LITERARY CRITICISM
Year:2022 | Volume:15 | Issue:59|Papers Count:6

Nativism is a modern term that emerged in parallel with the process of the independence and liberation of the eastern colonized countries from the domination of the western colonialist countries and at the same time, it emerged in various fields, including fiction. By examining the various definitions of this term and the way they are used in all kinds of literary research, it can be seen that choosing any of these definitions can easily change or deviate the research process and its results. In other words, the lack of a precise and practical definition of nativism can be considered the most important challenge and shortcoming of studies related to this field. In order to achieve such a definition, this article has analyzed and found the roots of the meaning of nativism in Iranian fiction from 1285 to 1400 in a descriptive and analytical way. In this way, at the beginning of the research, all presuppositions about nativism were ignored; then this term was analyzed from social, intellectual and literary aspects. The research results showed that nativism is different from Native writing and other similar concepts in terms of meaning and function. Also, in the redefining of this term, as the most important finding of the research, it was found that nativism in fiction is a two-faceted reaction that deals with both native and colonial components at the same time. Extended Abstract Introduction Nativism is a modern term that is linked with concepts such as identity, culture, colonialism, modernity and other. The connection of nativism with these concepts, while revealing the extent of its dimensions and practical aspects, has provided various and different definitions of this concept to researchers, which depending on the way these definitions are applied in studies, may lead to different and possibly conflicting results. Therefore, providing a correct and accurate definition of nativism should be considered as the most important part of research related to this category. Among the various sources that have dealt with nativism and its various dimensions, nativist stories have always been of special importance. The importance of these works from various aspects such as xenophobia, showing the aspects of colonialism and its consequences, revealing the perspective of Iranian story writers against foreign domination, and finally recognizing the components and manifestations of nativism in stories have always been worthy of attention. This importance doubles when we know that in addition to the connection with the mentioned concepts, nativism has an inseparable connection with other social components such as culture, language, religion, history, politics and geography of Iran. In any case, in order to start research in the field of nativism, it is necessary to provide a precise definition of it at the beginning, and then based on that, works should be selected and various aspects of nativism would be examined. In this regard, this paper examines the roots of the meaning of nativism in Iranian fiction through the description and analysis of social, literary and intellectual aspects in the constitutional time period until 1400 AD. There is a need to remind that until now, there has been no significant and specific research on the meaning of nativism in Iranian fiction literature, and its vacancy as a foundational research for other literary researches is quite noticeable. Methodology This research seeks to provide a detailed and practical redefinition of the concept of nativism in Iranian fiction based on previous studies and existing stories. The research method in this paper is based on data description and analysis; It means collecting data from various sources (documentary study) and deducing from data through description, comparison and logical reasoning. Results and Findings Analyzing the meaning of nativism in contemporary Iranian fiction and finding a precise and practical definition for it was the most important goal of this research, and to answer it, the concept of nativism was examined from social, literary and intellectual aspects. The results of this research show that nativism has two origins and two main approaches. the anti-colonial approach with eastern origin, which is mainly related to Asian, African, Latin American countries and Iran; and the anti-immigration approach with Western origins, which is mainly related to the United States and European countries. One of the other findings of this research is the revelation of the semantic difference between the term nativism and other similar concepts, which was examined and analyzed in a separate section. But the most important results of this research are related to the characteristics of nativist stories and its components. We can generally see that nativism is a conscious reaction against the domination and colonization of a foreign country, which usually arises when feeling the danger and critical conditions of the period of domination and colonization. These kinds of stories always have two main and basic aspects that a considerable amount of text is dedicated to them. The first aspect is related to xenophobia and showing various aspects and consequences of domination and colonialism. But the second aspect is related to the representation of Iranian culture and identity and showing the capacities and abilities of the land of Iran, which have occurred in the stories at both national and local levels. Conclusion By comparing the results and summarizing the analysis, it is possible to introduce nativism in contemporary Iranian fiction as follows: nativism is a two-faceted and conscious reaction to the domination and colonization of foreign countries, which, on the one hand, introduces the foreign element and describes the aspects and consequences of colonization and the method of confronting it; And on the other hand, it represents the native culture and identity and shows the capacities and abilities of the land of Iran.

