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

Symbolism is a literary approach that uses symbols, including words, people, signs, places, or abstract ideas, to represent something beyond their literal and real meanings in the real world. The purpose of this article comparatively compares the similarities and differences between the concepts that related to the metaphorical and the mythological symbolism of the symbol of " Lion" in Shakespeare's "Othello" and "Hamlet" and great and lyrical work Nezami's "Khosrow and Shirin."
The present paper shows that the use of the mythical symbol of "lion" in the expression of both authors includes extensive and particular abstract concepts. In Shakespeare's Hamlet, this symbol has associated with the concepts such as madness, anger, revenge, hatred, and in "Khosrow and Shirin" with glory and grandeur. In the book "Othello" Shakespeare used the symbol of the lion in a different way as a social strategy.
An analytical and descriptive study of the symbol of the lion shows that the symbolism of the "lion" has helped writers persuade the reader to understand their mentality and accept fictional characters. In addition, we see that the authors have pursued common rhetorical goals in brevity and exaggeration; the symbol of the " Lion " beside its conventional meanings among different societies, in the works of these two writers, has its similarities in their use.

The agency of literature is one of the keywords of New Historicism. New historicists believe that literature is not simply a product of history; it actively makes history. History, power discourses, marginalized parts of society, and the mutual relationship between literature and culture are central concerns in new historicism. Both Ferdowsi and Shakespeare, although from two diverse cultures and six centuries apart from each other, their works share similar characteristics seen from a historical and literary perspective. Ferdowsi was contemporary with the Sāmānids age of reviving the Persian language and culture after a long period of repression. Shakespeare also lived during the Renaissance age of change in beliefs, views, and worldviews. In addition, challenging the dominant discourses of power and cultural clichés, they created new outlooks towards women in their respective culture. Women who were so far voiceless and marginalized during the times, now get an active presence in their works. The passive, silent Persian woman, kept marginalized for centuries, has an active role and presence in the Shahnameh. Silent and obedient women considered sinful during Shakespeare’s era, have a voice and dynamic presence in his plays. This study tries to depict women’s dynamic personalities both in their contemporary societies and selected literary works. By examining the dominant discourses regarding women, reading their contemporary texts, and analyzing the role of women in their literary works, it is found that both writers in the selected works had different viewpoints towards women compared to the dominant discourses of their time.

From Jung's point of view, the process of individuation is a kind of maturation and psychological development during which the center of personality shifts from "I" to the "Self". Literature has a long-standing connection with the human psyche, and similar to dreams and myths, poetry and art are expressions of innermost human desires and aspirations. As a mystic thinker, with the purpose for human unity, Molavi tries to offers a refined model for an individuated person in the story of “Hosh-Roba Fortress”. In King Lear, Shakespeare too, portrays a man in a journey of inner progress. It can be said that both Molavi and Shakespeare portray the circular movement of self-discovery in the form of beautiful human pictures in these two works. In the present essay, an attempt is made to do a comparative analysis of the process of individuation in the story of "Hosh-Roba Fortress" and King Lear. The findings show that the journey of each one of the heroes is a symbolic representation of their psychological search for individuality during which the younger prince and King Lear go through a difficult path in their journey from the conscious to the unconscious, experience an encounter with the unconscious forces, reach the final integration with the anima archetype and establish a connection with the hero's’ consciousness in a way that, with the guidance of the wise old man, they put behind the inner shadows and outer personas and finally find their selves and, according to Rumi, “They are born again”.

