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

Functional stylistics pays attention to the role and use of words and clauses, and critical stylistics deals with power relations in the text. The issue of the present article is to find out the extent to which the Rowze Khold is imitative regarding the category of tense and mood to Golestan. The general goal is to discover the problem of imitation of Rowze Khold, and to compare the frequency of tense and mood, the grammatical voice and narrative style of the two. The theory of the research is Halliday` functionalism and traditional grammar.

The type of research is applied, its method is quantitative and qualitative, and its variables include 31 interpersonal role variables. The sample and analysis unit is the clause and the data was selected by systematic sampling method.

The findings of this research shows that Golestan with 77% and Rowze Khold with 76% have a significant similarity in declarative mood. In addition, Golestan has got 45% past, 49% present, imperative 5% and future tense 1% and in Rowze Khold 51%, 43%, 6% and 0% in turn.

The statistical evidence shows that Rowze Khold is highly influenced by Golestan in terms of attitude, interaction with existence, grammatical voice and narrative style. In addition, the grammatical voice of the two works is declarative and both are neutral to power relations.

The institution of the family and the methods of representing it in literary works, including fiction, have been considered in every era. Sometimes authors are attracted to writing family-centered stories relying on their knowledge of the family situation in their era. One of the issues of interest in sociology studies regarding this institution is the issue of power. Identifying the methods of distribution of power in the family shows many social changes that have occurred over time. Due to the increasing rate of these developments and their impact on the structure and function of the family, as well as the future of this institution, the durability or collapse of the traditional and modern forms of the family has become one of the most important preoccupations of sociological thinkers. In this research, based on sociological studies in the field of family, as well as the opinions of different thinkers in the field of power, the structure of power distribution and the methods of its application, the type of resistance to power and the sources of power generation in family relationships in 87 contemporary short stories by seven contemporary Persian authors in the decades 1960s to 2010s were examined; with the aim of clarifying whether in these stories, the power structure in the family is one-sided and asymmetrical, or based on the model of equal rights. It should also be clarified whether the authors were able to draw a picture of the current state of the family institution in Iran despite the existing restrictions and prohibitions. The results show that in these stories, the family structure is semi-symmetrical, non-linear and a combination of intimacy and dominance in line with the balance of tradition and modernity. The methods of exercising power are expressed in two ways: persuasion and coercion; but the type of resistance is more passive due to the adherence of members, especially women, to traditions and customs . From among power-generating sources in family relationships in contemporary short-stories, traditional beliefs and social status are given priority and next to them, we have the following issues: emotional dependency; men’s job dignity; women’s employment; education; men’s powerlessness, and women’s self-esteem and superstitious ideas.

Some literary works, despite their simple appearance and small volume, are so rich in content and have such strong symbolism that they encompass the equations of the greatest contemporary philosophers. The stronger by August Strindberg is not an exception to this rule. The main objective of this article, after redefining ambiguity, going beyond the definition of Empson and metaphor, broader than the Derridean meaning, relying on the inevitable process of inclusion, exclusion and identification, to discover how the author's power is exerted and his role in creating the work—which is itself a reading of the world surrounding the work—and also the mode of the reader's exercise of power in interpreting the text—which is a rewriting of the work from a different perspective—and in this regard, it establishes a general framework that Foucault has presented in his examination of power and discourse. After finding the connection between ambiguity and metaphor, the role of these two in exercising power or preventing it is explored, and ultimately, the relationship of these concepts with literature, the creation, and the reading of this literary work are examined. In the world of the text, similar to the world of the metatext, the arena of ambiguity and metaphorization, and consequently the field of battle of wills, instincts, interests, and various metaphors, sometimes result in a temporary peace, but if such methods do not yield results, only inevitable violence can expose one metaphor as unjust and invalid in favor of another metaphor.

