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

One of the most important problems facing humans today is ecological crisis. Ecolinguistics is a relatively new branch of linguistics aiming at studying the relationship between language and environment. Together with other branches of science, ecolinguistics tries to have a role in solving the crisis.    Ecolinguistics, or Language Ecology was introduced in 1972 by Einar Haugen as "the study of interactions between any given language and its environment" (Haugen, 2001, p.57). A different type of link between language and ecology was established in 1990 when Michael Halliday, stressed the connection between language on one hand and growthism, classism and speciesism on the other, admonishing applied linguistics not to ignore the role of their object of study in the growth of environmental problems (Fill, 2001:43).   The aim of this study is to investigate the mechanisms of the representation of ecology in folk poems of Mamasani variety of Lori within a discursive- cognitive approach based on Stibbe's (2015) model. Stibbe proposes eight forms of stories, namely: ideologies, framings, metaphors, evaluations, identities, convictions, erasure and salience. The collected data were analyzed through Stibbe's ecolinguistic framework and within the limitations and objectives of critical discourse studies.      This research intends to answer the following questions using ecolinguistics: (1) which mechanisms are used to represent the ecology in folk poems of Mamasani variety of Lori? (2) How much are the positive or negative (constructive or distructive) impacts on minds and functions of informants about environment?

The purpose of this article is to critically examine two plays, namely Cambises (1569) by Thomas Preston and The Sophy (1641) by John Denham, through the lens of Edward Said’s theoretical framework. These works, although relatively unfamiliar in our country, offer valuable insights into the prevailing political and cultural discourse of Renaissance England, during which the nation's expansionist policies were beginning to form. In line with the prevailing tendencies among writers of their era, Preston and Denham, whether deliberately or indeliberately, practiced Stereotyping and Othering, because their knowledge of the East was neither objective nor direct; it was merely a reproduction of the stereotypical images in previous texts. Through misrepresenting the East and its people, their works became a part of the broader political and cultural discourse of their country, reflecting a thirst for superiority. It is crucial to recognize that such cultural misrepresentations played a significant role in shaping public sentiments, laying the groundwork for expansionism and colonialism. Through a contrapuntal reading of these dramatic works, we can uncover the intricate relationship between cultural artifacts and the underlying power dynamics at play, which provides us with a nuanced understanding of their impact.

Many ideas and beliefs in a society are rooted in religion. How religion is reflected in society and culture is one of the interesting topics in the field of sociology of religion. The system of beliefs and values of the society is reflected in the literature and oral culture of the society. Proverbs, as one of the most important elements of oral literature, can be a reflection of the beliefs and attitudes of the society. In this study, an attempt was made to provide a relatively clear picture of how religion and its dimensions are represented in the popular literature of Gilan by examining Gilaki proverbs. This study was a descriptive and analytical study in which, while analyzing the content of 4562 proverbs in the East and West areas and the center of Gilan, 209 proverbs related to religion were selected. The data was categorized into several categories based on content and concepts. Based on the findings of the research, it can be said that the reflection of the four dimensions of belief (43%), rites and rituals and customs (24%), morality (16%) and Shariat (16%) are shown in the parables. It shows that in the popular culture of Gilan, besides paying attention to religious phenomena and rites and rituals, attention and emphasis is placed on the religious aspects and the functionalist role of religion in the society and the institutionalization of the spirit of religiosity and religious ethics in the society.