Researchers believe that the first steps of the Arabic drama’s art, especially poem dramas, were taken by the Lebanese writer Marun al-Naqqash, the Lebanese writer. Although this art had weaknesses at the beginning, it can be said that its first steps were by and large acceptable. They also believe that its early stages of formation carried out by Ahmed Shawqi, the Egyptian genius poet, whose knowledge of western literature, especially French literature, strengthened his motivation to benefit from this new literary genre. Fascinated in the French literature and especially dramatic literature, Ahmed Shawqi pursued the way of the great playwrights such as Pierre Corneille, Racine and Moliere in his works. He introduced dramatic stories, as a new literary genre into the Arabic language and turned to historical poems, a way that enhanced the status of historical poem dramas. In the present article "The Death of Cleopatra" is chosen among Shawqi's historical plays. This play was written in 1927 to defend a character that Ahmed Shawqi imagined the history distorted her face. In this play, he defends surprisingly Cleopatra, the queen of the pharaonic era, and portrays her as a patriot who is infatuated with her country, Egypt. In his opinion, Cleopatra was wrongly judged by western historians. They portrayed her as a reveler and capricious woman who does not care about the interests of her country. In his historical dramas, Ahmed Shawqi is not satisfied only with plotting the events of history; rather, his goal in representation historical events and characters is to use them symbolically in order to raise moral, social, political and even psychological issues. He presents an art that is structurally complete and possessed the features of the show. Therefore, it can be said that the historical poem dramas were created and flourished by this revivalist poet under the influence of the greats of this field, such as Racine, Pierre Corneille, Moliere, and Shakespeare.

The subject of "evil" is one of the most important topics in theology and culture and has appeared in the literature of different nations in different ways and through variety of techniques. Rumi's works, as one of the greatest writers and thinkers of the Islamic Middle Ages and Shakespeare’s, the great poet and writer of the Renaissance, have given certain artistic aspects to this theology that are prone to analysis and comparison, especially from a poetic point of view. The differences in cultural, historical and religious origins between these two thinkers, of course, have been effective in their techniques, in different conceptualizations, and have been reflected in their works. In The Philosophy of Symbolic Forms, Cassirer introduced the earlier forms of Kantian cognition into the field of analysis of human culture and, using Hegelian historiography, began to formulate the forms of the history of cognition that began with myth and reached higher forms of religious, mystical, artistic and scientific cognition. For him, symbolism is the only road map for the study of culture. Comparative studies, meanwhile, is a field of fertility that can be aided by Cassirer's theoretical framework. The method of the present research is descriptive-analytical and is based on Cassirer's theory of "symbolic forms of cognition". Also, using his theory on the analysis of symbolic structures in the form of narrative constructs, we try to show how allegorical and tragic techniques in the concept of evil are shown in the stories of Moses and Al-Khidr and Macbeth.

Although the epic of Freydūn in Shahnameh and the tragedy of King Lear are created in different time and location, they have remarkable and significant similarities that they could be compared. In this article the data is collected in documentation method, and the research is done in descriptive and comparative method and the dissimilarities are explained according to mythological approach because it seems that what makes Freydūn differ from king Lear comes from mythological belief of these two cultures. Freydūn is a hero whose origin comes from gods, he has ahuric wisdom and he knows the fate from the beginning therefore he makes the best decision and gives the best country to his best son but king Lear is not so. His decision doesn’t come from the wisdom and it depends to a test which he couldn’t be able to determine the authenticity of its result.
At the end of story Fereydūn has patient for taking revenge and conquest of goodness to evil that at last it happens but King Lear tragedy ends to the ruin of the whole family all the good ones and bad ones. And we think that this tragic end depends to the King Lear’s first unfair decision and if he makes the appropriate choice, the end of this story will differ.
Freydūn’ character doesn’t change throughout the epic he is a wise man that has some signs from gods but Lear is not the same. It seems that all events happened for changing Lear from a king to an old wised man.

This research is done in descriptive and comparative metod and the data is collected in documentation method. The dissimilarities are explained according to mythological approach. It seems that although the similarities between these two stories are remarkable but the differences are important because it shows the origin beliefs in different nations and knowing these origins could help us to understand the stories and the purpose of the creator much better.