Abstract Regardless of the obvious message that is displayed on the cover of any text, sometimes there is another discourse in the context of the content that challenges the intention of the creators of the text in supporting the cover. In the light of reinterpreting and deconstructing the works, the dark labyrinths become clear and new concepts are presented. Ferdowsi and Sa’âlabi's two narratives of the story "Aleksander and the Daughter of the King of India", with a significant difference in the ending, is a familiar story of the marriage bond of the defeated beautiful girl with the conquering king. In examining the secondary discourse, the mechanisms of exercising power over the body are highlighted. Contrary to popular belief, these mechanisms are not only torture, rather, aesthetics is also considered a kind of care network that does not end when a woman enters the "other's" field (father's house) into her own field (wife's house). On the contrary, when a woman wins in the body test prepared by the institution of power, she is considered as a threat to the totalitarianism of the ruling system by deviating from the norms of socialization. In this study, in an analytical-descriptive way and with a sociological point of view, the elements in the mentioned story have been reconstructed and by using the opinions of the thinkers in this field, especially Michel Foucault, the mutual relations between the three elements of "beauty", knowledge", and "power" have been discussed. Extended Abstract Introduction In epics, girls have a limited number of choices. They have to wait for the fate that will be decided for them by the outcome of the war or current events. They are offered as a prize to the winner to encourage soldiers to fight through sexual incentives. In the story of "Iskander and Faghestan" in Shahnameh, we have the same conventional pattern. But Thaalibi's narration also has a second part, in which the girl who was given to Iskandar as an atonement, after passing the fitness test, was rejected by entering the field of "self" to remain in the pole of "other" and gender. The essentialism and the self-sufficient ego of the power institution must continue its pure life regardless of the interference of others. Theoretical Framework In his series of sociological discussions, which is influenced by the structuralism and psychoanalytical attitudes of thinkers like Lacan, especially in the book "Care and Punishment", Foucault refers to the prison as "the dense form of all disciplines”. He did not apply his views on literary works, and Lacan also examined only pictures and paintings in the discussion of "gaze", which are also used in cinema, there is a possibility of extending these views to literary texts. In this paper, it is attempted to explain the manifestations of dominance and care in a literary narrative from a sociological point of view, citing the above points of view.  Methodology First, by doubting the obvious message of the text (the importance of aesthetics) and its other reading and white reading, the images were extracted and then described in an analytical-descriptive way. Although the main foundation of the research is Foucault's point of view, the fragments that were taken from his theory have been used to enrich the research. Discussion and Analysis Based on the findings, the relationship between the three areas of power, knowledge, and beauty in the story of Iskandar and Faghestan can be seen from four directions: knowledge in the service of power, gaze, from hiddenness to the position of the arena, rejection of other wisdom. The role of knowledge in the service of power is highlighted as well. The first time is when Kaid sees a series of dreams that only Mehran is able to interpret them. Again, the nine wise men of Rome use their knowledge to verify Kidd's claim. Faghestan is presented to the Roman envoys in a completely decorated form. According to his father, he was "in hiding" until the arrival of the Roman envoys. unlike the tests of knowledge and ability in epics, the Faghestan test is only a physical and wisdom has no effect on the result of this test. Conclusion Although the plot of the story highlights beauty and aesthetics, the secondary discourse affects the mechanisms of exercising power on the body. These mechanisms are applied to Faghestan's body as "other" in several ways. In first place, Kaid keeps her locked in a private space like a valuable commodity. Knowledge and power give the "other" body to the more powerful entity. Faghestan which has fully accepted its gender socialization, has no choice but to observe court customs and rituals. Finally, due to the disturbance it creates in the totalitarianism of the power institution, it is sent back; Because politics is alien to the logic of dialogue.