Inference is one of the mechanisms of persuasion for every preacher. The process of inference is closely related to the language. Direct inference is used in cases where there is no impediment to its use, and it is clearer;  Direct inference is used in every field in which we do not resort to the use of indirect inference.  Direct inference has three methods induction, analogy, and representation.  Political discourse aims at persuasion, so the preacher tries to present his ideas with a logical link based on an intellectual system that carries many concepts and connotations that help the individual understand aspects of the political and social reality.  Nasrallah is the production of a distinctive resistance speech from what is common since the beginning of his resistance work on the Lebanese scene, a speech that jumps over the elements of division to arouse the nation’s audience, directing its thinking towards the main issue, which is Palestine and the issue of conflict with the Zionist enemy. This article seeks to answer the following questions: How did Sayed Nasrallah employ direct reasoning in his speeches?  And how did the direct reasoning that Sayed Nasrallah relied on affect the public’s persuasion? Based on these questions, this study relies on the descriptive and analytical approach to study direct inference in the speeches of Sayed Hassan Nasrallah from the year 2000 AD to 2003 AD.  This research deals with three axes: the presence of inductive reasoning in Sayed Nasrallah's speech, the presence of standard inference in his speech, and then the study of representative inference in it.  I received these letters from the “Revival of the Resisting Heritage Society”, an association concerned with documenting the speech of Sayed Nasrallah, and books and articles that talk about this speech, and the center of this society is Beirut, and it was established in 2008, by virtue of license 1234.This article aims to reveal the argumentative structure in Sayed Nasrallah's speech, and the purposes and objectives that Sayed Nasrallah wanted to highlight in order to create an intellectual renaissance based on awareness of religious, political, social and national values.  The main findings of this article are:  The study of Sayed Nasrallah’s speech showed that he used a scientific approach in his approach to events in Lebanon and the region, based on inference by extrapolating the facts, arranging and organizing them, and then making a logical analogy with them, from a first premise, a second premise, and the result of the measurement;  As for representative inference, it proceeds from similar examples, to reveal facts, develop knowledge and show the relationship between cause and effect;  Sayed Hassan Nasrallah, when starting from the postulates, aims to give correct premises to reach correct results, and his goal in this is to show the importance of the resistance in Lebanon and Palestine, and the role of the Zionist and American enemy in hegemony over the region, and the impact of martyrdom on the work of resistance, and the connection with the Muhammadan-Husseini approach.  The future with its repercussions, to alert the nation, instill in it a spirit of optimism, and call it to resist every oppressor of its rights.- Sayed Nasrallah employed the method of inference types, to reach logical conclusions, and he has the ability to discover the overlap between situations, and the ability to think about possibilities and follow logical sequences, in order to derive results;  Since the beginning of the speech, Sayed Nasrallah assumes a specific result, and declares it clearly through his enumeration of the research points in the speech.  In this presentation, he narrates the facts surrounding the recipient, from his audience and on the regional and international arena, he cites these facts, then measures the events on the basis of logic or on the events of the past, up to the result he aims at from the beginning, so whoever hears the speech feels that he is a partner in making the logical result,  By linking events together, and seeing the course of things;  This shows the ability of Sayed Nasrallah to create successful communication with the recipient, through the interaction of this audience, and his conviction of the results that Sayed Nasrallah is reaching.- Sayed Nasrallah always focuses in his speech on Palestine, the Qiblah (the direction) and the axis. He describes and analyzes the reality, and measures against previous events, to come up with the position required by the nation;The uprising in Palestine continues despite the great sacrifices, and despite the failure of the Arabs in the media, financially and morally.- SayedHassan Nasrallah extrapolates the facts in Lebanon and the region, and measures against them, by linking them to the past, in order to consider the past, and to understand history that helps determine the correct position in the present and the future, or through mathematical logic based on analogy, which is divided into a major premise.  a small introduction, and a conclusion;  As for representation, which is the third element of inference, Sayed Hassan Nasrallah moves from representation between two separate cases, revealing similarities between them, to reach a new concept that helps solve the issues at hand.- The syllogism based on a major premise and a minor premise and a result was mentioned in the words of Sayed Nasrallah, and more than an analogy of the present to the past. He calls for taking lessons from the past, to unite in the present and the future behind the project of liberating land and man in Palestine, Lebanon and the region;  It is a discourse that carries in itself the elements of stability in positions, and works to establish the principles and premises, raise the feeling of spiritual, heritage and social belonging, and confirm that what the Palestinian people do, as well as the resistance in Lebanon, is an act of will and awareness of the nature of the conflict, the basic issue represented in Palestine, and the nature of the conflict  Arab Israeli.

