دانشگاه رازیکاوش نامه ادبیات تطبیقی2676-651516220260622Narrative Analysis of the Drama “Game of death” by Tawfiq Al-Hakim and “Voice of Break” by Bahman Forsi Based on the Theory of Monika Fludernikخوانش روایت‌شناختی از نمایشنامه‌های لعبة الموت اثر توفیق حکیم و صدای شکستن اثر بهمن فرسی براساس نظریة مونیکا فلودرنیک134424810.22126/jccl.2026.12439.2704FAعلیخالقیاستادیار گروه آموزش زبان و ادبیات عربی، دانشگاه فرهنگیان، تهران، ایران.0000-0001-6795-0930سید مجیدمقیمیاستادیار گروه آموزش زبان و ادبیات فارسی، دانشگاه فرهنگیان، تهران، ایران.0009-0005-3397-4893Journal Article20250714The narrative of the play has become a significant topic within the study of narrative in recent years, particularly due to the efforts of contemporary theorists such as Anner Nuning and Brian Richardson. Simultaneously, the contemporary German scholar Monica Fludernik has made notable contributions by interpreting the narrative components of plays through concepts related to structuralist narrative theory. Her work has helped expand the understanding of drama based on contemporary theoretical frameworks. The present study aims to explore the narrative-analytical school of American comparative literature and Floznik's theory on the narrative structure of plays. It examines the narrative components of the plays “Game of Death” by Tawfiq Hakim and “Voice of Break” by Bahman Forsi. In this context, the study focuses on the key elements of Fludernik's theory, including the narrator, expressive patterns, character introduction methods, descriptive adjectives, permissible dramatic conventions, setting (place, space, and time), and the speech representation techniques that Fludernik identifies as narrative indicators. The results demonstrate the effectiveness of the Flood theory in the structural analysis of the play and clarify previously underexplored aspects. Both plays, centered on the search for truth, spiritual transformation, and the critique of social structures, portray the internal and external conflicts of human beings through characters with diverse perspectives. By employing symbolic elements of time and space (such as a palace and a desert) and modes of speech representation including dialogue, monologue, and metaphorical language, these works directly engage the audience with philosophical concepts. Ultimately, through their dramatic structures, Hakim and Farsi transform the narrative into a spiritual and philosophical experience that encourages reflection on truth, freedom, and life.<br />Introduction<br />Drama, as a genre of fiction, employs a narrative structure. Understanding this structure is crucial both for creating new dramatic works and for comprehending the underlying framework of existing dramas. The efforts of theorists such as Ansgar Nünning and Brian Richardson to extend narratology beyond traditional storytelling and apply it to drama align with this perspective.<br />Monika Fludernik followed a similar path, presenting her theory in the narratological analysis of dramas grounded in structuralist narratology. Her theory provides a foundation for a systematic examination of the narrative components within dramas. This research, based on Fludernik’s narrative analysis theory, investigates the narrative elements of the dramas *Game of Death* by Tawfiq Al Hakim and “Voice of Break” by Bahman Forsi. Through this approach, the components and indicators identified by Fludernik in the structures of “Game of Death” and “Voice of Break” can be measured, monitored, and evaluated in a practical and functional manner.<br />These components include the obvious narrator, expression patterns, methods of character introduction, descriptive adjectives, permission, performance location, space and time, and speech representation techniques. The dramas “Game of Death” and “Voice of Break” are considered among the most successful works of Tawfiq Al-Hakim. On one hand, they address social and political issues within society; on the other, they embody the characteristics of successful drama in their structure, making them suitable for stage performance. These works helped establish drama as an independent literary genre in Arabic literature.<br />In this drama, Tawfiq Al-Hakim incorporated distinctive features into its literary structure, which contributed to the plays “Game of Death” and “Voice of Break” becoming significant works. However, despite this, the textual features of this drama have not yet been thoroughly investigated or analyzed.<br />Method:<br />Examining this drama based on Fludernik's theory provides a background for the researcher by being able to examine and criticize the textual structure of the drama and its structural components and introduce its prominent narratological aspects to the reader. The current research emphasizes this and aims to identify and highlight these features introduced in Fludernik's theory in the drama.<br />Conclusion:<br />The dramas “Game of Deaths” and “Voice of Break” effectively employ dramatic structures such as time, space, speech representation methods, and characterization to convey philosophical and social concepts. These structures not only advance the storyline but also deepen the exploration of the characters' internal conflicts and thematic ideas. By utilizing these tools, Tawfiq Hakim transforms his narratives into spiritual and philosophical experiences that encourage the audience to reflect on truth, life, and freedom. Elements such as character introduction, descriptive adjectives, permissible actions, the setting, spatial and temporal context, and various methods of speech representation, identified by Fludernik as key indicators of narration, were analyzed in these dramas. The results demonstrate the effectiveness of Fludernik's theory in structurally analyzing the dramas and illuminating previously overlooked aspects.<br />Results:<br />In this drama, time is presented not as a linear or realistic progression but as a mental and psychological concept. It is often connected to the characters' perception of reality and life rather than the conventional passage of day and night. This philosophical use of time liberates the audience from real-time constraints, allowing them to immerse themselves in the drama's semantic structure. Similarly, space functions as a symbolic element. Various settings such as the palace, "al-Khala" (free space), and deserts symbolize the characters' psychological states and their conflicts with the surrounding world. Enclosed spaces like the palace represent the social restrictions and structures from which the characters seek freedom.<br />Space in “Game of Death,” in addition to providing a context for the advancement of dramatic events, also serves as a tool for explaining philosophical concepts and the evolution of characters. The various ways of representing speech in the drama, including dialogues, monologues, and metaphorical language, play an essential role in conveying ideas and advancing the story. These methods serve to reflect the thoughts, feelings, and inner conflicts of the characters. Dialogues and monologues in this drama directly inform the audience about what the characters are experiencing and the changes occurring within them. These techniques allow the author to clearly discuss complex concepts such as freedom, the pursuit of truth, and social restrictions. Additionally, metaphorical language is used as a tool to create rich and vivid imagery, conveying deep philosophical and social meanings to the audience while also crafting engaging settings.