The present paper compares the principles of traditional Iranian dream interpretation and psychoanalytical dream interpretation with an emphasis on Sigmund Freud's views. The studies previously dealt with the Islamic dream-books have primarily focused on the historical, literary, codicological, philosophical, and social aspects of these texts. However, some researchers have alluded to psychoanalytical considerations of their authors. In addition to collecting these hints, this study quotes examples of Persian dream-books as evidence for many psychoanalytical terms about dream interpretation. These materials and findings indicate the considerable similarity between modern psychoanalysis and early dream interpretation in principles and details. For instance, similar philosophical and professional principles have been observed in early dream interpretation and psychoanalysis schools, both providing a similar description of the functions and production processes of dreams. Following Lacanian psychoanalysis, the author discusses the various types of metaphor and metonymy and explores the sources of some rare metaphorical themes in Dari poetry. Extended Abstract Literature Review Freud (1900: 123-124) points to Arab dream interpreters whose methodology relied on inquiring about the dream. Moreover, Lamoreaux (2002) considers Islamic dream interpretation a subset of psychology. However, he regards the attempts to equate it with psychoanalysis as unjustifiable (Kahana-Smilansky, 2014: 141). On the other hand, Bulkey (2002: 6) sees some similarities between Ibn Sirin’s doctrine of interpreting dreams based on the dreamer’s personal attributes and Western psychologists. It should be mentioned though that Afrasiyabi and Komeili (2005: 139) argue that using metaphors and idioms to interpret dreams is not limited to Islamic dream interpretation. Contemporary psychoanalysts, too, employ it in interpreting dreams (ibid: 141). Goals, Questions, Assumptions Traditional dream interpretation is wholly different from modern psychoanalysis. It has more to do with astrology, fortune-telling, and prediction rather than therapeutic functions. Contrary to psychoanalysis, traditional dream interpretation is forward-looking. Nevertheless, from its contents, the outline of a pseudo-psychoanalysis emerges. Main Discussion Traditional Dream Interpretation and Psychoanalysis was contrasted in the study and the findings are presented. Joint Philosophical Foundations include 1) The Interpretability of Dreams; 2) Recognizing the Divergence among Interpretations. Joint Professional Principles could be categorized in three sections: 1) scientific and ethical sensibilities; 2) relying on the dreamer’s biography; and 3) memorizing dreams through practice. Moreover, it is found that the functions of dreams can be categorized in four aspects. The first category is “compensation aspect”. The interpretation of many dreams or dream elements in interpretation texts can be categorized into one of the following elements that embody the aspirations of the peoples of those eras. For instance, “taking a wife,” “purchasing a bondwoman,” “husband,” “son,” and “property”. The second aspect is “warning aspect”. Even though these interpretations are mostly predictive, they can reflect the dreamer’s current circumstances which can be altered upon their awareness and intervention. The third one is “sexual aspect”. This aspect is apparent in the symbology of dream interpretation. The fourth aspect is “problem-solving”. In the following statement, the narrator seems to have received the answer to his religious questions in his sleep: “When I looked carefully, it was Ali ibn Abi Talib ... He posed four to five questions. Then he gestured at the Prophet Mohammad ... that ... he answers correctly” (Tiflisi, 2009: 219).  Furthermore, it is discissed that dreams can have three specific functions. 1. Condensation: Metaphors are instances of condensation that appear in dreams. Paradoxical descriptions are forms of compression. 2. Displacement: Metonymy is an example of displacement. 3. representation/ dramatization: Idioms, conceptual metaphors and converting words into images, which are more etymologic, constitute the main embodiments of representation in dreams. Based on Freud’s view, dreams are seen as unconscious symptoms and they have been analyzed based on Freud’s concepts and terms. 1. Freudian Slip: Paying attention to homophony and other phonetic similarities implies the crude understanding and discerning of slips on the part of the traditional dream interpreters. 2. Psychic Determinism: In Islamic literature, “nightmares of the fall” attributed to Pharaoh and Nimrod and others reflect the determinism that pushes the dreamer toward his eventual fate. The traditional dream interpretation abounds with the themes of “escaping the dream” or “welcoming the dream”.  3. False Memory Syndrome: The following statement can be taken to mean that the interpreter is the one who constructs the meaning of the dream that leads us to believe something that is a construct of his mind: "The dream follows the dreamer's interpretation... and ends and is proved with the interpreter's interpretation (ibid: Altahbir/ 40-41). 