Freydūn is the first prototype of heroes in Shahnameh that we could find the sign of myth in his story. He is the hero that binds Zahhāk in Damavand and receives Farrah of Jamshid. He divides his kingdom between his three sons and it causes two older brothers kill their young brother, Iraj. Iraj’s grandson- Manuchihr- revenges and kills Salm and Tūr. We could see the signs of myth in this story and it could be said that Freydūn has traces of Indo-Iranian gods.  
In King Lear tragedy we could also see the traces of Greek mythology somewhere e.g. Lear mentions Apollo or calls his daughter as a Satan or tells that he binds to a fiery wheel that it refers to Ixion myth. Ixion myth could be interpreted as an ambition without responsibility which it is true about King Lear character in this tragedy. He wants to keep his glory without responsibility. The theme of this story and Ixion myth are the same: ingratitude, killing the relatives, suffering and punishment.
There are similarities between these two stories which causes to attract the researcher’s attention. In both we could see that fate and prediction plays an important role, kings decide to divide his kingdom between his children, there are some challenges. Both kings have three children that the youngest one is the good one who is killed by two old ones. Both kings died in natural death. The theme of these two stories is the battle between evil and goodness.
On the other hand, there are some remarkable differences in these two stories that show their diversity origins. Freydūn gives the best section of his kingdom to his best child but Lear doesn’t do so. He makes a test and since he is not satisfied from his youngest daughter’s test result, he  deprives her from inheritance. The important theme in this tragedy is that the king’s fellows understand the honesty of youngest daughter but king himself is not so wise for getting it therefore he is deceived by his old daughters. The reader of this tragedy could result that all disasters that happen are the consequence of Lear’s fault.
On the other hand, Lear’s character is changed through the story but Freydūn is not so. It seems that in the beginning Lear is not aware of his court and after all events he becomes an old wised man. That is not the same about Freydūn, he is a wise man through the story and all that happens to him and his family come from the destiny that he couldn’t change it and he knows this fact.
Another subject which could be mentioned as a difference between these two stories is the process of revenge in both. In Freydūn’s story we could see the patient of him for taking revenge. Iraj’s grandson -Manuchihr- takes revenge and becomes king of Iranshahr so the good members of royal family continue the kingdom. It resembles the ancient Iranian myths that although there are some battles between goodness and evil and through these battles some good ones are killed and destroyed but at last Ahura-mazda and his forces are victorious. But in Lear story all the members are killed and in the end of story we would see the ruin of the whole royal family.

The theme of both stories is the battle between evil and goodness but there are some differences that it shows the dissimilarity between their origins.
Freydūn is a hero that has some ahūric signs. He does well as a father and king from the beginning of story. It seems he has an ahūric wisdom, so he decides to do the best. The end of story he is an old wised man as the beginning. He divides his kingdom between his sons wisely although he is aware the hatred between their sons. We could see the destruction of evil and triumph of goodness at the end of story.
But in the king Lear we would see that he makes a bad decision, in the beginning, according to a test that he couldn’t distinguish its authencity, so it seems that the sad ending of the story is the result of his decision. Lear’s character changes through the story. He becomes a wise man at the end of story and could distinguish the evil ones from the good ones. At the End of King Lear tragedy both good ones and bad ones are dead and no one from the royal family remains that could continue the kingdom.It seems that suffering and punishment in this story come from the Greek mythology.
So we could see although there are many similarities between these two stories, there are some differences that comes from the different myths which their roots are there.

The world of Macbeth is a wasteland where temptation awaits those who are inclined towards it.  This drama is a tragedy of fear and trembling, butchery, violence, crime and above all annihilation.  Everything happens in a fast pace, yet swftness exists alongside slowness in order to emphasize the paradoxical structure of the play.  The main characters undergo changes in the course of the play and in different stages present variety of linguistic features.  Their world are pictured in terms of moral, political and religious ideas.  Ambition, bravery, fear, evil, injustice, isolation, and dispair are clearly illustrated.   The purpose of this article is to discuss and compare the main motifs such as Farr, two bodies of kings, the concept of time, order versus inorder, downfall of the heroic era, invincibility, absurdity, and supernatural forces  in Rostam and Esfandyar, the greatest epic tale in Shahnameh and in Macbeth.

