JOURNAL OF RESISTANCE LITERATURE (SCOLARY RESEARCH)
Year:2020 | Volume:12 | Issue:22|Papers Count:7

If we consider part of resistance literature as a protest to the ruling class, the poor and the needy are undoubtedly pioneers in this respect. By examining literary texts, one thing is strikingly prominent, and this is the way to protest, in addition to the courage and dignity of this group. The purpose of this article is to look more closely at the objections raised in the literary texts of the fourth century until the end of the seventh century, and a common feature of these political criticisms. By studying poetry and prose texts, common features were seen in most of the works and the results of the surveys showed that the objecting method of the old women, the farmers, the dervishes, the ascetic, and even crazy people is based on dialogue and debate, of course, an unequal debate that on one side of which is usually a powerful kingdom, and the other is a widow or a dervish one. These debates, which are generally pursued by the king and started with the intention of humiliating, is followed up by second party, who first showed himself unwittingly, and is ended in a marvelous way in his favor. The reason for the superiority of these eloquent poor people is having eloquence and rhetoric in their speech, and their words are mostly adorned with verbal and spiritual ornaments. Here are some examples of these debates.

With careful analysis of Persian texts, especially in the contemporary era, one can come to the most brilliant examples of resistance literature, the writers and poets of which, in their own way, have called upon the audience to fight against arrogance, resist the cruelties and help the oppressed. Seyyed Karī m Amī rī Fī rū zkū hī is one of the contemporary traditionalist poets. Part of his poetic themes is in the field of resistance literature. This descriptive and analytical research, which has been done through library methods to complete and accomplish a wide range of researches in contemporary Iranian resistance literature and to analyze and investigate the effects of resistance in Amī rī Fī rū zkū hī ’ s poems. The poet's poetical works are carefully studied and examples of resistance literature are extracted, categorized and analyzed. With his deep and accurate understanding of the issues of the Islam world and Muslims, he has discussed some of the most important elements of resistance literature such as 'homeland', 'valor and bravery of warriors', 'dignity and rank of martyrs' and 'the world of Islam and jihad of Muslims' in four odes.

1. Introduction: Edward Said founded the Orientalist discourse under the title Orientalism by publishing his magnificent and glorious work. Said divides Orientalism into three types: First, Orientalism refers to the four-thousand-year history of relations between Europe and Asia. The second is Orientalism, a scientific discipline that has developed specialists in Oriental languages and cultures since the early nineteenth century. Third, Orientalism refers to images, long-standing stereotypes, and the general ideology of the 'East' as the 'other' formed by generations of Western scholars (Selden et al., 2005, 220). From this point of view, the East is a Western structure that has been constructed in accordance with the interests of the colonial powers and their tastes. Said believes that Orientalism is a current that allows the West to rule the East that the West itself has created and dealt with. (Ibid., 130) His endeavor in the discourse of Orientalism is to show that what is considered as the East in the West has no external existence but is a kind of imaginary geography. (Said, 1979, 5) The world is divided into two parts. One part is called 'the Orient' and the other part is called 'the West'. In this dual division, the West has always shown itself to be benevolent, glorious and superior, and the East to be inferior, backward and mediocre. In order to prove this superiority, the west must first define the East and then in the light of this definition, the West has defined the East with a thousand components, and in this way has made the East as its other counterpart lower than and subordinate to the West. The present article examines the story of Sadegh Hedayat's "Throne of Abu Nasr" from the perspective of Edward Said, who founded the Orientalist discourse. This discourse is theoretically expressed in his book Orientalism. It is interesting that Said criticizes the presence and influence of the West in and on the East, and anti-Western thinking is continuously evident in his work. Hedayat has employed this thinking practically and demonstrates it with the help of imagination in his story. Edward Said is an anti-Western thinker. In "the throne of Abu Nasr", the reader sees that there is the same thinking about the domination of the West, and the West has permanently seen itself as superior. The trajectory of the confrontation between West and East is shown throughout in this story. 