|
|
|
 |
Search published articles |
 |
|
Showing 381 results for Type of Study: Research
Doctore Mohammad Khosravi Shakib,
Volume 32, Issue 96 (4-2024)
Abstract
Proverbs are a cultural tool that, due to their expressive language and special phonetic and literary patterns, can decrease the intellectual resistance of the audience and impose certain concepts and meanings on them. The cultural semiotics of Persian proverbs shows that gender discrimination and reducing the status of women are probably rooted in cultural standards and norms. In many proverbs, women are considered “the other” and marginal while men are regarded as “the self” and central. Using analytical, descriptive, and qualitative methods, this article critically investigates several gender proverbs with an emphasis on cultural semiotics to show how the dual opposition of “man” vs. “woman” has influenced concepts such as “patriarchy”, “marriage”, “reproduction”, “formal beauty”, “masculine economy”, “mental strength”, and “leadership and management”. and placed women in the “margin” and men in the “center” of the cultural context. The cultural semiotic analysis of proverbs attests to the fact that being a “woman” is a product of patriarchal ideology; a thought that consciously or unconsciously seeks to depict women as “the other”. This thinking removes women from the social scene with hidden control and repression and ultimately seeks their “symbolic refutation”.
M.s Marjān Heydari Tamrābādi, M.s Shivā Heydari Tamrābādi, Mr Vahid Vaziri,
Volume 32, Issue 96 (4-2024)
Abstract
This research takes an interdisciplinary approach to examine the role of architectural elements in the surrealist stories “The Blind Owl” and “Prince Ehtejab”. Each of the architectural elements has its own specific definition and function that shapes the physical atmosphere i.e., it creates an atmosphere limited to time and place. However, the content of these elements with their implicit meaning creates atmospheres that are not limited to time and place. As the purpose of this research is to examine the effect of architectural elements in creating the surrealist atmosphere of these stories, first of all, the architectural elements that existed in the stories were extracted and, through comparative studies, their meaning beyond the physical aspect was analyzed using a descriptive-analytical method. Ultimately, the crucial role of these elements in creating the surrealist atmosphere of the stories was elucidated. Sadegh Hedayat’s “The Blind Owl” can be considered his most important work. Architectural elements such as the narrator’s house and the buildings in the story play a significant role in shaping the story’s atmosphere. In “Prince Ehtejab”, due to the protagonist’s reminiscence of the last night of his life in his room, a surrealist atmosphere emerges. Upon closer examination, it can be said that the architectural elements in the room, carrying meaning beyond themselves, play a fundamental role in expressing the prince’s personal circumstances and exposing his weaknesses and fears.
Mohammad Hasan Jalāliān Chāleshtari,
Volume 32, Issue 96 (4-2024)
Abstract
The Haft-Xwân/Xâns of Rostam and Esfandiyâr are prominent episodes in the Shahnameh, which have garnered significant attention throughout the history of Persian literature. These episodes depict a series of battles involving warriors. However, there is debate regarding the correct spelling of the term. Traditionally, most manuscripts of the Shahnameh and other Persian works use the term “Haft-Xwân.” Nevertheless, some contemporary researchers argue that the warrior undergoes seven stages in these battles, leading them to propose an alternative spelling: “Haft-Xân.” Additionally, some scholars suggest that the second part of the word (xwân) refers to a feast, as Esfandiyâr supposedly celebrates after each battle. In this article, we explore the accuracy and validity of both opinions, employing historical linguistics. Our interpretation aligns with the content of these battle narratives, considering the original form as “Haft-Xwân.” Furthermore, we propose a new derivation for “xwân”, associating it with the concept of “battle and struggle.”
Ali Taslimi, Farideh Faryād, Firouz Fāzeli,
Volume 32, Issue 96 (4-2024)
Abstract
For Kristeva, each text is the result of its preceding textual network. Hence, to decode a text, one must consider this textual network. Authors and poets have always benefited from previous texts. This is sometimes done as legendism which is nothing but rewriting and recreating legends, and does not help literature much. However, “trans-legendism” has a different approach that can be a cause of literary transformation. Trans-legendism does not just refer to legends by way of allusion and referencing but transforms the past texts by employing intertextuality to the point that the reader cannot easily recognize what texts and legends have been used in the formation of the new text. In the novel Spells, we are faced with three methods: legend-telling, legendism, and trans-legendism. In The Blind Owl, too, the writer has transformed the text of the past through the use of multiple legends and myths. This article investigated the two novels based on trans-legendism or legendary intertextuality. This study concluded that both novels have benefitted from legends even in opposition to legends.
