) makes us think. This thought does not necessarily mean the interpretation of the image or images, but since its source is the material existence of images, it is considered a moment from the horizon of its semantic implications (Ahmadi 1397: 24). It should be said that "thought is reconstructed visually" (Ibid: 25).
The interaction between the novel and the cinema is obvious and clear, and each of them needs the other, the cinema uses the previous narrative and opens new horizons. Cinema can provide important services for fiction that has been dusted off on library shelves and catered to a wide audience with diverse cultures. Matching a novel to a movie is more like renovating a house that we have to demolish from the inside before turning it into a beautiful house again.
In this article, the intertextual study and adaptation of the film "Al-Lis wa Al-Kilab" directed by "Kamal Al-Sheikh" from the novel of the same name by "Najib Mahfouz" has been done. The purpose of this article is to study the transition of "Al-Lass wa Al-Kalab" (1962) from one sign system to another sign system through intertextual study and by resorting to interdisciplinary translation. And study how it is represented in the multidisciplinary structure of cinema.

Because literature and cinema are two languages, which is characterized by "written" literature and cinema by "image", and because we live in an age where everyone wants to know a lot in the shortest possible time, and easily learn, In such circumstances, watching a film made from a literary work may be something of value by reading that work, but in a shorter time and more quickly (Kheiri, 1989: 37). On the other hand, the language of cinema is an all-encompassing language that has a universal aspect and provides the possibility of communication between human beings of any culture and race and in any temporal and spatial situation (Ibid: 37).
Even the simplest images are interpreted differently in different cultures. Reading a picture is a thought-provoking phenomenon. The eye chooses what it wants to see. An image is considered mental or imaginative before it is read physically. We also read the film in this sense. The purpose of visual semiotics is to discover the rules of this reading (Ahmadi 1397: 20).
The connection between semiotics and translation is strengthened by Jacobsen's semiotic approach to translation. In The Linguistic Aspects of Translation, Jacobsen introduces three types of translation: linguistic translation, interlinguistic translation, and inter-sign translation.
Given these views, it must be acknowledged that when we want to see a film adapted from a literary work, we should not consider that work as a model for judging the film; Rather, we must consider it an independent and pristine work composed of pictorial elements, not literary ones; And it was an impression that the filmmaker took from it.
These novels and films seem to be a collection of ideas and thoughts that the reader and the viewer cannot judge their content. Because Najib Mahfouz did not declare through the elements of the novel who is guilty and who is the victim. However, he has tried to suffice with the existence of a window through which decisions can be made about the character of Noor, who, in an attempt to justify his deviation, is claimed to have fallen victim to a society.

What was said was an intertextual study of the similarities and differences between the novel and the film Al-Lass wa Al-Kalab, relying on the inter-sign translation between the language system of the novel and cinema. Transferring the novel from its written text to the visual text, moving away from the rules and some of its characteristics, to pour into another artistic form. A close reading of Najib Mahfouz's novel, written after the 1952 Egyptian revolution, shows that Najib Mahfouz used this experience to critique the political and social situation of his time. Novel art techniques are very similar to cinematic technology and differ in the way they are presented; The novel is in the word, and the cinema is done with the camera. The novel Thieves and Dogs is a novel similar in its dramatic composition to movies; With a hero who tries to change his destiny in a tragic struggle. However, as observed in the present study, this film did not present the novel as it is and changed some of its layouts by using the flashback method, removing and repeating some of the characters. In these two visual and written works, an attempt was made to study the representation of the text of the novel in the sign system of cinema and to provide a reading of the content of the two works and the symbols of apple, music, tableau, Sheikh Junidi and woman as the most important conceptual signs of the two texts.

The current research is a comparative and interdisciplinary analysis of the concept of responsibility in Austrian psychiatrist, Viktor Frankl’s theory of logotherapy, and Rumi, a famous Iranian poet and mystic. In Logotherapy, freedom of will and responsibility are intertwined and indicative of humanity. According to Frankl, recognizing one's responsibility is one way to discover the meaning of life. Rumi also considers responsibility as the foundation of life and guides people to act responsibly in this world and for the hereafter. Similar to Frankl, he considers us responsible to God, ourselves, others, in situations and in our destiny and warns against projection. The present research draws on a descriptive-analytical method to compare and contrast the views of these two thinkers on the concept of responsibility. In other words, the paper is a comparative study of a prominent psychological theory with Rumi's mystical-educational views. The results of the research show that the sources from which the same doctrine initiates in these two thinkers are different. Frankl deals with the concept of responsibility from the stand point of existentialist psychology, and Rumi does so, from the perspective of Quranic teachings and Islamic mysticism. Frankel believes in discovering a unique responsibility in regard to all aspects of life. Rumi, on the other hand, believes in each person’s specific responsibilities as well as fundamental human responsibilities. According to Frankl, every human being is responsible for his/her choices in this world; however, in Rumi's view, one's responsibility for his/her actions is not limited to the life in this world; one's actions determine one's state of reward and punishment in the afterlife. Frankel considers evasion of responsibility as a result of the inability to discover meaning, while Rumi considers it as a result of the mastery of carnal desires and a root cause many immoralities.