4. Free Association: Take, for instance, the following evidence: "If a man dreams that he is wearing garments made of Bord or Washy... he had no choice but to speak words in it because there were lines written on him, and the lines are words" (ibid: 98).  5. Psychosomatic Ailments. Based on the analysis, the linguistic implications of the dreams have also been scrutinized. These implications constitute the link that connects Freudian psychoanalysis with Lacanian psychoanalysis. They include metaphor (a large segment of the corpus on dream interpretation simply provides a list of dream metaphors, e.g., “sunshine: the king”, “judge: God”), conceptual metaphors (For instance, behind the following traditional terms lies the metaphor “religion is a way”: “the right path”), and metonymy (For example: “crown: kinghood”; “pen: science”; “camel: Arab man”). Conclusion In this paper, the author sought to extract the psychoanalytic core of dream interpretation texts, comparing it with the idioms of psychoanalytic dream interpretation to underscore the accurate interpretations and precision of Muslim interpreters.

"Revolution" is one of the important issues that cause extensive changes in various political and social aspects of the society. The revolution has such an important effect on the periodization of art and literature that the literature of some countries is divided into "literature before or after the revolution". One of the most important theories about the relationship between literature and revolution is Jurgen Ruhle's theory. The present paper tries to periodize the literature of the Islamic Revolution in general, based on Ruhle's classification, and also investigate the rupture or unrupture of intertextuality in revolutions. For this purpose, the definition of intertextuality has been discussed first, and in order to classify the literature of the Islamic Revolution, Jurgen Ruhle's triple periodization (the period of sentimentality, the period of doubt and the period of rupture) has been used. Finally, the rupture or unrupture of Intertexality in revolution has been scrutinized. This research, which is written with a descriptive-analytical method, uses various linguistic theories, Harold Bloom's "reality" theory, and other related theories to further confirm Ruhle's theory, and concludes that it is possible to use the classification of Ruhle as a criterion for periodization of Islamic Revolution literary works. In addition, although revolutions cause intertextual rupture, this rupture does not include all the components of the tradition, because the slow and continuous flow of the tradition is more rooted than that the political and social events of a specific period or system cause it destroyed completely. Extended abstract Statement of the problem: Literature is one of the tools that revolution uses to achieve its goals, but is the relationship between literature and revolution permanent? Will the form and content undergo a fundamental transformation with the revolution? What is the fate of literature after the revolution? Is the intertextual relationship with the literary tradition completely cut off? In this case, how is the literature of the revolution periodized? The present paper tries to answer these questions with the descriptive-analytical method and based on Jurgen Ruhle’s theory about the periodization of revolutionary literature (the period of sentimentality (promotion), doubt, rupture) and also by taking the help of the theory of intertextuality. Discussion: Literature has an important role in the spread and acceptance of the revolution because of its elements such as rich emotion, influential music and language, therefore it has always been the focus of various political parties. Different groups have profited from it to excite people, propagate beliefs and mock enemies. From this point of view, literature has a persuasive function in addition to its aesthetic function. But literature is not the messenger of the revolution forever, and after a while, it separates its way and goes on its own independent way. Therefore, from the point of view of Jurgen Ruhle, the literature of the revolution is divided into three periods: 1-Period of emotions or political romanticism: In this period, most of the writers support the revolutionary ideals and use their art and talent in the way of the revolution and its realization and promotion. 2-Doubt period: In this period, there are doubts about the past and the artist has doubts between society, personal life and revolutionary goals. 