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

The Holy Quran as a literary coherent text has used different methods to leave impression on the addressees and suggest its lofty ideas. One of the method is norm violations where it is named as “familiarity removal” and “deviation from norms ”or“ deviation from standard language” which is one of the most outstanding findings of Russian Formalism and its main emphasis is on the difference of a literary work with its ordinary form. Jeffry Lich the British literary critic and linguist turned on the Russian formalism theory under the title of “Norm deviation” in an applied and organized way. Lich’s modeling is in fact an organized form of theories of the above linguistic school. In the present study effort is made so as to apply Lich’s Octagonal Model using descriptive and critical analysis study critically different aspects of norm deviation in contemporary translation made by Abdolrahman Pirani as one of the most recent translation of Holy Quran. The finding indicates that paying attention to semantic aspects and markers of text deviating from norm may be an effective action in increasing semantic levels of Quaranic Expressions and detecting semantic and eloquent layers of the above Holy Book. But considering the fact that the above-named translation has been made by a special team apart from having many positive attributes it has not reflected the concepts arisen from Quranic norm deviation and this has been the reason for the fact that the abovenamed translation move away from some of the key concepts and meanings hidden in Quranic terms and expressions.

"Other" is a concept related to individual identity, and individual identity only makes sense when it is weighed against others. The concept of the "other" is the result of the epistemology and ontology of modern man, which has a different life and experience from that of ancient man. This concept entered literature with the theory of the logic of Bakhtin's dialogue and opened a new window to literary works. One type of literature in which this concept can be explored and has not yet been considered is the "parable", which leads to the omission of the "other" due to the lack of dialogue. Proverbs have been widely used as a linguistic feature and literary genre in the works of Persian writers; but there are those whose words have become proverbs. Sadi is one of these writers. By accurately recognizing the specific capacities of the parable, he presents many of his words as parables and in this way conveys his views to others. In the present study, while analyzing The Proverb structure, its features are related to the elimination of "other" such as: "using proximity magic", "addressing", "warning", "using the names of famous people", "using humor", and ... Sadi's method of use of this type of literature is examined in order to eliminate the "other" and induce speech artistically to others in Golestan and Bustan.

The topic «I and others» of the topics that we want to analyze in the novel «While leaving us the bridge» by Abdul Rahman Munif, Sartre and Derrida who have shares in this area. The subject of “I and others” is a branch that originated in the embrace of philosophy and grew up to its most intense shade, and then came other epistemological branches after that, in order to enjoy these shades, and contribute to the watering of this glittering lush tree of aesthetics and to add new branches to it. This tree is naturally philosophical, and not in several eras throughout history. Perhaps with greater force and more brilliant prosperity, even for a long time Because it is one of the most prominent manifestations of the specificity of the human species and distinguish it from other organisms. In this narrative, Abdul-Rahman Munif uses the research « I and others » behind the character and incidents in his novel to show us what is the reality of thin

