RESEARCH IN CONTEMPORARY WORLD LITERATURE
Year:2021 | Volume:26 | Issue:2|Papers Count:21

In his dramatic works, with the purpose of staging the void within mankind and the annihilation of his being, Eugène Ionesco chooses a language which is able to depict defeat in words and in the heart of human life. In fact, Ionesco approaches language through a different perspective and through pinpointing the insufficiencies of language to establish the ground for its deterioration in reader’s mind, destabilizing the equilibrium between language and thought. Through establishing the void and showing both human being and words as disjointed, Ionesco releases his characters in a meaningless world, leaving them without a haven or a shelter. Building on such an approach to Ionesco’s dramatic works, in the present article we will attempt to study the annihilation of human being in the world of sound and fury through analyzing the dissolution of language. To this purpose, we will make use of Arnaud Rykner’s views regarding nouveau theatre as well as some of Ionesco’s dramatic pieces.

More than 250 years have passed since the separation of Tajikistan from Iran. Since then, the country has suffered a lot of bitter events, but has kept its Iranian identity strong. Contemporary poetry of Tajikistan is the heir to the ancient Persian literature, which clearly shows the manifestation of Iranian culture. This article studies the poetry of five prominent Tajik poets in terms of the components of Iranian culture through a descriptive-analytical method. The study found that Tajik poets, regardless of the political boundaries of their country, are contemplating and fascinated by their cultural and literary heritage. The two elements of the Persian language and the common historical past are the most important elements shaping their cultural identity. The manifestation of Iranian culture in their poems can be seen in the form of commemoration of Persian language and the fear of its fate against various sects, citing the common past, the bow of myths and Iranian characters, especially poets and ....

Various adaptations are found in the history of Iranian cinema. The connection between Asghar Farhadi’s The Salesman (2016) and Arthur Miller’s Death of a Salesman (1949) was reviewed disparagingly and appraisingly in Iran and the West. Finding the cause of the tension between these contradictory discourses is the main purpose of this paper. With a post-colonial approach, especially with regard to Homi Bhabha’s (1949- ) views, we scrutinize The Salesman to clarify the relationship between the West and the East in Iranian cinema. It is revealed that Farhadi’s adaptation is a mimicry of Miller’s Death of a Salesman; with a close comparative analysis of the text of the play and Farhadi’s film, it is concluded that The Salesman is not merely a Bhabhaian mimicry of an American play but a third space that floats between the concepts of indigenization and mimicry. The interweavement of Western and Iranian cultural and social elements in this film creates a work that is tangible for both the Iranian and the Western audience.

By entering the translation into the realm of Persian literature , significant changes and developments occurred in the social and cultural attitudes of Persian poets and writers, and the exquisite and everlasting effects of translation have come to fruition, and brilliant figures in the field of literature came to the resurrection. One of these figures is Akhavan whose poetry is the Mirror of Iranian society (1330- 1360). He created some of his under the influence of the other nation's literature, including the famous poetry "Dogs and Wolves", on the effect of the Hungarian Poet. This article, in an inferential-analytical method, will look at how to get and adopt Akhavan from Sandor Petofi and examines how nations use the "symbol" as a common language and through the symbol, express their shared thoughts. It is important to state that in the realm of art and literature, the "symbol" is the common language between nations through which, they can illustrate the intellectual communion that emerges from the social necessities for enlightening man.

Bertolt Brecht (1898-1956), a German playwright, thinker and social-political activist was one of the noteworthy writers who wrote many of their plays on the basis of eastern literature (especially Chinese and Japanese). The play in two episodes called He Who Says Yes/ He Who Says No, are among Brecht's works which he adapted from an original Japanese No drama, called Taniko by Zenchiko. At first, this play was translated into English by Arthur Waley, and then Elizabeth Hauptman translated it into Germany, the one which Brecht used as his source for creating He Who Says Yes. Both translations and Brecht's play has fundamental differences with the original text. The most important difference is that the religious atmosphere of Taniko in those two translations and Brecht's play became a secular one, resulting to major changes in the story and characters of Taniko. This paper aims to study these two plays, presenting their similarities and differences, furthermore, comparing philosophical, religious, social and aesthetic aspects of two plays.

