Research Paper
الادب المقارن
Zeinab Akbari; Nasrin Fagih Malek Marzban
Abstract
This study comparatively examines the metaphorical conceptualization of "Balā" (Affliction) in selected Persian and Arabic mystical texts. The primary objective is to identify similarities and classify the dimensions of variation in "Balā"'s conceptualization, alongside precisely describing the "semantic ...
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This study comparatively examines the metaphorical conceptualization of "Balā" (Affliction) in selected Persian and Arabic mystical texts. The primary objective is to identify similarities and classify the dimensions of variation in "Balā"'s conceptualization, alongside precisely describing the "semantic focus" of the metaphor in each tradition. The theoretical framework is Kövecses's (2005) Cognitive-Cultural Metaphor Theory, focusing on the interplay between universal concepts and cultural variation. The research employs a mixed-methods (quantitative and qualitative) approach, with data analyzed through content analysis and qualitative metaphor mapping.
The results indicate that common source domains such as "CONTAINER," "LOAD," "FIRE," and "FOOD" are used to conceptualize "Balā" in the reviewed texts of both languages. However, significant differences in cognitive-cultural preferences and metaphorical elaborations are observed, which can be classified into four distinct levels: 1) differences in metaphor frequency, 2) congruent and alternative conceptualizations, 3) the scope of the target domain, and 4) variations in metaphorical mappings and entailments. A qualitative analysis of these dimensions reveals that the semantic focus of "Balā" in the Arabic mystical tradition, characterized by a high prominence and frequency of the "FORCE and MOTION" source domain, conceptualizes Balā as an inevitable encounter with a powerful Divine force, directed from top to bottom.
Conversely, the semantic focus of "Balā" in the Persian mystical tradition, characterized by the prominent and frequent use of the "FIRE and CONTAINER" source domain, conceptualizes Balā as an active experience essential for achieving perfection and spiritual maturity along the path (Suluk). These findings underscore the necessity of a descriptive classification of the dimensions of metaphorical variation in abstract mystical concepts, as informed by Cognitive-Cultural Theory.
Introduction:
This research presents a comparative cognitive-cultural analysis of the metaphorical conceptualization of "Balā" (Affliction/Trial) in selected mystical texts from the Persian and Arabic traditions. The central issue addresses the dual nature of abstract concept conceptualization: the coexistence of universal cognitive schemas and the manifestation of cultural variation. The primary objective is to identify both the shared source domains and the specific cultural differences, subsequently describing the precise semantic focus (metaphorical focus) assigned to "Balā" in each intellectual tradition. This study employs Kövecses's (2005) Cognitive-Cultural Metaphor Theory, emphasizing how competing cultural models shape and elaborate universal image schemas.
Method:
This study employed a mixed-methods approach, combining quantitative and qualitative analyses. The dataset was drawn from canonical Persian and Arabic mystical works. The quantitative phase involved corpus analysis to extract and count the frequency of all linguistic manifestations of "Balā" and classify them into their corresponding metaphorical source domains (e.g., FORCE, CONTAINER, FOOD). The qualitative phase applied Cognitive Metaphor Theory to conduct a detailed mapping analysis. This involved examining the linguistic context to identify specific mappings and cultural entailments (inferences) derived from the source domains. The analysis specifically focused on classifying observed cross-cultural variation across four distinct levels: (1) differences in source domain frequency, (2) congruent and alternative conceptualizations, (3) the scope of the target domain, and (4) variation in metaphorical mappings and entailments.
Results and Discussion:
Analysis of the collected data confirms the existence of shared global schemas (e.g., FORCE, CONTAINER, MOTION) and common source domains (e.g., LOAD, FIRE, FOOD) for conceptualizing Balā in both traditions. However, the data reveals significant cognitive-cultural preferences that lead to divergent metaphorical models.
Quantitative Summary: Source Domain Preference
Source Domain
Persian Rank (Frequency)
Arabic Rank (Frequency)
Key Finding
FORCE
Second (13.46%)
First (25.28%)
FORCE is significantly more emphasized in Arabic.
FOOD/DRINK
Third (10.57%)
Sixth (3.77%)
FOOD/DRINK is a highly preferred model in Persian.
FIRE
Fifth (8.89%)
Thirteenth (1.13%)
FIRE is significantly elaborated in the Persian tradition.
