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

The present research, using the opinions of Mikhail Bakhtin and especially the theory of polyphony, tries to comparatively analyze the discourses in the novels "Sushon" by Simin Daneshvar and "Miramar" by Najib Mahfouz and by using the descriptive-analytical method to reflect the polyphony in Pay these novels. The author evaluates these novels based on Bakhtin's conversational logic and the components in it, and in the meantime, the research has answered the question of how polyphony is represented in the selected novels. The results of the research show that in the above stories we witness polyphony, but the form and manner of expression of this polyphony are different and in each story factors such as: gender, social and economic structure, intellectual currents in the form of two poles of self-awareness and cultural alienation are involved. The results of polyphony are represented in the form of components more than other factors. Women often have the role of following the thought that is issued from the moral reference of the story, and they generally strengthen the polyphony in the story with a partial style. The social and economic structure, class conflict, and intellectual currents in the stories, each of them create the field of discourse diversity by creating two opposite poles as the other.

Island” by Ghavaleh Alizadeh, is the story of a one-day trip by a man and woman to the Ashūradeh island. This story is some form of a sequel and ending to her “Tehran’s Nights” novel. In this article and using Bakhtin’s polyphony components, we investigated the examples and their use in this story using a descriptive-analytical approach. We first aimed to answer the question regarding the components of polyphony and their use in this novel. To this end, we emphasized intertextuality, multilingualism, and conversational aspects. Afterwards, these components were analyzed in the story. Bakhtin found the true representation of "polyphony" in Dostoyevsky's works; Polyphony means the presence of several sounds. Every character in Dostoyevsky's works is a representation of a voice that represents an individual self - apart from others. Polyphonic thought to the concepts of "infinity" [ to the entry of the endless self in the same entry] and "self and other" is relevant; Because it is the infinity of people that creates real polyphony. The results of this article indicate that the story by Ms Alizadeh has been successful in avoiding singular ideas in its discourse and providing a suitable basis for different ideas and thoughts and different attitudes, leading to acceptance of others as a separate and independent awareness.

Dialogism, a key concept in Mikhail Bakhtin’s theory of polyphony, posits that the author's voice is parallel to the voices of the characters and is reflected in the text through various techniques.The current research, which is based on the descriptive-analytical method and based on library documents, compares the two novels "Farewell to Arms" written by Ernest Hemingway and "Dar SholehāyeĀb" written by MortezaMardiha.The purpose of this research is to explore the techniques employed by Iranian and American writers in the texts to convey their voices, as per Bakhtin's theory.The research findings reveal that both novelists although have some differences, they convey their intentions through character naming. In the novel "Dar SholehāyeĀb" the characters are archetypes and their names reflect this, while in "Farewell to Arms", the Catherine’s discourse and behavior, along with the narrator's indifferent attitude towards war, create a contrasting effect.In "Dar SholehāyeĀb", the indifferent voice of Ahanj conflicts with the sacred and serious voice of war. Military and religious discourse dominate the oral communication in "Farewell to Arms", whereas in "Dar SholehāyeĀb", the text is surrounded by the discourse of the fifth column, the Gurdian Corps, and the military. The hidden argumentative discourse in "Farewell to Arms" represents the voice of the military and religion, whereas in"Dar SholehāyeĀb", the voices of doubt and the military serve a similar purpose.

Intertextuality a one of the well-known approaches to literature analysis has attracted the attention of many researchers. The approach owes its origin to Mikhail Bakhtin's theory of dialogism and polyphony. Intertextuality plays an important role in exploring complex relationships between texts, social discourse, and all related literary areas. In this regard, the terms related to intertextuality are infinitely different according on theoretical and practical situations. Some of them include Bakhtin's theory of dialogism, the aesthetic theory of literary reception by Hans Robert Jauss or by Umberto Eco, and carnivalesque forms such as antithesis and artistic imitation. Eric-Emmanuel Schmitt, contemporary French philosopher, novelist, and playwright, who has an optimistic and positive view of humankind and the world, leads man on to a search for the lost paradise, employing a synthesis of philosophical, mythological, and symbolic elements. This study analyzed Noah’s Child and its intertextual dimension, using Bakhtinian theories of dialogism and polyphony. The important thing in this novel is the dialogical relationship between all elements that the author use to recreate the sacred narrative of Noah's storm through the diversity of discourses and languages, and to call its readership to reflect on human values. To sum up, the study tried to explore the value of discourse in this novel and the world of meaning which it reveals to us.