The present article analyzes a Japanese novel, The Woman in the Dunes written by Kobo Abe. He has shown the effects of World War II, modern society, and human confusion in dealing with these issues. We learn about concepts such as identity crisis and alienation. Actually He puts each of his characters in a special and exceptional situation, the decisions made by these people in this situation, changes that occur in the quality of their lives and even the experience they gain from these changes represent the real crises in the society of that time. In this article, we have tried to analyze one of his novels, to find another kind of identity change. We intend to examine the emotional changes that occur to Niki Jumpei, throughout the story by semiotics of emotion to gain a model of this inner process of emotional changes that actually originated from the outside world and external pressures.

The inclusion of foreign literature in one's own literature could be established in the idea of World Literature, experiencing broad dimensions with comparative literary studies. This point of view can play a major role in the cultural interaction of nations. Even if world wars in the 20th century, and the ominous phenomenon of "Trumpism" are related to overzealous nationalism and have marked dark sides in human history, the importance of the realization of the utopia by "Cultural Interaction of Nations" has never decreased for thinkers and writers of the world.The emergence of the overzealous nationalist movements at the beginning of the 21st century and "Trumpism" in this day and age led to a huge crisis in today's world. These phenomena have once again demonstrated the important role of the idea of World Literature and comparative literary studies. The present contribution aims to answer the question of how one can achieve cultural interaction with the medium of "literature", expanding this element to the political, and social areas in today's world.

Sociocritical analyse of the novel Ibn Mashghalet by Nader EbrahimiSociocritical analyse has a special place among all kinds of literary attitudes. With a content based approach, this method of criticism examines the relationship between literary work and the society from which the text originated. Such an analysis of the literary work can help to understand the structures of society and its problems. It therefore highlights environmental-historical factors outside of the work and the social components reflected in it. This article attempts to study the novel of Ibn Mashghlet by Nader Ebrahimi and to reflect on the reflection that the author has made on his community, based on the sociological criticism approach of the writer, Claude Duchet. Therefore, historical elements such as themes and various social cues and traces of historical events are analyzed here using the descriptive analytical research method.Keys words: Ibn Mashghalet, Society, analyse sociocritical, Claude Duchet, Nader Ebrahimi, descriptive analyse

Cognitive linguists believe that language reflects the fundamental characteristics of the human mind. In addition, the presence of the language user can be revealed by linguistic methods in his utterances. This has led linguists, including Kerbrat-Orecchioni, to analyze the symptoms of said mental activity. Kerbrat-Orecchioni, French linguist, believes that the narrator has two main paths in his words: an objective speech in which there is no sign of him; And a mental discourse in which its presence is implicit or explicit. The use of adjectives in statements is one of the methods which gives objectivity to the presence or absence of statements. Our aim in this article is to investigate and study the mental characteristics of traits in six folk tales, compiled and rewritten by Iranian writer Samad Behrangi and 17th century French writer Charles Perrault. To achieve this goal, we identified the traits used in these stories based on the Kerbrat-Orecchioni classification and examined their subjective or objective nature.

With the surge in translation of Islamic scientific works in the 12-13 century AD by the Europeans, a large number of these translations became available in Europe when Muslims were at the height of their scientific glory. Avicenna was a well-known Iranian scholar whose works in medicine and philosophy were well received in Europe. Avicenna's Hayy ibn Yaqdhan is an ancient dramatic work that was translated into French in 1889. It is possible that the English translation of Ibn Tufail's book of the same name and his direct reference to Avicenna's Hayy ibn Yaqdhan led to the first contact of Tolkien with Avicenna's book as inspiration for the writing of his novels. The Hobbit by J. R. R. Tolkien is one of the most fascinating contemporary fantasy fictions that enjoys immense popularity. This study used a descriptive-analytical method, touching upon the American-style comparative literature, to demonstrate that Tolkien's The Hobbit (2006) was influenced by Avicenna's Hayy ibn Yaqdhan irrespective of difference in their content, and examined this influence.

