جستجوی مقالات مرتبط با کلیدواژه « نمایشنامه » در نشریات گروه « علوم اجتماعی »

The present study aims to show how ideology leads to different and contradictory approaches to the West. In the play "Jaafar Khan Az farang bargashte" (1300), Jaffar Khan considers the West as the center of civilization and the highest point of cultural development, on the contrary, his family considers the West as a dystopia that not only has no signs of progress, but It is the center of destruction. The French and structuralist philosopher, Louis Althusser offered a new and different interpretation of ideology in relation to Marxist thinkers. Althusser defines ideology as the imaginary representation of people with real circumstances and believes that man and his identity are constructed by ideology. In his view, in the modern age, institutions such as the school, the family, etc., form the general ideology, even without them being aware of it. Hassan Moghaddam, in the play "Jaafar Khan az farang bargashteh" shows the conflict between these two types of views towards Farang or the West. These two opposing perceptions of the West seem to be constructed of two forms of ideology, one that sees the West as a utopia and the other as a dystopia. The present study, which is based on library sources and descriptive-qualitative method, first provides a comprehensive interpretation of the concept of ideology and Althusser theories, then focusing on the structure of the play, the role and effect of ideology on the thinking and approach of characters -as two opposite perceptions- examines and analyzes the West.

Female characters in the plays of the 13th century and the beginning of the 14th AH, have different manifestations and are presented in a paradoxical way. The social and political changes in this period emphasize the discourse of improving the position of women and have fueled fear and anxiety about the presence of women equally. In this research, we focus on the roles of women in some of the plays of this era by critical discourse analysis. This plays have been described, interpreted and explained by the descriptive and analytical method suggested by Norman Fairclough. First of all, at the level of description, we have discussed the function of female characters in the plots of plays. At the level of interpretation, looking at the social events related to women in this period, the relationship between women's activism in the play and their level and role in the society is examined, and finally, in the third stage, the reason for the gap between the change of social paradigms and the role Women are explained in plays. By the analysis of the plays in the discourse context of the era, it was concluded that although in this era, the key role of women in the society and their promotion to the level of the speaking subject is always emphasized as one of the manifestations of progress, but still the dominance of the patriarchal discourse and The fear of killing women has so powerfully cast a shadow on the dramas of this hundred-year era that the role of women is either associated with concepts such as cunning, deception and conspiracy, or the female characters remain as objects of men's opinion games and seduction

"Archetypes" are important psychological elements. "Archetypal criticism" has always been considered one of the important types of literary criticism. The theory of archetypes is based on the thought of Carl Gustav Jung, a theorist in the field of psychological sciences. In this theory, the structural elements of myth, which are present in the collective subconscious mind, are analyzed. According to Jung, there is a kind of universal experience in these elements that is repeated in different forms and in all generations. Contemporary psychologist and theorist Shinoda Bolen also contributed to a more accurate understanding of archetypes by supplementing Jung's theories and elaborating on their manifestations in daily lives of individuals. In the present study, by means of mythological and psychological criteria in Shinoda Bolen's theories, two famous theatrical "woman" characters have been the subject of comparative studies. They are "Julia" from the play "Miss Julia" by August Strindberg and "Ensie" from the play "Sing in May" by Akbar Radi. Although created in two different geographies and cultures, both characters bear significant similarities from Shinoda Bolen point of view. This study also shows the fact that quoting mythological and psychological elements in the creation of theatrical characters can lead to the production of a similar pattern in the process of this creation. A pattern that transcends temporal and spatial boundaries and relies more on archetypes than any other element.

Edward Albee (1928-2016), an outstanding American playwright, is one of the authors who tried to represent the social relations of individuals in his plays. The reflection of these relationships can be viewed not only in the characters' words, and in their silence, as well as their physical encounters. This characteristic reminds us of the attention to the visible and hidden aspects of behavior in the theory of symbolic interaction. The purpose of this study is to apply symbolic interactionism focusing on the viewpoints of George Herbert Mead (1931-1863) in Edward Albee's A Delicate Balance. In this study, the method of directional qualitative content analysis has been used. Findings show the changes occurred in the beliefs of Americans after the middle of the twentieth century through the confrontation of two groups of characters. On the one hand, parents who are subject to the bourgeois patterns, values, and standards of traditional American society, and on the other hand, their significant others have lined up against them. The second group, despite transmitting from the traditional values of society, have not been able to continue their social life independently and are therefore dependent on the first group. This parasitic dependence that gives rise to conflicts and tensions of the characters; upset the delicate balance of the family. It Eventually leads to the evaluation and rethinking of the dichotomy of social responsibility vs. individual rights.