Polyphony means the multiplicity of sounds and sounds and refers to a discourse in which several sounds are heard at the same time. Like music that, although made up of different melodies, these melodies are played at the same time to create the final tone and melody. The Logic of Conversation and the Concept of Discourse Gohar is the essence of Bakhtin's thought in the field of "philosophical anthropology". The main issue and purpose of this article is to study and analyze the dialogue and logic of conversation with emphasis on "plot and plot", "narrator, character" in the comprehensive narrative of the tragedy and the levels that the seeker of thought encounters. . Attar's symphony and dialogue logic are manifested in forty positions. The logic of conversation in the comprehensive narrative is an attempt to know individuals, not only through dialogue with others, but also their empathetic presence with themselves and others. The views and thoughts of the characters, which may belong to conflicting ideologies, are on a par with the author's views, and all are equally important. In Attar's phonetic symphony, actors from any selected class, position and position can play their chords, and finally, these sounds lead to a better awareness and understanding of the melody of existence and reaching the position of nearness to God. Clearly able to demonstrate the concept of polyphony or polyphony.

The present study investigates the intertextuality in the stories of Azadaran Beil and Tatar Khandan by Gholam Hossein Saedi based on the theory of Mikhail Bakhtin. What is referred to as intertextuality today is a term that can be called discourse between texts. Intertextuality is the study of the discourse of texts in literary and cultural works of the world. Before Ferdinand de Saussure's theories, everyone believed in the independence of texts, but Saussure's theories lack the validity of these theories. Based on this theory, Bakhtin believes that texts and their speakers consciously or unconsciously benefit from each other's intellectual and literary sources. The authors of this article intend to analyze these two works with the method of content analysis and with the aim of knowing more about the works of this author based on Bakhtin's theory and with the library method; The findings of the research show that the author was influenced by the Quran and Islamic beliefs and also mentioned some popular beliefs during the stories. The expression of proverbs and myths, irony and bringing part of prayers and supplications are other indicators of these works. Saedi has sometimes mentioned other stories in his works, and in terms of content and theme, he has been influenced by Sadiq Hedayat's Buf Kor and Kafka's Metamorphosis.

Bakhtin, one of the leading literary theorists of the twentieth century, has been focused on novel among all forms of prose. Dialogism is one of the basic concepts of Bakhtin’s theories. According to him, the novel is a field of manifestation of various voices that generate meaning and value in relation to each other. Understanding these voices reveals new hidden layers of text. Bakhtin calls this multi-voiced reality “polyphony”, which represents the ideology and mentality of the speaker. Therefore, in this research, with the help of qualitative analysis and library studies, two novels by Amirhassan Cheheltan, Iranian Dawn and Love and the Incomplete Woman, are analyzed with a dialogic approach, regarding their components of dialogism such as stylization, observing the appropriate language of the characters, the combination of voices, intertextuality, grotesque, open ending, and uncertainty. The present paper concludes that the author’s use of several discourses in Iranian Dawn and Love and the Incomplete Woman has given them a polyphonic character. In fact, the author has been successful in presenting the content of his stories in a dialogical context with the high frequency of using these elements of dialogism, and he has strengthened polyphony in these two novels