Le Clézio, the 20th century French novelist, highlights the mythical nature of his work through narration. For Le Clézio, Icarus appears as a social figure in order to present historical and chronological changes as a reversible concept. In Onitsha, temporal and spatial elements are in such order that a dream, the past and a missing identity are reconstructed through societal events and natural elements. Creating a myth in Onitsha accompanies structural rules. Connections between mythical concepts reflect linguistic constancy. Therefore, mythical nature of Icarus is considered as linguistic and semantic structure expressing temporal and spatial realities owing to a general structure. This mythical language consisting incoherent elements shapes historical events.Le Clézio, the 20th century French novelist, highlights the mythical nature of his work through narration. For Le Clézio, Icarus appears as a social figure in order to present historical and chronological changes as a reversible concept. In Onitsha, temporal and spatial elements are in such order that a dream,

The question “What is literature?” has always aroused controversial answers throughout the history of literary criticism. Classic theories of literature have tried to characterize the essence of literature through proposing a unique textual property common to all instances of literary works, yet this essentialist approach has always faced an intractable challenge: with the emergence of “avant-garde” works, which did not have that particular “property” yet somehow came to be regarded as “literature”, the explanatory power of such theories were challenged. In response to this challenge, in this paper, it will be argued that, from the later Wittgenstein’s perspective, an analysis of the rules governing literary writing demonstrates that literature is a language game wherein there are no “wrong moves”. One advantage of this new definition, despite its essentialist character, will be that it will face relatively fewer challenges in considering “avant-garde” works as literature. Finally, it will be demonstrated how this new Wittgensteinian definition of literature contributes to an understanding of the “reflexive” meaning of Brautigan’s Trout Fishing in America.

Arthur Schnitzler, an Austrian author and playwright, is one of the founders of modern German literature. Being associated with the latest literary trends of his time, Schnitzler has been a pioneer in some fields. He has influenced several generations of artists in the west and the east up to now. Schnitzler is known to be a psychologist-psychoanalyst author. Literary critics have praised his rare intelligence in revealing motives hidden behind human actions. Schnitzler’s world of fiction has other remarkable aspects that this article is going to deal with. The most important one of them are implicit humanism and decadence that are expressed in his writings. This article also examines main features of fictional writing of Schnitzler as an author who has never been presented in Iran adequately and never received the attention he deserves. The study acquaints readers with thoughts of Schnitzler and certain technical characteristics of his art too.

This article tries to discusse the notion of “anti-language” and its effects on identity scripts in prize-winning The Map of Love (1999), a novel by Egyptian-American bestselling writer, Ahdaf Soueif, through a cultural and post-colonial perspective. Deploying Bill Ashcroft’s and Mikhail Bakhtin’s views, the writer has tried to elaborate on how minority writers, like Egyptian-American Ahdaf Soueif, have used the “anti-language” technique and “wordplay” strategy to rewrite and redefine the cultural geography bequeathed from the colonial era. To this end, the notions of “language variance,” “polyphony,” and “carnival” have been discussed. It is argued that, since the current cultural geography has been formed based on an “essentialist” and binary style of thought which represents oriental fantasies, the minority writers have tried to redraw cultural maps and redefine the identity patterns not only through deconstruction of the hierarchies and “epistemic violence” of neo-imperial discourse but also through wordplays, neologisms, and back translation

The purpose is comparative pondering of André Chénier and Ahmad Shamlou’s socio-revolutionary romantic poems.These poets share the same tendencies and the social content of their poems is tended to romanticism. In addition,«consciousness»and«revolt»are two basic issues in understanding the concept of being a revolutionist.Both poets use the same critical language in relation to the rough problems of their societies and in the most of their poems poverty, injustice and oppression are the contents which reveal the influence of romanticism in political-social relations between the West and the East.The comparative study of Chénier and Shamloo's poems reflects the impact of poetry on the fate of the social man;combination of feeling and commitment is one of manifestations of dynamic poetry of both poets. That is why we have compared the themes presented in their poems.In this paper, by examining Chénier and Shamloo's poetry, from the perspective of the American doctrine (affinities and similarities), we show that two poets with co-oriented attitudes are struggling to build a new world in the depths of society.

Mircea Eliade, Romanian contemporary mythologist and historian of religion, is recognized as a prominent writer in his country; He believed that Issues such as the transition from linear- historical time to sacred time can be understood by the unknown parts of ancient mythology for today's mankind. Eliade's "Twelve Thousands of cows" is an opportunity to explore a particular narrative style and analyze Time from a mythological perspective. The present study provides an opportunity to understand one of the narrative techniques of time that Eliade himself first found in mythology and used in his story, self-conscious or unconscious. The plot of the story is in the story of a history of historical anxiety, war and bombardment of Bucharest, and the writer tries to challenge the anxious time of history and by historizing in the context of mythological understanding of time, changed despair to hope in the midst of a special narration.

