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Showing 3 results for Mahmoudi
Ali Taslimi, Behrouz Mahmoudi Bakhtiari, Mahmoud Ranjbar, Fakhry Rasouli Geravi,
Volume 27, Issue 86 (7-2019)
Abstract
Implied author and implied reader are components of a narrative structure, playing a crucial role in illuminating hidden elements within a text. Therefore, studying these elements in literary works can expose the underlying layers of narration and open up new critical outlooks to the readers. Furthermore and in cases of cinematic adaptations, it explains whether this was the novel or the film that has managed to unravel narrative complexities of the other medium more successfully and better facilitate audience understanding. The novel GavKhuni and its film adaptation are among works in which the plot is not causal, but internal and fluid. Thus, the reader has to decode textual evidence in order to understand how conceptions and viewpoints are formed in characters. Afkhami’s adaptation of GavKhuni is totally loyal and all elements of the story are faithfully mirrored in the film. However, Afkhami has made use of these elements to present his own ideological concepts. Repetition is a method that both the author and the director have used to transfer their ideas to the audience. Using a descriptive-analytical methodology and a narratological and inter-disciplinary approach, the present research attempts to analyze the ways in which implied author and reader are represented in the novel and the film. Since the author and the reader of each era are thrown into their work and new meanings are discovered in fulfillment of their expectations, thus the audience of this novel and film would discover new meanings from out of the narrative text of GavKhuni as well as its adaptation.
Masoumeh Mahmoudi,
Volume 31, Issue 94 (6-2023)
Abstract
Research shows that the study of literary texts about an illness, especially from a phenomenological perspective, can contribute to a better understanding of the patient and the illness and lead to knowledge of the world and the human way of thinking. Obviously, this approach increases the appeal and interest of the audience in the study of literary works and opens up new horizons for them. On the other hand, among human emotions, the expression of love and behavior related to romantic feelings is more frequent in literary works, especially in the works of female writers, and erotomania, or romantic psychosis, is one of the delusional disorders reflected in these works. This descriptive-analytical study examines how the symptoms of erotomania are described in two short stories, named “Rana” from Nazli story collection written by Moniro Ravanipour and “Bad az Tabestan” from Chahar Rah story collection by Ghazaleh Alizadeh, according to DSM-5 diagnostic criteria. The results indicate that the fictional characters in the works studied show symptoms that meet the clinical diagnostic criteria of the disorder in question. In these stories, in addition to the description of clinical symptoms, the authors have also considered sexual, social, economic, and cultural factors. This shows the ability of the writers to create realism and credibility in the plot of the story, which makes the reader better connect with the text and get influenced by it. Moreover, the description of the feelings and beliefs of these characters and their effects on their lives and personal and social relationships can help readers to better understand the way of thinking and the life experience of those people and create communication that comes from understanding a psychotic person in the real world.
Research shows that the study of literary texts about an illness, especially from a phenomenological perspective, can contribute to a better understanding of the patient and the illness and lead to knowledge of the world and the human way of thinking. Obviously, this approach increases the appeal and interest of the audience in the study of literary works and opens up new horizons for them. On the other hand, among human emotions, the expression of love and behavior related to romantic feelings is more frequent in literary works, especially in the works of female writers, and erotomania, or romantic psychosis, is one of the delusional disorders reflected in these works. This descriptive-analytical study examines how the symptoms of erotomania are described in two short stories, named “Rana” from Nazli story collection written by Moniro Ravanipour and “Bad az Tabestan” from Chahar Rah story collection by Ghazaleh Alizadeh, according to DSM-5 diagnostic criteria. The results indicate that the fictional characters in the works studied show symptoms that meet the clinical diagnostic criteria of the disorder in question. In these stories, in addition to the description of clinical symptoms, the authors have also considered sexual, social, economic, and cultural factors. This shows the ability of the writers to create realism and credibility in the plot of the story, which makes the reader better connect with the text and get influenced by it. Moreover, the description of the feelings and beliefs of these characters and their effects on their lives and personal and social relationships can help readers to better understand the way of thinking and the life experience of those people and create communication that comes from understanding a psychotic person in the real world.
Gholâm Rezâ Pirouz, Hourâ Âdel, Msr Gharib Rezâ Gholâmhosseinzâdeh, Fattâneh Mahmoudi,
Volume 32, Issue 97 (1-2025)
Abstract
Poetry and painting are two different paths for creating works of art, and their close relationship has always been of interest to art history researchers and literary critics. Sohrab Sepehri is an artist who tested his taste in both poetry and painting. Therefore, using purposive sampling of Sepehri’s paintings of trees and his Hasht Ketab (Eight Books) poems, and based on Panofsky’s theory of iconology, the present research is a comparative study of these works. It focuses on the images of trees in his poetry and painting to analyze and explain various structural and semantic aspects of common icons to discover the characteristics and connections between his poetic world and his art of painting. The current research tries to answer the questions of why and how the tree image acts differently in the two linguistic and visual systems. Sepehri’s approach to the ‘tree image’ in both poetry and painting is contrasting in such concepts as dynamism and staticity, life and death, rootedness and rootlessness, fertility and infertility, openness and closure, and disconnection and connection, while it is sometimes approaching in themes such as strangeness and the sense of suspense. The results showed that Sepehri is under the influence of the paradigm of modern Iranian painting in drawing the image of the tree and its space, in which the space is mainly contracted, dark, and desperate. Hence, the trees in his works move in the direction of disconnection from the world and the essence of existence which can be an allegory of Sepehri’s objective world. However, the image of the tree in his poems is in line with the dominant common concepts - a symbol of growth, freshness, and vitality - which is far from the rhetorical signs and the uncommon domain of connotation in Persian literature. It is, in a way, an explanation of the ideal world of the poet.
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