پژوهشنامه ادبیات داستانی
سال دهم شماره 2 (تابستان 1400)

The face of a woman in contemporary Iranian literature is bold and different from classical literature. Bozorg Alavi and Ali Mohammad Afghani are talented writers of contemporary novels in which women play a pivotal role. In the novel “His Eyes”, Bozorg Alavi introduces a woman with a relatively different personality than the women of the society of that day. “Farangis” is a prominent female character in the novel "Her Eyes" who is modern and up-to-date and often conscious of her human rights, and she enters the political and social activities with different purposes. However, Bozorg Alavi has a bipolar view of women and he shows enigmatic and advanced aspects of her personality that are, of course, unfamiliar to the reader; but his women are self-motivated and energetic women who move away from the role of mother and wife and they seek social roles; however, women in the story of Ali Mohammad Afghani are traditional women with limited frameworks, which were normal in the society of that day. “Golanbar” is a poor, inactive and static woman who has a low-energy character until the end of the story. He is oppressed, obedient and poor in society and family, and he lives his life in hardship and uncertainty, and this poverty and limitation sometimes leads him to negative purposes.

Critical discourse analysis is a new approach to discourse analysis that examines language as a form of social practice and it emphasizes how social power is reproduced through the text. Since the ruling power of every society, organizes the discourse of that society, this approach can be effective in studying how literary works relate to the dominant power of society. The purpose of this study is to analyze the novel You’re no stranger here by Houshang Moradi Kermani based on Fairclough’s approach. Satire, poverty, superstition, indigenous, illiteracy, fear and solitude are the more dominants discourses in this novel. In this study, the discourse of illiteracy will be examined. Therefore, we analyze the text in three stages: description, interpretation, and explanation. At the stage of description, vocabulary selection, grammar, text coherence, words collocation, pronouns, active or passive sentences and metaphorical aspects will be discussed. At the stage of interpretation, situational context, discourse type, power of utterance, intertextuality and discourse order will be examined and finally at the stage of explanation, the text will be analyzed as part of the process of social struggle within relations of power.
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The story of "Water of Life" is one of the stories of Sadegh Hedayat's in the collection of "Alive to the Grave". This story has been written in the genre of allegorical stories and there are references to ancient and classical Persian literature and the text of the Holy Quran. In this article, while stating the sources of the author's adaptation and inspiration from previous texts, an attempt has been made to answer the question of whether the author has included the previous texts in his text with intrusion, appropriation, and creativity, or whether with the least intrusion and appropriation, they have entered the text and remained a mere imitator? The research method in this paper is descriptive-analytical and library; relying on research in this area. Examining the sources adapted by the author, it was concluded that the sources quoted by the author are the story of Prophet Yusuf (AS) in the Holy Quran, Ferdowsi's Shahnameh, in the stories of Shah Fereydoun, and the story of Rostam and Esfandiar and also one of the anecdotes of Golestan Saadi. In general, the author has mostly taken a creative and intrusive approach to how to use these resources. As a result, his work can be a model for writers on how to use ancient literary texts and holy texts.

Evasion or deviation, which is called in English literature by Digression and Excursus, is a speech outside of the main subject, which the author/ poet speak for his aims during the narration. In this research, which is done through descriptive-analytical-documentary and library studies, we are going to define the digression in the heroic section of Ferdowsi's Shahnameh. The central question of the research is how basically digression is a statement, what kinds of it has been reported in Shahnameh, and what the poet pursues, what goal or goals he is trying to find out. After examination we found that Ferdowsi in the first, middle, and ending episodes of his work presented the kinds of digression. In the first part, the poet through some devices such as Prologue tried to deliver his idea. In the middle section, he has deliberately a pause to deliver a moral point, and in the final section he often refers to by wording, blame the world state, blame of avarice, condemnation, worship of wisdom, and inevitability of death. The most digression is related to the wheel of time, and among them, the instability of the wheel has the highest frequency and this matter is due to the reflection of Zorwanism's beliefs. In digression which related to avarice, the point of view of poet concerned with demon of avarice and the poet through animism he tries to beware of human kind. The only way to cure this disease and this devil- in the poet’s view is wisdom.

The present study aims to provide a sociological reading based on Lucien Goldman's theory in the novel 'The length of the Night' by Jamal Mirsadeghi with an analytical-descriptive method that deals with a significant relationship between social structure and the structure of the literary text. Goldman called his method developmental structuralism, which is an important factor in the emergence of developmental structuralism of the author's social base. He believed that the literary work is created not by an individual but by the worldview of a group and a group to which it belongs, and Mirsadeghi, is a realist writer, raises issues of the problems of the time in his works that reflect the social facts. Which is a new approach in recognizing his works and reached the important findings that the novel has a social structure And the most prominent social themes are cultural and economic poverty and the confrontation between tradition and modernity which has led to a generational rupture and according to Goldman's theory, the author as a social class agent represents the middle class worldview and the existing worldview is the result of the same worldview of the middle class, which, by reaching the maximum possible consciousness, has been able to show class consciousness in the middle class.

Abbas Nalbandian, as a formalist pioneer author had a great influence on the contemporary theatre in Iran. His main concern in his playwrights and literary works was form. Defamiliarization is one of the most important issues which was greatly emphasized by formalists, especially, Shklovsky. This eminent property of Formalism is observed in the works of Nalbandian prominently. Nevertheless, in few studies of his works, content has been considered more than form. So, in this article, it is tried to study and analyze the different dimensions of defamiliarization in the works of Abbas Nalbandian with emphasis on the lexical, semantic, written, stylistic, temporal, and syntactic deviations while the paratextual defamiliarization has been accounted, too. Therefore, this research aims to explain that how defamiliarization and deviation had appeared in the works of Nalbandian? What types of deviation have had a higher frequency in these works? and what are their grounds and causes? Is the deviation frequency in paratextuality a determinant factor as well as the other six mentioned dimensions? The results of the research indicate that the written deviation (according to author's deliberate misspelling) has a high frequency in the studied works. Regarded the semantic deviation, contrast and repetition are greatly emphasized. Moreover, author's deviational approach toward the components of paratextuality is so prominent that they should not be neglected seemingly.

Genette is one of the theorists in the field of intertextuality and he believes in applied intertextuality. Intertextuality, like other categories of intertextuality, shows how texts are influenced and influential. Since the mystical genre occupies a significant section of Persian literature, the intertextual study of prominent mystical texts reveals the hidden and unopened angles between them. This descriptive-analytical paper is the first step in examining the intertextual relations between the common anecdotes of the Third Generation of the Discovery of Mysteries and Ruh al-Arwah based on Genette's theory, in order to communicate the two works from a structuralism perspective and intertextual systemic elements. It examines creation and processing. The achievements of the present research are generally as follows: Ruh al-Arwah as a subtext has an authorial and historical precedence over the discovery of mysteries as a rough text. There are 46 anecdotes in these two books that are common and they have intertextual relations, of which 10 anecdotes can be divided into explicit intertextuality, 19 anecdotes in terms of non-explicit intertextuality and 17 anecdotes in terms of implicit intertextuality. Of the ten volumes of the book Kashf al-Asrar, the sixth volume contains the most common anecdotes with Ruh al-Arwah, and the fifth volume does not have a common anecdote with Samani effect. Kashf al-Asrar has more literature than the text of Ruh al-Arwah because of the rhythmic and eloquent words and not from the point of view of emotions and feelings. As whole, the results of our research make us believe in the accuracy of the bias adaptation of Samani as much as possible.