Qualitative Findings: Semantic Focus and Entailments
The analysis of mappings and entailments established the distinct Semantic Focus for each mystical tradition:
Arabic Mystical Tradition (Focus on the Inevitable Force): The frequent and detailed use of the FORCE and MOTION schemas conceptualizes Balā as a mighty, external, and predetermined divine force (Qadar). The mappings emphasize top-down direction (using verbs such as NaZal, Ṣabba, Ḥalla), intensity (using adjectives like Ashadd), and the state of containment (using general prepositions such as Fī) rather than a specific vessel. The primary cultural implication is resignation and submission (Riḍā) in the face of inevitable power.
Persian Mystical Tradition (Focus on Active Transformation): The high elaboration of the FIRE and CONTAINER schemas, often combined (e.g., Balā is a Crucible/Furnace), shifts the focus to an Active, Internal, and Voluntary Experiential Process. Mappings emphasize Purification, Ripeness, and Valuation. This tradition frequently uses Alternative Conceptualizations not found in Arabic, such as Balā is a "Beloved's Coquetry" (linking affliction to romantic pleasure) or Balā is an "Honoring Garment/Robe of Honor" (linking it to status and spiritual ascent). The key cultural entailment is Perfection (Kamāl) and Voluntary Ascent along the path (Suluk).
Conclusion:
The findings underscore that while the universal conceptual foundations of "Balā" are shared, cultural models fundamentally alter the metaphorical landscape. The conceptualization of Balā in Arabic emphasizes a necessary Passive Confrontation with Divine Authority, whereas the Persian tradition privileges Active Transformation and the Pursuit of Spiritual Excellence through a sought-after trial. This study provides a necessary descriptive classification of the dimensions of cross-cultural metaphor variation, reinforcing the critical role of the cognitive-cultural framework in analyzing abstract concepts within comparative mystical discourse.
Research Paper
الادب المقارن
Shahram Delshad; Mahdi Torkshavand
Abstract
The major subject of argument in the current paper is how contemporary writers in many Eastern societies, living in conditions of oppression and tyranny, confront tyranny by recreating classical literary texts as an important and effective tool. This technique allows literary creators to keep themselves ...
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The major subject of argument in the current paper is how contemporary writers in many Eastern societies, living in conditions of oppression and tyranny, confront tyranny by recreating classical literary texts as an important and effective tool. This technique allows literary creators to keep themselves out of danger behind classical masks and, given the existing cultural backgrounds emerging from classical texts, to present their political messages to audiences easily, widely, and effectively in the role of critics and social activists. Adopting Linda Hutchen's theory of adaptation, this article examines the addressed process in two novels from Iranian and Algerian literature with two novels of “The Hellish Day of Mr. Ayaz” by Reza Baraheni and “The Sand of Al-Maya” by Wasini Al-Araj, respectively. Both novels are adapted from the History of Bayhaqi and the Thousand and One Nights, respectively, and show that this method (i.e., the use of narrative in political actions) is a widespread literary approach in the literature of third world countries. Furthermore, they, under the yoke of tyranny, are unable to directly represent the conditions of society. The results of the research show that the authors have highlighted and eliminated some elements, as well as changing and triying to localize and adapt the work to the existing conditions in society while maintaining the original spirit of the work. In specific, Baraheni has spoken about the tyranny of the Pahlavi regime in Iran by adapting the story of tyranny of Sultan Mahmud, and Wasini has spoken about the Islamic fundamentalist movements in Algeria by adapting the Thousand and One Nights.
Introduction:
Adaptation refers to the process of taking techniques, methods, and themes that are well-known and successful in other art forms and integrating them into a new mode of expression. This concept was developed by Linda Hutcheon. While adaptation is commonly associated with cross-media transformations—such as adapting a novel into a film or vice versa—the scope of adaptation has expanded to include re-creation within the same medium. Examples include adapting a film from another film, a novel from another novel, or one written work from another. From this perspective, re-creation involves reinterpretation and transformation, effectively making the story one’s own by refining it through personal instincts, interests, and talents. In fact, adaptation in this sense breathes new life into the static body of a classical text by aligning it with contemporary developments and the author’s ideological and social concerns, preparing it for new perspectives and objectives through deliberate changes. This process removes the exclusive control of classical texts from filmmakers and other visual adaptors, enabling literary writers to reinterpret classical works in their own unique style and form. In many East African and Asian countries with similar political and social conditions, innovative and creative writers use the method of recreating classical texts to confront tyranny. In these regions, this approach is regarded as a safe yet symbolic form of protest that helps political and literary activists achieve their goals. Notable figures employing this method include Wassini Al-Araj, a prominent Algerian writer, and Reza Baraheni, a renowned Iranian author. Both authors emerged from similar social and political conditions, with confronting tyranny and addressing social concerns as the central themes in their novels. Some of their works involved adapting classical texts to achieve these goals. Notable examples include the novel The Sand of Maya by Wassini Al-Araj, which is adapted from One Thousand and One Nights, and the novel Hellish Life of Mr. Ayaz by Reza Baraheni, which draws from the history of Bayhaqi.