The works remaining from any period are definitive mirrors of the thought, culture and language of that era. The reflection of ideology, mentality, language, and the path and practice of the pillars of power have both direct and indirect effects on shaping the content and structure of the writings, which play a major role in giving identity to the ethnicity, language, and intellectual discourse. The ruling power in the Safavid period was composed of a triad of the Safavid kings, the military commanders, and the religious scholars, each of which used mystical, military and religious discourses, respectively. Therefore, they employed three different types of language appropriate to these three types of discourse to communicate with the people. Sharing the goals such as maintaining power and continuing political domination over the people often led to coping with the intellectual and cultural conflicts between mysticism, religion, and military service. In the same way that they used the three languages ​​of mystic self-centrism, religious spiritualism, and military violence to dominate the society, they also utilized the potentials of all the three discourses to produce literary and historical works appropriated to their style of governance, which is evident in the prose language of the era. From a sociolinguistic point of view, language is a tool for exercising power, which links human sciences to social sciences and linguistic. Accordingly, this research deals with the influence of power in Ālam-ārā-ye Safawi from the perspective of sociology of language, distinguishing the powers that have influenced the prose text of this book and determining the frequency and form of the power influence on its prose.

Hafez's eternal presence not only in the history and literary history of Iran but also in the minds and consciences of Persian speakers around the world, has made him an "eternal memory" and for this reason, he and his poetry have been spoken about in many different ways. But it is still open to the discussion of covertness and indirect and pragmatic expression and confusion over events and biting satires and scandalous ironies and other linguistic tricks that go back to its two sides. In the present article, the structure and content of Hafez's ambiguities prominent features of his style are examined. As a result of the sequence of thoughts and associations, the meanings of the mind are involved and at the same time it never reaches certainty, it has been studied and analyzed. This unique virtue of Hafez's poetry, which distinguishes his words from the words of others and causes its exaltation and immortality, is a framework for expressing ideas that have not been explicitly expressed without danger. It is with this tactic that Hafez stands up to the ruling power and, with its help, overthrows the dominant discourse of the government and helps to free the people from their stagnation and arrogance and dependencies. The data of this research have been provided through library studies and have been described using analytical methods. The most important achievement of this research is that its cover-ups and ambiguities, where something is thought of in the structure of India, show a kind of political structure and power in relation to itself.

Literary texts, in connection with the social conditions of their time, also show the complex relations of power. In Naser Khosrow's poems, the existing discourses in the society are represented in a way that mainly shows the poet's resistance against the construction of the power of the Sunni government of Ghaznavid religion. Nasser Khosrow's greatest intellectual challenges are the critique of power (hegemony, domination) and the political and religious discourses of the Ghaznavid era. Based on his religious and linguistic knowledge, the poet challenges the discourse hegemony of Ghaznavid rule. According to the poet, the structure of government in that period is a combination of political and religious authority and the way of exercising power is done by political interpretation of religion and knowledge of Shafi'i jurisprudence in order to legitimize the government. Nasser Khosrow, as a Shiite poet, tries to delegitimize the political rule of his time in the form of his poems. The issue of the present article is how Naser Khosrow reacts to the dominant Ghaznavid discourse in his poems and how his religious beliefs are crystallized in the construction of the discourse of legitimacy and reproduction? The method of the present study is Michel Foucault's discourse of power and modern historiography. The result of the research shows that Naser Khosrow's discourse in order to delegitimize the political and social system of his time, shows the conflict of power discourse between Sunni and Shiite political jurisprudence.

If we consider language not as a mirror reflecting struggles, but as the subject and tool of struggles, then we should use the signifier of discourse, which makes the concepts of power and language understandable in a continuous and inseparable conceptual entanglement. This article aims to analyze the text of Tarikh-e Beyhaqi as one of the most influential classical texts of Persian literature with a discursive method. In other words, by placing this text in its discursive context and its dialectical relationship with power, and understanding this text as the field of conflict between powers and conflicting discourses of society, a new understanding of it can be achieved. In order to achieve this goal, Fairclough's critical discourse analysis method is used to perform micro-textual analysis, and Laclau and Mouffe's discourse theory is used to perform macro-discourse analysis of Bayhaghi era. The text of Tarikh-e Beyhaqi, as shown, does not reflect the true struggle, but itself, is part of the struggle process. This text is influenced by the chain of ruling discourses and is used against peripheral discourses. Tarikh-e Beyhaqi, under the influence of the discourse that pulls the bipolar mind of the text to a directional representation of the flow of affairs, highlights the ruling discourses and marginalizes the peripheral discourses.