<br /> روایت‌شناسی نمایشنامه یا درام یکی از مباحثی است که در سال‌های اخیر و به‌ویژه با تلاش‌های نظریه‌پردازان معاصری مانند آنسگر نونینگ و برایان ریچاردسون وارد مقولة روایت‌شناسی شد. هم‌زمان با این تلاش‌ها، مونیکا فلودرنیک روایت‌شناس معاصر آلمانی تلاش موفقی را در زمینة تفسیر مؤلفه‌های روایی موجود در نمایشنامهها براساس مفاهیم مرتبط با روایت‌شناسی ساختارگرا شروع کرد که به گسترش روایت‌شناسی نمایشنامه بر مبنای نظریه‌های معاصر کمک فراوانی نموده است. پژوهش حاضر بر آن است تا به‌شیوة توصیفی ـ تحلیلی و بر مبنای مکتب ادبیات تطبیقی آمریکایی و نظریة فلودرنیک درزمینة روایت‌شناسی نمایشنامه، به بررسی مؤلفه‌های روایی نمایش‌نامة <strong><em>لعبة الموت</em></strong> اثر توفیق حکیم و <em>صدای شکستن</em> اثر بهمن فرسی بپردازد. در همین زمینه مهمترین شاخص‌های مطرح شده در نظریة فلودرنیک یعنی راوی آشکار، الگوهای بیانی، نحوة معرفی شخصیت‌ها، صفت‌های توصیفی، مجاز، مکان نمایشی، فضا و زمان و سرانجام شیوه‌های بازنمایی سخن که فلودرنیک از آنها به‌عنوان شاخصه‌های روایت‌مندی یاد میکند، در این نمایشنامهها مورد شناسایی و تحلیل قرار گرفت. نتایج به‌دست‌آمده نشان دهندة موفقیت نظریة فلودرنیک در تحلیل ساختارمند این دو نمایشنامه و روشن شدن جنبه‌هایی از آن است که پیش از این کمتر بدان توجه شده بود.هر دو نمایشنامه با محوریت جستجوی حقیقت، تحوّل معنوی و نقد ساختارهای اجتماعی، تضادهای درونی و بیرونی انسان را از طریق شخصیت‌هایی با دیدگاههای متفاوت به تصویر می‌کشند. و با بهره‌گیری از زمان و فضایی نمادین (مانند: قصر؛ بیابان و خانه فرهاد) و شیوه‌های بازنمایی سخن چون دیالوگ، مونولوگ و زبان استعاری، مخاطب را مستقیماً درگیر مفاهیم فلسفی می‌کنند. در مجموع، حکیم و فرسی با ساختارهای دراماتیک خود، روایت را به تجربه‌ای معنوی و فلسفی تبدیل می‌کنند که امکان تأمل در باب حقیقت، آزادی و زندگی را فراهم می‌آورد.https://jccl.razi.ac.ir/article_4248_b7ed6df6baf9231d7e84722438340818.pdfدانشگاه رازیکاوش نامه ادبیات تطبیقی2676-651516220260622A Comparative Study of the Theme of Love in the Poems of Yahya Samavi and Ahmad Aziziبررسی تطبیقی مضمون عشق در اشعار یحیی سماوی و احمد عزیزی3556447010.22126/jccl.2022.8122.2413FAسامانخانیدانشجوی دکتری، گروه زبان و ادبیات عربی، دانشکده ادبیات و علوم انسانی، دانشگاه لرستان، خرم آباد، ایران0009-0003-6324-319xیحییمعروفاستاد، گروه زبان و ادبیات عربی، دانشکده ادبیات و علوم انسانی، دانشگاه رازی، کرمانشاه، ایران.0000-0002-9186-9929علیسلیمیاستاد، گروه زبان و ادبیات عربی، دانشکده ادبیات و علوم انسانی، دانشگاه رازی، کرمانشاه، ایرانJournal Article20220803Love is one of the most important themes in poetry, as it originates from human emotions and serves as a bond between people. A comparative study of love in the poems of Yahya Samavi and Ahmed Azizi, aimed at understanding the romantic expressions of these poets and gaining deeper insight into their work, offers a fresh perspective in the field of comparative literature. The research method employed is descriptive-analytical, relying on primary sources such as the poets' divans. Since Yahya Samavi and Ahmad Azizi, both contemporary poets, hold similar positions in the cultures of Iraq and Iran, love is a prominent theme in their poetry. This research aims to compare the theme of love based on the perspectives of these poets, focusing on common elements such as the portrayal of the beloved, the characteristics and shared conditions of the lover and the beloved, as well as their differences. The study follows the American school of comparative literature, which does not consider influence and interaction as prerequisites, and seeks to explore the poets' distinct approaches to thought and lyricism. The results of this research show that the lovers of these poets in the homeland, the family of the Prophet (PBUH), mothers, and women, were prominently featured. In these romances, themes and characteristics such as separation, pride, intoxication, and passion are evident. We also observe continuity in love, honesty, loyalty, the satisfaction of the beloved, and partnership with them.
Introduction
Comparative literature is a significant branch of literary criticism that involves the evaluation of works, elements, styles, periods, movements, and literary figures. It broadly encompasses the comparison of literature across two or more different cultures and languages. The delightful discourse on love is both pleasant to hear and pleasing to the ear. However, despite its charm, love remains an inexplicable riddle beyond anyone’s full intellectual grasp. Everyone, according to their own perspective, has spoken about the nature and definition of love and has recounted its unique story in various ways. In any case, love is the springtime of existence’s seasons—a spring to which autumn has no path. The seedling of love grows beside the stream of life, nourished by its waters, flourishing and bearing fruit. Its greenery, joy, and freshness never diminish, not even slightly. The composition of romantic poems and the inclination toward ghazal writing stem from the lover’s affection for the beloved, intertwined with poetic imagination. Love is a prominent theme in the poetry of Yahya Samawi and Ahmad Azizi, playing a central role. This study aims to comparatively examine the theme of love in the works of these two poets and identify potential similarities and differences.
Methods
The study of love poems as dynamic works within the poetry of Yahya Samawi and Ahmad Azizi is of great significance, as this genre plays a central role in the divans of these two contemporary poets but has received limited scholarly attention. This research aims to introduce these two modern Arab and Persian poets and to identify common themes and characteristics by analyzing and comparing their ghazals and love poems.
This research adopts a descriptive-analytical approach based on the "American school," which does not require mutual influence between two poets as a prerequisite for comparative literature. It aims to examine the concept of love in the poetry of Yahya Samawi and Ahmad Azizi. According to this perspective, the goal of comparative literature is to study a literary phenomenon by comparing one literature with one or more others, or by comparing literature with other fields of knowledge such as the fine arts, philosophy, and so forth, in order to identify relationships and shared intellectual and imaginative elements. Thus, comparisons can be made even in the absence of any direct or indirect historical connection.
Results and Discussion
The discourse on love transcends time and place. Love, as a pure and cherished emotion, perhaps holds a special place in the hearts of poets and artists more than anyone else. This concept of love is a prominent theme in the poetry of two influential poets from Persian and Arabic literature: Ahmad Azizi and Yahya Samawi.
The beloved figures of the two poets are represented in the forms of the homeland, the Prophet’s Household (peace be upon him), the mother, and love for women. They have crafted these beloved figures by drawing upon both divine and sensory sources.
Among the shared themes and descriptions of love in the poetry of Yahya Samawi and Ahmad Azizi are love as a teacher, attraction, the beloved’s approval, sincerity, and more.
The two poets differ in their treatment of love in terms of content. For example, regarding quantity, the Iraqi poet’s love poems do not match those of Ahmad Azizi. Moreover, Yahya Samawi’s primary beloved is the homeland, whereas in Azizi’s poetry, this beloved is the Prophet’s Household (peace be upon him). Consequently, Azizi’s works contain more mystical elements, including religious allusions and Sufi and mystical concepts and terms, compared to Yahya Samawi’s. Another difference between Ahmad Azizi’s love poems and those of Yahya Samawi is that Azizi’s compositions are rich with themes and concepts of Shiite Islam; the Kermanshahi poet shows a strong affinity for his religion. Although some of these concepts also appear in Samawi’s poetry, they are far less prevalent than in Azizi’s works.
Conclusion
The present research, while introducing these two contemporary Arab and Persian poets, sought to identify examples and shared aspects by analyzing their ghazals and comparing them. In light of the results obtained, it can be said that the beloveds of Samawi and Azizi are manifested in the homeland, the Prophet’s Household (peace be upon him), the mother, and love for woman; and in the love poems of the two poets, we find shared themes and features such as separation, pride, intoxication and ecstasy, continuity in love, sincerity and loyalty, the beloved’s approval, and so on.
Ghazal-writing: composing lyric love poetry.