Fatemeh Toobayi, Mohammad Yusof Nayyeri,
Volume 32, Issue 96 (4-2024)
Abstract
Investigating the origins of Sufism in various regions of Iran is a significant topic that has not been adequately explored. The researchers’ focus on Iraqi and Khorasan schools of Sufism has led to neglecting Sufi practices in other areas including Fars and Shiraz. Notably, the presence of over eighty Sufi sheikhs in Fars and Shiraz before the appearance of Ibn Khafif, along with the substantial growth of Sufism in this region underscores the need to study the origins and development of Sufism there. This research identified forty-three sheiks from Fars and Shiraz who lived either before or contemporaneously with Ibn Khafif and analyzed their mystical views based on the limited available information. As a result of this analysis, it is evident that four main Sufi currents existed during this period: first, the ascetic and secluded form of Sufism; second, the Iraqi school of Sufism; third, the Khorasan school of Sufism; and fourth, the pioneers of Fars school of mysticism. The findings indicated that the Shiraz school sheiks were predominant in Fars, with other currents playing a lesser role.
No Ebrāhim Hasanaklou, No Rezā Cherāghi,
Volume 32, Issue 96 (4-2024)
Abstract
The debate over literary theory and Nima’s poetry has a long history. Literary critics have interpreted Nima from their own perspectives, offering various interpretations. The issue of this research is a critical re-reading of the views of Pournamdarian and Barahani in the 1990s as representatives of academic and non-academic criticism. This research showed that Pournamdarian and Barahani have occasionally been excessive in their understanding of Nima. As a result, despite Pournamdarian’s efforts to understand Nima’s poetry anew, he remains trapped in the stereotypical traditions of literary criticism, which leads him to define modern poetry under traditional poetry. On the other hand, Barahani has neglected the historical process of theorizing and Nima’s poetry, by going to extremes in some of his views and speaking of a crisis that we witness in the poetry from the 1990s onward. In other words, tradition and modernity are clearly at odds in the views of these two critics. Pournamdarian wants to blend modern poetry with traditional criticism, while Barahani becomes dogmatic in his criticism.
Dr Effat Neghabi, Dr Niloofar Sadat Abdollahi,
Volume 32, Issue 97 (1-2025)
Abstract
Mohammad Ali Foroughi is considered one of the famous contemporary men in politics, culture and law. His two political and cultural aspects have caused him to correspond with many educated friends about these issues. Due to Foroughi's familiarity with ancient literature and attachment to Iranian culture, his letters have been influenced by the structures of his predecessors in addition to ancient literary works. Looking at these correspondences, one can see the influence of Farahani's letters in them. It is worth mentioning that while imitating the style of Ghaem Magham, he had innovations in his letters. This issue, article aims to reveal the extent of Foroughi's innovation and influence on Ghaem Magham`s letters by considering Ghaem Magham`s letters as an example of the return style. For this purpose, in this research, 11 letters from Foroughi's letters, collected in the Zoka-ul-Mulk's policy book, and 11 letters from Ghaem Magham institutions, which were written in three fields of friendship, politics and social; Have been analysed. By examining these letters, it was found that although Foroughi was influenced by the letter structure, literary techniques, and linguistic features of Farahani's letters, he made innovations in the field of content and concepts. Zakaul-Molk's innovations can be seen in combining the retro style with modern socio-political concepts. In writing letters, Foroughi paid special attention to the needs of the times and people's understanding. Therefore, besides being influenced by the return style, he has overcome its weaknesses with some expressive tricks and subtleties. By using this way of writing, Foroughi has achieved the two goals of attracting the audience's attention in the direction of promoting Persian culture and literature and conveying modern concepts along with reports on current issues of the society. In his political and social letters, we see imitation of difficult literary-historical texts; However, his friendly correspondences are very tender and heartwarming due to the imitation of lyrical texts. So reading these letters gives the reader more literary pleasure than social letters.