Introduction Sartre’s famous line in No Exit “Hell is other people” (p. 45) stands as a direct confirmation of the power of Others. In fact, “[o]ur perception within the field of the Other is therefore always a battle with the Gaze: we struggle with the limitations of the structure that is laid out for us” (Grootenboer, 2012. p.45). To spin a piece of common thread intertwining all entities together right at the outset, Burt (2008) asserts that: “When validation and identity derives from others, others become hell, a state where torture is not meted out by devils but self-inflicted and inescapable” (p. 411). Therefore, under the gaze of the other person, our identities withdraw into the shell of reduction. We no more exist by ourselves, but our lives seem to be entangled in the labyrinthine network of others’ existences.
The story of No Exit turns around three people trapped in a setting resembling a hotel room in Hell. Finding themselves situated in the endless life after death free of earthly boundaries, they are seemingly given the desired liberty to define who they may be. But as it happens they are unable to do so because of the power of the Others in the room.
Methodology This paper adopts Sartre’s theories about gaze and individuality in the light of Foucault's insights (1997) about power relations. We can follow the reiteration of this commitment in Boileau’s thesis (2004) as well. He has acknowledged the vote in favor of “[t]he gaze and discipline of the Other actively weave individuals into the relations of power,” as interspersed among his observations (1998, p. 13).
Discussion Sartre’s famous play No Exit, as it was initially entitled les autres (The Others), betokens the sweeping declaration of Sartre that Garcin yields to near the end of the play that “Hell is other people”( p.30). So the very title shows Hell and Others are aligned with the very same attributes that frame their perimeters. Lois Gordon brings to light the significance of the original title: “For those who have spent their lives catering to or dependent on the world of Others, hell is indeed, and appropriately, other people, with an emphasis on ‘other’” (Fahy & King, 2005, p. 170). And as it is obvious Sartre’s No Exit, treats “not only with life at its limit (namely, death) but also with the utter Hell of human relationships” (Solomon, 2006. p.51).
The story of No Exit pivots on a very few characters, “each take turns attempting to gain control of the situation through their looks” (Brunner, 1997. p.60). The characters of Garcin, Estelle and Inez see themselves helpless at the surveillance of the Other’s mutual gaze, their destiny becomes directed by their power, as Inez’s words reverberates and epitomizes this state, “each of us will act as torturer of the two others” (Sartre, 1989.p. 49). And what the Others make of them in fact, will torture their self-identity (Solomon, 2006).
In the light of the Other’s habit of superintendently defining one’s body, it conglomerates the jurisdiction of gaze with power relations. And as it does not escape Foucault’s notice “power relations have an immediate hold upon it; they invest it, mark it, train it, torture it, force it to carry out tasks, to perform ceremonies, to emit signs” (Foucault, 1997.p.63).
The body that is enslaved to the gaze and judgment of other individuals, its conscience is stubbornly under their surveillance to shape its own morality. Carving out their beings in the grips of a judging look ushers the three of characters in the labyrinths of objectifications. This happens while the comfort of their solitude is totally shattered and in consequence they grapple with conflict of freedom.
The characters find themselves subject to the look of the Other. As they are conscious of the presence of someone else, another consciousness, who is watching and scrutinizing them, their individuality is tampered and flirted with what Sartre calls being-for-others. As he claims in Being and Nothingness “the Other as a look”, enforces the subjects to experience their “inapprehensible being-for-others in the form of a possession. . . . the Other's look fashions [their] body in its nakedness, causes it to be born, sculptures it, produces it as it is, sees it as [they] shall never see it” (p. 364). INEZ’s words give credit to the Other’s look that can harness the subject’s individuality in a volley of abuse: “And why shouldnt you ‘tame’ me?” (Sartre, 1989.p.55)
As pointed out earlier, the unstable power relations have given rise to individual’s freedom where he can defy or act on his own from the power relation. Naturally, “power relations are not equivalent to a physical determination where there is no choice available” (Boileau, 2004.p.81). Individuals within the realm of power relations settle upon enlisting the game, or withdrawing from it. “Once within the relation, individuals continue to have the possibility of reasoned choice and refusal” (Boileau, 2004.p.82).As it goes, the power relations cannot subsist on reluctant participants.
Conclusion Sartre claims that people relate to themselves and to one another through either looking or being looked at. When they give false images of themselves, they assume to be no more than the objects of their own look or confine themselves up in their own subjectivity.
The power that Look exerts on the body becomes visible to the naked eye through the particular discipline to which the body is exposed and henceforth inclined. By tailoring a particular use of the body for a certain atmosphere, the gaze casts its net of power over one’s individuality, freedom and judgment to fix and define them on its whim.
A final recapitulation binds all the above-mentioned claims together. Accordingly appearing as atomized and alienated individuals “annihilating each other through their Look” (Boileau, 1998, p. 219; Boileau, 2004, p. 78); Garcin, Estelle and Inez can’t follow an ethics of authentic existence lending credence to the idea of false reciprocity.

The novel of Savushun by Simin Daneshvar is one of the most significant Persian novels ever written. This novel deals with an important period in Iran’s political and cultural history and portrays the presence of foreigners in this country. Images of others dominate Savushun. We can also see a negative image of Britain and its allies as they invaded and occupy parts of southern Iran and plundered people’s property. Only Ireland is portrayed fairly positively in the minds of the novel’s characters. Daneshvar has painted quiet a negative image of the uncivilized Indian mercenaries in Savushun. The image of Iranians is crystallized in the character of “Josef” – the novel’s hero –who fights for freedom and independence and becomes a martyr on the path to reach a noble goal.

This research is analyzes the study done by Gheibah on Ibn-Fadlan’s treatise. Gheibah regards the treatise as a text which emphasizes the incapacity and failure of Arab Islamic civilization. The most important point of the article is that Gheibah’ text reveals the change of Ibn-Fadlan from the glorious political and religious strength Abbasids to a state of defeat and alienation. According to Ibn-Fadlan treatise، the Islamic character undergoes changes to be empty of the original identity، reforms into a western subject، and is overpowered by the success in the west، and become naturalized and baptized into the social texture of the western society. He also reveals the idea on which Crichton built his novel to create doubt about the merits of eastern civilization by forcing the traveler، Ibn-Fadlan، to be overwhelmed by the west and create an imaginary picture of the contact between the two civilizations: the Islamic Arab world and the pagan Viking world، while the victory belongs to the latter. In this way، the two civilizations are misrepresented in the treatise under study.