3-Disruption period: In this period, unlike the first period, literature is not the voice of the revolution, but it moves away from it and sometimes even opposes the ideology of the government. The same theory can be applied to the literature of the Islamic Revolution. The late 1970s until the end of the imposed war (1989) can be considered the period of sentiments and promoting the revolution. During this period, artists engaged in political struggle, opposing the Pahlavi government and promoting the foundations of the revolution, and there was a widespread interest in religious literature and revolutionary rituals. Since the imposed war occurs during this period, the atmosphere and revolutionary discourse continues until the end of the war. The second period begins with the end of the war, and with the formation of the reform discourse, it becomes more and more important, and it can be considered until the middle of the 80s (2006). During this period, some artists adjust and change their revolutionary opinions and beliefs, and the ideological view becomes less. The intense religious, political and war themes are declining and not only are there no signs of passionate revolutionary themes, but "doubts in ideological certainties and writing from lived experiences are the most prominent features of the literature of this period" (Saadat, 1384, vol. 1: under fiction). From the mid-80s (2006) to today, in the works of some artists, doubts come close to breaking. In this period, in Mastur's interpretation, we can see the "bifurcation" of literature, that is, "those who write against the values of the revolution and those who write in support of them" (Hariri, 1383: 63). The issue of the relationship between literature and the revolution can also be examined with the approach the rupture or unrupture intertextuality. For example, because in the first decade of the revolution, Nimai's poetry was suspected to be secular, the literature of the revolution turned to other formats, and Nimai's poetry was abandoned for a while. This indicates that with the change of the political-social system, the artistic discourses will also change willy-nilly and intertextual break occurs in some of the themes or forms. Of course, it should be noted that a complete break from the literary tradition is not possible,Because it is not possible to completely reject, deny or remove the tradition. Conclusion: Considering what has been said, it should be said that literature does not remain in the service of the revolution forever, but according to Jurgen Ruhle, it goes through three periods (the period of sentimentality, doubt, rupture) after the revolution. The same periodization can be applied to the literature of the Islamic Revolution. From 1979 to the end of the war can be considered as the period of emotions, promoting and supporting the revolution. 2-The end of the war until the end of the reform period (mid-2000s) can be considered a period of doubt about the ideals of the revolution. In this era, doubt in ideological certainties and religious beliefs spread, and writing about love, lived experiences and paying attention to the form replaces the preaching of religion, war and supporting the revolution. 3-From the middle of the 2000s onwards, it should be called the break(rupture) period. During this period, some artists wrote against the values of the revolution and completely distanced themselves from the first period. In addition to the division of Ruhle, from an intertextual point of view, although revolutions cause intertextual rupture this rupture does not include all the components of the tradition, because the slow and continuous flow of the tradition is more rooted than that the political and social events of a specific period or system because it destroyed completely.

Lyrical literature and hence romantic poetry is a collection of feelings, emotions and representations of human relationships which has been widely used in different eras and discourses with various even conflicting functions and manifestations. Romantic poetry, distancing from political poetry, discusses politics of literature rather than political literature. However, modern Iranian poetry, deeply connected with politics and protest literature, establishes a different relation between dramatic poetry and political poetry. Shamlou is one of the prominent poets of political poetry whose antagonism and political conflicts are sources of metaphors and constructions in romance. This paper, based on critical discourse analysis, emphasizing the concept of "antagonism" as a key concept in politics, shows that politics is related to romance in two ways. First, such romances are new experiences to represent human relationships. Second, they are against traditional literature, since Shamlou by changing the rhetoric of romantic poetry created a type of literature that is romance in surface but resistance literature in depth. Extended Abstract Iranian modern literature is fundamentally different from pre-modern literature; although the way modern literature uses the theological source of pre-modern literature is not its logical continuation. Political orders and the concepts are the most important elements of the distinction between two periods. Usually, romantic poetry is distinguished from political poetry, but Iranian modern poetry, which is connected to protest literature and political matters, has established a good relationship between romantic and political poetry. Studying he relationship between political literature and the politics of the literature is the main goal of this