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Showing 3 results for Laclau and Mouffe
Akram Barazandeh , Amirbanoo Karimi,
year 28, Issue 89 (12-2020)
Abstract
The general discourse of Islamic Sufism is a sacred attitude that was formed in the context of religion, in response to other opposing discourses such as jurisprudence, scholastic theology, philosophy and asceticism. At the end of the second century A.H., the followers of the Sufi movement incorporated the alchemy of love in the ascetic copper. Unlike other intellectual and religious movements of Islamic culture and civilization that regarded the text of the Qur'an as a text descended from heaven to earth in a dialectical movement between heaven and earth, they considered the Qur'an to be a text for the movement from earth to heaven, that is, the Sufi ascension. With this in mind, we witness various encounters of Sufism with conceptualizing prominent and frequent signs, especially the floating sign of “trust” in Sufi discourse as well as other works of Sufism including scholastic and intuitive prose texts. In this paper, using the descriptive-analytical method and the approach of Laclau and Mouffe’s discourse theory, we have demonstrated the metamorphoses of this floating sign in several scholastic Sufi texts in Persian and Arabic, and through this we have explained the interactions of these texts.
Keihan Saeedi, Sayyed Ahmad Pars,
year 30, Issue 93 (1-2023)
Abstract
The present research is an analysis of Papoli Yazdi’s utopian discourse in “Shazdeh Hamam” based on the discursive theory of Laclau and Mouffe. The sample of the study consists of the first three volumes of Papoli Yazdi’s five-volume book, Shazdeh Hamam, the first and second volumes of which have been reprinted 34 times and the third volume 14 times so far. The reason for choosing this topic is the metatextual discourses of this work, which makes it distinct from similar works. Additionally, the reason for choosing Laclau and Mouffe’s theory is its effectiveness for analyzing Papoli Yazdi’s discourse. The research method is descriptive-analytical. The data was analyzed based on content analysis and using Laclau and Mouffeʼs discourse theory. Based on this theory, the present study aims to answer the following question: How is the articulation of concepts and the process of identifying the authorʼs idealistic discourse and its relationship with the dominant discourse? The results indicate that according to this theory, the authorʼs modernist discourse is formed in contrast to the dominant traditionalist discourse, and places “modernity and progress” as an empty point in place of the nodal point. It also articulates the points of culture and women’s rights around the nodal point and gives each one a new identity and meaning. In the end, the author encourages human beings as agents to act for the realization of their ideal society.
Ebrahim Mohammadi, Effat Ghafouri Hassanabad, Seyyed Mahdi Rahimi, Hamed Norouzi,
year 30, Issue 93 (1-2023)
Abstract
Ahou Khanom (Madam Ahou’s Husband) novel, written by Ali Mohammad Afghani and its movie adaptation directed by Davood Mollapour. The noteworthy point in both works is the existence of different sense-maker layers and components in the novel and movie threshold that reveals the quality of the relationship between husband and wife in the traditional and pseudo-modern discourse. By highlighting the dispute between traditional and modern discourse, the writer and the director, invisibly and intangibly, try to present the audience the image of an oppressed and alienated woman around whom the patriarchal discourse has always formed a chain to subjugate her due to the natural differences between men and women, and has regarded her as the other and inferior and has marginalised her. So, in the present research based on a comparative-interdisciplinary approach and Laclau and Mouffe’s critical discourse analysis the structures of the thresholds of the two media were investigated. First, the micro-texts of thresholds in the novel and movie were identified, and then with the analysis of the existing point in their structure, the connection among thresholds, the nodal text and its outside world, and ways of creating meaning in different layers of micro-text were examined. Two points were revealed by studying threshold structures in Showhar-e Ahou Khanom’s novel and movie: 1. All the points found in the thresholds of both works were formed based on a macro-clash between men and women. 2. The existing points reveal patriarchally created discourse which always equates men with the nodal point, as superior, active, independent, and free, while introducing women with concepts such as marginal, inferior, passive, dependent and limited, and using the rational of the difference between men and women it excludes and rejects this rival.
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