Polyphony in literary criticism was first introduced by the Russian theorist Mikhail Bakhtin. And in the second half of the twentieth century, it began with a study of Dostoevsky's novels through which Bakhtin discovered the foundations of freedom of expression. And the rule of the hegemonic system denied the third-person narrator. These bases include: Polyphony and Hetero glossia. And multilingualism is divided into components such as: Hybridation, Stratification, Parody, Dialogic Genre, Special dialogues. Because polyphony has prevailed in the novel Al-Diwan al-Isberti, this novel is written by in Algeria novelist. This article was reviewed by descriptive-analytical method. Al-Issawi illustrated all the political and social events using the five fictional characters of the novel, the history of the islands from 1815 to 1833. Some of these characters are taken from real people of that period. With these phone, he narrates the events of Ottoman domination and French colonization. The novel won the Booker Prize for Arabic Novel in 2020. Al-Issawi chose polyphony for this novel to quote history from several perspectives. The most important results obtained from this study are the existence of the literary pen of the novel. In the dialogism, there is a mixture of the hybrrization component, and a little parody, and there is also the dialogic genre and hetero glassia. The study of this fusion has generally been less considered by researchers in a text.

Post-colonialism and the theory of polyphony are closely related in terms of analyzing the monophonic discourse of power. While Mikhail Bakhtin considers the polyphonic novel as a labyrinthine, colorful world that gives vent to heterogeneous voices, postcolonial theorists attempt to investigate aspects and factors of hegemonic tyranny and discuss the voice of the marginalized and the disadvantaged people as the topic of literary criticism. Cities of Salt by Abdul Rahman Munif (the famous Arab novelist), which is a quasi-historical account of the process of the discovery of oil in Saudi Arabia and the transformation in the point of view of colonialism (from classic to modern), adopts a polyphonic and dialogic narrative in order to offer a multifarious image of the middle east during the colonial and the post-colonial periods. It sets out to show how the modern colonialist perspective of the United States substitutes the classic British one. In theoretical terms, the present study expounds upon some of the most central components of Mikhail Bakhtin’s theory of polyphony and dialogism so as to apply it to postcolonial studies. In applied terms, the writers have attempted, relying on assumptions of Bakhtin’s polyphonic theory –such as the narrative line, the multiplicity of discourse and the incorporated genres– to offer a postcolonial reading of the pentalogy Cities of Salt. Hence, the findings of the present article can be divided into two theoretical and applied parts: first, dialogism and the polyphonic theory of the novel by Bakhtin can open new horizons in the field of postcolonial studies, such as divulging the hegemonic aspects of the literary text and, more specifically, the narrative. Second, Abdul Rahman Munif, in Cities of Salt, offers various voices and discourses so as to push the dominant discourse of tyranny/ colonialism into a dialogic structure and nullify its made-up authority through juxtaposing it with other, equally valid, anti-discourses. Third, the writer offers incorporated genres adapted from the cultural Arabic-Islamic tradition in order to render null and void the oriental discourse of colonialism, which consists of robbing the colonized of their identity and ignoring their history and culture in an attempt to make them appear as savage barbarians.

Bakhtin’s theory about dialogism of texts, polyphonic novel, intertextual relations and carnivals has inspired several literary critics and theoreticians in west. In Bakhtin’s point of view, human is a social being that finds his/ her truth of being in dialogic relationship with others; therefore, the truth of being of a text not only expresses the writer’s ideology, but also is a place for expression of ideologies possessed by each character that each one of them is representative of a stratum and ideology.  However, this point of view has appeared in analysis of narrative texts such as Dostoevsky’s works initially, relying on it in poetry has also confronted these texts with a new analysis. One of the most important blaze situations of polyphony and logic of conversation is the element of dialogue in these texts. Although, dialogue cannot be the same as dialogism merely, it can be considered as a place for expression of polyphony of literary texts. Therefore, the present study seeks to address the function of polyphony in the structure of poetic texts, meanwhile explaining the voices that Darwish had utilized in his poems through investigating existing dialogues in Mahmud Darwish’s  one poem that is uttered by characters depicted by Darwish and demonstrate dialogism of his poetry. The results of the analysis show that Darwish have not selected monologue in order to demonstrate oppression of the Palestinian people, but in simple narrative formats and various dialogues between Palestinians and occupiers has changed his poems to a place for expression of characters’ legitimacy meanwhile presenting both parties’ point of views and surrounding voices and the reader is invited to his poem as a fair judge.