This research traces the changes made to Shakespeare’s Hamlet by The Simpsons which is a medium different from literature. In one part of The Simpsons, a TV series with global popularity, a short adaptation of Hamlet is presented. In this article, this series is examined to understand how the medium uses Hamlet to criticize the American life style. This study investigates the transition of canonical literature to popular culture and adopts an interdisciplinary perspective to search the interactions of literature and media. First off, the generic conventions of The Simpsons and the history of its characters will be explained, and then the questions posed by Linda Hutcheon in adaptation studies will be addressed. This research indicates that the adaptation of Hamlet in The Simpsons, on the one hand parodies the highbrow culture and canonical literature, and on the other hand criticizes the stereotypes of the American nuclear family through exaggerated humor. Cultural critics in the United States have critiqued The Simpsons' ideological content but in Iran, animations have rarely received critical attention. This article will investigate how The Simpsons have responded to high culture through double adaptation.

William Shakespeare is an allusive poet. His allusions include not only Western but also Eastern history, culture, and mythology. The present paper deals with Shakespeare’s allusions to Persia and its history and culture. His allusions deal with both pre-Islam and post-Islam Persia. In comparison to Shakespeare’s references to “others” (e. g. Turks, Jews, and Moors), his allusions to Persia both pre and post-Islam are general, succinct and superficial. The present paper tries to show how Shakespeare came by his contemporary Persia) the Safavid Persia on the one hand, and tries to contextualize Shakespeare’s knowledge of Persia, on the other hand. Concerning pre-Islam Persia, Shakespeare got his information from two main sources. One, from the books written by Greek historians which an English translation was available and the performed plays that dealt with pre-Islam Persia at his time. Other, he received his knowledge about post-Islam Persia (especially the Safavid Persia) through travel-books notably written by Richard Hakluyt,  Anthony Jenkinson and the Shirley Brothers.

Shakespeare, Persia and the East is a slim book of Comparative Literature. Its main emphasis is on English and Persian literatures and cultures. Without doubt this is the most comprehensive book which is written in this area so far. Shakespeare, Persia and the East, as the title signifies, is about Shakespeare's knowledge and interest in Persia and the East. The book has an introduction, an index (a selection of translations of the works of Shakespeare in several Eastern languages), a bibliography, and an index of authors. It consists of five chapters: 1) a brief biography of Shakespeare, 2) the Tudors and the Safavids,3) Travelers to Persia and Commercial Relations, 4) Shakespeare and the Earl of Southampton and 5) Persian and other Eastern references in Shakespeare's plays. The first four initial chapters serve as an introduction to the last chapter which is the most important and somehow innovative part of the book.

Shakespeare in the most peaceful era of British history, generally known as “the golden age” which is marked with the least possible military tension, deals with war and peace, bearing in mind that in the reign of Elizabeth I, except for the rightful defence against Spaniards, not a single war was fought and not any devastation occurred that Shakespeare would possibly stage its actualities,. It is called the creative poetic imagination that enables the poet to depict the picture which he has never seen or the voice never heard. Condemnation of war in tragedy and commendation of peace in comedy is the main aim of this research, the manner that much resembles the strategy of eastern poets rather than that of the well-known author of Russia. Saidi of Shiraz mainly suffices to the warnings, advice and instructions humbly offered to the authorities to hinder their oppression, autocracy and absolutism. Relying on her patience and tolerance, “I see but say nothing” was the motto of Queen Elizabeth in which she so adherently believed and by which she was determined to expand patience and avoid violence in her administration. This article intends to investigate how the bard of Avon, hand in hand with his contemporaneous politicians, as the advocators of peace, have sheathed their swords and drawn their pens to write about the destructive destiny of war in the peace time as Saadi did.