2. Methodology: Our methodology is first reading and reviewing the short story of Sadeq Heyayat "The Throne of Abunasr" for several times and then scrutinizing the elements and jargons of imperialism based on Edward Said’ s work, Orientalism, which discusses Orientalism as a Western style for governing, reorganizing, and having authority over the Orient. Edward Said uses Michel Foucault's notion of discourse, as described by him in The Archaeology of Knowledge and in Discipline and Punish, to identify Orientalism. Said’ s argument is that without investigating Orientalism as a discourse, it is impossible to comprehend the enormously systematic discipline by which European culture was able to manage-and even produce-the Orient politically, sociologically, militarily, ideologically, scientifically and imaginatively. In the next step the ideas of the two thinkers Sadeq Hedayat and Edward Said were set against each other. Application of Edward Said on the short story was the next step that was taken and then the results and findings of this step were drawn and presented. 3. Discussion: In Orientalism, Edward Said discusses the metaphor of Western exploration of the East: exploring the culture, history, customs, and customs of the East. This kind of exploration of the East is well illustrated and demonstrated at the beginning of the story of the "Throne of Abu Nasr" by Sadegh Hedayat where Hedayat gives the minutia of the whereabouts of the American excavators: It was the second year that the excavation team of the Metropolitan Museum of Chicago near Shiraz had been conducting scientific excavations on the hill of Takht-e Abu Nasr, but except for the narrow and sour graves where most of the bones of several people were found, red and blue jars were found. Bronze caps, triangular arrows, earrings, rings, beaded necklaces, bracelets, daggers, coins of Alexander and Heraclius and a large three-legged candlestick had not found anything significant. (Hedayat, 2004, 77) In these lines, Sadegh Hedayat, after a detailed description of the discoveries of the 'Metropolitan Museum of Chicago' excavations, says that they did not find anything significant. Hedayat's ironical tone is critical in these lines of the way in which this group believes they have found nothing while from the viewpoint of archeologist even a Bronze cap is absolutely significant. This demonstrates an imperial desire on the part of the American archeologists if Bolognese jars, Bronze caps, triangular arrows, earrings, rings, beaded necklaces, bracelets, daggers, coins of Alexander and Heraclius and a large three-legged candlestick are not of great importance to explorers and archaeologists. Which archeologist would say "bronze caps, triangular arrows, earrings, rings, beaded necklaces, bracelets, daggers, coins of Alexander and Heraclius, and a large three-legged candlestick are not really significant? The answer is no one. All of this is significant for archaeologists. But, why does Sadegh Hedayat say they have found nothing significant in these lines? He cogently argues, since American Archeologists consider Bronze caps, triangular arrows, earrings, rings, beaded necklaces, bracelets, daggers, coins of Alexander and Heraclius and a large threelegged candlestick insignificant, they expect something beyond these things and what those things can be is an imperial desire for excavation of the whole of Iran. The imperial desire looks for something beyond these stuffs. That desire is to capture and seize Iran. Exploring the Eastern culture is considered both metaphorical and real by the Metropolitan Museum of Art in Chicago, who represent the West. In its true dimension, it is the archaeologists who find "red and blue jars, bronze caps, triangular arrows, earrings, rings, beaded necklaces, bracelets, daggers, coins of Alexander and Heraclius, and a large threelegged candlestick. " In its metaphorical dimension, Westerners seek to explore the entirety of the East, as Edward Said has convincingly argued in his book Orientalism, and this dimension reflects the aspect of Western authority and domination over the Orient. In this story, we witness a range of Western scientific efforts to identify Eastern Iran and its sources, mines, history, ethnicities, art, customs, traditions, customs, culture, beliefs, religions, civilizations, psychological characteristics, and spiritual sensitivities from Iran. We are identifying its material and spiritual wealth to secure the interests and purposes of Westerners. One of the concepts which Edward Said addresses in his book Orientalism is the way Westerners view, regard and treat the Oriental women. The West generally considers the East to be a woman who should be raped. Westerners have paid attention to the women of the East, and this issue is also represented in the story of Sadegh Hedayat, and Hedayat has given the limits of this kind of thinking and mourns the plunder of the Iranian woman. This thought is evident in Gorest's