manuscript. The concept of “antagonism" is emphasized here as the key word in Shamlou's poetry, showing how politics is connected to romances. Firstly, these romances are new representations of human experience, and secondly it is a rhetorical change in romantic poetry, which is against the traditional literature. The most important principle that connects the concept of "articulation" to the political issues is discursive conflict; thus, for a better understanding of the conflict, political literature, and the politics of literature discourse, the concept of politics must be separated from the political orders. Any action which is beyond the realm of the individual, can influence the decisions of the society, especially the political power, and in some way modify or oppose it, and it is called a political action. Political poetry promotes the idea of anti-reading, and a political poet as an anti-reading thinks about the "enemy other". After a huge break of the Persian Constitutional Revolution, social movements and the libertarianism language took an explicit form. Literature migrated from traditional lyrical to a new space. Revealing the name of "Aida" with the poet not as a Platonic lover but as a better half living with Shamlou is a kind of conflict with the tradition of romance-writing in one hand and "Literature of resistance" from the other. In political poetry, enemy is the other, and in the romantic poem, the other is the friend. The poet of political poetry thinks about resistance; in this view, the enemy has become a focal point; because the enemy has captured a part of his unconscious like a "central metaphor". The confrontational mentality of the political poet turns the other, such as the enemy, into an object, and turns the other, such as friend and love, into a praiseworthy subject. Contemporary poetry, unlike pre-modern poetry with a negative aspect, brought the private into the domain of the public, and by highlighting the other friend in romantic poetry, created a kind of resistance and negation tool. In his poem, Shamlou clearly says that love is an epic and he sees this reversal from the eyes of the enemy. The link between love and struggle in Shamlou's poems is the internal link between the practice of personal experience and the most external political behaviors. In a general classification, historically, his life can be divided into three parts: A: The period in which the search for love gives way to experience; the experience of life and poetry, which, according to him, are "not impressions of life, but life itself". This period can be referred to as the period "before the appearance of Aida". B: The period when the poet, tired of the bitter experiences he has acquired in his personal and social life, finds another love and he moves to the house so that love becomes a refuge and a bastion where he can relieve the outside fatigue and find new strength to fight. This period starts from 1962 "Aida's appearance". C: In the third part of his life, although he still has Aida's presence, Shamlou thinks more about death and "struggle with silence" and he remembers his friends. In fact, this same love and social commitment in Shamlou's poetry makes him not distinguish between individual love and public love. From the perspective of love, three types of love can be distinguished in Shamlou's poem: 1. Romantic love without social pains.2. Personal love with social representations, and 3. General love or love of freedom and man: 1. Although romantic love is not the general indicator of the concept of love in Shamlou's poems; Shamlou has been involved with this type of love in a negative way. He considered individual and public love as opposed to romantic love, which always has the suspicion of eroticism. Romantic love can be found in Shamlou's first poetry collection, "Āhang-hāye Farāmush Shodeh (Forgotten Songs)". 2. Keeping distance from his romantic love, Shamlou discovers love in another dimension: the shadow of resistance; as it can be a strength for fighters who return to fight again. 3. By rejecting romantic love, Shamlou arrived at a special definition of man; a person who can have the courage to deny the disturbing facts and reveal himself as a fighting person. The convergence of the meanings of the two fields of politics and love has turned Samlou's poem into a different poem. From this point of view, finding the signs and codes of his romantic poetry is not compelling only in purely lyrical spaces. The enemy as a threatening other has caused Shamlou to experience new ways, because the discourse of his poetry is against the discourse of domination; whether we seek this dominance in aesthetics or in the discourse of power. It is in this situation that Shamlou glorifies the beloved as another and brings love into his poem in the atmosphere of resistance to discover a new truth. In individual romances, he uses the same signs and symbols that used before in public love. The same lover with a revolutionary face and the same revolutionary faces with the beloved cause him to not see a difference between public love and personal love.