Method:
The theoretical basis of this research is based on the concept of re-creation from the perspective of Linda Hutchen. She describes re-creation from three perspectives, of which the second perspective, the act of adaptation as a process of creation, is considered in this article. In this perspective, adaptation requires reinterpretation and re-creation. Depending on the point of view of the individuals, such a thing can be called both the appropriation of the text and the salvation of the text. Against every belligerent appropriation that is defeated by a political opponent, there is a patient savior. Hutchen considers three components for this level of adaptation as follows: highlighting, deletion and displacement, localization.
Results and Discussion:
The capacities for reproduction and decomposition of the book “Alif Lailat Lailat” in Arabic literature and the history of Bayhaqi in Persian literature have led both authors to adapt and recreate the work. The most important opportunity that the possibility of recreating the One Thousand and One Nights has given to Wasini in creating a protest work is the numerical form of the One Thousand and One Nights, which has given the author the opportunity to create other stories by expanding the number. The marginality of the character Donyazad and his lack of development by the anonymous authors of One Thousand and One Nights have provided Wasini with the opportunity to utilize this silent character for political purposes within his narrative work. Similarly, the specific historical form of Bayhaqi—whose initial and final volumes have been lost, leaving only the middle volumes intact—and the neglect of many turning points in the history of the Ghaznavid sultans have allowed Baraheni to create a new chapter and sequel to this book. In addition, Bayhaqi's style of historical characterization, along with his inclusion of independent anecdotes from historical figures such as Hassanak, Bushel Zuzani, and Abu Nasr Meshkan, enabled Barahini to leverage Ayaz's marginal presence in this book—limited to only a few references and allusions—to create a work of politically charged protest and recreation.
Conclusion:
An examination of the re-creation process in two novels from Iranian literature (The He llish Life of Mr. Ayaz by Reza Baraheni) and Algeria (The Sand of Maya by Wasini al-Araj) is adapted from the history of Bayhaqi and the One Thousand and One Nights, respectively. It shows that this method (the use of narrative in political actions) is a pervasive literary approach in the literature of third world countries that, under the yoke of tyranny, are unable to directly represent the conditions of society. The research results show that the authors, while preserving the original spirit of the work, have highlighted and removed certain elements, as well as modified and attempted to localize and adapt the work to the prevailing societal conditions. Specifically, Baraheni addressed the oppressive tyranny of the Pahlavi regime in Iran by adapting the story of Sultan Mahmud's tyranny, while Wasini focused on Islamic fundamentalist movements in Algeria by adapting tales from One Thousand and One Nights.
Research Paper
الادب المقارن
Farhad Rajabi; Zahra Mafi
Abstract
Semiotics, as a field of knowledge applicable both in the creation and interpretation of texts, is one of the most important approaches in linguistics. Its application is essential in analyzing poetic texts, especially those by poets who primarily use symbolic language to convey their meanings. In this ...
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Semiotics, as a field of knowledge applicable both in the creation and interpretation of texts, is one of the most important approaches in linguistics. Its application is essential in analyzing poetic texts, especially those by poets who primarily use symbolic language to convey their meanings. In this regard, we will conduct a comparative analysis of the poems of Sohrab Sepehri and Suzan Alivan, focusing on the symbolism of color and examining the meanings derived from these signs. Sepehri and Alivan are among the most prominent poets whose use of color is distinctly articulated in their poetic vision. Both poets depict personal and social life in their poetry by employing the concepts evoked by colors. The semiotic-semantic study of the color element reveals how two poets created meaning through the use of signs, distancing themselves from familiar and established textures. Exploring the semantic implications and internal relationships of the color element facilitates a deeper understanding of their intended meanings. The occasionally similar experiences in the personal and social lives of Sepehri and Alivan have shaped comparable literary paths for both poets, leading to similarities in the symbolism and frequent use of colors in their poetry. This article demonstrates that color, as a symbolic element, plays a significant role in creating meaning. In most cases, the frequency and function of colors are similar between the two poets; however, differences arise due to their distinct moods and experiences.