conversation with Warner and Freeman about exploring Iran for five months and discovering a coffin containing a body with a woman's will. We have been living like dogs in this desert for five months, and after the remarkable discovery of the coffin, I think we have the right to have fun. It's my fault I was thinking of you! I went to Shiraz by car, I insisted on taking three women and two female instruments with me. In any case, they are now in Barm-eDelak. They have set up tents and stay tonight. No one is there, it is a secluded place. As for the food, and all the utensils, I have sent Qasim to prepare everything (Ibid, 88). As it turns out, Gorest has arranged a party, he has brought three Iranian women to Barm-e Delak to have them entertain and have sex with his colleagues. Hedayat does not like this which shows Iranian women are treated like objects and Iranian men are servants of the Americans. This is the rape of Oriental women by Americans and Hedayat writes about it to condemn it and considers it as the plunder of Iranian women. There is a woman called Khorshid, and Gorest says she should belong to him to satisfy him since she is a young beautiful woman. Khorshid stands for Iran. Digging Iran and raping Khorshid are used as parallels by Hedayat. Thus, one concept which Hedayat employs is the concept of imperial gaze. The concept was put forward by E. Ann Kaplan, in which the observed find themselves described in relation to the privileged observer's own set of value-preferences. From the standpoint of the colonised, the imperial gaze infantilizes and tones down what it falls upon, proclaiming its command and ordering function as it does so. Kaplan observes "The imperial gaze reflects the assumption that the white western subject is central much as the male gaze assumes the centrality of the male subject". This imperial concept is very well used by Hedayat to demonstrate how Iranian men and women are defined in terms of the Americans’ own set of valuepreferences, infantilizing Iranian women and men as objects. Likewise, Hedayat uses Orientalist jargon which is described according to Edward Said’ s Orientalism. Iranians are shown as backward, superstitious, illogical, lustful, voluptuary, and emotional. 4. Conclusion Sadegh Hedayat has embedded the discourses of his time in the story of "The Throne of Abu Nasr". Hedayat as a writer feels obliged to protests against the presence of Americans. He has embedded these issues of the day in this story, and with the help of his imagination, describes the story of the plunder of Iran and their material and spiritual wealth. Hedayat is upset that Iranians in this story are servants and prostitutes who serve the West, and he does not consider it an honor and opposes it by writing and condemning a forged reality about the East and its customs. This forged reality about the Orient is scrutinized by Hedayat in his short story which accords very well with Edward Said’ s idea of Orientalism in his well-known book Orientalism. He shows the reader the plunder of an Iranian woman under the domination of a Westerner. For this purpose, Sadegh Hedayat places the setting of the story in the throne of Abu Nasr and makes the story attractive to the reader through defamiliarization, and shows us the plunder of Iran and ends the story with the verb 'captured'.

1. Introduction: As an alert and sensitive observer, the artist shows different reactions to the issue of war within different contexts and conditions. These reactions have obvious and fundamental differences during the war or post-war period. Recognizing various contexts and their effects in different conditions is critical in the study of art associated with war. Gheisar Aminpour's poems-as one of the most prominent figures of the holy defense literature-are among the best examples of Persian resistance literature. His poems were associated with war not only during the battle, but also at the time of peace. As an aware and responsible poet, he has always been concerned on the issue of war. During the war, Aminpour was a pioneer Persian poet in encouraging people to participate in expelling the occupier of the country, and was at the forefront of the struggle. Also, after the war, he continued to write about the psychological and moral consequences of war. In Gheisar Aminpour's artistic career, the issue of war has a special and significant place. This study seeks to examine Aminpour's approach to the issue of war based on the proposed research model. The influence of different contexts and conditions of his view and approach toward war can be considered in his poems. Based on this, the differences in approaches to a single issue are clearly visible. 2. Methodology: In this article, based on the proposed model, the poems of Gheisar Aminpour have been studied with using the library research method. At first, Gheisar Aminpour's poems about war were identified, then based on the internal discourse of the poems, they were examined and divided into the suggested categories in the research model. 