عشق یکی از مضامین مهم شعری است و از آنجا که از احساسات انسان سرچشمه میگیرد، عامل پیوند میان انسانهاست. بررسی تطبیقی عشق در اشعار یحیی سماوی و احمد عزیزی به منظور شناخت عاشقانههای دو شاعر و آشنایی بیشتر با آنها میتواند بحثی نو در زمینة ادبیات تطبیقی باشد. روش تحقیق در پژوهش، توصیفی ــ تحلیلی و محور منابع، دیوانهای دو شاعر است. از آنجا که یحیی سماوی و احمد عزیزی از شاعران معاصر در فرهنگ عراق و ایران جایگاهی مشابهی دارند هر دو عشق را مشخصهی بارز اشعارشان قرار دادهاند. این پژوهش بر آن است که مضمون عنصر عشق را بر اساس دیدگاههای این دو شاعر مقایسه کند و نقاط مشترک از جمله (تجلی معشوق، واوصاف و احوال مشترک عاشق و معشوق) و اختلافی آنها را براساس مکتب آمریکایی که وجود اثرگذاری و اثرپذیری را شرط ادبیات تطبیقی نمیداند، مورد بررسی قرار دهد و به رهیافتی از طرز تفکر و مشرب تغزلی دو شاعردست یابد. نتایج این تحقیق نشان میدهدکه معشوقه های سماوی و عزیزی، در وطن، اهل بیت پیامبر(ص)، مادر و عشق به زن تجلی یافتهاند و در عاشقانههای دو شاعر، مضامین و ویژگی هایی مشترکی همچون جدایی، فخر، سکر و مستی، تداوم در عشق، صدق و وفا، رضایت معشوق و... را می یابیم.https://jccl.razi.ac.ir/article_4470_825c7a4d4064c51d8409d1ac3375ba84.pdfدانشگاه رازیکاوش نامه ادبیات تطبیقی2676-651516220260622Reflection of Human Existence Concept in Aldus Huxley and Flannery O'Connor Fiction: Comparative Study based on Fordism and Divine Theoryبازنمایی مفهوم وجود انسان در داستان‌های آلدوس هاکسلی و فلانری اوکانر: مطالعه‌ای تطبیقی بر پایه اندیشه فورد و نظریه «راز الهی»5777439410.22126/jccl.2026.13187.2740FAسعیدرحیمی پوراستادیار، گروه زبان و ادبیات انگلیسی، دانشکده زبان و ادبیات، دانشگاه فرهنگیان، ایلام، ایران0000-0001-8362-561Xغلامرضامحمدیاستادیار، گروه زبان و ادبیات انگلیسی، دانشکده زبان و ادبیات، دانشگاه فرهنگیان، ایلام، ایران0000-0001-8362-561XJournal Article20251119Drawing on a comparative literature approach, this study examines the representation of human existence in Aldous Huxley’s “Brave New World” and Flannery O’Connor’s “Wise Blood” through characterization, framed by the literary theory of the Divine Mystery. Employing a qualitative research design and comparative content analysis, the study analyzes the narrative structures, characterization, symbolic patterns, and cultural-historical contexts of both novels to identify their shared concerns and fundamental differences in portraying human existence. The findings reveal that Huxley depicts humanity within a Fordist dystopian society dominated by technology, biological engineering, and social control, where individuality, free will, and metaphysical values are progressively replaced by technological determinism. In contrast, O’Connor presents human existence through a Catholic vision grounded in faith, moral responsibility, free will, and metaphysical truth, emphasizing the possibility of redemption through spiritual awakening. Although the two novelists employ distinct philosophical foundations and narrative strategies, both portray the existential crisis of modern humanity by exploring the relationship among human beings, God, technology, and freedom. The study concludes that the principal distinction between Huxley and O’Connor lies in their understanding of the origin, purpose, and meaning of human existence. While Huxley envisions humanity within a technologically regulated and biopolitical social order, O’Connor proposes that genuine human fulfillment can only be achieved through a return to metaphysical truth, faith, and spiritual redemption. Consequently, this research offers a deeper understanding of the philosophical, religious, and literary dimensions of human existence in modern fiction.
Introduction
This study presents a comparative literary analysis of the representation of human existence in Aldous Huxley’s “Brave New World” and Flannery O’Connor’s “Wise Blood” through the lens of characterization. The research explores the contrasting philosophical and theological interpretations of human existence in modern literature and examines how characterization reflects these competing worldviews. While Huxley constructs a dystopian society shaped by Fordist ideology, technological determinism, and biopolitical control, O’Connor develops a theological vision grounded in the Catholic concept of the Divine Mystery, wherein human existence is defined through faith, free will, and spiritual redemption.
The study aims to identify the principal similarities and differences between the two authors’ conceptions of human existence and the creation of the world, while also evaluating the explanatory power of the Divine Mystery as an interpretative framework for analyzing characterization in “Brave New World.” By adopting a comparative literary perspective, this research explores how the two novelists use characterization to express conflicting understandings of humanity, God, technology, freedom, and metaphysical truth, thereby contributing to a deeper understanding of existential thought in modern fiction.
Method
This study employs a qualitative research design grounded in comparative literary analysis and content analysis. The corpus comprises Aldous Huxley’s “Brave New World” and Flannery O’Connor’s “Wise Blood,” chosen for their contrasting philosophical perspectives on human existence. The analysis is conducted within the frameworks of the literary theory of the Divine Mystery and comparative literature. Through close reading, the study examines characterization, narrative structure, symbolic elements, and the cultural and philosophical contexts of both novels. The identified textual patterns are then compared to explore similarities and differences in the representation of human existence, with particular emphasis on the relationships among humanity, God, technology, freedom, and metaphysical meaning.
Conclusion
The comparative analysis demonstrates that Huxley and O’Connor offer fundamentally different interpretations of human existence, despite addressing the same existential concerns. Huxley presents a technologically regulated and biopolitical vision in which individuality, freedom, and spirituality are subordinated to social stability and scientific control. In contrast, O’Connor portrays human existence as inseparable from faith, free will, and metaphysical truth, emphasizing spiritual redemption as the ultimate purpose of life. The findings further indicate that the literary theory of the Divine Mystery offers an effective interpretative framework for understanding the existential dimensions of “Brave New World,” revealing theological implications often overlooked in conventional dystopian readings. Ultimately, the study confirms that characterization serves as the primary narrative device through which novelists express their conflicting philosophical and theological conceptions of humanity. This comparative perspective enhances our understanding of the relationship between literature, existential philosophy, and religious thought in modern fiction.
Results
The comparative analysis reveals that both Brave New World and Wise Blood address the existential crisis of modern humanity; however, they construct fundamentally different philosophical responses through characterization.
Comparative Findings
Analytical Dimension
Brave New World
Wise Blood
Principal Finding
Representation of Human Existence
Defined through technological control and Fordist ideology
Defined through faith, free will, and metaphysical truth
The two novels propose contrasting conceptions of human existence.
Narrative Function of Characterization
Characters symbolize conformity, social conditioning, and biopolitical regulation
Characters undergo spiritual conflict, moral struggle, and the possibility of redemption
Characterization serves different philosophical purposes in each novel.
Relationship between Humanity and Authority
Human beings are subordinated to technology and the World State
Human beings remain responsible before God and moral truth
The source of authority shifts from technological power to divine transcendence.
Concept of Freedom
Freedom is sacrificed for stability and social order
Freedom is presented as a prerequisite for faith and salvation
The novels offer opposing interpretations of human freedom.
The analysis further demonstrates that Huxley's dystopian narrative portrays human identity as a product of technological determinism and social engineering, in which metaphysical values are gradually supplanted by scientific rationality. In contrast, O’Connor structures her narrative around the theological principle of the Divine Mystery, portraying human existence as an ongoing spiritual journey defined by moral responsibility, free will, and the potential for redemption.
The comparative findings also indicate that the theory of the Divine Mystery offers a productive interpretative framework for analyzing Huxley’s novel alongside O’Connor’s fiction. Although Huxley does not explicitly use theological discourse, the comparison reveals that the absence of transcendence in his fictional society is a central cause of existential alienation. Consequently, characterization serves as the primary narrative strategy through which both novelists express their contrasting philosophical and theological conceptions of humanity.