One of the subcategories of discourse analysis is the analysis of dialogues of the work under review. Apart from the apparent meaning and the way the sentences are designed in conversations, it is possible to discover hidden mentalities from their hearts that show themselves in the form of words, meanings, signs, behaviors and movements of the conversation parties. By analyzing the interaction of the conversation parties, the beginning and end of the conversation, turn taking, feedback and correction in the conversations, aspects and effects of the conversation that are often not visible at first glance can be shown. Based on this, in this article, an attempt has been made to examine the way of using language and the way of communication between the parties of the conversation, which is represented in the form of sentences and phrases, along with other unsaid words that are placed behind the sentences and meanings. In other words, in this research, in a descriptive-analytical way, the management of people's interactions with each other and the way social communication is formed in the dialogues of two literary-narrative works, Hesaar va saghaye pedaram and Yakolya va tanhaiye ou, have been analyzed. The research results show that in both discourses, power is applied from top to bottom and one person is at the top of the power pyramid. Against the prevailing discourse, the subjects are very powerless and do not have much agency and role in the story. In his novel Yakolia va tanhaiye ou, in addition to the institution of power, the institution of religion and people also play a role in the management of society, but the institution of power and religion try to draw people to their side.

Critical analysis of the discourse of the companions of the cave in the Holy Qur'an Based on Norman Fairclough's theory Abstract Evaluating different levels of discourse provides the possibility to discover and achieve its hidden meanings and reproduces the way language interacts with meta-linguistic structures. Critical discourse analysis is a new approach in text analysis that, in addition to paying attention to the linguistic context of the text, considers the non-linguistic context of the text to be effective in discovering and explaining the meaning and examines the relationship between language, power, ideology and discourse. Most of the texts such as the literature of the nations, narratives and some types of stories of the Qur'an can be analyzed and interpreted in this framework. It is a monotheistic discourse in which two opposing forces are placed in front of each other and each chooses a specific type of speech to prove the validity of their claim. Paying attention to selected language patterns along with explaining the cultural, social and political situation of that time can unlock many semantic secrets of the language. Therefore, in the light of the importance of this issue and the need to interpret the Qur'anic text from various angles, this research aims to use analytical-descriptive methods based on the approach of critical discourse analysis of Norman Farklough in three levels of description, interpretation and explanation, the hidden layers of the Qur'anic text. to discover and analyze in this story. From the linguistic and meta-linguistic studies of this story, it is found that each linguistic unit follows a specific linguistic structure, which has special features such as highlighting, choosing words, and arranging them due to the specific ideology of the actors of the discourse. . At the upper level of the dialogues in this story, the repetition of the word "Lord" in contrast to "God" was caused by the monotheistic thinking of the companions of the cave in contrast to the polytheism of the king and the people of that time. The conversation between these two currents in addition to explaining the specific type of ideology. Like monotheism, polytheism, resistance, and unity, it was definitely not exclusive to a historical time, but it was also effective in the intellectual and cultural direction of the audience and future relationships, so that after many years of their death, as a sign of respect for the ideology and belief in this group and spread their religious foundations, a dome was built on their graves.

One of the methods of examining the text is Fairclough's critical discourse analysis approach, in which special attention is paid to its situational and discursive context in the examination of the text, and it is examined at three levels: description, interpretation and explanation. In this article, an attempt was made to analyze the system of Khosrow and Shirin Nizami with the approach of critical discourse analysis, focusing on the debate between Khosrow and Farhad. In examining the text and at the level of description, we are faced with two types of stances in the form of Farhad and Khosrow's debate, which shows the conflict between the lower and upper classes. At the level of interpretation, the social context of the text indicates the praise of the institution of the court, as a result of which the ruling ideology appears on the text. At the level of explanation, the text does not seek to confront the prevailing ideology, but to legitimize it. Finally, the text has reproduced power relations and tried to stabilize and continue them.