Dr Mahin Panahi, Dr Ali Mohammadi Asiabadi, Masoume Taheri,
Volume 32, Issue 97 (1-2025)
Abstract
Happiness as the goal and end of human life has been continuously considered throughout history. The concept of happiness as one of the basic human needs is understood and inferred in different ways. Most people consider happiness to be equal to pleasure, and some consider happiness to be the same as thoughtful life; In Sufism, happiness is the result of great spiritual expansion. The important point is that there is a common factor in all the definitions of happiness, and that is the feeling of satisfaction and contentment; Therefore, the feeling of mental comfort has a direct relationship with happiness. Jalaluddin Mohammad Mowlavi (604-672 A.H.) is one of the mystics whose words radiate joy. He considers Sufism as a way to receive the joy of the heart when sad factors come down, and he puts forward the components that lead a person to live happily ever after. Epicurus (341-270 B.C), the philosopher of the Hellenistic era of ancient Greece, who is known as the "philosopher of happiness", also presents a practical method that leads to happiness and happiness by considering sustainable pleasure as the ultimate human good. to be Now, the question is, what kind of pleasure is the pleasure of Epicurus, and does happiness from Epicurus' point of view and happiness from Mowlavi's point of view have common aspects or not?
Method: In this article, an attempt has been made to check whether there is a connection between Epicurean hedonism and hedonism from Mowlavi's point of view by means of library study and data comparison and analysis.
Findings and results: By carefully studying Epicurus' opinions and thoughts and his practical life, we can come to the conclusion that the pleasure from Epicurus' point of view is not only material and fleeting pleasures, but also like other moral theorists. The ancients expressed the goal as eudaimonia or happiness. The goal of his philosophy is to reach a stable state. In this way, man tries to achieve ataraxia by creating limits for his temporary and unstable pleasures. On the other hand, the practical philosophy of Epicurus expresses the components that have aspects in common with some views of Muslim mystics, including Mowlavi.
Mr. Mehdi Nourian, Dr. Hadi Noori,
Volume 32, Issue 97 (1-2025)
Abstract
Purpose:
This article seeks to critique the elitism found in the thoughts of Iranian intellectuals of the 1950s and 1960s. To do so, it analyzes and carries out a deconstructionist reading of Jalal Al-e-Ahmad's story titled Farewell from the collection Three Strings. The book contains 13 stories of Al-e-Ahmad and was published in 1948.
Methodology: This reading is made possible with an emphasis on the French philosopher Jacques Derrida's perspective and applies the eight-step strategy of David Boje as a critical postmodern analysis strategy regarding the narrative. David Boje's method includes duality search, reinterpreting the hierarchy, rebel voices, the other side of the story, denying the plot, finding the exception, stating what is between the lines, and resituating. The article follows each of these steps in order to bring about the deconstructionist reading of the story.
Findings:
After using the 8-step strategy of Boje, eight dualities were found: beauty vs. ugliness, core vs. periphery, naked vs. clothed, enlightenment vs. gluttony, rational vs. superstitious, quiet vs. garrulous, boy vs. girl, and activity vs. passivity. Each of these dualities has a hierarchal dominant/subordinate structure, and the narrator narrates the story in a way he is in the dominant position. Then the hierarchy in each duality was reinterpreted in a way that the rebels found their voice and the other side of the story appeared. The romantic plot of the story was replaced by a tragic one, exceptions were found, and between the lines was read. After doing all the 7 steps, the new narrative was made possible.
Conclusion:
The article concludes that by using David Boje’s strategy and by adopting Jacques Derrida’s deconstructionist approach to read Jalal Al-e-Ahamd’s story titled Farewell, a new narrative was brought about that makes possible the critique of the elitist views of Iranian intellectuals during the 1950s and 1960s decades. It is important to note that it is necessary to go beyond the person of Al-e-Ahmad and to get closer to the subject of Al-e-Ahmad as an Iranian intellectual; a subject that has been made possible in a particular context and has produced works. According to the narrative produced by the deconstructionist reading of the story, it is concluded that the intellectual subject reproduces the hierarchical relationships, puts itself in a superior position, relies on modern reason, and without considering and understanding the existential relations of the subaltern, seeks to represent them and aims to act to accomplish what it calls an intellectual mission.
Maryam Zarif, Mehdi Nikmanesh,
Volume 32, Issue 97 (1-2025)
Abstract
Abstract
Bidel uses poetry to express his mentality. Looking at the natural phenomena and describing the elements of nature, the course of his radical thoughts is outflowing. Because his mind is filled with mystic meanings and concepts when he looks at things, everything will take the color and smell of mysticism, and flow into his language. He considers ‘art’ to have perfection and ethical virtues and by its help, he expresses the capabilities of man and the nature around him.
