LITERARY TEXT RESEARCH (PERSIAN LANGUAGE AND LITERATURE)
Year:2014 | Volume:18 | Issue:60|Papers Count:7

Ahl-e Gharq, the novel written by Moniroo Ravanipour, is one of the most prominent works of literature that makes use of the techniques of magical realism. We have analyzed the novel based on Todorov’s structuralist theory in order to extract the sequence and propositions of the novel so that we can find a relationship between its plot and its deep structure. The dual scheme of magical realism in the novel Ahl-e Gharq has been based on two general narratives: Realism and Fantasy. This scheme is reflected in the narrative structure of the novel. The story begins with a fantasy sequence and ends with a realism sequence; the magical realistic narrative that includes 43 sequences and the real narrative that includes 92 sequences. The events are interconnected with each other. The magical realism style is intended to provide the author with the possibility of accumulating contradictions and using paradoxical expressions in order to combine love and politics. The novelist has applied a surrealistic method for narration in order to connect the past to the future, criticize the old politics, new colonialism and its perpetrators, and show the termination of the past and the necessity for change.

28 Mordad 1332 AH (19 August 1953) coup is numerated as a turning point from a mythological aspect in the contemporary fictional literature of Iran that made the writers of the period use myth in their stories. In this period, writers distanced themselves from obvious and realistic expression and began to use symbolic and ambiguous expression. As myth can be recreated in different situations due to its vast scope and fluidity, and for its aesthetical aspects, writers by referring to it intended to make their stories rich and perpetual. Moreover, with such horrible atmosphere in the society, that group of writers who wanted to avoid obvious expression embarked on myth. Malakout by Bahram Sadeghi and Yakolia va Tanhaei ‘Ou written by Taqi Modarresi are the major works that represented the trend of using myths in the years following the coup. In these two stories, the gloomy and hopeless atmosphere after the coup has been reflected by recreating the mythological and religious characters, settings and narrations of the ancient time. The present article, by using descriptive-analytic method and mythological and intertextual criticism, analyses the mythological literariness and quality of reflecting myth in these two literary works which have been affected by the 28 Mordad coup.

Mohammad ibn Soleyman known as Fozouli Baghdadi is one of the talented poets who is master of the Arabic and Persian and Turkish languages. So, many works of this eminent poet has remained in the abovementioned languages, one of which is Rend va Zahed epistle. The analysis of Fozouli`s thought style is the main question of this research, and the researcher tries to reach the mental and ideological levels of the aforementioned writer by investigating the elements of eloquence. The point that would be clarified in the analysis is that the thought levels in this epistle have been reflected covertly and Fozouli''s attitude in this work is a critical approach. In fact, Rend va Zahed is the result of father and son`s debate and Fozooli in this debate has attempted to analyze and criticize the most important social and philosophical matters of their time, as well as to show their social interactionsto all layers of society. Rend va Zahed, in a symbolic manner, proposes the conflict between wisdom and love. Wisdom which is father in the symbol of a zahid (‘an ascetic pious man’) who debates with his rend (‘slyboots’) son who is the symbol of love and mania. Certainly Fozouli in this work has referred to a dichotomy and conflict between heart which has appeared in slyboots personality and wisdom which has appeared in ascetic personality.

“Risalah al-Ghofran’’ by famous scholar in Arab world, Abul ‘Ala Ma''arry describes an imaginary journey to the other world. Ibn Qarih, hero of this itinerary, who entered the Heaven, is guided toward a fruit garden, from the fruits of which pretty girls are born after picking up and cleaving the fruits of garden trees. This scene recalls the «orange girl» in the folk story ‘‘Doxtar e Narenj o Toranj” in which the loving prince picks up and tears an orange, then a beautiful girl comes out of it. What connects Abul ‘Ala''s description to this story is a common mythical motif. Because the myth of ‘‘Mashy” and ‘‘Mashyaneh”, one born from rhubarb and the other from a goddess-plant, can be the deep structure of the two. In this article we intend to introduce resources, including historical books and travelogues, which Ma''arry employed in the creation of this scene, and discover the relationship between this part of ‘‘Risalah al-Ghofran” and ‘‘Doxtar eNarenj o Toranj” story, in order to show that an Iranian myth has a main role in the creation of this book.

Existentialism is a philosophical school, and it was Sartre who first introduced it. According to the principles of this school, man''s thought first discovers his own being and then provides a definition of this being and its world-the world that it is going to create from now on. After this creation, man will constantly face problems that form the main elements of thought in existentialism, that is, freedom, lassitude, anxiety, misery and nostalgia. The present paper is a library research which intends to examine Saedi''s story, «Geda», within the framework of existentialism. It showed that the writer of this short story has incorporated all major concerns of existentialism into Khanom Bozorg''s character.

Time in narration is one of the most important issues that has been paid much attention by different narrative psychologists in recent decades. Meanwhile the role of Gerard Genette, the French Structuralist, in developing the theory of time in narration is of significant importance. Genette introduces his theory in three domains of order, continuity and frequency. The present study which is based on structuralism reveals that among the components of narration, temporality seems to be much more significant in Salmargi novel. In Salmargi novel the writer changes the sequence of time to place the basis for his desired plot, in other words, he breaks the present time to change the calendar into the narration time. In order to create vacuity and suspension as well as relief through these anachronisms, Asghar Elahi applies such techniques as retrospective and prospective narration. Sometimes the writer uses positive pace through omitting a great portion of time in order to convey the message much faster. Although the novel has a constant and positive pace, but it generally has a negative pace in relation to the volume dedicated to the text for the time allocated. Only in a few cases, the iterative frequency has been used, but using single and repetitive frequencies has led to suspension in the novel. Repetitive frequencies can convey in this novel significant recurring events by the author.

Khalid Hosseini’s works have great capability to be sociologically criticized and reviewed since he is a realistic writer. He has focused on the events and realities of Afghan society in his novels and put all his effort to examine critically and criticize issues such as racism, ethnicity, war, migration, and women. In “Badbadak-Baz” the author has focused on issues that Afghan society suffered in the course of historical events and social changes. The author of this study tried to trace back the roots of the raised social issues besides showing the impact of sociological factors through a thorough sociological analysis of the characters by utilizing some of the most important factors which were effective on forming the characters in the novel and society setting. The following are the effective social factors in forming the characters of this novel: Social developments and historical events, the role of the character in the society, the characters’ encounter with others, impeding social factors, the internal and social dimension of the character.