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

 With the advent of modernity, Mimesis and the classical art and literature proved to be no more the adequate methods of representation. Strongly conscious of the changes of her era, Virginia Woolf is one of the first writers of the twentieth century to have used and developed the "fragmentary writing" as an aesthetic technique to reflect the change and the chaos in modern man's inner and outer world. Among the critics who have attempted to elaborate on the fragmentary style of representation in modern art and literature, Lucien Dällenbach employs the analogous figure of "mosaic" to explain the aesthetics of modern texts and the structure of fragmentary writing. The present article seeks to study Woolf's selected novels from Dällenbach's point of view in order to show to what extent Woolf's fragmentary texts can be considered mosaics.

Background of the Study: 

A descendant of Geneva School, Lucien Dällenbach (1940-present) is a contemporary literary critic whose theories can be categorized as “thematic criticism”. For Dällenbach, "The Mosaic" is an important theme in and a metaphor for modern literature, through which one can best express and understand the link between sociology and the aesthetics. In his book entitled “Mosaïques : Un objet esthétique à rebondissement”, Dällenbach defines two contradictory poles as the two essential characteristics of a “mosaic text”: 1. the discontinuity of its components, 2. the unity of the whole. Hence, a “mosaic text”, in itself a reflection of a “mosaic world”, contains homogeneity of heterogeneity and is the solution for order in chaos, totality in fragmentation. According to Dällenbach, therefore, the best model to represent the pluralism and the diversity in the heart of modernity and at the same time the solution to prevent the dismantling of the coherence and unity is to be found in the mosaic. 

 This study attempts to read Virginia Woolf’s fragmentary writing in the light of Lucien Dällenbach’s “Mosaics”. To this end, the two main characteristics of literary mosaic according to Dällenbach -- discontinuity and unity -- are to be examined in the following elements of Woolf's fiction: The structure of her novels; the main elements of the novels (time and space (what Dällenbach studies as “spatialized temporality”), point of view (polyphony and multi-perspectivism according to Dällenbach), characterization (The mosaic of the self); the images and motifs (cutting and breaking vs. sewing and knitting); the themes (the theme of the distance of vision and the theme of order & disorder).  

 Through the analysis of the above factors, this article demonstrates how the mosaic model is interwoven in the form as well as in the content of Woolf's novels and that as a result, woolfian texts tend toward a coherent unity in spite of their disjointedness.

despite the popularity of realistic historical novel in the nineteenth century, especially in works by Sir Walter Scott, as the prime genre for the representation of bourgeois class and its value system, it is the postmodern version which has surpassed its ancestor and put this literary genre once more back into popularity. However, this return is not as innocent as that of an offspring to his predecessors. It involves a harsh critique of the past and the disclosure of “history” as mere construct, despite its “totalizing” claim.Background of Study: Alongside Lyotard’s seminal work, The Condition of Postmodernism and Hutcheon’s A Poetics of Postmodernism, as two major critical works deployed in this study, the article considers Sublime Desire by Elias as well. It also utilizes A Thousand Plateaus by Gilles Deleuze and Guattari to elaborate on the notion of mosaic and assemblage. Furthermore, it has used Barton Thurber’s article, “Scott and the Sublime,” to discuss the relation between the historical novels and the notion of sublime.Methodology and Argument: through the perspective of left thinkers such as Hutcheon, Lyotard, and Deleuze, the writer tries to discuss how the American historical novel, which once established itself as a primary literary genre to undertake the mission of history making in the United States, has recently been used to unsettle the glamorous history by paying tribute to the voices gone silent through the white’s oppression and violence. Tuned into the liberal humanism, the historical novel, in fact, denies American nation its heterogenic nature to preserve the binary of “us” versus “them” intact while trying to keep its democratic face. However, with the arrival of postmodernism and the challenges posed to “grand narratives,” history proved the most problematic narratives whose critique redefined the way the world was once interpreted. Questioning the univocality, teleology, and linearity imposed on history, postmodernism revealed the heteroglossic, multilayered, circular nature of history which have been overshadowed by the liberal humanistic discourse. Such features put history in close relation with the concept of romance and fantastic and gave rise to a literary genre called historical romance. Set along with romance, the official history was, thus, reduced to a narrative among other ones and the hierarchical outlook was collapsed with the emergence of other narratives competing for the same attention and worth. The result was the replacement of the notion of history with “histories” and a rewriting of the past and what had been the established truth of a nation’s history. This act per se led to the emergence of meta-historical novels which focus on the discursive formation of the official history and the uncertainty surrounding the reality of the past which resemble the notion of sublime.  The meta-historical romance or the postmodern version of the conventional historical novel is, in fact, a counter part to once realistic, linear, teleological, and mono-vocal works of the nineteenth century. In other words, this new version goes in tandem with the postmodern notions of fragmentation, mosaic, assemblage, non-linearity, and multi-perspectivism which deny an established, universal, and totalized version of reality and pave the way for the oppressed and stifled voices which were subject to the hierarchies of liberal humanism. In that way, these kinds of novels try to approach the history again and redefine the already-established, oppressive narratives. Since this redefinition turns the established history into a “construct,” one cannot grasp the reality of history any more, as one cannot comprehend the notion of sublime. It is out there, but out of touch. This fact welcomes heterogeneity and lets go of a hierarchical social structure for a horizontal one.

Allegory, as one of the most important foundations of imagination, embraces a wide range of different topics of Persian literary texts. The obvious manifestation of this is significant in mystical texts. Meanwhile, "Masnavi" as one of the most significant works of Persian literature embraces various elements and themes that utilize a variety of rhetorical tools, including allegory, a major contribution to the transfer of doctrines And moral, social, mystical, philosophical and ... concepts. Therefore, in this article, we will examine the effects of allegory in each of the stages of the course of the mystical narrative of Moses and Shaban Masnavi in ​​order to find that Mowlana has used the means to determine the content of his story structure and his ultimate goal of this plot The mysticism is based on the principles and standards of the rule of the allegory. In this regard, after mentioning the discussions about the history and function of the category of allegory, we will present the mystical teachings of this story with regard to the topic of allegory.