ادبیات تطبیقی امکان بررسی آثار ادبی و تحلیل شباهت‌ها و تفاوت‌های آنها را فراهم می‌آورد پژوهش حاضر با هدف تبیین چگونگی بازنمایی مفهوم وجود انسان در دو رمان دنیای قشنگ نو اثر آلدوس هاکسلی و وایز بلاد اثر فلانری اوکانر، با تأکید بر شخصیت‌پردازی و در چارچوب نظریة «راز الهی»، انجام شده است. این پژوهش با رویکردی کیفی و به روش تحلیل محتوای تطبیقی، ساختار روایی، شخصیت‌پردازی، نمادها و زمینه‌های فکری و فرهنگی دو اثر را بررسی میکند. یافته‌ها نشان می‌دهد که هاکسلی با ترسیم جامعه‌ای دیستوپیایی و مبتنی بر نظام فوردی، انسان را در چارچوب سلطه فناوری، مهندسی زیستی و کنترل اجتماعی بازنمایی میکند؛ در مقابل، اوکانر با تکیه بر مبانی کاتولیکی و نظریه «راز الهی»، وجود انسان را در پیوند با ایمان، آزادی، مسئولیت اخلاقی و حقیقت متافیزیکی تفسیر میکند. همچنین تحلیل تطبیقی دو رمان آشکار می‌سازد که هر دو نویسنده، با وجود تفاوت در مبانی فکری و شیوه روایت، بحران وجود انسان در جهان مدرن را از خلال شخصیت‌پردازی به تصویر کشیده‌اند، اما راه‌حل‌های متفاوتی برای مواجهه با این بحران ارائه می‌کنند. نتایج پژوهش نشان می‌دهد تفاوت بنیادین دیدگاه هاکسلی و اوکانر در تبیین منشأ، غایت و معنای وجود انسان است؛ به‌گونه‌ای که هاکسلی آینده انسان را در پرتو نظم فناورانه و زیست‌سیاسی ترسیم میکند، در حالی که اوکانر راه برون‌رفت از بحران وجود را در بازگشت به حقیقت متافیزیکی، ایمان و رستگاری می‌داند. از این‌رو، مطالعه تطبیقی این دو اثر، ظرفیت تازه‌ای برای فهم ابعاد فلسفی، دینی و ادبی مفهوم وجود انسان در ادبیات معاصر فراهم می‌آورد.https://jccl.razi.ac.ir/article_4394_022a44278e46a68e0cf01993fcc2d448.pdfدانشگاه رازیکاوش نامه ادبیات تطبیقی2676-651516220260622"Comparative Study of the Novels “On the Blue Red Roads” and “Frankenstein in Baghdad” Based on Yuri Lotman's Semiotic Sphere Theory with Emphasis on Border and Centerبررسی تطبیقی رمان‌های بر جاده‌های آبی سرخ و فرانکشتاین در بغداد (بر پایه نظریة سپهر نشانه‌ای لوتمان با تکیه بر مرز و مرکز)78100395910.22126/jccl.2025.11310.2656FAرئوفابراهیم سمیندانشجوی دکتری زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه رازی، کرمانشاه، ایرانموسیپرنیاندانشیار گروه زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه رازی، کرمانشاه، ایران.خلیلبیگزادهدانشیار گروه زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه رازی، کرمانشاه، ایران.0000-0003-0637-4700Journal Article20241031Cultural semiotics is the study of intercultural relations among interactive, conflicting, and confrontational poles that define the boundaries of one’s own culture and its codes in contrast to the constraints of another culture or non-culture. Lotman’s earlier conception of culture views it as a collection of semiotic systems with fluid boundaries, referring to all semiotic phenomena specifically organized along a continuum as the semiotic sphere. The border and cultural semiotic space emphasize both homogeneity and individuality, with the function of this filtering process transforming the foreign into the familiar and, at times, the other into the self. This research examines and elucidates the novels “<strong>On the Blue Red Roads</strong>” and “Frankenstein in Baghdad” through the lens of Lotman's semiotic sphere theory, focusing on the concepts of border and center. It employs notions such as interactive, conflicting, and confrontational poles within Lotman's semiotic sphere, using a descriptive-analytical approach. The authors highlight the border and center in the studied works as they relate to their own culture and strive to preserve it, although the spatial dynamics of these works, comprising a center and periphery, inevitably open a door to another culture. The research findings indicate a structural inequality of cultural signs at the border and in the relationships between different texts and spaces at the center. This inequality has hindered the blending of the self with the other. Consequently, the perspectives of the author and the characters in the story are not absolute, and the border has not been clearly defined within the semiotic sphere. Instead, irreparable confrontations persist within it. However, these two authors, especially Nader Ebrahimi, have preserved their own culture despite the conflicts and contradictions between their culture and the other. In engaging with another culture, they maintain the other outside the boundaries of their own cultural components.<br />Introduction<br />Anti-colonial novels serve as valuable examples in the study of identity and cultural conflicts. These conflicts, particularly the confrontation between self and other, are central to the authors' efforts to either equalize or assert cultural superiority. The novel “<strong>On the Blue Red Roads</strong>” by Nader Ebrahimi and “Frankenstein in Baghdad” by Ahmed Saadawi explore cultural comparisons between the host country and the authors' countries of origin. Both novels address the confrontation between immigrant (origin) and host (destination) cultures, highlighting the structural inequalities between the periphery and the center. These works reflect this cultural confrontation through themes of superiority or equalization of cultural elements between the periphery and the center. This research aims to examine “<strong>On the Blue Red Roads</strong>” and “Frankenstein in Baghdad” through the lens of Lotman’s semiotic sphere theory, applying concepts such as interactive, conflictual, and confrontational poles.<br />Methodology<br />The research method in this research is descriptive with case study, analytical, and comparative, and based on the method of taking notes from library resources, and the novels "On the Blue Red Roads" by Nader Ebrahimi and "Frankenstein in Baghdad" by Ahmed Saadawi have been examined and analyzed. In this research, we will examine the components of interactive, conflictual, and confrontational poles in Lotman's semiotic sphere in the aforementioned novels using a descriptive-analytical method.<br />Results<br />Love for the familiar homeland and commitment to it, as a boundary in the novel "On the Blue Red Roads", has explained the possibility of translation between the symbolic realm of beliefs and convictions and the external world. In fact, upon entering a different space, the narrator encounters signs of another world, but he cannot regain his hope due to confusion and helplessness. Consequently, he confronts this experience through the symbolic framework of his beliefs: "The sad story of the loving Mirmohana standing before her father unfolds as the thick Safavid book is closed and the rare multi-leaf notebook is also shut."The snowman of Shah Ismail, the substitute, was in the process of melting, and Mirnaser was no longer the old Mirnaser" (Ebrahimi, 2016: 53). The novel Frankenstein in Baghdad, like the novel On the Red Blue Roads, has a completely anti-colonial content and its characterization is based on enlightenment and egoism. The border determines the inner turmoil of the characters; wandering in the world on the “On the Blue Red Roads” is not only specific to the exploited countries, but also to the whole world; in fact, the whole world can be a defined border. “Mir Mahna” expresses a specific definition of traitor and betrayal based on the dominant ideology that has been institutionalized within her; she has come to the inner belief that although her duty is to suppress the occupiers and plunderers, there are other traitors (her father and companions) who have abandoned her belief in the hands of the enemy; “Mir Mahna, without waiting for an answer, turned to Mir Mustafa’s son, sniffed him a little, and then showed that she had smelled a foul odor. She wrinkled her nose and said: You apply Dutch perfumes to yourself, but you still smell bad, cousin! "The smell of stench..." (ibid: 40) The inner space of the symbolic sphere, like other symbolic elements, as well as the culture and inner feelings of the characters, changes in relation to another space, but this transformation may take time or be rapid, and structural inequality is a characteristic of the inner space of the symbolic sphere.<br />The signs of the self in the novel "On the Blue Red Roads" indicate a sense of self-superiority. The narrator believes that the rules of the dominant cultures of England and the Netherlands are being violated. He attempts to take a stand against the host culture, and although his inner world has changed, his perspective on the symbolic sphere in which he was raised remains unchanged. The presence of Mir Mahna in the novel serves as an intrinsic element; readers can perceive a character deeply passionate about his own culture reflected in Mir Mahna's thoughts and speech. The narrator and characters in both novels consistently defend their respective cultures. For example, "Mir Mahna" and "Shamsa," as representatives of their cultures, assert their identity and heritage with authority and pride, striving to resist the influence of other cultures.<br />This sense of cultural superiority and the defense of their own heritage are clearly evident in Mir Mahna's dialogues and behaviors. The characters possess deeply ingrained cultural identities and values, which compel them—especially Mir Mahna—to continuously defend their culture and confront others. By emphasizing her values and cultural identity, Mir Mahna seeks to demonstrate that these traditions must never be forgotten but preserved and strengthened. The novel “<strong>On the Blue Red Roads</strong>” effectively portrays cultural confrontations and interactions within the symbolic inner realm.<br /> <br />Ebrahimi attempts to define the relationship between the space inside the sphere (internal institutions) and the space outside it (alien culture). Sujoodi argues that a culture, while existing within boundaries that separate it from the cultural other, is continually exposed to processes of mixing with the other. Moreover, through its inherent heterogeneity and internal ruptures, the culture strives to preserve itself. In contrast, most of the events in the novel “Frankenstein in Baghdad” take place in a dilapidated building in the Batawin neighborhood of central Baghdad, which has a mixed population with various sectarian and national affiliations reflecting the city's multiple identities. According to Lotman (1990, p. 142), marginal points are not limited or constrained; rather, the center is compelled to endure limitations. In fact, marginal areas are the source of creativity and dynamic processes within the semiotic sphere.