The criticism of contemporary literature has taken a big step to change the one-sided view of the events of the text and to implement the method of external dialogue in its context in order to recognizing various views and awareness. According to Bakhtin's view, polyphony is based on the multiplicity of interconnected and various sounds and languages in the structure of dialogue and its composition. The contemporary Arabic poetry is known for its narrative action between the thoughts of the characters and the exchange of common and different voices in order to explore literary polyphony, especially in the poems of Fereydoun Moshiri and Adib Kamaluddin allow them to express their concerns, desires and pains in various ways. This descriptive-analytical method seeks to address the most remarkable literary polyphonic techniques of two poets based on the American school of comparative literature. The summary of the results shows that the two poets, in addition to adopting to the traditional method of voice narration, resort to polyphonic types such as hybridization in order to developing the social views of languages in the light of ambiguity and ambiguity in their function, as well as stylistic style. In order to achieving the structural unity between the sounds, despite the difference in the type of dealing with another sound. The two poets use pure dialogue when engaging in controversy between characters or exchanging questions and answers on a particular subject, and at the end use a variety of ideologies to show how the characters deal with fundamental known values and ideas in the form of an ideology of surrender or defiance.

This article examines the story of Asqar Elahi: “Salmergi” from a monophonic and polyphonic perspective. The theoretical basis of this study is based on the view that Bakhtin has formulated and explained in “Problems of Dostoevosky’s Poetics, 1984”. Throughout the article, we first try to give a precise definition of monophonic and polyphonic, and then we will use the principles and criteria that can be obtained through Bakhtin's work to explain the subject, and finally we will study the novel “Salmergi”based on them. In general, the article tries to answer the following questions: 1. According to what criteria can a novel be considered polyphonic? 2. What is the relationship between polyphony and character development in the novel? 3. Can the story “Salmergi” be considered a polyphonic work? And if so, what features put it in the style of such stories?

During the period of modernity, Arabic poetry acquired a kind of objectivity that saved it from pure lyricism, drawing inspiration for its techniques from the core of dramatic and narrative art, in which the degree of intensity increases as a result of the dialogic characteristics and the predominance of tension and the various linguistic levels and conflicts. With it, the dialogical theory of Bakhtin was divided, which constituted a decisive turning point for the creation of a new vision of the world that shook the foundations of the monist and hegemonic vision of self-direction. The polyphony phenomenon, as a main branch of it, reinforced the plurality of perspectives and visions and heralded the conflicting opinions and positions and ideological dialogue in a vast democratic space, so that every voice and consciousness could freely express itself in light of bilateral dialogues and acceptance of the other. In this research, we focus on the technical components of the phenomenons such as the multiplicity of ideologies represented in the multiplicity of personalities, the heteroglosia and plural language patterns, parodies, interfering genders, and intertextuality. We conclude that the multiplicity of voices is taking place in modernist literature in full swing. Whether it is poetry or prose, the point is the plurality of discourse as the writer strives sincerely to use the dialogue spaces to provide a visionary democracy that is honest and not false, and that the dominant ego is broken into conflicting subjects in free and heated dialogues that save poetry from subjectivity.

Jabra Ibrahim Jabra, a Palestinian skilful story writer in the second half of twenty century, deals with Palestinian social, political and cultural situations in those days through writing novels. Fully aware of turbulent situation of Palestine, he is in search of creating a savior to save Palestine from oppressions of oppressors and injustice of mental backwardness. Jabra Ibrahim Jabra exhibited a generation who bore the burden of responsibility to make changes and revolution against mental backwardness. Jabra technically influenced from Bakhtin's polyphony. In the 'In search of  Valid Masoud' he draws a collection of voices participated in a narrative system by applying polysemy method, and proceeds the story by analyzing these voices according to their relation to the voice of protagonist. One of the most important devices used in the story is the stream of consciousness. The protagonist of the story rereads his career in the method of the stream of consciousness in a recorded tape remained from him. This study shows that Jabra used a new technique in reflecting characters voices. Finally, when all characters encounter Valid Masoud's photograph and his face becomes known, reveals their similarities and all other voices removed in order to reveal one voice and one dominant view which is the voice of Valid Masoud that can be said to be the symbol of Palestine.