The present study, using the "descriptive-analytical" method, aims at identifying the methods of communicating the sense of proverbs through linguistic comparisons in order to provide more practical methods in translation of proverbs. Utilizing the Arabic and Persian translations of two Shakespeare’s plays "Hamlet" and "The Taming of the Shrew", the authors of this study seek to know how and in what ways and to what extent, the translators have been able to communicate the sense of English proverbs and when and in what ways they have employed literal, free or other types of translation. The study of Shakespeare's use of proverbs showed that this author used many proverbial similes to illustrate the characters in the play and to have a greater influence on the audience. In case of anti-proverbs, it was found that Shakespeare's conversion of a proverb into an anti-proverb presents a major challenge to translators. Translation of anti-proverb, however, is far more challenging than the proverbial one because of the addition of the humorous dimension to the proverbial features. Regarding the methods and techniques and viewing the translation of the proverbs in a formalist way, it can be seen that translators have chosen one of the three techniques to meet the challenges of translation, including omission, footnote, and cultural (proverbial) equivalence. About omission, only 6 of the 140 proverbs found in the surveyed data were abandoned untranslated by some translators. This inaccuracy, which may have been intentional or inadvertent, was found in the works only 4 of the 12 translations. Next, footnotes are the methods that some translators have used to explain proverbs and the cultural traits in them. Totally, the number of footnotes in Arabic translations exceeds the Persian ones. Most footnotes have deciphered the mystery in the proverbs. As a result, these proverbs have become more explicit than the proverbial ones. On cultural (proverbial) equivalence, it should be noted that this expression refers to a method whereby one proverb from the culture of the target language is found to be used as a proverbial equivalence for the source language. Of all the translations, there are only three cases that have used this technique. Furthermore, translators' approaches to proverbs were found to be divided into four categories: literal translation, defamiliarization, lexical enhancement, and Arabicism. The dominant approach in Arabic and Persian translations of the proverbs in these two works is the literalist approach and the translation unit is the word. In translating the literary devices (similes, metaphors, and kenning or metonymy) in the proverbs, translators have replaced the literal word from the target language with the word from the source language rather than trying to replace the structure or concept from the target language with that of the source language. Although there have been cases where translators have replaced structure or concept, the number is far below the literal replacement. In defamiliarization approach, the translators have relied on the appeal of the audience rather than emphasizing expressiveness of the concept and have considered the audience's knowledge of rhetoric as a must. It is as if in an unwritten contract, an agreement was reached between the translator and the reader in which the translator merely puts the word's identity in the footnote and transfers them to the target language with the same clothing they were wearing in the source language. It is up to the reader to take on the hassle of communicating with them and removing the feeling of strangeness from their faces. About elongation, although in the Arabic language most of the semantic burden rests on the vocabulary (and a word can be a translation of several English words), there is also a great deal of lexical increase in Arabic translations. What is important in this approach is that female translators have used more words in their translations in comparison to the male ones in both languages (viz. Arabic and Persian). On Arabicism (writing Arabic), it can be said that through viewing one of the Persian proverb dictionaries, it is easy to see that, with the exception of Qur'anic and hadith proverbs, the number of Arabic words used in proverbs is very low. But in the present study, the approach of the Persian translators' [except (Adib, 2006)] to translating English proverbs is in contrast to the approach of the makers of Persian proverbs. These translators have used many Arabic vocabularies and its features, such as the nunation (tanwin), and consequently a greater lexical diversity is found in Persian translations.  In conclusion, the comparison of the methods and approaches used in translations of English proverbs by Arabic translators with those of Persian ones showed that first of all due to their cultural affinity, Arabic and Farsi have a relatively similar proverbial competency in translation. Second, in translating proverbs, translators have inevitably an author-oriented translation to preserve the consistency of text and more adequately mirror the Shakespeare's ideas and expression. Third, they have translated the proverbs with the least cultural change, which has resulted in the domination of the culture of the superior (source) language over the inferior (target) language, that is the superior language imposes its features to the inferior language. However, in some cases the literary richness of the target language has also increased through the creation of new images. Next, in translating the proverbs, the translators were more committed to the text than to the spirit of the work. This, in some cases, led to the removal of the spirit of humor from the literal body and an adverse impact on the dynamics of the text. In fact, most translators have translated the external language and have regarded the inner language (humor) of the text untranslatable. Finally, the conceptual flaw in the translations is mostly related to the cases where the author has used one or two words of the proverb as the whole one or made changes to the proverb. Therefore, the translator makes no sense due to the lack of knowledge about the whole proverb and inevitably either erase it, or translate it literally.  This transfers the ambiguity into the target language. Therefore, in translating the proverbs, dictionary information is not enough and the translator needs encyclopedic knowledge to know the whole proverb.