<br />Conclusion<br />The text and cultural system in the anti-colonial novels "On the Blue Red Roads" and "Frankenstein in Baghdad" are connected with another culture. These authors have determined and explained the border and center based on the space and its semiotic sphere in their novels, a space of the semiotic sphere with a center and a periphery that inevitably opened a door to another culture. The authors have placed their own culture at the center in the structure of the border and center of the novels under study and have determined specific boundaries for it. Although the semiotic sphere of this border space is in some cases, especially in the novel Frankenstein in Baghdad, influenced by another culture and has opened a border fence to another culture, they have not given it superiority over their own culture, but rather its main role; that is, the "thing" as a tool that has killed another.نشانه‌شناسی فرهنگی، مطالعة مناسبات بینافرهنگی میان قطب‌های تعاملی، تعارضی و تقابلی است که گسترۀ فرهنگ خودی و رمزگان آن را در برابر تنگناهای فرهنگ دیگری یا نافرهنگ تبیین میکند. برداشت پیشینی لوتمان از فرهنگ در هیأت مجموعه‌ای از نظام‌های نشانه‌ای با حد و مرزهای مبهم بوده‌است و تمامی پدیدارهای نشانه‌ای را که در پیوستاری به‌طور خاص سازمان‌‌یافته غرق هستند، سپهر نشانه‌ای می‌نامد. مرز و فضای نشانه‌شناختی فرهنگی، همگنی و فردیت را برجسته می‌سازد و عملکرد این فیلترینگ، تبدیل بیگانه به آشنا و گاهی دیگری به خود است. این پژوهش رمان‌های بر جاده‌های آبی سرخ و فرانکشتاین در بغداد را بر پایة نظریة سپهر نشانه‌ای لوتمان با تکیه بر مرز و مرکز با کاربست مفاهیمی مانند قطب‌های تعاملی، تعارضی و تقابلی در سپهر نشانه‌ای لوتمان با رویکردی توصیفی- تحلیلی بررسی و تبیین کرده‌است. نویسندگان، مرز و مرکز را در آثار مورد مطالعه برای فرهنگ خودی تبیین کرده و در صدد نگهداشت آن هستند، اگر چه فضای این آثار، مرکز و پیرامونی دارد که به‌ناچار دری به فرهنگ دیگری گشوده‌اند. دستاورد پژوهش نشان می‌دهد، نابرابری ساختاری از نشانه‌های فرهنگی در مرز و مناسبات میان متن‌ها و فضاهای متفاوت در مرکز وجود دارد و باعث شده‌است که مرز مانع التقاط خودی با دیگری شود؛ بنابر این، نگاه نویسنده و شخصیت‌های داستان، مطلق نیست و مرز در فضای سپهر نشانه‌ای تبیین نشده‌است، بلکه تقابل‌های جبران‌ناپذیری در آن وجود دارد. البتّه این دو نویسنده، به‌ویژه نادر ابراهیمی فرهنگ خودی را با وجود تقابل و تناقض فرهنگ خودی و دیگری در برخورد با فرهنگ دیگری حفظ کرده و دیگری را در خارج از مرز مؤلفه‌های فرهنگ خودی نگه داشته‌است.https://jccl.razi.ac.ir/article_3959_59a4ce4662f7fb6427c5e3a07cf8bd2f.pdfدانشگاه رازیکاوش نامه ادبیات تطبیقی2676-651516220260622A Comparative Analysis of the Influence of Climate in the Poetry of Nimayoshij and Badrshaker Al-Siyabواکاوی تطبیقی تأثیر اقلیم در شعر نیما یوشیج و بدرشاکر السیاب101130435010.22126/jccl.2026.11734.2678FAسیدمهدیفواضلیدانشجوی ارشد زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه لرستان، خرم آباد، ایران0009-0009-4577-5508صفیهمرادخانیدانشیار، گروه زبان وادبیات فارسی، دانشکده ادبیات علوم انسانی، دانشگاه لرستان، خرم آباد، ایران.محمدخسروی شکیباستاد، گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه لرستان، خرم آباد، ایران.0000-0003-0140-7155Journal Article20250204The concept of climate has reemerged in contemporary artistic and literary works alongside the philosophical and sociological transformation of the concept of nature. This study examines and analyzes this concept in the poems of two contemporary poets, Nima Yoshij from Iran and Badr Shakir al-Sayyab from Iraq, using a descriptive-analytical approach. The results show that a common aspect of this discussion in the works of both poets is that examples of climate are not limited to the capacities of nature. Rather, they highlight the relationship between nature and culture. Elements such as colors, manners, traditions, food, plant textures, mountains, forests, seas, clothing, and speech all represent manifestations of the concept of climate in the works of both poets. In Nima's poetry, climatic elements primarily refer to aspects absent from classical Persian poetry and are drawn from the natural environment of his hometown. In al-Siyab's poetry, climatic elements and their manifestations are also present, with his work showing a closer affinity to ancient poetry and nature poets through its emphasis on natural themes. Both Nima and Badr Shaker al-Siyab frequently incorporate vegetation in their poetry, a similarity that can be attributed to their respective environments: Nima resides in the northern forests, while Badr Shaker lives in the groves of Jikor.
Introduction
As a pivotal achievement in contemporary literature, modern poetry underwent profound transformations not only in structure and form but also in content and concepts. These shifts changed poets' perspectives on the world and the fundamental elements of poetry. Among these conceptual changes, the emergence and expansion of "Regionalism" became a key component of modern poetry, rooted in the prevalence of "Naturalism" and "Localism." This approach involves portraying not only natural elements but also reflecting the culture, customs, traditions, colors, attire, and even the specific language of each region.
This study employs a descriptive-analytical method and a comparative approach to examine and evaluate the role of regionalism in the works of two prominent and influential modern poets from Iran and the Arab world: Nima Yooshij and Badr Shakir al-Sayyab. The primary objective is to explore how the concept of region manifests in their poetry and to identify commonalities and differences in their perspectives. With the rise of modern poetry in Iran and the Arab world, traditional poetic structures were challenged. Poetry broke free from classical meter and rhyme as poets sought a new language to express contemporary human experiences. In this context, nature, often used in classical poetry merely as a backdrop or decorative element, regained its status as an independent and inspiring entity. Modernist poets, influenced by Western literary movements such as Romanticism and Symbolism, viewed nature as a source of inspiration, reflection, and sometimes as a mirror of their own emotional states. Alongside naturalism, localism became a central component of modern poetry. Poets, moving away from the generalizations typical of classical poems, emphasized particularity and paid close attention to the unique elements of their environments. This focus on "region" in its broadest sense, encompassing geographical, climatic, cultural, social, and even historical features, became significant. The region was no longer merely a pleasant landscape; it became an integral part of the poet’s identity and worldview. Colors, sounds, smells, clothing, architecture, traditions, legends, and even local dialects could be woven into the fabric of poetry, adding depth and authenticity. This concept of region gives poetry a distinct identity and distinguishes it from clichés and repetition.
Research Method
This study employs a descriptive-analytical method and a comparative approach to examine and evaluate the function of Regionalism in the works of two prominent and influential modern poets from Iran and the Arab world: Nima Yooshij and Badr Shakir al-Sayyab. The primary objective is to explore how the concept of region manifests in their poetry and to identify commonalities and differences in their perspectives. Discussion Nima Yooshij, the founder of Persian modern poetry, played an unparalleled role in pioneering this path. With his boldness in breaking traditional forms and introducing new language and themes, he paved the way for new elements, including the concept of region. In Nima’s poetry, region is not limited to the natural landscapes of his birthplace in the lush forests of northern Iran but reflects the spirit of the nation and Iranian identity. By using native and lesser-known elements in classical Persian poetry, such as "snow," "mountain," "forest," "plain," "sea," and even references to "Larijan" (his birthplace) and "Rey" (a historical place), Nima sought to create a tangible and real space in his poetry. Climatic components in Nima’s poetry often carry specific emotional and semantic weight. Nature in his poetry is not just a setting for description but sometimes a symbol of suffering, hope, loneliness, or resilience.
Inspired by the music of northern regions, the repetition of certain words and local terms, and the detailed description of people’s lives in that area, he achieved a "regional" poetry deeply rooted in culture and geography. By recreating the natural and cultural elements of his homeland in his poetry, Nima sought to connect modern poetry with the collective spirit and national identity, a phenomenon less seen in classical poetry. Badr Shakir al-Sayyab, a pillar of modern Arabic poetry and a pioneer of the "free verse" movement in Iraq, also had a profound view of the concept of region. His life in southern Iraq, particularly in the palm groves of "Jaykur" and near the marshes and swamps of this area, profoundly influenced his poetry. By drawing on elements and symbols from his regional environment, al-Sayyab freed Arabic poetry from clichés and enriched it with visual and sensory depth. In contrast to Nima, who sometimes distanced himself from classical elements to pave the way for novelty, al-Sayyab often relied on regional elements, combining them with ancient Arab myths and history to deepen his poetry. Using symbols such as "palm," "river," "rain," "soil," "fire," "wind," and describing the colors and sounds of his environment, he created a rich and vibrant space. The presence of natural elements in al-Sayyab’s poetry sometimes brings him close to classical nature poets, but his innovation lies in linking these elements with modern, mythological, and even socio-political concepts. Al-Sayyab showed how the most universal concepts could be expressed from the heart of a particular region. A comparative study of Nima and al-Sayyab reveals that both poets, despite linguistic and cultural differences, share significant commonalities in their approach to Regionalism. The most important of these is moving beyond mere Naturalism and understanding region as a context that blends nature and culture.
