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

It’s been about four decades that migration literature of Afghanistan has been formed. Migrants have produced many literary works in the host countries over the years. In the meantime, the theme of "immigration" is highlighted in some of the writings of immigrant writers, with whom immigrants and hosts are unfamiliar. Therefore, research is important for identifying this literature and its ups and downs to immigrants and hosts.Using a descriptive and analytical method, this article deals with the case study of Payan-e Ruz (tr: end of day) novel by Muhammad Hussein Muhammadi as a cultural text based on semiotic theory.The essential question of this study is, how afghan migration as the Cultural Other-according to significant cultural and historical ties- is represented, understood and defined in cultural sphere of Iran; culture, non-culture or counter-culture. Based on Cultural Semiotics approach, the text shows that afghan migration as the Cultural Other, is represented as non-culture or counter-culture in cultural sphere of Iran. Furthermore, the present study addresses another important approach of cultural semiotics, namely the approach of nature and culture, and shows that in this novel, Mazar-e-Sharif is the representative of nature and Tehran is the representative of culture.

Man is God's chosen creation, but like other creatures, he has many needs that he must be in contact with the Creator and other elements of creation to meet them. In order to continue his life, every human being has to improve his relationship with God, creation, creation and himself. These four are not unrelated. The relationship with God can be seen in the forms of servant and master, lover and beloved. Man's relationship with himself is the knowledge of the soul and the knowledge of the existential areas and the possibilities and goals of life. Similarly, the relationship with nature can be examined in peaceful coexistence with animals and respecting the rights of animate and inanimate nature. The most important of these relationships is the relationship between the creator and the creature, and the other three relationships are made with the aim of achieving this. The importance of humanity has an effect in literary and artistic works. Analyzing these cases from the perspective of Qaisar as a poet who lives in the contemporary world, can bring useful results for today's man; So, by examining the four connections in the poet's poems, we can take a step, however small, to get to know and better understand Qaisar and his poems. Also, knowing the human being and, to a higher degree, knowing the creator of the universe and getting closer to him, is of interest to the writer. Given that Qaisar Aminpour's poems are not devoid of mystical color.

In interdisciplinary studies, the dialogue between philosophical topics and textual data in literature is of great importance, and in the meantime, the examination of Bakhtin's thought system in the field of philosophical anthropology and the theory of "otherness" is one of the important topics in this field. It emphasizes the need to stay away from the bipolar system and refuse to recognize "self" without interacting with "the other". On the other hand, literature and especially the novel, through the representation of the human world in the text, is a suitable platform for understanding this confrontation and dialogue in cultures and societies. Therefore, this research tries to do an intertextual analysis between the two narratives of "Malakout" by Bahram Sadeghi and " Miyan Hofrehaye Khali " of the Peiman Ismaili, focusing on the selection based on the common theme of the doctor's mission to the remote city, to investigate the institution of "self" and "Another" has dealt with two works with a different genre approach and will reach the conclusion that these two poles, in both of them, in addition to the process of change and transformation, are somewhat fluid in the narrative of "Malakout". In addition, this institution has a human and abstract aspect in the narrative of the Kingdom, but in the story " Miyan Hofrehaye Khali" it takes on more of an ethnic and cultural aspect.

The novel Pruning written by Nasim Marashi is the story of the war-torn women of southern Iran who - unwillingly and despite the cultural context of the society - try to escape from the male colonialism of the war and gain their independence and natural revival.  The main subject of this article is the feminist-postcolonial reading, analytically and descriptively of the novel Pruning to show the main statements of this point of view in the said novel.Feminism based on post-colonial ideas considers woman as a cultural construct. Post-colonial feminists consider this to be a product of women's unconsciousness and their moving away from their natural position, under the hegemony of male authoritarian discourse, and they have always sought to find a suitable place for women and invite them to self-confidence and revive their identity and personality beliefs. What masculinity and femininity are depicted in "Haras" novel shows the subjectivity and power of men and the loss and decay of female gender identity as "other" in male authority. In this article, these two characteristics of the gender ideology represented in Hares' story have been analyzed and explained by separating the components of post-colonial feminism.The novel "Pruning" succeeds in representing the gender ideology in a certain geography of the world with its own culture and customs and gender stereotypes. The theme of war and its violent consequences also plays a leading role in highlighting the views and cultural signs that shape the identity-gender structure of women and men. Brind has clearly reflected the two colonial issues, patriarchal culture and war - which in the world of nature, is considered a masculine thing by nature - the division of the male and female world and male subjectivity and female otherness in the novel. The gender identity of the women in the story (Nawal, her mother-in-law, the women of Dar al-Talah, etc.) is formed by internalizing the belief that a woman is an inferior other, and women, like men, define masculinity with traits such as stoutness, strength, and greater physical abilities (especially the power to fight) is preferable to their gender identity, which is a cultural and social construction.In this colonial and gendered view, being a woman is dignified by being accepted and accepted by men; Therefore, women use all their efforts to get closer to that "self" defined for them by the components of patriarchal culture and power (such as giving birth to a boy instead of a girl). In this novel, the statements of post-colonial feminism, such as returning to oneself, believing oneself as an original and natural existence (not a weakly held other), trying to redefine the original gender role and identity, coming out of the shadows and margins, recovering one's agency with a positive effect On the environment, nature and others after the unwanted separation of women from men and the patriarchal society, it makes its way into the lives of women and typically Nawal