Introduction:
Semiotics, as a field of knowledge applicable both in the creation and interpretation of texts, is one of the most important approaches in linguistics. Its application is especially essential in poetic texts, where poets primarily use symbolic language to convey their meanings. Every text has its own system of signs. Literary and artistic texts, which are identified based on their use of metaphorical systems, employ signs on a broader scale—both quantitatively and qualitatively. Among literary genres, poetry stands out as particularly distinctive in this regard. In this paper, we aim to conduct a comparative study of the poetry of two contemporary Persian and Arabic poet-painters by analyzing the semantic functions of signs and employing a descriptive-analytical method. Sepehri and Alivan have extensively used colors in their work. These two poet-painters primarily employ the symbolic concept of color in their poetry to guide their audience’s minds from the superficial meaning of the words to their deeper layers, revealing the secondary meanings hidden behind color-related terms. Examining this literary technique through the lens of semiotics and various discursive systems reveals how meaning is constructed in the poetry of these two poets. The presence of intellectual and philosophical commonalities in their thoughts, along with the social structures of Iranian and Lebanese societies, prompted an analysis of the use of color as an indicator shaped by their mentalities and spirits.
Method:
In the present research, which is descriptive-analytical and looks at the subject from the perspective of comparative research, painting and painting elements have generally been considered, and of course, color is also mentioned in part of the work, which in the first case is considered in a comparative manner between two poets and in the rest of the cases separately. In other cases, which basically deal with other poets, color has been examined as a semantic context and a subject of study in poetic works. The common focus of the works conducted is the examination of color as a semantic element in literary texts. In these studies, color—primarily serving a traditional and natural function—has been analyzed with this same perspective. The difference between this article and previous studies is notable in two respects: first, the case studies examine the poetry of two poets who are also painters, establishing a tangible and closer connection with color. Second, in the poetry of these poets, color transcends its superficial meaning and natural function to serve as a symbol expressing deeper, secondary meanings.
Results and Discussion:
Examining the function of colors in the poems of Sepehri and Alivan through a semiotic-semantic framework reveals numerous implicit connotations that form the semantic foundation of their poetry. Among the colors used in the divans of these two poets, black appears with high frequency. This color, the most frequent in Alivan's poetry and the second most frequent in Sohrab's, symbolizes the dominance of black. The disparity in frequency between black and the colors blue, yellow, and white—each appearing less often—reflects a sense of darkness and despair. This suggests a world where qualitative values are overshadowed by darkness and a focus on quantitative measures. The poetic worlds of the two poets are shaped by color and the concepts it evokes. However, Sohrab often imbues color with a romantic and perfectionist quality, while Alivan uses it to convey postmodern themes such as emptiness, anxiety, and chaos. The frequent use of black and white underscores this contrast.
Conclusion:
The relationship between color and sign is important to us because the human mind considers its relationship with other phenomena and events in the light of specific meanings. In other words, colors find meaning in the human mind beyond a chemical change or a sensory phenomenon; a meaning that is, of course, not unrelated to the tangible world. “Every color is a phenomenon, which is a code or metaphor for the light of its origin, and this meaning must be interpreted according to this manifestation.” Such an approach to color has a wide application in literary texts, and in particular in modern poetry, which has a closer connection with the semiotic system and codes. In addition, the interplay between the arts of painting and poetry and the acceptance of the well-known mentality that painting is silent poetry and poetry is vocal painting have long led us to witness the presence of painter-poets and painter-poets in the field of meaning and art due to the similarity of these two arts in the beautiful and creative recording of subjects. Of course, the effective function of the element of color in these genres is natural. Examining the position and meaning of color in the art of poetry can reveal the communicative position of great truths from language, literature, and society. As Mallarmé, the famous French Symbolist poet, in a French poem, matched color, fragrance, and natural sounds.
Research Paper
الادب المقارن
Hossein Salimi; Meysam Ghalili
Abstract
Comparisons and analyses of similar works from different historical periods have always provided valuable opportunities to uncover hidden details and understand the causes of their differences. In this context, represented as a triangle with vertices named Yadegar Zariran, Shahnameh (specifically, a ...
