LITERARY CRITICISM
Year:2009 | Volume:2 | Issue:5|Papers Count:8

One of the problems which prevent a correct or common comprehension of a fiction and its precise analysis is the diversity which exists in understanding and using the common terms in fiction domain. Although most of these terms have been listed in dictionaries and used by researchers, there is no unanimity about their usage. Due to this matter, distinction of fiction's elements and the analysis of narratives confront some difficulties. In this paper we intend to revise one of the most common terms in narratology i.e. motive, focusing on dependent motive and independent motive. Hence it is necessary to criticize the most important definitions in dictionaries for motive, to show their credibility and the degree of their expressiveness and to present our definitions. Also, all types of motives in traditional Persian fictions will be categorized and their four functions in narration will be explained. In our point of view, motive is a structural-semantic term that is related more to structural elements of a story than to its semantic aspects.

The narratological approach in studying the fictional narrations structure provides an organized ground and a systematic pattern for analyzing the main elements of the narrative text, i.e. story and text. In the present research, the Do Donya (Two Worlds) is analyzed in a narratological approach and the first hypothesis of the research about the possibility of applying the structural of narratology for the modern fictional narration of Do Donya is tested. The reason for choosing the Do Donya fiction in the matters of deep structure, time, place and focusing is the conflicts and discrepancies which exist between death and life. The results indicate that the narratological approach with its componenets (including story level elements, such as time elements consisting of order, continuation and frequency; place elements consisting of fiction place and text place; characterization covering direct and indirect characterizations (action, speech, visual figure, environment and names deductions); focalization (internal and external); aspects of focalization conceptive, psychological and ideological)); narrating (the narrative levels (metafictional and subfictional), the narrative layers (internal and external)); representation of speech and thought (narration, crucibles (scenario, merely briefed scenario, indirect repetition of content, free indirect speech)) can present a structural analysis of all aspects of the narration of Do Donya story.

The Persian works of Abdalrauf Fitrat-e Bukharaie (1886-1938) in Transoxania (māwaràn-nahr) are of the first new prose and poetry instances of Tajiki Farsi in this region. The Monäzere (Debate) of Modarres-e Bukharaie with a European in India on the new schools, known as Monäzere (Istanbul, 1910), in addition to be the first prose and narrative work of this writer and poet of Transoxania, is the first independent Tajiki Farsi work in new Tajiki Farsi literature in this region, that describes the conflict between modernity and tradition in the form of short novel/long short story. This book is classified under thesis novels, i.e. problem novels so far as content is concerned. The present article tries to criticize and analyze the Monäzere from the view point of structure and story elements and further explore its outstanding role in founding dramatic literature and forming or establishing the new Tajiki Farsi literature in the Bukhara in the early twentieth century.

Romanticists have been the center of global attention for two decades by providing a new viewpoint in the fields of literal, cultural, social and political global studies.Romanticism as a live school of thought is a fundamental Part of modern culture more than being a real phenomenon of 19th century. Actually it is a new approach in global studies more than a mere literal school.The most important principle of this school is individualism, individual perfection and individual unlimitation, with emphasizing the role of imagination. From the literary aspect it is a new and ontological evaluation through poetry. Imagination has an important place in the aesthetics of Romanticism, actually the special approach of this school to Imagination, should have specified and distinguished it from the others.Modern art and literature in Iran comes from our familiarity with western thought which lead us to understand western culture and Philosophy. Definitely it is very important to understand different origins of this thought for a better understanding of it. In this article, we survey one of the Romanticism aesthetic features, i.e. "imagination" and its emergence in Persian poetry during the "constitutional time", as the earliest time of this style evolution.Some Poems of Mirzade - ye Eshghi were selected for analysis because he was the perfect modernist of the constitutional time and we can find the maximum separation from tradition in his poems and thoughts.

Minimalism is a movement in art and literature which is said to have its origin in the post- Vietnam- war America. The movement, which took place in visual arts first, has been always associated with the notions of smallness, shortness and the minimum usage of artistic representation devices; which is a sort of "reduction". This essay analyzes the minimalist short story. For this purpose, a brief history of minimalism as a movement in art and fiction has been provided first. Afterward, the nature of minimalist short story has been described and then some characteristics of the minimalist short story, such as language, characterization, plot, etc are discussed.

The contemporary literary theorists have examined different literary genres from different viewpoints. Among them Mikhael Bakhtin, a distinguished Russian literary critic, is a standout. Highlighting his key concept of dialogism, Bakhtin from among different literary genres describes the novel, specially Dastayovski's novels as possessing dialogic or Polyphonic quality. In such novels, the voice of the narrator isn’t dominant but is beside other voices. Among Persian literary classic texts, Masnavi-ye Manavi is one of the few texts in which the debates and dialogues between its story allegorical characters is considerably conformable to the components Bakhtin considers for dialogism. We raise and describe this conformability in this article.

Since arts normally have human sources, they are originally alike and have different forms. Therefore methods of representation in one media, with a little formal change, could be used for the other one. In this research after defining pun as a rhetoric device, its visual equivalents have been dealt with in the world of pictures and particularly in animation. Pun has been defined as: two words are same in form or pronunciation, and different in meaning. Pun is normally used in rhetoric for decoration and makes the speech humorous. But in modern semiotic theories, it has been considered as: two similar signifiers with different signified. In this case one can consider two homogeneous visual signs which indicate two different meanings as a visual pun. For instance a picture of a man’s face and a picture of the moon both of which are round. By replacing word and picture we can define visual forms in animation field. In this paper we will offer methodized analysis from visual plays, which might be found heuristically in the artist’s works.