Ferdowsi and Shakespeare in their works deal with didactic teachings. Both poets mirror nature and consider human happiness depending on respect for the moral virtues, and strive to strengthen the teaching and ethos of moral points. Shakespeare has used every opportunity to express the teachings of education. In all its tragedies he has used elements of education. Shakespeare’s human outlook towards ethical issues is clear. Some of these teachings are expressed through the plots and characters on different occasions. This paper studies the result of moral values and its educational functions. The most important doctrine of education in the Ferdowsy and Shakespeare is condemnation of avarice and ambitions. Macbeth is a Scottish captain who kills the king in order to usurp the throne. Shakespeare shows the result of greed is the destruction of soul and its good qualities. In the end, the victory is with the good in the duality of good and evil. Both deal with two commanders who rebel against kings and bring about their own fall. Both are told by supernatural forces that they are destined to rule. their difference is that Bahram is a good commander while Macbeth turns evil.

Although Shakespeare Studies began in the early decades of the seventeenth century shortly after the Bard’s death, the comparative criticism of his dramatic art enjoyed systematic attention centuries later, in the mid-twentieth century. One of the earliest contrastive researches seems to be Mary Weaver Sweet’s thesis entitled "The Influence of Shakespeare upon Wordsworth" (1950) which examines the poetical influence Shakespeare left upon Wordsworth’s literary career. Offering a wide range of examples, the author’s remark leads to the conclusive which indicate that he had studied the language of the dramatist until it had perhaps unconsciously become a part of his own" (82). A substantial part of the research has been dedicated to the formalistic and textual resonance of Shakespeare’s dramatic work in Wordsworth’s poetry. The most obvious problem with this research is its failure of providing sufficient evidence for the unconsciousness of the effects Shakespeare left on Wordsworth. Donald Hayden’s 1951 article, "Towards an Understanding of Wordsworth’s Borderers" investigates the philosophical grounds of Wordsworth’s play. The article’s main focus opens up the discussion of the ways in which Wordsworth’s characters were constructed, on the one hand, under the influence of his psychological circumstances, and on the other, in light of William Godwin’s utilitarian view of vice and virtue. The author also postulates that Wordsworth’s ambivalent use of some concepts such as "evil" and "good" intensifies the convolution of those concepts, paving the way for the reader’s multiple interpretations (4). Charles J. Smith, in 1953, in "The Effect of Shakespeare on Wordsworth’s The Borderers" investigates a variety of formalist and textual influences of Shakespeare on Wordsworth’s play, discussing that that Wordsworth adopted his characterization technique from Shakespeare’s Hamlet and Othello. The article does not go beyond this stance which combines form and character. Actin and Reacting (2009) turned out to be an exhaustive initiative in the field of the Romantic Studies, generally focusing on the ways in which drama in the early decades of the nineteenth century flourished alongside the period’s poetry. The book investigates the structural and generic aspects of Romantic drama, including Wordsworth’s Borderers. The inclusion of a range of such subjects as realism, fantasy, nationalism, historical representation, sexuality, love, and morality, has made the work an invaluable monograph. In this book, Burwick defends that The Borderers was written under the influence of Schiller’s philosophy and dramatic style, especially his play "Die Räuber" (156). This implies that Wordsworth was impressed by continental philosophy rather than Shakespeare. The current research is predicated upon a comparative and intertextual approach to the xamination of Wordsworth’s the direct and indirect stylistic and textual adoptions from Shakespeare’s plays in his play The Borderers. In doing so, some of the most important similarities between Shakespeare’s plays and Wordsworth’s text have been unravelled and explained. The materials employed to realise this research entail a variety of library and archival resources in tandem with a handful of critical books and articles. Wordsworth’s undeniable contribution to the enrichment of Romantic poetry might have highly been inspired by his precursor poet John Milton, but the path he took in drama was utterly different. Wordsworth’s play, The Borderers is freighted with Shakespeare’s voice, tone, style, and poetics. However, it is worth mentioning that Shakespeare was not the sole figure who inspired Wordsworth in his dramatic attempt. The meticulous scrutiny of the play demonstrates that German idealism, which led to the emergence of a different version of Romanticism, the French Revolution, Godwin’s utilitarian philosophy, among other agents, were the morphing, persuasive conditions and elements that strengthened Wordsworth’s determination for trying his hand at the genre of drama; a creative commitment that consciously led him to a pragmatic adoption of Shakespearean style and theatre.