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Comparisons and analyses of similar works from different historical periods have always provided valuable opportunities to uncover hidden details and understand the causes of their differences. In this context, represented as a triangle with vertices named Yadegar Zariran, Shahnameh (specifically, a thousand precise verses from an entry in Shahnameh), and Tarikh-e-Sha’alibi, also known as Gharr-e-Akhbar, we observe expected similarities that clearly stem from their reference to a specific historical event. At the same time, these works exhibit differences and omissions relative to one another, which reveal points of divergence and invite further discussion. This article, employing a descriptive-analytical method and a library-based approach, aims to analyze the differences and similarities among these three texts through examination and comparison. The results indicate that the differences in the Shahnameh are more extensive and pronounced compared to the other two texts. At the same time, the account of events in Tha'alibi's History shares many similarities with Yadgar Zariran. By identifying and tabulating these differences, the audience can gain a comprehensive and analytical perspective for comparison. Finally, drawing on the theories of Geiger—a German linguist—and other inductive possibilities, the reasons for these differences are explored. Introduction:Today, one method of resolving ambiguities left in historical records is to compare similar works and identify the reasons for their differences. Uncovering the causes of these variations has consistently opened new avenues of knowledge. For this reason, Khaleghi Motlaq, after spending more than thirty years comparing fifty-five different manuscript versions of the Shahnameh, affirms the superiority of ten of them over the rest (cf. Khaleghi Motlaq, Vol. 1, 2015: 92). Here, by examining the similarities, differences, and briefly exploring their causes with the help of Geiger's theories, we aim to categorize and organize these works so that readers can extract the essential points. Similarities arise from shared content, while differences stem from the author's unique style, the historical period in which they lived, and the various sources they used. Through these comparisons, we can highlight the power of precise writing and the inclusion of detail in seemingly brief passages; alternatively, we may gain insight into the existence of more extensive source materials. For example, Tha'alabi’s history, which closely resembles the Khodai-namehs, including the Shahnameh, begins with the creation narrative, describing Kiyomars and continuing through to the end of Yazdgerd III’s reign and the onset of the Arab invasion. This work, similar to the Shahnameh, is written in the prose style of Mursal and adopts a religious perspective. Each of these three works possesses unique qualities that can be critically examined individually or in pairs. Certainly, comparing all three together to form a comparative triangle will reveal valuable and insightful points; the greater the number of comparison branches, the more diverse and enriching the outcomes will be.Method:This essay is a documentary and theoretical research that tries to categorize the differences and similarities of the three works using a descriptive-analytical method and to recognize these differences with regard to Geiger's views in order to cover the ultimate goal of systematically categorizing and comparing the three works.Results and Discussion:The Yadgar Zariran is a pre-Islamic work and the oldest surviving epic recounting the war between two kings over the acceptance of a new religion versus adherence to the old covenant. When Gashtasb embraces Zoroastrianism, he faces the threat of war and the destruction of his kingdom and surrounding regions by Arjasb, the king of Khyunnan. Messengers are exchanged, and finally, with an invitation to war delivered through a letter from Zarir, the location of the battle is revealed. Gashtasb sets out for war with all his wealth and companions, accepting his fate as foretold by the prophet Jamasp. More than twenty-three members of his family are sacrificed, but ultimately, this leads to the victory of Zoroastrianism over Khyunnanism, which was a form of star worship (see: Tarikh Tha'alibi, 170). The Yadgar Zariran was first published in Persian and Pahlavi languages by Mohammad Taqi Bahar in 1314. The Gashtasb-e-Nameh, which contains the same narrative as Yadegar Zariran, was composed by Daqiqi Tusi before Ferdowsi. Ferdowsi incorporated those verses exactly into the Shahnameh to preserve them from destruction and to serve as the third element in the analogy presented in this article.For convenience, we refer to the Shahnameh figuratively as the same thousand verses of Daqiqi and call Yadegar Zariran in imitation of the late great Iranian scholar Wilhelm Geiger (1856–1943 AD). The History of Tha’alabi is also the work of Abd al-Malik ibn Muhammad ibn Isma’il Tha’alabi of Neyshabur in the fourth century AH. Even the exact name of this author has been a subject of scholarly debate among literary historians. Ignoring this minor issue and following the esteemed scholar Mujtaba Minou, we attribute the same name to him (Tha’alabi, 1368: 122). Regarding the significance of this work, it can be said that from the fourth to the sixth century, the only existing account of the Zariran Relic appears alongside the Shahnameh. After that period, only a limited number of works have addressed this event, and those only in a cursory and brief manner (Mahyar Navabi, 1374: 22). On pages 170 to 180, the History of Tha'alabi, corrected by the late Professor Minovi, describes the event of the war of Gashtasb and Arjasb, which contains generalities that are similar in terms of quantity and quality to the Zariran Relic, but also has some differences that will be examined.Conclusion:By comparing Yadegar Zariran with Thousand Accurate Verses and Thaalabi's narration, we observe general similarities that are expected, alongside differences that range from subtle to transformative. Zariran's novella shares many similarities with Thaalabi's "Gharr Akhbar al-Fars" in terms of overall length and content. Differences that detract from the subject are rare, occurring in only one notable instance. The most significant difference lies in Thaalabi's approach to the beginning of the work and his attitude toward Zoroastrianism, its prophet, and its first follower. This perspective, shaped over several centuries, reflects the influence of Islamic thought, which may explain these variations.When comparing Zariran's novella with the Shahnameh, significant differences in the subject matter become apparent. In the former, Zariran is portrayed as the hero, whereas in the latter, the narrative culminates with the heroism of Esfandiar. Additionally, the recipient of Bidarfesh's life is Esfandiar in the Shahnameh, not Bastur as in the novella. Esfandiar's name is more prominently featured in the Shahnameh, reinforcing his role in the continuation of the epic. According to the German linguist Geiger, this marked difference stems from the existence of different sources in the Pahlavi language at the time Abu Mansur Abdol Razzaq Mu'ammari composed the Khodai-nameh. Another factor is the Shahnameh's historical approach, which includes detailed accounts and epic narratives, in contrast to the Zarirnameh, which is brief and written as a lamentation rather than with the intent to document history and preserve its elements.
