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Showing 7 results for Other
Farzad Blou,
year 25, Issue 82 (9-2017)
Abstract
The concept of "other" is one of the fundamental concepts of philosophy, especially in the twentieth century and in the works of Husserl, Heidegger, Sartre and Levinas, which carriesepistemological and ontological importance. It was also introduced by Mikhail Bakhtin in the field of literature and literary theory. From another perspective, Naser Khosrow developed and introduced such a concept after joining the Ismaili sect, concerning an urban vision of religion, the ruler and the ruled, poetry, and philosophy. Accordingly, everyone steps beyond or below these lines was not exempt from Naser Khosrow’s satiric reproach. In this article the researcher explains the theoretical foundations of the concept “the other” and also the Naseri Utopia. Moreover, the researcher intends to describe and analyze the treatment of the poet of different classes and political, social, philosophical, and literary groups.
Kamin Aalipour, Mir Jalal-O-Aldin Kazzazi,
year 25, Issue 83 (3-2018)
Abstract
Otherness is one of the methods of accessing hidden interests beyond the literary texts which through literary discourse analysis can be in direct relation to political science and sociology. Critical discourse analysis believes that each text is shaped by political and ideological approaches and the relationship between political issues and texts is not an accidental one. Laclauand Mouffe believe that in every discourse one can use two concepts of logic of equality and logic of difference to explain the relations of otherness present in literary texts. That is, in every discourse, a positive pole is foregrounded as“we”or ours, and on the opposite pole the negative side is introduced as“they”or “others”. Foregrounding and backgrounding are used in texts and discourse through language functions. Investigatingthis method in some of Khayyam's Quatrains we will find out why Khayyam has pursued a kind of polarization in his quatrains and also will realize how Khayyam, along with his philosophical views expressed in his Quatrains, has tried to suggest political and critical motives through his discourse.
Maryam Dezfoulian Rad, Qolam Ali Fallah, Farzad Baloo,
year 28, Issue 88 (7-2020)
Abstract
So far, many thinkers with different approaches have studied the concept of “the other” and its examples in various aspects of human life. Literature has also attracted the attention of researchers and interested scholars as a platform for representing examples of “the other”. In addition to recognizing the place of “otherness” in the worldview of individuals in different eras, studying examples of “the other” in the literary texts has also made it possible to delimit the realm of “I”. In this paper, using an analytical method and adopting an eclectic approach, the researchers studied the potentials of Rumi’s Mathnavi in representing the types of “the other” and in realizing the levels of otherness of “the other” and its place in the mystical worldview so as to gain a relative knowledge of the structures that govern mystical thoughts. To that end, we first explained the concept of “the other” in three intellectual-philosophical systems, namely contrastive, dialectical and intersubjective, and mentioned examples of “the other” in verses of Mathnavi. Then, we presented a reading of the levels of realization of otherness of “the other” and the conditions of their possibility in this text. From a general point of view, due to the contrastive structure of the mystical worldview and the definition of “the other” as an “alien”, the realization of high levels of otherness in the text of Mathnavi cannot be expected, but the narrative of the experience of union and depicting the inability of “I” to understand “the infinite other” can be regarded as representation of the highest level of otherness. Meanwhile, in the distance from the “alien” to “the infinite other” and through dialogue, a level of otherness is also represented in the relationship between the characters in some stories of Mathnavi.
Shokr-Allah Pour-Alkhas, Leila Azarnivar, Ahmad Reza Kiani,
year 30, Issue 92 (5-2022)
Abstract
Death is the most definite end that can happen at any moment and at any point in life, a horrible truth that humans respond to with horror of death. Many psychotherapists, including Yalom, consider it to be the main source of anxiety, which greatly affects a person’s behavior and psyche. History has shown that poets and writers have thought deeply about death and spoken about it. Saadi, an Iranian thinker who has gained world fame by expressing his moral and philosophical wisdom, in addition to telling anecdotes in his works “Bustan” and “Gulistan” and even in his “Ghazaliat”, has discussed the meaning of death and the anxiety caused by it. Due to the importance of the subject of death, its certainty and inevitability, the current study used Saadi’s works, along with a descriptive-analytical method based on interdisciplinary studies to investigate how Saadi and Yalom help human beings to overcome the horror of death and to live happily or save themselves from its fear despite knowing about death and to face the crises and their mental and psychological problems. The findings show that facing and remembering death not only reduce death anxiety but also make life meaningful, more precious, and valuable. As a result, with such a perception, one can make death enjoyable not only for oneself, but also for others.
Phd Vida Dastmalchi,
year 31, Issue 94 (6-2023)
Abstract
In the series of research and psychological criticism of Sadegh Hedayat’s works, the issue of the evil mother among his various fictional characters deserves a separate study. The term “evil mother” derives from the dual aspect of the mother’s archetype in mythological psychology, which has been applied to the realm of humanities studies by the theories of Freud and Jung and their students. Hedayat depicted the evil mother and the consequences of her presence in the lives of the main characters of his stories in the novel Buf-e-kur (The Blind Owl) with the fluid character of the narrator’s mother (narrator’s aunt / narrator’s aunt’s daughter), in the short story Se ghatre khun (three drops of blood) with the character of Rokhsareh (evil woman), in Abji Khanom (Mrs. Abji), with the character of Abji’s mother, in Zani ke mardash ra gom kard (the woman who lost her husband) with the character of Zarrin Kolah’s mother and Zarrin Kolah herself, and in his two unpublished stories with the characters of the mother of the spider and the mother of the murdered man. Adopting a descriptive-analytical method, the present article investigates the power of the evil mother’s influence on the tragic fate of the characters in Hedayat’s works (mother complex, psychosis, suicide, homicide). The findings indicated that there are symbols with the supporting role of the evil mother in Hedayat’s stories. Hence, the influence of the evil mother in the lives of the main characters is predictable i.e., confrontation with the mother, psychosis, suicide and homicide are repeated fates of characters in these stories.
Doctore Mohammad Khosravi Shakib,
year 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”.
Saeed Karimi Qare Baba,
year 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.
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