The representation of gender ideology is to show the author's gender world (beliefs, customs and traditions, behavioral acts expected from both sexes, distribution of power between the two sexes) either from a position of agreement with the dominant discourse of the society or from a critical point of view in the text. The main objective of this research is the analysis of the representation of gender ideology in the stylistic layers of the personal elegies of Persian-speaking male and female poets. The representation of poet's individuality (self) in personal elegies makes it feasible to study author's identity, for instance in terms of gender. This study was conducted via a combined research method (descriptive-statistical-comparative analysis), employing layered stylistics as the theoretical basis. The following results were obtained from this research (in three lexical, syntactic and rhetorical layers). Symbols indicating submission and satisfaction, short and discrete sentences and emotional and sensory rhetorical devices are   used more often in the elegiac writing of female author to reflect the concepts of acceptance of fate, internalization of gender role and status, as well as oppression and inferiority, in line with the dominant discourse. The ideology represented in the personal elegies of male authors indicates authoritative protest and overbearing authoritarianism. Compared to women's emotional emotions that can be found in their declarative and emotional speech acts and short and discrete elegiac sentences, men have reflected more logical reflections with long continuous sentences, persuasive speech acts and more rhetorical tools.

Creating meaning is not something that happens in a vacuum, but the speakers of different languages always communicate with their audience by creating meaning and encoding the words of the language, and the audience decodes them based on the meaning they receive from the words. By examining the Kurdish language codes used in the TV series "Nun.Kh", the authors intend to represent the Kurds by using the opinions of the users of virtual spaces from the perspective of the main actor of the series named Nuruddin Khanzadeh, who pretends to be a Kurdish speaker. He speaks with a Kurdish Farsi accent, and his family who speak Kermanshahi Farsi will show how the image of the Kurds is shown in this series. The data was collected from the opinions of users in the virtual space and analyzed from the perspective of cultural semiotics. The findings showed that the language of the main actor of this series and his family was not a real representation of the language of the Kurdish people, but fake dialects used by the actors of the series. Also, in the representation of clothing, proper design of Kurdish clothing is not presented, and the decency of a Kurdish woman, who is portrayed as a rough and masculine person, is not well represented.

Tarikh Beyhaqi contains accurate information about the Ghaznavid period. ‘Khishkhaneh Herat’ is one of the anecdotes in this book, which deals with how Sultan Mahmud relates to his son Masood. The application of the theory of symbolic interaction to the verbal and non-verbal connections between the characters provides a more accurate understanding of the situation of the Ghaznavid court and their daily lives. The premise is that variables such as false representation, idealization, mystery, team collusion, hypocrisy, multi-kinship, maintaining dramatic control, and action and reaction in this anecdote make the application of the theory of symbolic interaction convincing. The analysis of these partial variables in Khishkhaneh Herat indicates an all-encompassing and macro-sociological reality and shows the unstable cultural atmosphere as well as secrecy, inspection, pretense, incoherence, and extreme distrust in the period.

In this research, based on socio-semiotic approach, an ekphrastic painting titled Destiny by Mehdi Zamani analyzed. the so called ekphrasis is a calligraphy painted as a representation of a poem by Rumi. The research method is functionalist visual grammar of Kress and Leeuwen (2006). For analyzing the verbal text (initial text), I used the Functional Linguistics of Halliday (1976, 2014). The results of the research show that in the ekphrastic representation, the meaning is not translated adaptively but as a structure and a metafunctional translation. The three metafunctions are translated non-adaptively to each other. Therefore, what the verbal text represents, for example, in the form of logical metafunction, is expressed by a different metafunction in the ekphrastic text; i. e. in an ideational or interactional metafunction. The complexity of logical metafunction has increased the metaphorical aspect of ekphrastic representation in the target text. The results show that a significant part of the meaning of the verbal text is represented beyond the self-awareness of the producer of the target text. Finally, the results demonstrate that contrary to intertextuality, which expands the borders of the "signified", the ekphrastic representation has expanded the borders of the "signifier".