One of the topics that has long received attention in our religious Quranic verses, and narrations, and has consequently found its way into our literary and mystical texts, is the subject of self-struggle. Examining Direct Quotes (DS) is one way of representing speech and thought. Asrar al-Tawhid, the subject of which is the sayings and states of Abu Sa'id Abu al-Khair, the prominent mystic of the fourth and fifth centuries (357-440), was written by one of his descendants named Muhammad ibn Munawwar. The book contains the accounts and statements either directly attributed to Abu Sa’id or reported by others about him, and includes important topics in Sufism. In this study, we aim to study the dialogic atmosphere (physical context), the syntactic construction, and the strategic plan of the quotations cited directly from Abu Sa'id in Asrar al-Tawhid by Muhammad ibn Munawwar, using library sources and a descriptive-analytical method. We will analyze these quotations to gain insights into Abu Sa'id's intellectual system regarding the struggle against the self.  The findings of the research show that contrary to some ideological deviations apparent in the manners of Abu Sa'id in Asrar al-Tawhid regarding issues such as pilgrimage (hajj), mystic listening, asceticism, and austerity, when it comes to the struggle against the self, there is not only no deviation, but it is entirely consistent with religious teachings, Quranic principles, and beliefs of the jurists and legislators.

Psychoanalysis is one of the most important theories which focuses on the inner and hidden meanings of the story. Currently, with the connection of literature and psychology more and more, we can find a way to discover the meaning hidden in the texts. Jung's theory of individuality reviews the realization of the archetype of the self, i.e. the balance between external and internal forces with the desire for evolution in the individual. We are going to reread a story from Masnavi with this perspective. Since Rumi is a mystic who has a symbolist mind and wrote the Masnavi in ​​the form of a mystical work, the work is potential for archetypal criticism. Thus, the present research tries to analyze the content, symbols and archetypes to extract the correct story and by understanding them and matching with the equal symbol for them, based on Jung's theory of individuation, draw this process. The result of the research indicates that in this story, Rumi has proposed transcendence with mystical principles in reaching the process of individuality, and finally, Rumi's goal, which is to achieve perfection and self-knowledge, is in line with Jung's theory. This research has been investigated with a library-documentary method, with an analytical-descriptive approach.

The concept of "I" or "self" in contrast with another, in addition to formulating differences, distinctions or contrasts, deals with a deeper issue, namely the discovery of individual and social identity, which in contemporary literature and due to the proximity of literary works to society and social aspects, has a bolder effect. "I and the other" in the macro dimension is organized by the dual opposition of good and evil, and in the next layers, national, religious, ideological, etc. distinctions continue this duality. The meaning of the other is a person, group, race or class that is defined as an outsider by religion, religion, ideology, social class, political view and nationality. This research aims to find and analyze the effects of confrontation and interaction of "self and other" in the poems of Ahmad Shamloo by examining Shamloo"s poems based on Bakhtin"s theory.

The analytical model of this research is based on the descriptive-analytical model, which collected data and evidence from the example of Ahmad Shamloo"s poems with a library method, and then analyzed it based on Bakhtin"s theory of otherness.

In the past and based on the thinking and attitude that was influenced by the traditional teachings of ancient societies, people rarely heard the opposing voice, which caused a continuous confrontation between themselves and others, and this issue is reflected in ancient literary works and texts. In today"s modern world, this confrontation and monotony has given its place to findings such as interaction and polyphony, and parallel to this tremendous change in people"s thoughts and relationships, it has gradually been manifested in the writings and poems of contemporary authors. Among the contemporary poets and writers in our country who apparently benefited from the theory of this Russian thinker in his works and poems is Ahmad Shamloo.