The dominant approaches in the study and criticism of myths are often based on a kind of presupposition regarding the neutrality of the discourse. In the meanwhile, it is possible to provide a new understanding and reading of them by moving from such views and by removing myths from suspension and then binding them to power structures. On this basis, first in the present article, the myth of creation and its parallel mythologies are separated from the suspension and placed in the framework of a type of power structure; then the current logic in the process is explained, and finally, the function of such a matter is discussed. The results of receiving and describing some selected works in the Greek-Iranian tradition indicate that the function of these mythological narratives is aimed at the production and reproduction of essentialist ideas related to deterministic traditions, which has flowed in a range from an ontological approach and function to an ideological organization for suppression and deprivation of agency from the subject. From this perspective, mythological systems based on the logic of essentialism have formed a center of power and conservatively suppressed the exposure of human subjects to these centers in various ways.

Regardless of the obvious message that is displayed on the cover of any text, sometimes there is another discourse in the context of the content that challenges the intention of the creators of the text in supporting the cover. In the light of reinterpreting and deconstructing the works, the dark labyrinths become clear and new concepts are presented. Ferdowsi and Sa’âlabi's two narratives of the story "Aleksander and the Daughter of the King of India", with a significant difference in the ending, is a familiar story of the marriage bond of the defeated beautiful girl with the conquering king. In examining the secondary discourse, the mechanisms of exercising power over the body are highlighted. Contrary to popular belief, these mechanisms are not only torture, rather, aesthetics is also considered a kind of care network that does not end when a woman enters the "other's" field (father's house) into her own field (wife's house). On the contrary, when a woman wins in the body test prepared by the institution of power, she is considered as a threat to the totalitarianism of the ruling system by deviating from the norms of socialization. In this study, in an analytical-descriptive way and with a sociological point of view, the elements in the mentioned story have been reconstructed and by using the opinions of the thinkers in this field, especially Michel Foucault, the mutual relations between the three elements of "beauty", knowledge", and "power" have been discussed.

Asadi's Garshasbnameh and Banoogoshasbnameh should be considered as important epic works in Persian language. Although the dominant approach in these two works is epic, the reflection of emotional components that are linked to the basics of lyrical literature is well highlighted. Singing and boasting are among the examples of lyrical components that Pahlavan uses to meet his various goals. The purpose of the present research is that by applying the theoretical foundations of Fairclough's critical discourse analysis, the level of description in these brags and boasts has been represented in order to explore the various dimensions of these military tactics. The main question of the research is, what is the effect of boasting and boasting in the mentioned works in the representation of the discourse of "power" and in what discourse components has this category appeared?

This research was done based on library sources and descriptiveanalytical method.

Words are used in brags and jokes to start a psychological war by the wrestlers. Also, the words in the mentioned works show the approach of "shepherd and lamb" in the discourses proposed by the characters. In connection with the characters, by describing a series of actions and emphasizing their physical abilities, the wrestlers show the gap between the singer and the other person as high as possible. At the level of association, the commonality of word networks in multiple phrases and sentences is an extension of power hegemony. Pronouns in these systems have played a role in reflecting the hierarchy governing interpersonal and social relations. The form of the verbs in boasting and arrogance is often news, which indicates the certainty of the issues raised. Also, authoritarianism is one of the important messages obtained by analyzing verbs.

The analysis of idioms and boasting in the mentioned works at the level of description shows a conscious confrontation by the singers in introducing the characters. Also, alienation between the discourses of the parties is clearly seen.

One of the topics of interest to structuralists is paying attention to binary opposition. They know the foundation of existence and its cognition as the realization of these oppositions . Most of artworks are based on contrast and opposition; Bad versus good, heaven versus earth, youth versus aging, existence versus non-existence, etc. These two poles have never existed independently and are based on the opposition of two poles. This article intends to answer the question of how the two oppositions of power and love are formed in the story of "Khosrow and Shirin" by using descriptive-analytical method and also considering the combination of structuralists’ views. The results of the research show that each of the codes of power and love in the story of Khosrow and Shirin seeks their appropriate words on the axis of syntagmatic. The story begins with the balance of the codes of power and its signs, but by the formation of the codes of love, each of these codes attempts to strengthen its system of signs and rejects the codes of opposition.