With an analytical lens, we intend to look at the place of “Mountain” in Bidel's Masnava "Tur Marafat". We are going to discover and examine the images in which the natural element of the mountain is artistically linked with mystical concepts and meanings. The research method in this paper is documentary, library facilities using content analysis, and data classification. In this research, through the discovery and classification of images, we will reach the significance of the ‘mountain’ icon in the "Tur Marafat" of Bidel, and get mystical hidden meanings in that. Also, the cohesion and integrity of the text will become apparent through the matching of the mountain icon with a motif. We will see that the hidden concepts behind the symbols of water, fire, and soil, in a coherent set, would show the mystical transcendental movement from Bidel’s perspective from the lowest to the highest place, and would have a conceptual relation to the ‘mountain’.
Saeed Karimi Qare Baba,
Volume 32, Issue 97 (1-2025)
Abstract
In the play Farhad and Shirin, the Azerbaijani poet and writer Samad Vurgun has recounted the poem of Khosrow and Shirin in a way contrary to Nizami Ganjavi's intentions. In his work, he tried to create a self and the other divide. Iranians are portrayed as a threatening enemy of the lands beyond Aras and an intractable enmity between the two sides is imagined. In agreement with the communist politicians, Vurgun sought to prepare an independent identity for the newly established Republic of Azerbaijan; in a way that did not overlap with Iranian and Ottoman cultural commonalities. The current research, which is carried out in a descriptive-analytical way, tries to answer the question, how did Vurgun describe the self and the other and what methods did he employ to determine and embody the cultural identity of the Caucasus? The author of this play described Iranians as people with negative aspects such as raping, kidnapping, killing parents, lying, etc. and instead, attributed all the positive qualities to the people of Barda District. On the other hand, the introduction of Shirin and Farhad as lovers from Azerbaijan and the creation of a character named Azarbaba have been part of the strategies to promote the new identity of the Caucasus.
Dr. Hossein Bahri,
Volume 32, Issue 97 (1-2025)
Abstract
The Persian translation of “The Adventures of Hajji Baba of Ispahan” by James Morier is undoubtedly one of the masterpieces of Persian literature. Mirza Habib Esfahani translated this work into Persian from the French translation of the book. The fact that a translated work, through an intermediary translation, can meet such a reception by the readers in the literature of a language is considered one of the rare and exceptional cases. Since the publication of this work, researchers of language and literature, translation and other fields of humanities have studied its various aspects. However, so far, there has been no research that studies the reception of this translation by the Persian readers from a historical perspective. In this article, based on Jauss’s concept of “Horizon of Expectations” and using the descriptive-analytical method, the researcher has tried to investigate various aspects of the reception of this translation by the Persian readers before and after the Islamic Revolution through reviewing the works and examining the existing texts. To do so, from among the studies available on this work, which comprised about 50 Persian articles and books published since 1942, ten significant works (5 published before and 5 after the Islamic Revolution) were selected and the expectations within them were examined and analyzed using the qualitative content analysis method. Next, the various themes of the receptions of the Persian translation that were discussed in these ten works were extracted and compared. The findings of the study indicated that during both periods of time, the Persian translation of “The Adventures of Hajji Baba of Ispahan” was of interest to the literary taste and in accordance with the expectations of the readers, including writers, critics, and researchers, and it still continues to be widely received by the readers, which has made this work enduring and popular.
Yahya Kardgar,
Volume 32, Issue 97 (1-2025)
Abstract
The culture and literature of Iran, has paid special attention to the religion of Christianity. This feature has become more prominent in the Safavid era for political, social, cultural and ideological reasons. Saib, the greatest poet of this era, had further contribution in reflecting this feature in his poems. This paper examines the events of the life of Christ in his Divan of six books by his descriptive-analytical method and concluded that the religious features his era, his theosophical and ethical perspective, the attachment of the audience of Saib poetry to Christ and the religion of Christianity and, finally, his tendency to theme-creating and subtlety and his dominance in the life of heavenly prophets has played a key role in presenting a full image of Christ. Referring to the life of Christ and other divine messengers, he seeks to bring religions closer to one another.