Shamloo"s political activities and political attitude make him stand out and distinguish him from other contemporary poets, and of course, the similarity of the time when Shamloo lived in terms of the tyrannical and suffocating environment with Stalin"s dictatorship period in the Soviet Union during his lifetime and that both were political fighters. It is noteworthy. Shamloo is so immersed in his political life that he sees everything through the lens of politics, even love, and in fact he sees poetry as a tool to express political goals and serve the struggle. In a word, according to Shamloo, an "insider" is someone who has the same political views as him and fights for freedom, and "other" in his opinion is anyone who does not step on the path of freedom or is an obstacle to achieving freedom.

The terms self and other have been cast as constituent elements of the human condition. Philosophers like Hegel, Husserl, Kierkegaard, Bakhtin and Levinas have addressed these concepts as social problems, as issues within the society that are also reflected in literature. Sadegh Hedayat’s “The Stray Dog” and Paul Auster’s Timbaktu are two examples from Persian and American literature which show the writers’ preoccupation with the concepts of self and other. An important function of these works is their social function. Pat and Mr. Bones represent a society in which the relation between self and other is constantly constructed and reconstructed. Their actions make the audience think about the social and philosophical implications of the binary opposition of self and other. Sometimes they are the other to the social self and sometimes they are the self which enters into social relations with others. The present study probes into the notions of self and other in “The Stray Dog” and Timbaktu and asks how the texts define and construct the concepts of self and other and how could these constructions be interpreted. It also studies eschatology, altruism and indifference towards the demands of the other in the two texts as it draws a distinction between fear and social anxiety. It also discusses animal rights and the human domination of nature. As submissive characters, both Pat and Mr. Bones are entrapped in the rules and structures of human society. Even when they are rejected by society, they still seek the approval of a domineering power to experience the satisfaction consequent upon hegemony.

This is qualitative and fundamentally theoretical research. The logic that governs the research is deductive; that is, the results have been obtained by comparing extracts from the two texts. Using library sources and using the American school of comparative literature, this research has investigated the different aspects of self and other in “Stray Dog” and Timbuktu.

The present study deals with philosophical perspectives on self and the metaphysical concept of otherness. It also addresses alienation, rationality, power and the rise of modernism against Cartesian philosophy in “The Stray Dog” and Timbaktu. It studies the emergence of self/other binary opposition and modern man’s rejection of Descartes’s concept of subjectivity and his embracing of Hegel’s notion of consciousness, a philosophy that makes allowances for the presence of the other. The binary opposition of self and other is evident in “The Stray Dog” and Timbaktu. In these narratives the opposition between human beings and dogs provides the writers with a fertile ground for investigating the social and philosophical implications of self and other. The confrontation between humans and non-human animals represents the ontological and social dimensions of self and other in the modern world as self–other understanding is a central concept that forms the backbone of social cognition. The study also addresses eschatology in the narratives in terms of the dimension of time and space. The eschatological journey of Pat and Mr. Bones is beyond the realm of comprehension because it is the mysterious separation of the subject/self from society/other. Although both characters move towards annihilation, their journey could be seen as moving toward an ultimate perfection yet to be attained. Pat and Mr. Bones are both seeking a Utopian world and a master who would make an ideal world for them. This is the subject’s escape towards the sacred and the transcendental. Both narratives challenge the concept of time and place. According to Auster, Timbuktu is “Where the map of this world ends, that’s where the map of Timbuktu begins” or it is “an oasis of spirits.” (Auster:  2017:61) or “a realm of eternal nothingness” (ibid, 62). It is also described as a place “where no things are nor will ever be. Except me. Except not me. Except eternity” (Ibid, 76). Similarly, in “The Stray Dog”, Pat “did not know why he was running, did not know where he was going, could neither go back nor move forward”. (Hedayat, 2017: 28). The two narratives are caught between the impulses of life and death. That Pat finds peace by separating from the human society and Mr. Bones finds peace in reaching Timbuktu show that both narratives are eschatological chronology: both stories are concerned with the ultimate destiny of the individual and the return to one’s origins. The two texts are similar in many respects. Both writers employ suspense to highlight the outcomes affecting the characters’ fate. Hedayat creates suspense by choosing the word stray to describe the dog and Auster creates semantic ambiguity and suspense by choosing the title Timbuktu and relating it to the other world. In both texts, space becomes time and vice versa. The temporality and spatiality of the two texts is close to Bakhtin’s concept of chronotope. As chronotope has a cognitive meaning and narrative structure, it expresses the style, attitude and ideology governing the narratives. By choosing two non-human animals as major characters, Hedayat and Auster portray and criticize the self through its confrontation with the other.  In both stories, the other becomes a catalyst for the recognition of the social self. In addition, both writes emphasize the interrelationship of the self and the subject as well as the independence. However, in “The Stray Dog” the self is in a destructive relation with the other, while in Timbuktu the self and other complement each other. Both texts address the coexistence of self and other, the ethics of care, animal rights, eschatology and man’s passive attitude towards nature. Both writers have addressed self-other dualism in their other novels. This theme is evident in Sadegh Hedayat’s The Blind Owl and Paul Auster’s The New York Trilogy, The Book of Illusions, Moon Palace and Oracle Night. In both texts, the binary of self and other is based on the presence of the self, the presence of the other and the interaction between the self and the other. This self-other dynamic is closely related to Bakhtin’s idea that self is implied dialogically in otherness.