For both poets, regional elements encompass not only natural landscapes but also colors, clothing, customs, food, and even linguistic nuances. This comprehensive understanding of region lends their poetry depth and authenticity, firmly rooting it in cultural and local contexts. Another shared aspect is the profound influence of their living environments on their work. Nima’s life in the forests of northern Iran and al-Sayyab’s experiences in the palm groves of southern Iraq inspired them to incorporate vegetation and natural elements native to their habitats. This connection to indigenous nature imbues their poetry with a tangible and vibrant reality. However, distinctions emerge in their approaches. While both poets employ regional components, they differ in the depth and manner of treatment. Nima often used regional elements to break classical forms and introduce new dimensions to Persian poetry, integrating these elements with his modern worldview. In contrast, al-Sayyab frequently drew inspiration from ancient Arab myths and history, linking regional elements to the past and using them to express his cultural and national identity. Additionally, the emphasis on specific regional features, such as mountains and forests in Nima’s poetry and palm trees and rivers in al-Sayyab’s, reflects the unique geographical and cultural characteristics of their respective regions.
Conclusion
The transformation of modern poetry discourse paved the way for the emergence and expansion of "Regionalism" as one of its main pillars. Nima Yooshij and Badr Shakir al-Sayyab, two prominent representatives of this movement from different linguistic regions, created works that are both aesthetically rich and deeply reflective of the cultural and local identities of their societies through a fresh and profound perspective on the region. For both poets, the concept of region extended beyond mere naturalism to encompass the reflection of culture, customs, traditions, and the everyday lives of people.
This approach not only enriched modern poetry but also demonstrated how universal concepts can be conveyed through local and regional origins, thereby bridging tradition and modernity. The influence of these two poets in broadening the regional perspective of poetry has inspired subsequent generations, underscoring the importance of cultural and biological roots in artistic creation.با دگردیسی گفتمان شعر نو، مفاهیم و عناصر شعری نیز دچار دگرگونی و تغییر گشتند و دیدگاه نوینی به آنها در شعر ایجاد گردید. یکی از مهمترین تغییرات مفهومی، اقلیم و تأثیرآن در سرایش شعر نو با توجه به غلبه «طبیعت گرایی» و «بومیگرایی» بود. تحقیق حاضر با روش توصیفی-تحلیلی و به صورت تطبییقی، مسأله کارکرد اقلیم گرایی را در در شعر دو شاعر برجسته معاصر ایران و عراق ، نیما یوشیج و بدرشاکر السیاب مورد بررسی و ارزیابی قرار داده است. با توجه به بررسی انجام شده، میتوان گفت که سویۀ اشتراکی این بحث در کار هر دو شاعر که مصادیق اقلیم تنها به ظرفیتهای طبیعت محدود نیست؛ بلکه جنبهها یا وجوه ارتباطی میان طبیعت و فرهنگ را انعکاس داده است، مسائلی مانند رنگ‌ها،آداب، و سنن، غذا، بافتهای گیاهی، کوهها، جنگل، دریا، پوشش و گفتار همگی تجلیاتی از مفهوم اقلیم را در کار هر دو شاعر، باتوجه به فرهنگ غالب هر کشور ، پوشش میدهند. در شعر نیما عناصر یا مؤلفه های اقلیمی بیشتر ناظر بر یادکرد مواردی است که در شعر کلاسیک فارسی غائب بوده اند و متعلق به بافتهای طبیعی زادبوم وی هستند. در شعر السیاب نیز مؤلفهها و تجلیات اقلیمی حضور دارند و شعر او را به لحاظ گرایش به عناصر طبیعی به شعر قدما و شاعران طبیعتسرا نزدیک‌تر میکند. نیما و بدر شاکر السیاب در استفاده از پوشش گیاهی در آثارشان به هم نزدیک هستند و دلیل این مورد را میتوان زندگی کردن نیما در دل جنگلهای شمال و بدرشاکر در نخلستانهای جیکور دانست.https://jccl.razi.ac.ir/article_4350_af342859e0c2d44da3c2db5b9a780351.pdfدانشگاه رازیکاوش نامه ادبیات تطبیقی2676-651516220260622A Comparative Analysis of the Novels "The School Principal" by Jalal Al-Ahmad and "The Thief and the Sword" by Najib Mahfouz based on Critical Realismتحلیل تطبیقی رمان‌های مدیر مدرسه جلال آل احمد و اللّص و الکلابنجیب محفوظ بر مبنای رئالیسم انتقادی131158428010.22126/jccl.2026.13679.2751FAحسینمهتدیدانشیار، گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه خلیج فارس، بوشهر، ایران.0000-0001-9485-2682سمیهشرونیاستادیارگروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه خلیج فارس، بوشهر، ایران.0000-0001-8908-9037Journal Article20260224The primary objective of this research is to examine the role of critical realism in shaping the portrayal of reality and to demonstrate how society is critiqued in the novels “The School Principal” by Jala Al-Ahmad and “The Thief and the Sword” by Najib Mahfouz. The objectives of this research are to identify and analyze critical realism in these two works. The researchers aim to explain the social criticisms presented by the two authors within the contexts of Iranian and Egyptian societies through this literary approach. This research is based on the description, analysis, and comparison of the texts of two novels, focusing on the elements of critical realism. It compares characteristics such as the reflection of reality, social totality, the relationship between the individual and society, typification, and aspects of popular literature in these works. The results indicate that both works fully embody the characteristics of Lukács's critical realism. In each, the protagonist conflicts with the ruling structures, and both authors employ moral and psychological traits alongside social typifications. However, an examination of the other two components reveals that Mahfouz portrays a broader social totality and gives greater prominence to popular literature within the novel.<br />Introduction<br />Among the prominent writers of fiction in Iran and Egypt are Jalal Al-e Ahmad (1902–1969) and Najib Mahfouz (1911–2006). Al-e Ahmad is a significant figure in contemporary Iranian culture and literature, known not only as a fiction writer but also as a critic and a political and social theorist. Najib Mahfouz also played a significant role in Arabic fiction, having received the Nobel Prize in Literature in 1988. By depicting the realities of everyday life, he invites readers to reflect on structures of power and individual responsibility, thereby demonstrating his influential role in expanding the concept of committed literature in the Arab world.<br />Georg Lukács (1885–1971) was a Hungarian Marxist philosopher and literary critic whose aesthetic theory was grounded in social relations and interactions. He developed the theory of critical realism as a method for interpreting literary works. This theory addresses dissatisfaction with the existing state of affairs and the effort to transform it. In fact, works of critical realism possess a revolutionary nature and stem from the view that: “If the sins and shortcomings of human beings or the characters in a story result from deficiencies in their environment, circumstances, and social structure, then society is primarily to blame; therefore, the social structure that generates evil in people’s lives must be abolished at any cost.” Thus, the realist system manifested its negating and revolutionary nature in the mid-nineteenth century (Karimi-Motahar & Akbarzadeh, 2013, p. 67). Critical realism, which centers on dissatisfaction with the existing state of affairs and the effort to transform it, pursues two main objectives: first, to raise awareness of the prevailing conditions and the oppression stemming from social relations; and second, to instill a revolutionary spirit in people and dismantle the existing societal framework (Sachkov, 1983, p. 302).<br />Methodology:<br />This study employs a library-based documentary research method, focusing on the description, analysis, and comparison of the texts of two novels. It examines components of critical realism by comparing indicators such as the reflection of reality, social totality, the relationship between the individual and society, typification, and elements of popular literature in both works.<br /> <br />Discussion:<br />Social Totality in the Narrative Structure of the Two Works<br />According to the theory of totality, the whole always takes precedence over the part. Moreover, the part should be interpreted in the light and shadow of the whole (Lukács, 1998, p. 55). This concept of social totality is a key component of novels written by authors inclined toward critical realism. In "School Principal," although Al-e Ahmad narrates the lives of members within an educational environment (the principal, vice principal, teacher, and school servant) in a remote school, he precisely portrays, in accordance with Lukács’s definition of social totality, the condition of this small educational setting as influenced by the broader societal system. It is clear that the author’s purpose was not merely to depict a single part in isolation. A study of "The Thief and the Sword" reveals that Mahfouz also aims to reflect societal conditions through the portrayal of Saeed Mehran’s life and experiences. What matters to him is the social context of his era (the whole), rather than just the individual story of Saeed Mehran.