The present paper is a comparative and interdisciplinary study on the notion of love in the works of Jalāl ad-Dīn Muhammad Rūmī, the famous Persian mystic, and Jacques Lacan, the renowned French psychoanalyst and philosopher. In this research, love is approached from two perspectives, namely, love in the view of Rumi, as one of the highest levels of mysticism which cannot be expressed through language, and love in the eyes of Lacan as an imaginary and illusory relationship, based on narcissistic desires. This comparison makes clear that the difference between the two views goes back to their difference on the definition of love. For Lacan, love is located inside the imaginary order, while for Rumi it belongs, in Lacanian terms, to the real order. This study tries to put forth a Rumi-Lacanian definition of love through translating Rumi’s ideas and expressions to the language of psychoanalysis, and see, in that case, what place love will occupy in Lacan’s thought, compared to his own definition of love.

Translatology is an emerging discipline which has studied the theoretical and practical aspects of translation throughout its lifetime. Many translators and theoreticians believe that translation itself is an independent action which transmits a message from one language to the other, and Others believe that the science of translation studies is constantly interacting between different disciplines and has borrowed many of its concepts from other disciplines. In this paper, we aim to study interdisciplinary nature of translation studies by Descriptive-Analytical approach. The concept of interdisciplinary has recently been introduced in various fields. In fact, in this era, in which we face complicated and multidimensional problems, multidisciplinary approaches and interdisciplinary studies have come to be used to solve them, it is rare to find disciplines that are independent and unrelated to other disciplines. It can be clearly stated that it’s difficult or even impossible to consider different disciplines without correlation to other fields. In the present study, we first tried to examine the mutual relationship between them and the field of translatology by examining various sciences, and the results of the research indicate that translatology, like many other fields, is closely related to other sciences. And he has borrowed many of his concepts from them.

Today, educational and academic institutions have globally turned to complex, multifaceted and interdisciplinary developmental approaches to sciences. Such approaches necessitate having a vision and perception of complex, multisector, and multidimensional issues on the part of institutions. Iranian universities are no exception; and therefore, they have adopted a problem solving, multilateral approach to academic education and research and emphasize the importance of the relationship between education and industry. The present paper aimed to answer two important questions: has the formation of an interdisciplinary approach really started in universities? What are the general obstacles and challenges on the way of designing and developing interdisciplinarity in the Iranian academic system? Then, a qualitative method, multiphase coding and thematic analysis have been used to analyze texts of 30 semi-structured interviews, 26 articles and 11 speeches. Regarding the main research question, results indicated that an interdisciplinary approach has not yet been formed in the Iranian academic system. The main obstacles on the way of achieving interdisciplinarity consist of 8 main themes, 104 sub-themes and 120 concepts. They consist of educational, professional, psychological, intersectional, structural, bureaucratic, financial, socio-cultural and managerial obstacles, the hegemony of classic disciplines and also a lack of effective law. Finally, 6 strategies and policy implementations were offered as the solutions to these obstacles.

This comparative study examines the relationship between the dominant discourses of the filmic adaptation of Shakespeare's Macbeth in the 21st century. In Scotland, PA (2001) directed by Billy Morrissette, the effect of the dominant discourses of 1970s are examined to demonstrate the ways in which the powerful economically repress the poor in the American society. A close analysis of the social, historical and cultural contexts in this adaptation shows the ways in which cinematic adaptations of literary works are influenced by their social and cultural contexts. In other words, Morrissette has created a new work of art by recreating the seventeenth century Shakespearean play within the context of modern time discourses. The theoretical framework of this study is based on Linda Hutcheon's theory of adaptation and Robert Stam’s model of intertextual dialogism. The paper shows how in today's world, power-seeking, discrimination and inequality persist and how the powerful draw on new and more complicated practices to continue their exploitation of the downtrodden.

It is in the field of language learners and teachers. In this paper, in the descriptive-analytic method and based on library studies, with a review of interdisciplinary studies at the level of academic education, on the necessity of cultivating interdisciplinary thinking in learners as a prerequisite for understanding and receiving Persian language and literature with the scope of concepts Its richness is emphasized. In the following, with the description and explanation of learning with the "problem-centered" approach, this new educational approach that has been considered in many sciences, and its vacancies in the teachings of Persian language to non-Persian speakers are quite evident in various dimensions Is.