An analysis of the two texts shows that they have many points in common: non-human animals as narrators, narrative suspense, the interrelation between the social self and the subject, symbiosis and social ethics, eschatology, the ethic of care, animal rights and the metaphysical concept of otherness.in both narrative the self is represented in opposition with the other. Both texts suggest interaction between the self and the other and caring for the demands of the other. Otherness is approached as the presence of the self, the presence of the other and the interaction between the self and the other. The dialogical implication of the self in the otherness is Bakhtin’s suggestion for the self/other binary opposition. Through this opposition he comments on hegemony, displacement, abandonment, loneliness, the problematic relation of man and nature, and the expression of pain and suffering. As hegemony designates complete domination, both narratives criticize the way oppressed societies recreates the discourse of power. Hedayat and Auster use the relation between humans and nature and humans and non- human animals to show the dark side of the society. Moreover, both narrative show the distinction between fear and anxiety which, at the narrative level, related to existentialist fears and jouissance.

During the third phase of semiotics, special attention has been paid to semantic systems, the production and transmission of meaning, and the exploration of semantic mechanisms through various approaches. One notable approach is the semiotics of culture, which investigates meaning-making processes within a particular culture by focusing on its signs. In this research, by introducing the meaning-making model "culture-nature", the mechanism of meaning production in the mystical text of Kashf-ul-Mahjoob is explained in a descriptive-analytical way within the framework of cultural semiotics. The findings reveal that the fundamental content of Kashf-ul-Mahjoob is rooted in Hujwīrī 's ideological and cultural beliefs, using the three sub-patterns of "culture/counterculture", "chaos" or mystical order versus its absence or negation, and "self/other". The "culture/counterculture" model is employed to assign value to the signifiers of mystical culture, serving to create an identity. Moreover, the repeated mention of contrasting states of order and disorder highlights the dominance and superiority of mystical signs while portraying the opposing field as inauthentic and defeated. Furthermore, the actions of the Sufi elders are recorded as the ultimate standard of "self", while emphasizing the recognition of the details of the carnal soul as an enemy to be confronted. This establishes the farthest other within the framework of the "self/other" model.

Despite great criticisms addressed to Hergé, the author of The Adventures of Tintin, regarding racial and ethnic biases, his works have maintained their popularity, even with groups that were directly or indirectly the subject of these biases.  The way that readers encounter The Adventures of Tintin is placed within the framework that in postcolonial theory is defined as the relationship between the subordinate and the superior. In this research, we assess different models that Hergé used to define the identity of subordinate groups. On the same basis, it is established that with making changes in the concepts of the subordinate and superior, and contrary to the expectations of the superior, subordinate groups are not merely the consumers of the cultural products of the powerful people. Consequently, by using the tools that have been produced by them, the subordinate influence the dominant groups and thus cause changes in their dialogues and perspectives.

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.