Research Paper
الادب المقارن
Payman Salehi; Somayeh Sadat Shafiei
Abstract
Feminist criticism seeks to explain the role of patriarchal culture in shaping the portrayal of women in literary works. Literary and artistic creations hold a significant place in the philosophical thought of Michel Foucault, who has extensively drawn upon these works to elucidate his intellectual project. ...
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Feminist criticism seeks to explain the role of patriarchal culture in shaping the portrayal of women in literary works. Literary and artistic creations hold a significant place in the philosophical thought of Michel Foucault, who has extensively drawn upon these works to elucidate his intellectual project. Foucault views every discourse as emerging from power dynamics, with language serving as the arena where power relations arise, determining the dominant and the subordinate subjects. Accordingly, this study aims to examine and analyze Foucault's theory of power alongside the novel Tashari by Iraqi writer Inam Kajehji and the novel Forget the Autumn by Iranian writer Fahimeh Rahimi, employing the American school of comparative literature and a descriptive-analytical approach. The findings reveal that both novels incorporate various power-oriented discourses as conceptualized by Foucault. However, in Forget the Autumn, certain discourses—such as those of superstition, mastery and servitude, and love—are particularly prominent. The authors of these novels demonstrate that, although women in traditional Iraqi and Iranian societies are often victims of the power wielded by superiors across social classes, through resistance they have progressed from the confines of emotional passivity to the realm of reason and agency, moving beyond folk beliefs into political and social activism.
Introduction:
Since the late 1960s, feminist literary criticism has emerged as a deliberate and collective approach to literature. Virginia Woolf is considered a pioneer of feminist criticism with her work A Room of One's Own. Aiming to expose the mechanisms of patriarchal society, feminist literary criticism ultimately seeks to transform social relations. Feminists argue that patriarchal society favors men and prioritizes their interests over those of women. In the contemporary era, literary criticism is closely connected to political feminist movements across social and economic spheres, as well as in the pursuit of cultural freedom and equality. The social norms established and upheld by those in power, primarily men, favored the dominant group. Consequently, women adopted various strategies to defend their identity and status. Part of their protest, as a segment of society that became aware of the challenges and injustices imposed upon them, was expressed through women's literature. Michel Foucault's theories on explaining the relationships between power and resistance are useful and inventive for discourse analysis. Literary and artistic works have a privileged position in Foucault's philosophical system, and he has benefited greatly from these works in explaining her intellectual project. Because important political and social events and changes are better reflected in literary works, especially narrative works. Accordingly, the present study has attempted to examine and analyze, the novel Tashari by the Iraqi writer Inam Kajehji, and the novel Forget the Autumn by the Iranian writer Fahimeh Rahimi by refering Foucault's theory of power.
Method:
This research is based on the descriptive-analytical method and referring Michel Foucault's theory of the exercise of power. First, Michel Foucault's components of power in the two novels under discussion are extracted and then analyzed and examined.
Results and Discussion:
In traditional Iraqi and Iranian societies, men have the power to act through social norms and in this way demonstrate their dominance over women's performance and lives. However, both authors have tried to use female characters to advance women from emotional and passive beings to the border of logical and active actors, and from folk thinking to the realm of social activities.
