مجله ادبیات پارسی معاصر
سال چهارم شماره 4 (زمستان 1393)

In this study¡ literary fiction published between the White Revolution and Islamic Revolution will be criticized within the frame work of critical discourse analysis. Here we aim to identify different features of different components of the culture of resistance in these texts regarding economy¡ socio-cultural¡ and politics. The data in the form of «texts» ¡ the written form of language¡ have been determined. These texts should be divided into two groups: 1. Texts which describe the political¡ social and cultural conditions 2. Texts produced in the context of literary fiction in the above-mentioned period. On the basis of theoretical saturation principle¡ purposive data sampling took place and were analyzed using the classic deep text analysis methods. Criticism of these texts with the approach of critical discourse analysis shows that in this historic period since the official discourse in the three areas mentioned above were organized around central signifiers by the government. In this study we call them:1. supporting capitalistic model of economy¡ 2. Supporting modern socio-cultural model¡ 3. Supporting monarchism. The literature in this period in proportion to the official discourse are formed around 1. Opposition to the capitalist mode of production¡ 2. Opposition to promote the trappings of the West¡ 3. Opposition to the political model of the monarchy and the oppression of the people.

Gilehmard is a realistic short story by Bozorg Alavi, which is also of good capacity for symbolism as well. Critics of this story are sociological which due to the political, social and economic conditions of Reza Khan's era, revises the historic events and characters. Syndicate disturbance characters with entropy of nature, we have investigated the link between the field and the events of the story as well as the relationship between society and nature calls. Synchronicity of anxiety of characters with entropy of nature, calls us to investigate the link between the grounds and the events of the story as well as the relationship between society and nature. A relationship in which the grounds are of more importance to character's monologues and events of the story than creating scenes. A synecological critic of this story suggests a new reading in which stating all the facts is not limited to social-class considerations, but also includes roars of the jungle and the entropy of nature with associated environmental sense.

Bahram Sadeghi's Firmament (1315-1363) up to now has just been considered a long story in the realm of mythic stories and stream of consciousness. It's somehow true though it has never been seriously discussed from the perspective of "magic realism" while there are strong elements of magic realism such that it can be regarded the turning point in Iran's history of story-writing. This article examines the most important elements of magical realism: fantasy, dream, magic, myth, horror and events lymph nodes, complex narratives and descriptions, expressionist and surrealist descriptions in characters, dramatic events, actions and objects. The author knows it as the beginning of the magic realism in Iran's literary fiction.

Though nature and environment are inseparable and inevitable parts of human life, they have most usually been merely considered as marginal setting to story-writing and critic. This article explores the role and function of nature in Mahmoud Dowlat Abaadi's With Shobeyro in the framework of ecocriticism and the effect of the character's relationship with wild nature. In this short story, Dowlat Abaadi stays away from his typical rural setting; relying instead on more natural environments such as seaside and coastal area. Hence, the dark and bright sides of nature which are more palpable in natural environment becomes the focus of attention in analyzing this obscure short story. From ecocritical perspective, on the one hand, characters in "With shobeyro" come to self-realization as a result of their confrontation with wilderness and at the same time they purge both their body and mind through benevolence of the sea.

The narrator in fiction is someone who tells the story. Everything in the story is related to him/her and all components are affected him/her. There is no narrative without a narrator. The narrator is someone who gives us the plot, makes characters and tells events ahead. There are different types of narrator: third-person narrator, intervening narrator, Omniscient narrator, contributing narrator, seducer narrator, reliable narrator and unreliable narrator every one of which has their own characteristics. The "omniscient narrator" can "describe the location," "identify the characters" and have "personal statement". This descriptive analytical research method uses library resources to examine the cognitive aspects of "omniscient narrator" in fiction. As it turns out an omniscient narrator can be a third-person narrator. However the relation­ship is not necessarily symmetrical. Likewise the omniscient narrator is always an intervening narrator but a third-person narrator is not necessarily omniscient.

After translating the works of Bakhtins, his theory of the logic of dialogue and polyphony is widely applied for classic and contemporary literary texts. In some cases generalizations and oversimplifications of his theory about narrative causes a sort of misunderstanding which leads to a descriptive analysis of the narrative and thus the depth and angles of his theory have been neglected. In this article, I tried to review the analysis and implementation of the fundamental components of the theory of polyphonic narrative text. To this end, the story of "the devil awakens Muawiyah," from Rumi's Mathnavi and "Kiss the Beautiful Face of God" by Mustafa Mastour were chosen (as examples of both classic and contemporary narrative texts) and the novel The Brothers Karamazov, Dostoevsky was selected as the reference text. Research is based on a dual approach which is borrowed from the structuralist criticism approach and mode of coexistence of conflicting voices in the text, which is the dominant element in Bakhtin's polyphonic theory. In brief the result shows that the narrative analysis should be based on the principle of mutual acceptance and co-existence and mutual interaction of the two concepts in the text. So, all the narrative techniques from the presence of the "other" to carnivalization, humor, frequency and point of view of the narrator and direct quotes have to accept other voices. Based on this, "Kiss the Beautiful Face of God" is monophonic for the lack of mutual actions and voices and "the devil awakens Muawiyah" is polyphonic for it doesnt give a definite answer to the opposing voices and sounds co-exist relatively.