Dr Ebrahim Vasheghani Farahani,
Volume 32, Issue 97 (1-2025)
Abstract
The numbering system is one of the most important and challenging components of inline systems. This challenge is two-dimensional and is not simply written in numbers. The challenge of number writing, on the one hand, comes back to the nature of numbers and their existence in each language, which itself is the result of the different attitude of each lineage to existence, and the second dimension of the challenge of number writing is related to the way of writing numerical entities in each language. Therefore, even though numerology is a phenomenon in the field of writing or writing, it cannot be considered a purely linear phenomenon, but to describe the numerology system, it is necessary to pay attention to the type of attitude and vision of people and nations towards existence and especially the mythological foundations of the vision of each nation. to be Middle Persian is no exception to this approach, and one of the neglected requirements to answer the ambiguities of the Middle Persian numeration system is the same attention to qualitative matters, especially the mythological beliefs of Iranians. In this article, in continuation of the valuable efforts that have been made so far to compile and describe the Middle Persian numeral system, other considerations about this system are proposed, and the answers to some uncertainties still existing in the Middle Persian numeral system are discussed during these considerations. Also, some of the remnants and reflections of this system are tracked in the New Persian language and script, which on the one hand helps to compile the Middle Persian numeral system and on the other hand, facilitates the understanding of New Persian words and texts. The findings of the article show that it is possible to describe the Middle Persian numerology system, and in this work, taking help from the mythological foundations of Iranian thought is a way-opener and important, of course, this article ultimately does not mean the formulation of the Middle Persian numerology system, and further, considerations and There are suggestions for developing this system.
Msr Gholamreza Pirouz, Ms Houra Adel, Msr Gharibreza Gholamhosseinzadeh, Ms Fataneh Mahmoudi,
Volume 32, Issue 97 (1-2025)
Abstract
Poetry and painting are two different ways to create works of art, and their close correlation has always been the consideration of art history researchers and literary critics. Sohrab Sepehri is an artist who has tested his taste in both the fields of poetry and painting. Therefore, the present research, targeting a select collection of paintings of trees and Hasht Ketab (Eight Books) of Sepahri, in the light of the theory of Panofsky's Iconology, deals with a comparative and interdisciplinary study of these works. It also focuses on the image of trees in both poetic and painting media to analyze and explain the various structural and semantic aspects of common icons in order to discover the characteristics and connections between his poetic world and the art of painting. The main question is why and how the image of a tree acts differently in two linguistic and visual systems. Sepehri's approach to the element of tree in both poetry and painting contrasts with such concepts as dynamism and static, life and death, rootedness and rootlessness, fertility and infertile, openness, closure, and junction and disjunction whereas it sometimes gets very close to each other in such themes as strangeness and the sense of suspense. 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 basically contracted, dark, and desperate. That's why the trees in his works act mostly in the direction of rupture. They move in the direction of disjunction from the world and the essence of existence which can be an allegory of Sepaheri's objective world. However, the image of the tree in his poems is in line with the dominant concepts - a symbol of growth, freshness, and vitality - at the usual level far from the rhetorical signs and the uncommon domain of connotation in Persian literature. It is in fact an explanation of the ideal world of the poet.
Ms Kolsoom Ghorbani Juibari, Ms Zahra Alizadeh Birjandi, Mr Abbas Vaezzadeh, Mr Mohammad Shahoseini,
Volume 32, Issue 97 (1-2025)
Abstract
Language reformation is one of the most controversial reformations in the process of modernization. In this regard, language engineering is considered as a risky social-political experimentation in any country. In Iran, The Berliners, an influential school of thought in Iranian intellectualism, were the pioneer of the reformation of Farsi. Through their activities including treatises, journals, and conferences in Iran and Europe, they formed the most active intellectual group of Iranian immigrants in the contemporary time. Exploring their publications reveals they have adopted a pathological approach to language-related problems and have proposed practical and reformational solutions to problems. Their publications took a moderate policy to describing the challenges faced by Farsi and criticizing the reformation of Farsi. Regarding the importance of The Berliners and their publications in the modernization of Farsi, the present paper explores the role of the publications made by The Berliners on language engineering in Iran.
Dr Mostafa Mirdar Rezaei,
Volume 32, Issue 97 (1-2025)
Abstract
Nasser Khosrow's poetry is full of intellectual arguments, religious topics, sermons and judgments, etc., which has given his words a philosophical and somewhat complicated flavor. On the other hand, in his works, Attar has tried to present the heritage of Sufism of Khorasan and the heritage of poetry before him in a different way, with a simple language and free of glamor and impressive embellishments. The question of this research is whether the simplicity or complexity of language plays a role in the simplicity or complexity of the structure of poetic images. The present research, which is written in a quantitative and statistical method, deals with the statistical and comparative analysis of the structure of the poetic images of Nasser Khosro and Attar. The results of this research show that the simplicity or complexity of a poet's language has little to do with the structure of his images; In other words, the simplicity or difficulty of a poet's words cannot be considered simple or complex in the geometry of his images. The language of Nasser Khosrow's poetry is difficult and complex, but this feature has not had a significant effect on the geometry of his poem's images, and most of his poetry's images are simple and far from complex. On the other hand, the structure of Attar's poetic images, despite the simplicity of the language and appearance, has a subtle and narrow complexity that cannot be integrated into a network except by analyzing the rhetorical materials used in the construction of the images. understand the relationship of those tools with each other; In other words, Attar's language is simple and his images are complex.