The basic assumption of the research is that with the beginning of modernization in the first Pahlavi era and its intensification in the second Pahlavi era, the contradiction between tradition and modernism and the impact of modernity on women in society increased and some of this contradiction is represented in Iranian literary works. The research question is: Iranian women in the years leading up to the revolution of 1979. and at the same time, how did he live and experience the social changes and modernization of himself and society? and how is this experience represented in Persian fiction?. The paradigm used in this study is qualitative, the implementation method is qualitative and the sample selection is purposeful. Tarlān's long story has been selected as a representative example, considering the presence of feminist representational elements in it. Several feminist sociological approaches have been used to examine the assumption and the main question of the research. The results show that although the contradiction between traditional and modern society and the impact of capitalist modernization on superstructures such as individualistic and egalitarian rights, family, literature, women and Iranian feminism are represented in the sample, but this representation of strong structure and manifestation It is not transparent.

Eyn al-Ghozzat Hamedani (492-525 AH) in his book Tamhidat, based on his personal perceptions and perceptions, has made extensive and deep interpretations of mystical, religious and Quranic content. The ontological view of the same judges finds meaning based on the term allegory. The purpose of this article is to divide the concept of representation from the point of view of Eyn al-Ghozzat Hamedani.

In this article, the authors have done research using descriptive-analytical method of collecting library information.

The ontology of the Eyn al-Ghozzat sometimes leads to the ontology of Prophet Muhammad and the devil; In a way, without them, existence becomes incomprehensible. The embodiment, the simile, the unity of existence, the divine manifestation and the like, is the classification resulting from this ontological and sometimes ontological view of the same Eyn al-Ghozzat.

The Eyn al-Ghozzat have been very meticulous in explaining the term allegory. He has indirectly divided the term allegory into subsets of embodiment, simile, unity of existence and manifestation, and the like.

The socio-critical novel of Ibrahim Beg’s travelogue is a work in which the author criticizes his own society and its political and religious constitutions through Western domestication. In this discourse, the confrontation between Iran and the West is an attempt to bridge the gap between Us and Them by reversing their roles and reflecting Us more bizarre than Them.This paper tries to answer two basic questions by identifying the discourse methods and strategies of ideological representation in this novel: (a)How do discourse strategies convey the author's ideology? (b)How is the reversal of the discourse, which is the result of the process of Western domestication, manifested? The aim of this descriptive-analytical article is to investigate the representation of the West in this novel from the perspective of Van Dijk ideological square. The salient achievement of the research is that the image of the West in the Maragheh discourse, as a modernist intellectual author, does not depict the stereotypical image that may exist in Iranians’ mind about this phenomenon. In his discourse, he generally applies polarization strategy to accentuated the West positives as Us and highlighted the Iranian government negatives as Them. For describing Us, the author uses ideological strategies such as comparison, implicit, dramatization and irony in order to reflect the spirit of freedom, loyalty and hard diligent in the text. For representing Them, he applies the strategies such as actor description, hyperbole, and number game to demonstrate the characteristics of greed, tyranny, regression, and deception to his audience.

This study is concerned with interrogating the short story of "Landscape with Flatiron" by Haruki Murakami in the context of trauma theory and identifying the ways of representing the process and consequences of trauma. For Caruth trauma occurs when the traumatic event is experienced a moment too late, before the self can realize it. Indeed it is experienced, but not understood. Traumatic event is fully comprehended in connection with another place and in another time and through repetitious imposition of its memory. Trauma deviates the mechanism of experiencing and effects an incision in the self, splitting the psyche into two halves: before and after trauma. Different people show various reactions to trauma, but Žižek believes that any confrontation with traumatic events ends into the birth of posttraumatic subject. Posttraumatic subject is a new subject who is a stranger. In "Landscape with Flatiron" Murakami represents the process of trauma through symbolism and displacement. He also represents the consequence of trauma by depicting posttraumatic subjects concerned with death.