The Ecocriticism that emerged in response to the environmental crisis traces the origins of lots of environmental problems to its cultural roots and, by bridging the gap between science and culture, seeks to stem or slow down the growing trend of the environmental crisis. This critique has attracted the attention of Iranian researchers in the last decade, but it seems that this type of research in Iran is still far from international standards. This critique has its own capacities due to its connection with political and economic issues and many other complexities, but since less attention is paid to its contexts and basic issues in Iran, it has become more decorative and its various principles and dimensions have not been considered. In the present study, in order to bring the principles of this critique closer to its global meanings in Iran, by reviewing the views of prominent global theorists and evaluating a number of Ecocritical articles published in Iran, the problems, shortcomings, strengths and weakness will be investigated. The results of this study show that the lack of proper understanding of the concept of eco-criticism and the environment, ignoring the value and intrinsic position of the inhuman world regardless of the humanistic view, ignoring the interdisciplinary aspects of ecological critique, lack of a pragmatic and practical dimension to criticism and the wrong choice of works for this criticism are some of the problems facing environmental criticism in Iran.

Today, with the advent of societies and the growing growth of knowledge and science, traditional teaching methods are no longer responsive to learners. Hence, it is necessary to turn to new educational approaches and interdisciplinary thinking in which the boundary between knowledge domains is set aside and learning opportunities are set in different ways through interdisciplinary approaches. The use of traditional methods in teaching Arabic language and its specialization has made the learners free from their elegance and capabilities, and faced with challenges in learning. Based on this, one of the essential requirements of the teachers is the development of interdisciplinary skills in the field of education and research. In the present paper, while studying the background and the nature and the interdisciplinary nature, attempts to combine the two theoretical and applied approaches, it examines it in the teaching of Arabic language and its weaknesses and strengths. The aim of the paper is to improve the quality of learning in Arabic language education through interdisciplinary programs. He believes that specialization and interdisciplinary thinking can be considered as a strategy for teaching Arabic language, which provides key experiences for learners in learning. Finally, it tries to consider the considerations that should be taken into consideration in Arabic language teaching, in the form of practical suggestions.

Tutinama is written by Ziya' al-Din Nakhshabi. He is one of the famous eighth century's mystics and authors. This book consists of colloquial stories. Nakhshabi was predominate on Arabic language and specially bon Arabic proverbs and mottos; he applied them according to the story relatedly in order to beautify his works. The plurality of the proverbs helps the author to repeat them in most pages to make the book more attractive and stronger. The present research not only offers the accurate translation of the proverbs and mottos but also has been expressed from comparative literature view point. Comparative view point clarifies the validity of the proverbs and mottos and illustrates the interactions and effects of different nations on each other.

In spite of the significance of interdisciplinary studies throughout the world, the nature and trend of interdisciplinarity seems to be under-researched in Iranian linguistics. To address the issue, the authors of the present study attempted to investigate this trend quantitatively. The corpus of the study includes 1859 articles from 47 peer-reviewed journals. Taking the article titles, their keywords and sometimes their body into account, the articles were classified into 15 fields and/or 7 interdisciplinary areas. The number of inter-field or interdisciplinary articles, calculated as 1353 (73%), suggested that like other sciences in the world, Iranian linguistics is undergoing an interdisciplinarity process. 'Syntax' and 'Literature & Linguistic's were identified as the most frequent and the most influential fields subject to interdisciplinarity respectively. The intersection of the fields and interdisciplinaries indicates that the interaction between the field 'discourse analysi's and the interdisciplinary 'Literature & Linguistic's is the highest in the corpus. The affiliation of the article's authors showed that they are from 127 universities and/or educational and research-based institutions. The share of universities is completely unbalanced, as the faculty members and students of 10 universities have contributed 72 percent of the corpus articles. With respect to the time variable, it is confirmed that the degree of interdisciplinarity has grown significantly within past 25 years.

The objective of the American school of comparative literature is to study the cultural relations between nations and find out the similarities and differences in human thoughts. Jung uses the notion of “cultural unconscious” when talking about the common literary and cultural heritage of man. The similar narratives of Ferdowsi's Shahnameh and Homer's Odyssey can be explained via the commonality of the hero’s voyage and return archetype embedded in both works. Archetypal or Jungian criticism is interdisciplinary in nature and is considered one of the approaches in contemporary literary criticism. The researchers use a descriptive-comparative method to show how archetypal criticism within the general framework of American school of comparative literature can shed light on the potentials of archetypal criticism to reveal the similarities in Indo-European epics which share common myths and archetypes.

Heroes are created by the images that we make of them. In this article, with an interdisciplinary approach and with regard to the postcolonial theories, the researchers try to analyze the images of the soldier/hero circulating in the verbal and visual media of the 19th and the 20th centuries. Thomas Edward Lawrence in the movie Lawrence of Arabia directed by David Lean has changed into a 'heroic knight,' not unlike Don Quixote. He is different from the Victorian heroes: while the Victorian soldier/heroes were flat characters and in sharp contrast with their oriental other, Lawrence, the twentieth century British hero, has a complicated interaction with the oriental subalterns. Lawrence is a developing character that maintains the differences and at the same mingles with Arabs and is inspired by their energy and liveliness. The dynamics of the soldier/hero's character development has been analyzed in this article.