Polyphony is the simultaneous presence of multiple and diverse points of view and sounds with the same power, where none of the sounds dominates the other or is superior to the other. Free indirect speech is the main method of creating polyphony, as one of the literary techniques creating ambiguity in the texte. In the field of literature, the discourses are divided into several categories: direct speech, indirect speech, free direct speech and free indirect speech. In this paper, we will try to explain the concept of polyphony, to introduce and explain the indices of free indirect speech and to explain the impact of free indirect speech on the formation of polyphony, by analyzing some parts of two translations of Madame Bovary's novel of Gustave Flaubert,, in Persian, that made by Mohammad Ghazi (1990) and that of Mehdi Sahabi (2016). We try to answer this question : How the polyphonic technique appears in novel's translation and what effect it has on comprehension of the translation. We will then study the workings of translators and their tasks to translating the indices of this speech and we will evaluate their knowledge and understanding of the subject. Polyphony, Free Indirect Speech, Madame Bovary, Mahdi Sahabi, Mohammad Ghazi

Abstract With the emergence of new theories of literary criticism, each of which views the literary text from a particular perspective, the study of literary texts, especially fiction, from the perspective of narratology and literary theories, has become increasingly important. In the meantime, Bakhtin's polyphonic theory provides another reading of the text and leads the audience to discover the inner layers, the various and sometimes hidden sounds and the unspoken text. The importance of the dialogue element in the story and its special place according to Bakhtin's discourse theory has doubled the need for care and reflection in the application of this component in the novel. Therefore, in this article, while analyzing the key concepts of conversation logic and lost polyphony, we will explain these terms, examples and their application in the novel. The purpose of this research will be to find an answer to the question whether, considering the essential capacities and capabilities of the novel "French Will", the most famous work of the Russian-French author Andreï Makine, this personal biography can be considered a polyphonic book, based on Bakhtin's conversational logic? And whether the conversations between different characters throughout the work and the bilingualism of the author / narrator, give this book the embodiment of the theory of dialogism. Thus what is examined and explored in this article is a descriptive-analytical study of the main components of the theory of "polyphonic" in "Le Testament Français". .

Mostafa Mastour is among the great contemporary writers who has addressed serious aspects of human life in his works, and has raised essential questions on human and the nature of existence, and provided, to the extent of his ability, ideologically-unbiased answers to these questions through the words of the characters in his stories. One of the issues that strike the reader of Mastour’s stories is the similarity of the themes of his stories to the existentialist perspectives and existential concerns. In stories by Mastour, such topics as instability of the world, uncertainty in beliefs and faith, contemplation of the existence of God, human anxiety and loneliness, fear of death, and meaningfulness or meaninglessness of life are dealt with. Such issues have been constant concerns of human beings, regardless of their historical and geographical settings.The present research aims to investigate the existential concerns that have been expressed in stories by Mostafa Mastour and how the writer has answered those questions.

Existentialist thoughts took shape when Western scholars lost hope in the functionality of modernity in creating a better world. Existentialism has been divided into two schools, namely theistic and atheistic. In theistic existentialism, it is believed that faith in God will save mankind from concerns of life and grant him peace and tranquility. On the opposite side, atheistic existentialists hold that the world is not a place to give meaning to the existence of human being nor to bring him comfort. Existentialist perspectives have manifested noticeably in the works of several Iranian novelists, especially over the last few decades. Such writers have attempted to express existential concerns and find a way to give meaning to life, and have portrayed the anxieties and worries of the modern world in their works.

The present research takes a descriptive-analytical approach to investigating concerns such as questioning about the existence of God, questioning about the meaning of life, as well as death and its nature in the three stories by Mostafa Mansour.