Literary proper names can perform various functions. In fantasy literature, which usually has its own dedicated secondary world, these functions are even more prevalent. Analyzing the translation of these names provides new insights for translators of the genre and literary translators in general. In that light, the present study was designed to analyze the translation of proper names in five fantasy novels. To conduct the research, first the proper names in fantasy novels were identified and their functions were determined based on Gibka’s model (2018). Then by analyzing the translation of the proper names from English to Persian, the translation strategies were identified and examined. After the analysis of data, it became evident that contrary to popular belief, non-translation is not always the best strategy for translating literary names. Based on the results, the strategy of translation never caused the loss of semantic function in the translated texts, while in some cases the non-translation strategy caused the loss. Moreover, non-translation never caused the loss of localization function. Therefore, choosing the translation strategy for proper names with secondary functions in mind will help translators transfer these functions to the target text more effectively. Extended abstract Introduction Translation of proper names in fantasy literature can be a contentious topic among translators and theorists alike, since literary proper names can perform different functions within the narrative. The present research was conducted in order to determine the different functions of proper names in fantasy literature and the strategies employed for translating those names and to see if and how the translation strategy affects the proper name function in the target text. Methodology The present study was an empirical, descriptive and analytical research, conducted in order to analyze proper names and their translation in the fantasy genre. The corpus of this study was a parallel, bilingual one. It consisted of the novels, “Prince of Fools”, “The Liar's Key”, “Shadow and Bone”, “Everless”, and “Bone Season” and their Persian translations. These novels were translated to Persian within the last ten years (2014 – 2017) and could indicate recent trends in the translation of proper names in the fantasy genre in Iran. The novels were wholly read with a purposive sampling method, and all of the proper names were extracted. Proper names were then classified using the eight relations and the twenty-two permanent secondary functions defined by Gibka (2018) which were applied to both the source text’s proper names and their translations in the target text. The data was analyzed at the lexical level. Each name along with the titles or other modifiers, were considered as one unit. Then, Van Coillie’s (2006) ten strategies for translating proper names were used as to analyze the translation of proper names. Results and Discussion In total 426 proper names were found and analyzed, out of which 214 had secondary functions. Among the proper names with secondary functions, the semantic function was the highest, followed by the localizing and sociological functions. Some of the proper names had two or three overlapping functions. Semantic and localizing were the two functions that overlapped the most (13 proper names), followed by localizing and sociological (11 proper names). After the analysis, it became evident that most proper names’ functions stayed the same in the translation. All in all, no proper name changed its function in the process of translation and among proper names with no secondary functions, none gained new ones. However, there were cases in which the secondary function was lost or delayed in the process of translation. Loss of function happened only for 11 semantic proper names and one localizing proper name, while no allusive and sociological proper name lost its function. The only translation strategy that caused the loss of function in semantic proper names was non-translation. Regarding the localizing proper name, phonetic adaptation was the strategy that caused the loss of function. Furthermore, delay of function happened for proper names with the semantic function and one proper name with the humorous function, and it only occurred when the proper name was transferred using the “non-translation plus additional explanation” strategy, where the additional strategy was in the form of a footnote or an endnote. Conclusion One of the important findings of this study was that while examining the translation strategies, some translation strategies were detected which had not been included in Van Coillie’s model (2006), namely combinations of different strategies, and in two cases, additional explanations added to a strategy other than non-translation (i.e. “replacement by a counterpart in the target language”, and “translation”). Furthermore, it did not relate the strategies to the secondary functions of literary proper names. However, the delay of function was the only issue that was not included in Gibka’s model (2018), which might be because this delay is probably specific to proper names in translated texts. Keeping this in mind, Gibka’s (2018) model can be effective for analyzing the translation of proper names in fantasy literature.  The results of this research can be useful for translation research and theory. This study showed that the “translation” strategy never caused the loss of the “semantic” function, while the “non-translation” strategy did cause this loss. So the “translation” strategy can potentially be an effective strategy for semantic proper names, while translator should be careful when using the “non-translation” strategy with semantic proper names, as the loss of function is likely to occur. This can help translators who are working in the fantasy genre to gain a deeper understanding of the relationship between the secondary functions of proper names and the translation strategies. The results of this research can also benefit translation students in classes such as “literary translation”, since it indicates the significance of proper names and the attention that their translation requires, specifically in the fantasy genre.