 Jalal Al-Ahmad (1923-1969) and Madame de Staël (1717-1817) are among prominent writers of Iranian and French literature respectively. Their eras were similar in numerous ways: literature, society and culture, eventually leading to a contrast between German Romanticism and French Classicism in Germany by Madame de Staël, and east and west in Westernization by Jalal al-Ahmad. Analogy is one of the common aspects of these two works. The presence of looking at “the other” in the writings of these two authors is an influential factor in the evaluation of the “self”. The main goal of this study is to examine how Pierre Brunel’s theory of law of emergence can be applied to the the ideas of Al-Ahmad and Madame de Staël. this study takes a comparative approach to the analysis of “self” and “the other” in these two books, defining the affinity and contradiction between a society that “looks” and a society that is “looked at”. Also, the factors leading to this intellectual resemblance is identified and examined.

Iranian society in the Qajar era, on the verge of the constitution was under the tyrannical state and was an oppressed society, and the confrontation with the West – the civilized and powerful “other”, he revealed the depth of backwardness and disorder of this country and he reflected the ignorant and unconscious “self” of Iranians in front of their eyes. With his works and articles, Mirza MalkumKhan the intellectual of pre-constitutional period, had a great contribution in stimulating and turning people's thoughts to the “other” and passing through himself. He tried to revive the dying society of Iran by laying the groundwork for changing Qajar discourse and establishing the discourse of democracy. The main question of this article is how “self” and “other” has been reflected in Malkum's writings and the effect of his approach on the formation of Iranian cultural identity. The present study shows that by adopting political mechanisms while exposing the internal situation of the country and explicitly criticizing the current situation, Malkum also tries to marginalize and eliminate the long-standing monarchy discourse in Iran to highlight the European discourse and   promoting and developing position “the other” to deals with the West and the culture and manifestations of Western civilization, and the efforts of his works are engaged in establishing a liberal, law-abiding discourse through self-elimination and acceptance of “other”. In this research, “self” and “other” from Malkum's point of view are read by studying his collection of works and using the descriptive and analytical-historical methods.

A comparative study of relations among nations and its evaluation based on the Other’s attitudes generates a deep insight; thence, travelogue is considered a profitable means in this regard. Within the path of knowing the ‘other’, the travel writer paces to know him/herself. Put another way, the writing would culminate in his/her own understanding along with the ‘other’. In this vein, the similarities and cultural differences which are formed in accordance with the travel writer’s prior thought lines or prejudices, encompass a vast information regarding the travel writer’s identity. Besides, the French school of Imagology especially Daniel-Henri Pageaux’s researches, is a valuable resource for analyzing such travelogues. For this purpose, Pietro Della valle’s Travels to Persia has been taken into account to examine his constructed identity as an Italian/Eueopean ‘other’. Out of his very minute descriptions he generates regarding political, social, and cultural conditions of Iran in comparison with his own country or The Ottoman Empire, his own identity is constructed.

In depth psychology, although the "Ego" is the center of "Consciousness", and through which man communicates with the world around, but the whole psyche has another center called "self" which, in addition to "Consciousness", also includes the unconsciousness. . In fact, the "self", as the central core of the psyche, is the Architype of the totality and regulator of the psyche, through which man achieves the individuality and integrity of the personality. Because the "self" - like other archetypes - needs to use symbols to manifest, it appears in myths, dreams, and legends in the form of sublime and sacred figures, or in the form of symbols of wholeness, and in general , In the the form of any helper creature - whether living or inanimate. Shahnameh narrative scrolls, since they are based on epics and myths on the one hand, and on the other hand, are based on mass and popular literature, can be the best manifestation of unconscious elements and archetypes. Zariri- nameh scroll (known as Shah-nameh Naqalan), which is the most comprehensive and longest narration scroll of Shah-nameh, is one of these scrolls, in which the authors have studied the symbols of "self" in detail, and all these symbols in the following types are classified.: human, animal, object symbols. , speech, the unseen and the tombs of the dead.

The element of a significant place of residence. Elements of The element of place is one of the most important elements of the narrative, which has various forms. This element has a dialectic in some narrations, including the narration of the Palestinian captives, and its effect on other narrative structures is obvious. One of these narratives is the narration of Al-Shattat by Rafat Hamdoneh, a contemporary Palestinian writer who cries out about the plight of prisoners in Israeli prisons and their dire social conditions. What makes this narrative unique is the character of Rafat Hamdoneh, who was himself a prisoner, understood prison and was able to portray it in a desirable way. In narration, there is a kind of dialectic between place and self that affects the structural elements of the narrative and plays an important role in shaping the structure of the narrative. Therefore, in this research, an attempt has been made to study the dialectic of place and self, and its effect on the narrative structures of "Al-Shattat" by Hamdoneh, by descriptive-analytical method. The findings of the research indicate that the description of the place in the narration of "Al-Shattat" is the expression of experience, sufferings, problems of the narrator and the characters who lived in the forced place (prison) and in open places (war).This dialectic runs from the beginning of time to the end of the narrative and has created a kind of retrospective and futuristic timelessness and has influenced the personalities of the narrative.