Conclusion:
In both novels, there are various types of power exercises, such as gender and power exercises, the power exercises of superstitions and folk beliefs, the power exercises of social superiors over social inferiors, the power exercises of dominant culture, and the preferential male agency in the formulation of love. In the novel Forget the Autumn, some discourses, such as the discourse of superstition, the discourse of mastery and servanthood, and the discourse of love, are the leading ones. The author of the novel "Tashari" through the character of Verdiyeh and the author of the novel "Forget Autumn" through the character of Rojan have presented different perspectives of traditional society regarding the exercise of power by social elites. A remarkable point is that, in some cases, subordinates have resisted their superiors and spoken out in protest. However, in many instances, subordinates become victims of the power wielded by superiors, who do not necessarily belong to a specific class. This aligns with Foucault's claim that power and resistance exist at all levels of society and within individual relationships. Consequently, this dynamic perpetuates both power and resistance.
Research Paper
الادب المقارن
Abdolahad Gheibi; Mahin Hajizadeh; Mayagozal Bahman
Abstract
The concept of freedom, one of the most complex and expansive philosophical ideas, has long been a central focus for many scholars. Existentialist philosophy, with its emphasis on the existential and ontological dimensions of human existence, provides a unique perspective on freedom. In this philosophy, ...
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The concept of freedom, one of the most complex and expansive philosophical ideas, has long been a central focus for many scholars. Existentialist philosophy, with its emphasis on the existential and ontological dimensions of human existence, provides a unique perspective on freedom. In this philosophy, human beings, as free agents, are responsible for shaping their own lives and determining their destinies. Existentialists believe that, unlike many other beings, humans do not possess a predetermined essence; instead, they create their essence through the free choices they make throughout their lives. This research employs a descriptive-analytical method to examine the main characteristics of freedom in existentialist philosophy and its manifestation in two famous novels: The Old Man and the Sea and When We Left the Bridge. The main characters in these two novels, when faced with challenging situations and difficult decisions, are compelled to accept responsibility for their choices. This study aims to demonstrate how these characters, relying on their existential freedom, struggle against life's limitations and challenges, ultimately arriving at a profound understanding of existence. Both novels illustrate that confronting freedom and responsibility shapes the path of self-creation and the search for meaning. Santiago’s courageous acceptance of his choices leads to honor and purpose, whereas Zaki Nawi’s evasion of this existential burden impedes his authenticity and self-creation. This comparison underscores the universality of fundamental human experiences—such as freedom and the quest for meaning—across diverse cultures.
Research Paper
الادب المقارن
Hoda Yazdan; Hosein Abavisani; Hooman Nazemian; Ali Pirani Shal; Fatemeh Parchekani
Abstract
Collective memory emerges from the dynamic interplay between remembering and forgetting within a community or social group. The function of collective memory refers to the role that memory plays in shaping, preserving, transmitting, and redefining our understanding of the past and present. Since the ...
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Collective memory emerges from the dynamic interplay between remembering and forgetting within a community or social group. The function of collective memory refers to the role that memory plays in shaping, preserving, transmitting, and redefining our understanding of the past and present. Since the colonizer in post-colonial societies seeks to erase and manipulate the collective memory of the indigenous population, it has become necessary to study the functions of collective memory as an act of resistance. Since the colonizer in post-colonial societies seeks to erase and manipulate the collective memory of the indigenous population, it has become necessary to study the functions of collective memory as an act of resistance. This research, through a study of Elias Khoury's novel Children of the Ghetto: My Name is Adam, examines the role of collective memory in constructing the identity of the colonized and reviving their history and marginalized voice, because this narrative, as an alternative archive, reveals the gap between official history and colonial memory. Based on the theories put forward in the field of collective memory and the study of the narrative in a descriptive-analytical style, the researchers of the study concluded that the main character in the story, through recording the experiences of the previous generation of memories of captivity in the ghetto, seeks to revive marginalized narratives by questioning official history. But in contrast, colonialism uses many methods to suppress the collective memory of the colonized, such as cultural assimilation, the abandonment of the credibility of the colonized historical narrative, cultural theft, the imposition of an artificial collective memory by the colonizer, and the use of the capabilities of the visual arts, such as filmmaking. Introduction:Collective memory functions as the shared experiences, memories, and cultural identity of a society and is itself a dynamic process, a process that results from the interaction between collective remembering and forgetting. This continuous interaction helps a society to maintain its identity and values and to adapt to future developments. Maurice Halbwachs, a German-French sociologist and philosopher, who is known as the most important theorist in the field of collective memory, believed that human memories have a social nature, contrary to the common perception that memory and the process of remembering are hereditary and biological. In his view, collective memory is the memory of a group that is formed in cultural, linguistic, and historical contexts and is perpetuated through retelling, rituals, and writing. He says: “Our memories are collective, even though the events are personal to us or things we have seen alone, but it is others who remind us of them. In fact, we are not alone at all” (Halbwachs, 2016: 45-46). Maurice Halbwachs considers history and memory to be two separate things; he says, “History and collective memory are both social realities available to the public, with the difference that history is dead and collective memory is alive... The moment of history begins is when a memory disappears from social memory, in which case the only means of saving those memories is to narrate and write them down” (ibid: 98). He made it clear that our understanding of the past is influenced by the mental images we use to solve the problems of the present. Hence, collective memory is the reconstruction of the past in the light of the present (Coser, 1992: 372).