Mahnoosh Vahdati,
Volume 32, Issue 97 (1-2025)
Abstract
The current study attempts to discuss one of the most mysterious and enchanting biographical anecdotes of Bidel Dehlavi from a Lacanian psychoanalytical perspective. The primary goal is to scrutinize the psychoanalytical evolution of the story's main character based on three significant Lacanian stages of the unconscious: The mirror stage, the Symbolic stage, and the Real order. In addition, the psychoanalytical portrayal of the main character is reflected in the light of Lacanian theories of Fantasy, the Other, Lack, Objet petit a, and Castration. The Lacanian subject in Bidel's story encounters a huge void. To fill this hole, he strives to identify himself with the other or the image that has been painted by his friend, Anub. The barred subject discovers himself in the harmonious and perfect image and strains to recover his lost identity in the flawless picture. The subject is unaware that by entering the Symbolic stage, he would suffer alienation and distortion. Therefore, by clinging to Fantasy, he endeavors to keep the illusion of being complete. However, by stepping into the Real order and facing the trauma of this field and the impossibility of symbolizing his pains, he commits symbolic suicide and breaks the chain of recurring signifiers. The present article concludes that the main character passes through the Mirror stage with an imaginary knowledge of himself, then faces the alienation of the Symbolic stage, and in the Real order, as a psychotic subject, he is baffled between Fantasy and reality and commits a symbolic suicide.
Dr Parvin Mortazaie, Dr Raha Zareifard, Dr Zahra Hosseini,
Volume 33, Issue 98 (5-2025)
Abstract
The Mosibatname is one of the most important of Attar's couplet poem in the field of mystical literature. In this work, the poet's prayers to his god have a special attraction. The structure of these conversations in the layers of fear, intimacy and blame accompanies the poet in expressing social and moral thoughts. In this research, which was formed in a descriptive-analytical way, it seeks to answer the discursive dimensions of Attar's Mosibatname prayers and how to explain and interpret the social and power relations in this text based on Farklough's model. According to this approach, the types of prayers of Attar in the Mosibatname include three branches of fearful, sincere and reproachful prayers, which have been examined at three levels of description, interpretation and explanation. At the description level, the characteristics of vocabulary, sentence structure, and grammar express the poet's social experience and reflect the social unrest and turmoil of the 7th century in Khorasan. In the interpretation, the poet's focus is on the description of God's main attributes and it shows the pure submission of the servant to God, which confirms the dominance of the Ash'ari determinism over the poet's society. In the explanation, we observe the traces of the court system and the poet's desire to purify the atmosphere of the era. A space where social, religious and ideological chaos has been precipitated and worldliness and utilitarianism have flourished. The representation of the social governing system and the poet's aspiration for peace and friendship are among the other findings.
Keywords: Attar, Mosibatnameh, prayers , Fairclough, discourse analysis.
Dr Sina Bashiri, Professor Ghodratollah Taheri,
Volume 33, Issue 98 (5-2025)
Abstract
In modern times life was associated with an anxiety, frivolity and despair that ultimately led to the inevitable fate of death and this was the issue that was considered in modern art and literature. Hedayat due to desperate worldview and desire that he showed to the concept of "death", the existential influence of death in human life was subject to many of his stories. In Hedayat stories, most of the characters are caught in isolation, pessimism, absurdity and various psychosis, which leads to their death and suicide in many cases. In this article, we analyzed the essential importance of the concepts of "madness" and "fear of death" and the function of madness in confronting the fear of death in the Hedayat's Stories Zende be Goor and Se Ghatreh Khoon. Research findings show that in Hedayat's stories, madness inveigles death and Terror of death by making modern life meaningless and Emptying people's minds and it frees the minds of the characters from existential anxiety and worries and terror of death by giving up life before death and by taking advantage of ironic suicide.
|
|