Having analyzed the fictional works by Mostafa Mastour, we realize that the writer has introduced existential questions through the words of the characters of the story and has tried to answer those questions based on his own perspectives.The most important issue raised inروی ماه خداوند را ببوس  (Kiss the Lovely Face of God) is questioning about the existence of God and the manner of His presence among people, which is mostly expressed through the words of the protagonist of the story. Another aspect related to the manner of God’s presence is the passionate, faith-based attitude toward God. In "Kiss the Lovely Face of God”, the passionate, love-filled attitude toward God is expressed by Alireza. He has an irfanic (~ mystic / of true knowledge) perspective and his beliefs are similar to those of arefs (~ mystics / holders of true knowledge) and theistic existentialists. In the story من گنجشک نیستم  (I am not a Sparrow), an irfanic and aesthetic attitude toward life can be seen in the character Amir Mahan. With a perspective rooted in faith-based, irafnic thoughts, Amir Mahan regards discovering logical relationships between events and occurrences as futile and considers it as contributing to the separation of mankind from peace and certainty.In “Kiss the Lovely Face of God”, questioning about the meaning and nature of life is introduced as one of the main concerns of the characters in the story. Essential questions about the existence and the nature of life are also raised in the story استخوان خوک و دست های جذامی (Pig Bone and Leprous Hands). In the story “I am not a Sparrow”, Danial, failing to find answers to his questions, doubts the nature of existence and is faced with the crisis of meaninglessness of life.Mostafa Mastour attempts to introduce irfanic perspectives, in addition to the pessimistic attitude toward life, through the words of the characters in his stories, and creates a kind of polyphony. In “Kiss the Lovely Face of God”, one of the characters has reached a level of irfanic intuition and insight, thus has no complaints about any adverse event in the world. In the story, the protagonist fears the non-existence of God and nihilism in life. He is scared of death and nothingness afterward and tries to find a purpose in his worldly life to give his life meaning and purpose and keep his name alive.In “Pig Bone and Leprous Hands”, a few dialogues about death unfold between the characters. One of the characters has a refuge-seeking attitude toward death, since he believes that mankind will go to God after death, and “being with God” is a good place to be, so death must not be feared.Mastour has an irfanic perspective toward death in “Kiss the Lovely Face of God”. Arefs consider death to be a bridge to unity with the eternal beloved from whom the worldly life has separated mankind

Existential concerns form an important part of the perspectives of the characters in the stories by Mastour, and the writer promotes the faith-based, irfanic perspective in order to answer such concerns. The characters in the stories by Mastour freely speak according to the perspective they hold toward the essential issues of existence, and the writer tries to portray nihilism, pessimism, rebellion, and chaos prevalent in the contemporary world through juxtaposing different voices in his works. Mastour considers superior the way and approach of those who submit to the will of God and cling to faith in God in order to free themselves from such concerns and problems, and he believes that the way to achieve peace in this restless world is to reach an irfanic understanding and to have a love-filled faith in God and His manifestations in the world of being.Rather than having a religious tint (in its traditional sense), Mastour’s stories show a type of irfanic perspective. Through creating polyphony in his works, he juxtaposes atheistic beliefs with irfanic beliefs, and while the voice of faith and irfan is more effective in his stories, the characters in the stories struggle with their questions and concerns until the end, questions and concerns that mankind has carried throughout history.

This essay is based on the initial assumption that element and sign of dialogue are reflected in the novel "I turn off the lights". The author has organized the novel in opposition to the woman narrator of story with the political issue. It seems that narrator considers politics equal by masculinity. Claris the mother of the family and the main character of the story, tries to keep the family's spiritual environment away from the husband's politics. Although she is educated and avid reader he thinks politics has nothing to do with their life. She knows politics as a masculine issue and a threatening factor in the comfort and tranquility of home. The narrator in the struggle with a political voice retire a forbidden love; but in the end, she recognize her realistic position by suppressing and passing on the love that is a sort of rebellion against the powerful and masculine political voice. She inevitably copes with her husband's political voice, but with a spiritual change she revisits her identity, individuality and personal life. According to the results of this descriptive-analytic research, women writers in Iran often challenged politicization for feminist reasons and motives. But this depoliticizing also has major textual and contextual reasons. From contextual factors can be mentioned gradual development of Iranian society and growth of the individuality of female writers and among the textual and literary history factors it can be counted boredom and exhaustion of readers with the slogan and stereotype.