3. Discussion: In art as a model in poetry, there are three approaches to the issue of war. These approaches are named 'encouraging pole', 'analytic pole', and a 'transition stage' between them. Art related to war is mainly shifting between two poles, i. e., encouraging pole and analytical pole. Each of these poles has its own temporal and textual requirements and characteristics. It may be that when one pole is more popular, standing on the opposite pole seems unjustified and unacceptable. The encouragement pole focuses on encouraging and describing the strength of local soldiers and weakening and destroying the enemy forces. The artist's goal at the encourage pole is to identical ambitions (religious and national) motivations to provide spiritual and humanbased support for the war fronts. The artist in the encouraging pole tries to create a paradoxical image of both sides of the battle by recalling the national, religious and ethnic greatness, and by collecting all the good in one side and all the wrong in the other side; he encourages the warriors of his own front and destroys the warriors of the opposite front. In this situation, self-sacrifice, revenge, salvation of identity, conflict between good and evil, and the value of martyrdom are promoted. But, on the analytical pole artist tells about the sinister essence of war. The darkness and bloodshed of war is disgusting. With the end of the war, the excitements and passions gradually subside, and the man seeks the war itself as a devil, not his human enemies. As long as the devil of war is alive, it will find an army from the human body and will commit atrocities. With the advent of war, the function of the encouraging pole declines and people's thoughts focus on why the war happened. Under these conditions, the dual logic of angel / devil loses its former function and justification. On the analytical pole, war is seen as a great calamity that affects both sides of the battle. The opposite corps are human beings like our warriors, infallible human beings who have been deceived by the demons of war-or its earthly symbols-and have even come to the battlefield by force and reluctance. Whoever is killed, the devil of the war beats the goddess of the peace. On this pole, it seems that there is some empathy and attempt to analyze how we can remove war. The analytical pole is poetry of the peacetime. If someone says and sings like this during the war, he may be accused of collaboration with the enemy and betrayal. However, even in peacetime, war poets often shift from the encouraging to the analytical pole. There is an intermediate stage between these two poles, the stage where the poet of war moves from the pole of encouragement to the pole of analysis. Traveling from epic to emotional is sometimes difficult. This 'transitional stage' represents an identity conflict between a 'me as warrior' and 'me as citizen', and creates nostalgia for wartime values. In this situation, those who are closer to the one pole may accuse people who are closer to the other pole as warlike or forgetful people. This situation is a kind of confrontation between social forces. 4. Conclusion: Aminpour was a talented poet who used his art to advance the goals of the imposed war. Not only during the war, but also after that, he was preoccupied with the days of war and tried to keep violence out of life. Gheisar Aminpour, as a leading poet and a suitable model, contributed to the growth of the poetry of the Holy Defense and accompanied the war with his pen. Art's response to war involves three approaches that can be modeled by two poles and an axis between them. Encouraging pole and analytical pole are on either side of this axis. The further we go from the beginning of the war, the more we move from the encouraging pole to the analytical pole. Countless points on the axis can also be imagined, based on distance and proximity to the poles. However, near the peace time, it is usually conceivable that an important area is referred to in this article as the 'transition phase'. The encouraging pole focuses on the motivation of the warriors and an epic approach, the analytical pole, however, focuses on the reason behind the war and the moral approach, and the transition phase is related to the confrontation of forces close to the two poles on the issue of war. All these three approaches of war poetry can be seen in the works of Aminpour. Under the fire of war, he is engaged in strengthening the morale of the warriors and inviting his compatriots to fight and sacrifice, and after the fire, he analyzes the war and the enmity with this ominous issue. The transition between these two poles can also be seen in Aminpour's poems. What makes these three approaches stand out in Gheisar's poetry is his constant attention to the issue of war, attachment and commitment to the Holy Defense, and the change in context over time and living in different conditions.