Mimesis, as one of the fundamental views on the nature of art and literature, has always been a dominant theory in the philosophy of art from ancient Greece to the eighteenth century. In the contemporary period, thinkers such as Auerbach, Gerard, and followers of the Chicago School - each from a particular perspective - have given a new reading of it. However, mimesis is essentially an anti-formalist theory that focuses on the state of affairs in the real world due to its adherence to the principle of reference. Accordingly, the theory of imitation implies the examination of the truth and falsity of works of art based on the principle of conformity and attention to the referential function of language. This is why mimesis in Plato's system of thought leads to his anti-artistic stance. However, the present study has emerged from the heart of the tradition of imitation in the philosophy of art. Relying on the principles of the theory of mimesis, it has tried to examine the origins of this view and make arguments according to which mimesis, in case it addresses the form and not the subject of mimesis, has the potential to become, in a new reading, an introduction to formalist theory and not necessarily an alternative or competing theory. In this research, it becomes clear that mimesis in its specific meaning, in the first place, requires the abstraction of the form of affairs. In the second place, the abstracted form is reconfigured and takes on a new form based on the artistic matter (which, in verbal art, is language and its signs). In this way, the truth and falsity of the work of art in this case is possible not by referring the extra-text or the outside world but by examining the internal system of the work. This entails the self-sufficiency of the work of art, which is one of the fundamental traits of formalism.

The issue of “reality” and its representation in artistic works has been one of the major concerns of artists and theorists since classical times, which came to its climax in the mid-nineteenth century when following scientific advances and social changes, including the invention of photography, European painters and writers treated the issue more directly and precisely. This resulted in the formation of a movement named “Realism,” which aimed at recording external reality accurately and objectively, especially social reality and the condition of the lower classes. Alfred Hitchcock’s The Wrong Man (1957) is a narrative movie based on a true story and containing several Realist elements. The director claimed that it was a “documentary” faithfully representing truth, without any directorial interference. After a brief comparative account of the concepts of “reality” and “realism” in philosophy and cinema, the present study, adopting André Bazin’s theory of realism in the cinema, investigates the realistic dimensions of this movie to see whether, despite the filmmaker’s claim and the presence of certain realistic features, it can be ultimately regarded as a realistic work or not. The analysis of the movie shows that not only does The Wrong Man have subjective aspects, but it has not also been greatly faithful to the true incident and, thus, it does not correspond to Bazin’s conception. This discussion eventually leads to the question of whether, given the autonomous, external existence of objective reality, it is possible to represent it faithfully and impartially in artistic media.

Foucault’s discourse theory implies that man is not the origin of a discourse since he is not considered to be a creature of will and decision, but a mere "subject" whose identity, profession and position in the society are formed by different discourses and the power relations and rules of those discourses. In Edward Said’s view, Orientalism is a discourse with colonizing imperatives under the dictates of which and in accordance with its rules, power relations and colonizing purpose, orientalists present a superficial, stereotypical and distorted picture of the Orient. Edward Brown and George Nathaniel Curzon are contemporaneous orientalists who have common grounds in some important aspects of life. Hence, it is expected that both be under the influence of the dominant imperialist discourse of the Victorian age and write in line with its colonizing purpose. However, this expectation is not realized about Brown. He is diametrically opposed to Curzon and criticizes his bestial policies toward Iran. Rare orientalists like Brown, who live in the heart of the dominant discourse but are not affected by it and even go against it, pose a big challenge to the definition of Orientalism as merely a discourse. The present study is an attempt to evaluate Said’s reliance on Foucault’s discourse theory and its efficacy in his definition and analysis of Orientalism as a discourse by presenting the biographies of these two Iranologists and the reasons why they took completely different approaches to Iran in their travelogues and other writings. This evaluation shows that it is impossible to analyze the activities and writings of those orientalists like Brown, who defend Iranians' rights humanistically and benevolently, based on Foucault's discourse theory which belongs to Nietzsche's anti-humanistic tradition.