<br />Typification Rather Than Pure Individuality:<br />In "School Principal," typification is evident. The protagonist, a school principal, is presented not merely as a representative of teachers and principals but, more broadly, as a representative of the educated middle class in society. In “The Thief and the Sword,” Najib Mahfouz employs typification to construct the protagonist, thereby providing a clear representation of Egyptian society. Although Saeed Mehran ostensibly seeks revenge against his unfaithful wife and friend and ultimately fails, Mahfouz attributes to him the characteristics of a revolutionary rebel, portraying him as a fighter against oppression and despotism. In this work, Saeed Mehran is a typical character because his concerns are primarily social rather than personal.<br />The Relationship Between the Individual and Society:<br />In "School Principal," the principal, as a cultural figure, is in sharp conflict with popular attitudes and expresses severe criticism of the students’ parents and their approach to making decisions about their children’s future. Similarly, in "The Thief and the Sword," the protagonist is marginalized and ultimately eliminated in his struggle against society. Through the depiction of the protagonist’s relationship with society, Mahfouz aims to reveal the gap between revolutionary justice and societal reality.<br /><strong> </strong><br />The Popular Character of the Work:<br />Another characteristic of critical realism is that the writer goes beyond merely describing ordinary events and reveals the profound pain and suffering experienced by people in society. Throughout the text, Al-e Ahmad portrays the guilty or culpable individual as a helpless person who is also a victim of circumstances. He traces the roots of the individual’s deep suffering to the conditions and social structures of the time, aiming to create literature that resonates with the public. Mahfouz also links the protagonist’s sorrow to the collective sorrow of the people. In this work, Mahfouz’s popular literature extends beyond Egyptian society and the social conditions of the period he depicts; instead, it represents a universal form of popular literature.<br />Conclusion<br />The comparative analysis of Al-e Ahmad’s “School Principal” and Najib Mahfouz’s “The Thief and the Sword” reveals that both authors employ the revolutionary and negating aspects of critical realism. According to Lukács’s theory of critical realism, the protagonist in each novel embodies a specific historical and social context. Both writers portray the events and conditions of their respective eras through the lives of their protagonists; however, Mahfouz’s protagonist exhibits a more pronounced social consciousness. Mahfouz situates the protagonist’s personal life within the broader social transformations and prevailing political climate of Egypt, using Cairo as a microcosm to reflect the comprehensive political and security structures of the country. Overall, both works reflect the realities of society and reveal the contradictions and discrepancies between the goals of the ruling system and the actual conditions of society. Both authors trace the roots of the protagonists’ problems to the social structure.<br />In both works, the individual stands in direct opposition to the societal structures and resorts to personal actions in an attempt to effect reform. In Al-e Ahmad’s story, the protagonist initially seeks to improve conditions through the government; when his efforts prove futile, he ultimately resigns. This work portrays the relationship between the individual and society as one of complete conflict. In "The Thief and the Sword," unlike in "School Principal," the protagonist does not appeal to the government or ruling authorities to bring about reform; instead, he distrusts the power structure from the outset. Consequently, he adopts a more intense opposition to society and, despite failing to achieve his objectives, continues to confront the government until the end of the story. He never becomes willing to place his trust in the ruling authorities or the judicial system. At the same time, however, he is deeply aligned with and sympathetic toward the people, particularly the deprived classes. The authors of both novels present their fictional characters as social types. Moreover, based on the principles of critical realism, both works represent forms of popular literature. Although this characteristic is less pronounced in "School Principal," Al-e Ahmad views the roots of society’s moral abnormalities as concealed and suppressed sufferings, and he attempts to address the profound pain experienced by errant individuals. Consequently, to some extent, traces of popular literature can be identified in this work. The representation of popular literature is more pronounced in "The Thief and the Sword," as Mahfouz not only connects the protagonist’s suffering with that of the Egyptian people but also extends this popular literature beyond Egyptian society to create a universal form. Overall, these two works can be regarded as prominent examples of critical realism in the fictional literature of Iran and Egypt.مسأله اصلی این پژوهش بررسی کارکرد رئالیسم انتقادی در شکل‌دهی تصویر واقعیت و نیز نشان‌دادن چگونگی نقد جامعه در رمان‌های <em>مدیر مدرسه</em> جلال آل احمد و <em>اللصّ و الکلاب</em> نجیب محفوظ است.<br />اهداف پژوهش نیز شناسایی و تحلیل رئالیسم انتقادی در این دو اثر است و پژوهشگران برآن اند تا به تبیین نقدهای اجتماعی دو نویسنده در دو جامعۀ ایران و مصر از طریق این رویکرد ادبی بپردازند<strong>. </strong><br />روش پژوهش بر مبنای توصیف، تحلیل و تطبیق متن دو رمان با تمرکز بر مؤلفه‌های رئالیسم انتقادی و مقایسۀ شاخصه‌هایی چون بازتاب واقعیت، کلیت اجتماعی، نسبت فرد و جامعه، تیپ‌سازی و ادبیات مردمی در این دو اثر صورت میگیرد.<br />نتایج حاکی از تطبیق کامل دو اثر با شاخصه‌های رئالیسم انتقادی لوکاچی است. در هر دو اثر قهرمان در تضاد با ساختارهای حاکم قرار دارد و هر دو نویسنده ضمن تیپ‌سازی‌های اجتماعی از ویژگی‌های اخلاقی و روانی بهره‌گرفته‌اند اما بررسی دو مؤلفه دیگر نشان می‌دهد محفوظ کلیت اجتماعی بیشتری را منعکس کرده و نیز ادبیات مردمی در رمان محفوظ نمود و برجستگی بیشتر دارد.https://jccl.razi.ac.ir/article_4280_7457f23668dd6316a2e0afda52d8485a.pdfدانشگاه رازیکاوش نامه ادبیات تطبیقی2676-651516220260622Re-reading the Manifestations of Feminism in two Novels: Black suits you by Ahlam Mosteghanemi and I Turn Off the Lights by Zoya Pirzadبازخوانی جلوه‌های فمینیسم در دو رمان الأسود یلیق بک أحلام مستغانمی و چراغ‌ها را من خاموش می‌کنم زویا پیرزاد159185427910.22126/jccl.2026.12506.2717FAسید مهدینوری کیذقانیدانشیار، گروه زبان و ادبیات عربی، دانشکدۀ الهیات، دانشگاه حکیم سبزواری، سبزوار، ایران.0000-0001-7867-4898نفیسهدلقندیدانشجوی دکترای زبان و ادبیات عربی، دانشکدۀ الهیات، دانشگاه حکیم سبزواری، سبزوار، ایران0009-0007-9655-3222بلاسممحسنیاستادیار، گروه زبان و ادبیات عربی، دانشکده ادبیات و علوم انسانی، دانشگاه فردوسی مشهد، مشهد، ایران.0000-0002-4346-1646Journal Article20250810The postmodern novels "Black Suits You" by Ahlam Mosteghanemi and "I Turn Off the Lights" by Zoya Pirzad portray the lives of women suffering under patriarchal societies and struggling with the sorrow of unlived lives.
The significance of this study lies in the fact that both novels vividly illustrate the oppression faced by women, making them valuable resources for feminist analysis. Employing content analysis as its methodology, this research aims to highlight prominent examples of patriarchy and misogyny, the influence of male-dominated norms on the development of the main female characters, and women's efforts to reclaim feminist values within Algerian and Iranian contexts. Findings suggest that the major feminist themes in both novels include gender inequality, various forms of violence against women perpetrated by men, marriage as a perceived achievement for women, female participation in political life, and rivalry among women. In the first novel, psychological abuse by men is prevalent; in the second, women are depicted as fully submitting to men in pursuit of marriage. The third theme reflects women's awakening and their fight for rights, while the last illustrates how women uphold patriarchal norms due to internalized competition and conflict among themselves.