Cultural Semiotics is one of the most important approaches to semiotics. Yuri Lutman is one of the founders of cultural semiotics, which defines culture and intercultural relationships based on how ‘Self’ and ‘Other’ interact within the sphere of a specific Semiosphere. Based on this model, in the first part of the present study, considering the historical awareness and narration of Shahnameh, the analysis of Bahram Choobin's relationship with Hormoz and Khosro Parviz is conducted. The research method in this study, while citing history and Shahnameh and library documents, has been based on describing and analyzing the relationships and incidents related to the above-mentioned personalities. The study examines the types of relationships among the three mentioned persons from the perspective of ‘Self/Other’ and ‘Center/Margin’ based on cultural semiotics. In the second part, the study has reached the supposed result by explaining the hegemonic role of some archetypes and historical Myths in ‘Othering’ by Bahram Choobin, The findings of this study show that according to the Semiosphere of the Sassanid era and the Shahnameh narrative of the actions of Bahram Choobin and Hormoz, Bahram has been identified as ‘Self’ and ‘Central’ due to his victory in the war with Saveh Shah, protection of Iran, and his loyalty to Hormoz. Hormoz has been removed from the position of ‘Self’ and ‘Central’ and has been placed in the position of ‘Other/Marginal’ due to its history of ill-treatment with Ashraf and Bahram. But Bahram Choobin has been determined to conquer the kingdom and has a desire that is contrary to the Semiosphere of the central government, the masses of people and his relatives. This degrades him from the position of the ‘Ideal Other’ to the ‘Other/Marginal’; therefore, the trend is reversed. At the same time with the uprising of Bahram Choobin against the central government, the role of some archetypes and historical myths has been very effective in emphasizing the role of Bahram Choobin in the Otherness non-culture position.

It could be said that Nezami’s Haft Peikar is a book about the unity of Hero and his holy joining to his Anima which leads to a sort of self-awareness according to a variety of symbols or meaningful metaphors. The appearance of collective unconscious archetypes of this book put it in an aura of ambiguity that cannot be understood unless by psychological approaches to myth. The archetype of “archetypal woman” or “archetypal mother” in symbolic travel of Bahram and his different steps of self-awareness examinations is a movement from the deepest layer of darkness to the heart of lightning. In the stories of this book, some kind of deficiency and lockage in Hero’s psych cause him to move and travel to open the unknown windows. According to Nezami’s report, the mysterious life of Bahram changed him into a mythical hero that at the end of his life was an aware man who reached a kind of metaphysical individuation. The main concern of this article is the Bahram’s travel which happened in order to reach a kind of regeneracy and the consequence of events and their internal connections empower the self-awareness process of the Hero. The aim, by revealing the psychological side of myth and analyzing the symbolic elements in HaftGonbad’s stories, is to investigate the internal connections between stories and make all fictional actions and reactions meaningful in line with improving the Hero’s metaphysical side. It should be said that the approach of this article is analytical-descriptive.

Narratology considers the element of character to be the drive behind roles and actions in a narrative. The sociological theory of “symbolic interactionism” is also concerned with how actions occur. Employing this sociological approach, we can expand the critical method of narratology and introduce new aspects in sociological studies of narrative texts. Using the “self” theory in the sociological approach of “symbolic interactionism”, this article discusses the types of action and the types of character in Bozorg Alavi’s Cheshmhayash (Her Eyes) and Esmael Fasih’s Del-e Koor (The Blind Heart). Therefore, the narrative style of the two authors in the production of character is analyzed and compared. The article considers the narrative character as “self” in the symbolic interactionist theory. The novel Cheshmhayash has two types of active and passive “collective self”. The active “collective self”, in a concerted effort, narrates the story in opposition to the political structure. Thus, the novel’s “self” is marginalized in political relations. It narrates the first and second halves of the Pahlavi period. Characterization in Del-e-koor is determined by a “social me” and form a violent and self-serving “collective self” at the core of the society depicted in the novel. The active characters’ individualistic opposition to this “collective self” leads to their marginalization in the novel’s social life.