Deconstructing the Narrative of Women's Characters in Shahnameh and Rewritten Texts (Case Study: Atoosa Salehi's Rewritten Works for Teenagers)

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Mousavi Seyyed Kazem; Najafi Behzadi Sajjad; Izadinejad Ahmadreza

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Journal Paper

Paper Information

Journal: JOURNAL OF NARRATIVE STUDIES Year:2024 | Volume:8 | Issue:16 Page(s): 663-627

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Title

Deconstructing the Narrative of Women's Characters in Shahnameh and Rewritten Texts (Case Study: Atoosa Salehi's Rewritten Works for Teenagers)

Author(s)

Mousavi Seyyed Kazem | Najafi Behzadi Sajjad | Izadinejad Ahmadreza | Issue Writer Certificate

Keywords

rewriting

narrative

deconstruction

Shahnameh women

Atusa Salehi

Abstract

The Shahnameh of Ferdowsi, which contains the Iranian and human identity and character, is one of the most important works that has been the focus of most rewriters and re-creators. The aim of the present study is to examine the deconstructive narrative of women's characters in the Shahnameh and the rewritten texts narrated by Atusa Salehi. In the deconstructive study, the rewriter presents a new and fresh narrative by changing the center and centrality of the old work. This study shows how the presence of the absolute and omniscient narrator in the rewritten stories is weak and a kind of change and deconstruction in the women's narrative is created by shifting the center and axis of the narrative (from the classical and action-oriented system to the emotion-oriented system and discourse). The most important issue for deconstructive study is the use of hidden contrasts in the text,the contrast of love and emotion with epic and war is one of the most prominent contrasts in this rewriting. The research method is descriptive-analytical and the method of data collection is the study of library documents. The results of the research showed that Salehi, with a creative narrative and using the contrast of epic, war and love, has presented a different narrative of the women of Shahnameh and new dimensions of their personalities. Where characters such as Gordafarid, Manijeh, Jarireh, Shahrnaz, etc. have a more effective and prominent presence in the narrative than in the original text, and their emotional and peaceful nature prevails over their warlike and epic spirit. The characters' discourse in the rewritten text takes on an emotional dimension, and the text moves from the sign of classical and action-oriented semantics to the sign of Sheveshi and emotionoriented semantics

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