Based by Saussure, it is known that the meaning has a differential and privative aspect . Also this fact applies about the subject and his identity, it means that for having a distinct identity the subject needs an (other) who is different of himself.Based on this fundamental debate Eric Landowski, the french social semiotician, offers the model that studies the contact of the groups: the «dominated other» and the «dominant reference», he calls these behaviors and contacts the «lifestyle». In this way he defines four lifestyles of bear, snob, dandy and chameleon.This paper describes and analysis scrupulously the two final models and tries to analyze the system of taste and desire of Marcel, the main character and the narrator of Marcel Proust's masterpiece (In the search of the lost time) and shows the way that this character passes from the lifestyle of «mundane man», to the «bear» lifestyle (jungle man) and his passage to the lifestyle of the «genius man».

Investigating the Role of the "Descriptive" Element in Creating the Absolute Space Ruling on the Stories of Malone and LiveAbstract"Descriptive" is one of the main and integral features of any story. Among contemporary writers, such as Sadegh Hedayat, an Iranian writer and researcher, and author and playwright Samuel Beckett have used the "descriptive" element to appropriately appropriate spatiality. The purpose of the authors in this article is to examine the role of "description" in creating the absurd atmosphere that dominates Beckett's "Malone dies" and Hedayat's "Tales of the Living." The type of research is descriptive-analytical and the method of data collection is library and catch-up. Analyzed material shows that, unlike classical writers, Beckett and Heday intend to use the "description" to represent the world inferior to it and to make the atmosphere of the stories hopeless. To this end, they have used narrative, narrative, humorous, or epic, and mimetic or imitative roles.Keywords: Beckett, guidance, description, absurd space, maloney dies, alive.

The origin of the magical realism style is the Latin American literature. This style of writing was not limited to such a region of the world, and it has become the subject of fiction literature from other countries including Iran. It is a reflection of the use of the style in the fictional literature of Iran, pure imitation or in accordance with cultural behavior and the development of adaptive literary information. Therefore, the analysis of the components of the effects in the matching can be effective in this recovery. In this research, a comparative study of the components of magical realism in novels of Carpentier and Dowlatabadi, has been studied through descriptive-analytic method. The findings show that both authors use common magic realism style that are different in the only examples. At the same time, unique materials are also featured in the works. Studies show that the climate, economic and social conditions of both writers have influenced the quality of creation and the use of the style of magical realism.

Feminist criticism is the approach that began in the late twentieth century to examine the status of women and their experiences in literary texts. Critics of this approach apply two methods of woman criticism (A woman as an author) and, gender roles analysis (woman characters representations) to examine the literary texts.This study tried to analyze two vampire novels of Meyer and Golshiri, with a feminist approach by applying these methods, to answer the following questions: were the works influenced by patriarchal discourse? Borrowing his vampire characters from Western myths, did Golshiris domesticate his characters by letting them enter the streets of Tehran? Did he domesticate the cultural and social issues such as attitudes towards the woman in his work? Is there any difference between Golshiri`s woman characters Meyer`s.Meyer, as a woman writer, has tried to dramatize her women characters as strong and independent, she is influenced by male-dominated discourse in some cases. In the vampire of Golshiri, the gender roles are more frequent than Meyer's, and in some cases

. The research method is descriptive-analytical based on the narrative structure of both works. The result of this research shows that this two narratives are identical in terms of the main event of the narration since both narrators describe the futility and absurdity of the efforts of their Heroes. By analyzing the narrative structure of these two works we find that there are no inconsistent, indefinite and additional events in Katibeh and its narrative begins with the introductionand ends to resolution. But the narrative of the Myth of Sisyphus, apart from the weakening factors of the plot, begins with the crisis. Accordingly, Katibeh has a more coherent plot compared to the Myth of Sisyphus. Also, the narrative point of view in the Myth of Sisyphus is in uniform manner and it has one narrative view while in Katibeh there are different views of narrative and this change is quite meaningful in the various verses of the poem.