Introduction
In recent decades, comparative literature has garnered significant attention from critics, researchers, and students. As Ferdinand Brunetiere (1849–1906), the French literary scholar, famously stated, “We will never know ourselves if we only know ourselves.” This assertion highlights the essence of comparative literature as an academic discipline that transcends national boundaries and explores literary interactions across cultures. The present study adopts a comparative feminist approach to examine two contemporary novels written by female authors: "Black Suits You" by Algerian novelist Ahlam Mosteghanemi, and "I Turn Off the Lights" by Iranian-Armenian novelist Zoya Pirzad.
Both novels, classified within the postmodern literary tradition, provide profound insights into the lived experiences of women in patriarchal societies. They explore issues such as gender inequality, psychological violence, societal pressure to marry, political participation, and intra-gender rivalry. The significance of this research stems from the fact that both works are narrated from a female perspective and portray the oppression of women alongside their struggles to improve their circumstances. The primary research questions are: What are the most important feminist elements in these two novels? And how are these elements manifested in each work?
Method
This research employs a comparative-analytical method within the framework of feminist literary criticism. The theoretical foundation draws on key feminist thinkers, including Simone de Beauvoir, as well as contemporary feminist theorists such as Pamela Abbott and Claire Wallace. Feminism is understood here as a social and intellectual movement advocating for legal, economic, cultural, and political equality between women and men. The study also incorporates sociological perspectives on literature, particularly the notion that literature reflects social realities and can serve as a medium for critiquing patriarchal structures.
The research involves a close reading of both novels to identify and analyze recurring feminist themes. The selected novels were chosen because they represent contemporary women’s writing from two different Arab and Persian cultural contexts (Algeria and Iran), allowing for a meaningful comparative analysis. The analysis focuses on four key feminist themes derived from the theoretical framework: (1) gender inequality and various forms of violence against women, (2) marriage as a presumed achievement for women, (3) women’s active participation in political spheres, and (4) conflict and competition among women themselves.
Conclusion
The analysis of the two novels reveals several significant feminist manifestations:
3.1. Gender Inequality and Psychological Violence
In “I Turn Off the Lights,” the character Émil abruptly abandons Violet after his mother opposes their marriage. Violet is left in emotional turmoil, crying and wandering aimlessly. This act is interpreted as a form of psychological violence rooted in patriarchal authority. Similarly, in “Black Suits You,” the character Talal initially pursues Hala passionately but later ignores her, mocks her feelings, and ultimately ends their two-and-a-half-year relationship on a flimsy pretext. He takes pleasure in seeing her humiliated and in tears. The novel explicitly states, “It was enough for Hala to cry for Talal to be sure his dignity was preserved.” Both novels thus depict men using emotional withdrawal and neglect as tools of control and domination.
3.2. Marriage as a Crucial Achievement for Women
In both societies (Algerian and Iranian), marriage is portrayed as a fundamental goal for women. In <em>Black suits you</em>, Hala regrets not having married Mustafa, the man she truly loved. Her family pressures her to accept any suitor, regardless of compatibility, warning her that she will “wither” like a flower if she remains unmarried. Hala eventually feels that marriage would be like a crown making her a queen, giving her social value.
In <em>I Turn Off the Lights</em>, Violet seeks to remarry after a painful divorce in order to heal her wounded heart. When Émil rejects her, she falls into deep despair. Similarly, Alice, Clarice’s sister, is desperate to find a husband and envies married women. She constantly mocks Clarice for being too thin and claims that Artush (Clarice’s husband) wanted to marry her first. These examples show how patriarchal society defines female identity primarily through marital status.
3.3. Women’s Active Political Participation
Despite the constraints, some female characters demonstrate political agency. In “I Turn Off the Lights,” Mrs. Nourallahi is portrayed as an active woman who holds meetings and encourages women to demand their rights, including the right to vote. Clarice admires her and wishes she could play a similar role beyond household chores.
In “Black Suits You,” Hala uses her voice as a singer to protest against terrorism and oppression after her father is assassinated by terrorists. She performs in a black dress, symbolizing mourning, and uses her art to inspire people to rise up against injustice. The narrator states, “Hala, with all the talent in her throat, fought against the terrorists.” Her public performances serve as a form of political activism, breaking the silence imposed on women.
3.4. Conflict and Competition Among Women
Interestingly, both novels also depict women harming other women. In “I Turn Off the Lights,” Clarice’s mother constantly discourages her from translating books or engaging in intellectual work, insisting that a “real woman” only does housework. Alice ridicules another woman, Vazgen, for translating a book into Armenian. In “Black Suits You,” a female friend of Hala secretly contacts the composer of Hala’s new song and buys it for herself, betraying their friendship. Hala’s cousin Najla also humiliates her by implying that she is poor and only spends money because of Talal’s wealth. Additionally, Hala’s mother consistently opposes her concert plans, preferring “respectable bread and cheese” over income from her daughter’s singing. These examples illustrate how women internalize patriarchal norms and turn against one another, often defending male interests.
Results
This comparative feminist reading of <em>Black suits you</em> by Ahlam Mosteghanemi and <em>I Turn Off the Lights</em> by Zoya Pirzad leads to several important conclusions. Both novels powerfully depict psychological violence against women by men, who use emotional neglect, withdrawal, and humiliation to maintain control over relationships. The authors succeed in voicing a protest against male violence through detailed characterizations and plot structures.
Regarding marriage, both novels show that women are willing to endure humiliation and mistreatment just to secure a husband, even when the man has an ambivalent or avoidant attachment style (as seen in Talal and Émil). This pressure to marry at any cost is a direct product of patriarchal norms—norms that feminism seeks to dismantle.
In terms of political participation, both novels present positive role models: Hala uses her art as a form of political resistance, while Mrs. Nourallahi actively campaigns for women's voting rights. These characters embody feminist ideals of women's agency and public engagement.
Finally, the novels also reveal competition and conflict among women. Mothers, sisters, cousins, and friends often undermine each other’s achievements, mock intellectual or artistic pursuits, and defend male interests. This internalized misogyny, as noted by feminist scholars such as Phyllis Chesler, demonstrates how patriarchal structures persist partly through women’s hostility toward one another.
In summary, both novels serve as powerful feminist texts that critique patriarchal oppression, highlight women’s struggles and agency, and expose the complex web of relationships—both supportive and competitive—among women. They make a significant contribution to contemporary feminist literature in the Arab and Persian worlds.رمان‌های پست‌مدرن <em>الاسود یلیق بک</em> احلام مستغانمی و <em>چراغ‌ها را من خاموش می‌کنم</em> زویا پیرزاد روایتگر زندگی زنانی هستند که مورد بی‌مهری فضای مردسالار واقع گشته و در حسرت زندگی نزیسته خویش تباه می‌گردند. اهمیت و ضرورت این پژوهش ازآن‌جهت تبیین می‌شود که چون هر دو رمان به‌خوبی ستم روا شده در حق زنان را به تصویر کشیده‌اند، از این جهت برای واکاوی از منظر فمینیسم مناسب می‌باشند. این پژوهش که به شیوۀ تحلیل محتوا صورت پذیرفته بر آن است تا مصادیق بارز مردسالاری و زن‌ستیزی در آنها و تأثیر هنجارهای مردسالارانه در شکل‌گیری شخصیت‌های دو رمان و مصادیق بارز تلاش‌های زنان برای احیای ارزش‌های فمینیسم در دو جامعه الجزایر و ایران پرده بردارد. یافته‌های پژوهش نشان می‌دهد که مهمترین جلوه‌های فمینیسم در این دو رمان عبارت‌اند از: نابرابری جنسیتی و روا داشتن انواع خشونت نسبت به زنان از سوی مردان، ازدواج به‌مثابه یک دستاورد مهم برای زن، زنان و مشارکت فعال در عرصه‌های سیاسی و تقابل و رقابت زنان با یکدیگر؛ که به ترتیب در اولی شاهد خشونت روانی مردان نسبت زنان، در دومی شاهد سرسپردگی تمام‌عیار زنان در برابر مردان به امید تحقق یافتن ازدواج، در سومی شاهد به پاخیزی زنان جهت احقاق حقوقشان و در آخری شاهد دفاع زنان از هنجارهای جامعه مردسالار به سبب رقابت و تقابل آنان با یکدیگر می‌باشیم.https://jccl.razi.ac.ir/article_4279_7b54c364198de2ee707b92679fdaf673.pdf