Emmanuel Levinas, the lesser known twentieth century philosopher, had been influenced by art in his philosophizing before he proposed his new ideas in 1961. Not only was he influenced by art, but paradoxically by literature and a number of great literary figures. Thinkers like Dostoevsky, Gogol, Cervantes and other universally-acclaimed figures, consciously or unconsciously, had their hands in his philosophy and he himself pointed to this fact in an interview with Philippe Nemo. But Shakespeare is the one to whom he alluded with specificity. Especially at the outset of his philosophical career from 1947 to 1961, he referred to Shakespeare and his Hamlet, Macbeth, King Lear and Romeo and Juliet in such a way as if they serve as a direct impact on his philosophical thoughts. Thus, the inspiration he receives from literature seems to be worthy of a further study and analysis. Therefore, this article aims at studying the impact of literature and especially Shakespeare on Levinas. After a brief introduction, the study considers Levinas’s allusions to Shakespeare in various parts of his oeuvre, with an emphasis on Time and the Other. Through such a dialogue, Shakespeare’s position for Levinas will be discussed and his significance for him will be exposed.

The plays of William Shakespeare were translated into Persian in the proceeding years of Iranian Constitutional Revolution. But Ali Asghar Hekmat in his Five Stories by William Shakespeare introduced a quite different translation. The play form, in the process of translation was substituted with the story form. Although of the principle aims of translation at that era was to build strong relations with the cultural horizons of the Europe, the new form of drama found storytelling form as its classical correspondence in Iran. The conventions of classical Iranian storytelling have dominated in Hekmat's translation. Such domination of old form to the new one can be deemed to be rooted in the despotic cultural context of lterary history of Iran at that time, since all the dialogic components of the plays are substituted with indirect quotations of the omniscient narrative voice. Devoid of dialogic verbal interaction of characters, the narratives of Hekmat are highly dominated with the omniscient monologic voice. The present paper is to study the components of storytelling in Hekmat's translation and investigate the discursive cultural and political context which manipulates a mimetic dramatic text into diegetic text of storytelling.

Saadi and Shakespeare are both famous and universal faces. Therefore studying their poemscomparativelyhas the excellence of importance. Although these two poets belonged to two different geographical areas and time periods, but Shakespeare in England, has the same fame and popularity that Saadi has in Iran. The eulogy of these two poets containsmatterswhich make their consideration necessary to know their thoughts and ideals. Dominant social elements in that time hadcharacteristicswhichwere reflected in their panegyrics poetry. Comparison of their panegyrics poems as a portrait of society ideals is considerable. The relationshipbetween these two poets and their patrons and their place in literary and artistic societies have been considered using comparative method. It is hoped that this researcher's viewpoint spread to their other artistic aspects to be perfectly known.

This article endeavors to analyze how feminine language has been represented and subordinated in the Renaissance. A survey of different discourses during this period delineates the anxiety and fear of the Renaissance man from woman''s language. This anxiety is entrenched in the western and Christian narratives and myths. Analyzing the Renaissance culture through surveying some penal devices for controlling the tongue of women and reading Shakespeare''s The Taming of the Shrew، we have delineated how Shakespeare has satirized Renaissance man''s anxiety who shows his superiority by attempting to cut the female tongue and hence to make her silent. The comic figure، contrary to what people in Renaissance and some critics may think، are men، who try to control femininity by cutting her tongue، rather than the shrew.