An archetype is the reflection of universal concepts and perceptions of a single subject in the collective subconscious. One of its main concepts is the mother archetype, widely present in ancient myths and stories in terms of variety in meaning and form. This study investigated female character based on Gustav Jung's theories about the Mother Archetype. A previous relevant study investigated the mother archetype and Jung theories in literary works such as poetry and fiction. Only two works have investigated the play The Sky Horses Rain Ashes, which differ from this study in terms of scientific theory and character study. The questions that this study sought to answer are as follows: 1) How have the components of the mother archetype been reflected in the play The Sky Horses Rain Ashes? and 2) How is the mother archetype represented in the personal subconscious of the character of the play The Sky Horses Rain Ashes? The main goal was to show that the use of the mother archetype in the play is aimed at raising and processing its character. The results indicated the representation of female symbols and elements in the real and virtual forms of the mother archetype in the characters of the play. The reflection of the mother's archetype in the real form includes: creativity, support, purity, divinity, giving hope, liberation, reflection of life in the subconscious mind (doubt, mother complex, pain, suffering, loneliness) and that in the virtual form is in natural elements, including the effect of past life on the subconscious mind in the symbolic form of the mother's uterus, rebirth, guardianship, and security provision. This study was conducted using the descriptive-analytical method and written library sources.

People go from one homeland to another and live there: this is a simple definition of a complex subject. The presence of these people in a second country creates a kind of literature, which is called "immigration literature". This literature was created either by the immigrants themselves or by the authors of the second country and, as a mirror, reflects the various aspects of the immigrants' lives and the way the host society treats them. One of the ways to understand the type of confrontation of a resident community and the way in which it humiliates immigrants is to refer to the art and literature of that community. The presence of Afghan immigrants in Iran has caused the reaction of the Iranian society towards them and this issue has been reflected in Iranian literary and artistic works. A review of three plays: Rooster (Mohammad Rahmanian), Without milk and sugar (Hamid Amjad) and Without Saying Goodbye (Naghmeh Samini) shows that, first, Iranian writers have paid attention to the presence of Afghans in their country and The basis of this presence is the creation of works, and secondly, the form and content of these works reflect the kind of view based on postcolonial theory and also the contemptuous view of a part of Iranian society towards Afghan immigrants.

The book “Resistance Literature” (1970) by Ghali Shokri is a critique of resistance in literary genres. The main subject of this book is about heroes in literary types. The literary works contained in this book are a collection of novels, myths, theaters and poems for the nations. The analysis of Resistance Literature is based on a descriptive and analytical approach. We also rely on critical and analytical methods in writing this paper. Structural evaluation for this book includes the following: Cover design, book title, index, language, page layout, references, footnotes, and index for information. And content evaluation is done according to the author’s analysis about hero and heroism in literary types. The research results indicate: Cover design, book title and index need to be reviewed, the language of the book is written smoothly, the book’s content is unbalanced between literature against nations, 64.66% of the book’s ability is devoted to Arabic literature and 35.34% to literature in other countries, the author is interested resistance literature in Egypt and France, more than other countries.

The art of play is the result of human social life, more than any other type of art in relation to social man, and accordingly, its connection with the new civilization can be emphasized more than other components. In the new era, the play is one of the most important topics for critical discussions, whether as a text or as a collection of narratives performed by actors on stage to the extent that the critical and historical books of this type of art have a wide range of the oldest types of art. One of the most recent works of this kind is Nashat 'al-Masrah fi al-Mashreq, (The Emergence of Theater in the East), whose author has studied the origin and evolution of this art in the Orient, focusing on Lebanon and Syria, Turkey and Iran. The article intends to provide a critical reading of it by adopting a descriptive method, and the results show that although the value of the book in question is small, the author has been able to use accurate methods in reviewing the evolution of the work as a historical-analytical book by using reliable documents and sources.

Mahvash Ghavimi, a researcher,  university professor, and one of the famous experts in French language and literature, whose main fame in translation is related to the works of Christian Bobin, has translated Le Malentendu and Les Justes by Albert Camus. Ashian Publishing published both of them in 2010 in a volume, then republished them in 2018. In the present article, we have a brief look at the paratextuality, approaches to translating the play and its problems, the background of the translation of these two works in Iran and reason for retranslation. We also examined these two plays from a textual perspective and tried to take an overview to a translation approach in these two works. The discussion of the performance, which is the fundamental element of any play, is detailed and does not fit into this paper and is left to the experts in this field. In the translation of these two works, the content of the original text has been translated and conveyed as far as it is intended, but regardless of its performance in terms of text, sometimes the haste and the translation of the word to the word are obvious.

The conditions of possibility for emergence of novel and play, as two literary forms, is contingent upon the formation of a modern subject. Hence, these two literary forms are unknown to the premodern world. Literary modernity brought about changes in the themes, forms and functions of the Persian Language and Literature, particularly the new literary forms turned into known subjects for the Iranian audience. The present paper is an attempt to discuss the establishment of novel and play among Iranian audience in the process of literary modernity, showing that novel and play have been able to establish themselves only by relying on cultural potentials and historical trends of the tradition of Iranian life. The findings of the paper show that literary modernity was initially accepted as a continuation of the literary change stemming from the experience of Iran-Russia wars. Secondly, five main trends helped the establishment of novel and play forms in Iran: first, considering novel and history synonymous and utilizing the Iranian love of history; second, connecting novel and play with the cultural traditions such as imitation and tazy-e among Iranians; third, changing the novel characters and indigenizing them to totally Iranian ones; fourth, introduction of novel and play as continuation of tradition of upbringing and self-purification in the Persian Literature; and fifth, employing familiar themes and traditional stories in play and novels. Foucauldian genealogical gap analysis was employed. The focus of this paper is analysis of literary texts and historical works during the "literary change" stage from the Iran-Russia wars until the Constitutional Revolution and supremacy of "literary modernity".