1. Introduction: Those Twenty-Three People consists of the memories of Ahmad Yusefzadeh (1967). Regardless of any analysis and free interpretation, the author has narrated his memoirs without relying on the readers' judgments. The honesty of speech and respect for the reader are among the characteristics that can be seen in this narrative work with clarity, along with documents and objective evidence. "The author has expressed the facts in simple and sincere language with the whole bitterness, sweetness, hardship and love" (Sareli, Baqeri, Ishani, & Aliyen, 2019). 2. Methodology: In addition to identifying the commonalities and differences between memory and story, this study examines the elements of the story in Those Twenty-Three People. The study uses analytical-comparative criticism. In each section, by introducing each of story elements and components of memoir writing, and by giving examples from the book Those TwentyThree People, the article examines how those elements are used in this book. 3. Discussion: The subject, plot, character, point of view, dialogue, scene and staging, tone, theme and truthfulness are the common aspects of the story and the memory. Those Twenty-Three People narrates the memories of 23 young men captured by Iraqi forces in Beitolmoqadas operation. Ahmad Yousefzadeh is one of these teenagers who has described his memories in this book after his release. The point of view of the book is singular first person, narrated from the viewpoint of the author of the book. This point of view is the most appropriate point of view for narrating the events and happenings of this book, because the purpose of the book is to express the events and problems that have unfolded to the juvenile prisoners, and these events and happenings must be told by someone who is involved in the story and has experienced the events. The content of this book include the events, problems and tortures that took place for Iranian prisoners in Iraqi prisons. Given that the prisoners in this book are minors and the Ba'athist enemy obliged them to make forced confessions and asked them to confirm they were sent to the battlefield by force, which will turn the world public opinion against Iran. The Iraqis also impose severe threats and torture on them. The hunger strike by the teenagers to end the enemy's sinister goal is the ultimate suspension and crisis and the climax of the story. 4. Conclusion: Memoir writings are among the most original and natural manifestations of culture and literature of battle field. They are also rare works narrated directly from the viewpoint of warriors who fought and were martyred in the battle fields. The subject of the book Those Twenty-Three People written by Ahmad Yousefzadeh is unique in terms of how the incident began, how it continued and how it ended, the like of which has not happened in any war. In this book, the time of the incident, its exact place and location, the names of the witnesses and planners of the incident have been determined by observing the time and place of the event. The plot is linear and based on the cause-and-effect relationship. The characters of the book are real and are introduced to the reader from the author's mind. The point of view is the singular first person, narrated by the author of the book. The author's goal in the dialogue is characterization and staging. Scenes from the book depict what happens in war. The tone of the book is real, serious, and in relation to the intimate reader. The content of the bookinclude the story, events, problems and tortures that took place for Iranian prisoners in Iraqi prisons.

Resistance poetry is one of the most important literary trends in 100 years of contemporary Iranian period; and few poets who have not works in this field might be found. This huge number of poets and audience with different beliefs has brought about a lot of discussions in resistance poetry, ranging from the enlightenment, protest, labor poems of the constitutional era to partisan, waiting, protest, labor, poems of the Holy Defense period, after the Holy Defense, poems related to the Intifada and Al-Quds, religious and Ashura poems, etc., in the contemporary era. This paper, thus, intends to investigate the subcategories of resistance poetry in the contemporary period divided based on historical periods (the constitutional period, Pahlavi, and the Islamic Revolution), and then to review their subject in order to offer a comprehensive analysis of this trend in poetry, and to reveal that this literary genre has mostly dominated the poetry of the contemporary period of Iran.

Description is the literary essence of memoir. Among various types of description, personality description is an essential element in memoir writing. The memoirist starts characterization while, due to the realist aspect of memoir, he is deprived of a range of imaginative dimensions and ambiguity in storytelling compared to the character description in other works of art and literature. The book Water Never Dies is the story of Hamid Hesam about the presence of Sardar Mirza Mohammad Solgi in the front, who won the first place in the eighth Jalal Al-Ahmad Award. In 2016, due to the accuracy of the descriptive discussions, the Supreme Leader of the Islamic Revolution wrote a epigram on it. The present study intends to investigate the functions of character description in the book Water Never Dies, using in a descriptive-analytical manner. The results show that in expressing personality traits, much attention has been paid to expressing the moral-intrinsic characteristics of warriors. 74 cases )23. 87%) of functions belong to emotional function, 62 cases of which are related to negative emotions and 12 cases belong to positive emotions. The author has used positive attributes about the spiritual moments and moral characteristics of Iranian warriors, but negative attributes are more about the situations of the imposed war and the injustices of the enemy and the unequal situation of war. Referring to the negative traits of the Iranian forces, the accuracy and correct and meaningful choice of descriptive words indicate a conscious pathology.