“Postcolonial criticism, as a subject, analyzes literature that is the product of cultures that have emerged in response to colonial domination from the beginning of colonialism to the present” (Saleh Beck et al., 2019: 60). In post-colonial societies, collective memory is gradually suppressed, distorted, and ultimately erased, as the colonizer continually seeks to remove the colonized from the scene by rewriting history to their advantage and imposing their own narrative. In such a situation, literature acts as a tool for reconstructing and recording collective memory and is considered a kind of resistance against the imposition of oblivion. Palestinian post-colonial literature is more memory-oriented than the post-colonial literature of other nations, because, unlike most colonized countries that have achieved some degree of independence, Palestine is still involved in military colonization and therefore lacks an independent system of government, formal education, and an accepted national historical narrative. In the meantime, the novel Children of the Ghetto: My Name is Adam, shortlisted for the Arab Booker Prize (2017), by Elias Khoury, is considered an effective step in the narrative of Palestinian collective memory. Relying on marginalized micro-narratives, Khoury attempts to reconstruct and record a corner of the erased collective memory of Palestine through the memories collected by the character "Adam Danon" as one of the survivors of the Lod Ghetto. This form of narrative falls within the framework of the concept of "history from below", that is, a narrative that, unlike the official history of the ruling class, recounts the past from the perspective of the subordinates and victims of the power system.This research aims to analyze the function of collective memory in the postcolonial novel Children of the Ghetto - My Name is Adam, in the possibility of recovering the voice, history, and identity of the colonized. The present research, relying on library resources and using a descriptive-analytical method, attempts to answer the following questions:How does collective memory in the novel Children of the Ghetto: My Name is Adam help the colonized rebuild their identity and confront the erasure of history? 2. In this novel, what methods does the colonizer use to suppress the collective memory of the Palestinians? 3. According to this novel, what challenges does the fragmentation of collective memory pose for the new colonized generation?Method:In the current situation where collective identities have become ambiguous and forgotten due to historical, social, and political processes, the reconstruction and recording of collective memory has become doubly important. Therefore, this study, which relies on library resources and employs a descriptive-analytical method, aims to analyze the function of collective memory in the postcolonial novel The Children of the Ghetto - My Name is Adam and examines the possibility of recovering the voice, history, and identity of the colonized.Results and Discussion:The function of collective memory in this novel was to restore identity and counter the erasure of the colonized people's history. In this context, the recording, preservation, and deliberate forgetting of collective memory among Palestinians (the colonized group), as well as its fragmentation within the new generation of Palestinians, were analyzed and studied, with numerous examples provided.Conclusion:After examining the function of collective memory in the postcolonial novel Children of the Ghetto, My Name is Man, it became clear that the reconstruction of the colonial identity depends on the revival of marginalized narratives, cultural elements, and indigenous languages. It was observed that literature, especially novels, can strengthen the collective memory of the colonized by exposing cultural distortions and thefts, and retelling oral history, thereby forming a suitable platform for reconstructing identity and confronting historical forgetting. In addition, attention should be paid to the impact of memory formation during childhood and adolescence, as this is the golden age for memory development, so that the new generation does not become lost in the official colonial narrative by forgetting its history and identity.The analysis of the novel showed that the colonialist needs to rewrite collective memory to consolidate his domination and impose his narrative. Therefore, he suppresses and distorts the collective memory of the colonized and pursues his colonial goals through various methods, such as cultural assimilation, discrediting the colonialist narrative of history, utilizing the capacity of the visual arts, including filmmaking, cultural theft, and imposing a prescribed collective memory. Now, the new colonized generation that is experiencing the rupture of collective memory is facing challenges such as a crisis of cultural identity, a sense of lack of belonging, indifference to the historical past, and political passivity in accepting and reproducing the official colonialist narrative. Another challenge is the gap between generations, which causes a severing of ties with the older generation, as they are the bearers and guardians of memory. Ultimately, by erasing memory and legitimizing the colonialist narrative, future generations gradually become the main victims of colonialism without any resistance. Eventually, their voices and history are silenced and forgotten, consigned to eternal oblivion.
