University of TehranResearch in Contemporary World Literature2588-413126120210823The Modern Theory of the Fourth Man and Slippery Subject: An Interdisciplinary Reading of Hamlet and TimbuktuThe Modern Theory of the Fourth Man and Slippery Subject: An Interdisciplinary Reading of Hamlet and Timbuktu1218116610.22059/jor.2019.290544.1905FASaeedAsadiFull-time faculty member at IAU, Darrehshahr BranchAlirezaAnushiravaniProfesor at Comparative Literature, English Literature Dep., Shiraz University, Shiraz. IranJournal Article20191011<strong>Abstract</strong> <br />Cartesian duality and Kantian transcendentalism widend the gap between philosophy and literature inaugurated by Plato, but literature was not corrupted by any duality, truth or knowledge. Through interdisciplinary studies, the present paper aims to show how Platonic Chorismos beclouded the relationship between these two siblings, philosophy and literature The researcher proposes a new philosophical theory named Fourthmanism and Slippery Subject in which literature rejects any representation or subjectivity. The present study aims to offer an ethical man in literature living in the lowest layers of the society. This man comes to the scene in Renaissance, and, through desubjectification, turns Platonic doxa to episteme. In so doing, Hamlet and Timbuktu are chosen to show Fourthmanism from Renaissance onward. <br /> <br /> <strong>Abstract</strong> <br />Cartesian duality and Kantian transcendentalism widend the gap between philosophy and literature inaugurated by Plato, but literature was not corrupted by any duality, truth or knowledge. Through interdisciplinary studies, the present paper aims to show how Platonic Chorismos beclouded the relationship between these two siblings, philosophy and literature The researcher proposes a new philosophical theory named Fourthmanism and Slippery Subject in which literature rejects any representation or subjectivity. The present study aims to offer an ethical man in literature living in the lowest layers of the society. This man comes to the scene in Renaissance, and, through desubjectification, turns Platonic doxa to episteme. In so doing, Hamlet and Timbuktu are chosen to show Fourthmanism from Renaissance onward. <br /> <br /> https://jor.ut.ac.ir/article_81166_33fa4211540ae1527280363b4cb243ff.pdfUniversity of TehranResearch in Contemporary World Literature2588-413126120210823Trauma in Post 9/11 Fiction: Case study of Mandanipour and McEwanTrauma in Post 9/11 Fiction: Case study of Mandanipour and McEwan22388112010.22059/jor.2020.293167.1919FAٍEhsanBaghaeiTehran UniversityFaridehPourgivShiraz University0000-0002-0548-314XJournal Article20191130<strong>Abstract</strong> <br />This paper studies the landscapes in Ian McEwan’s <em>Solar</em> and examines the narrator’s epistemological lens in his description of the landscapes. The research draws upon David Harvey’s definition of built environment, which contributes to the generation of a more practical definition of landscape, and argues that the narrator and the focalizer’s realistic descriptions of the landscapes have their origin in their scientistic mindset and firm reductionist belief in (neo)liberalism. With regard to such descriptions, the paper focuses on how, since the late twentieth century, the earth, as the cradle of nature and location of countries with definite political borders, is transformed into a landscape of a (blue) planet without any political or spatial borders on it. Using Harvey’s Marxist critiques of capitalism and neoliberalism, this study also analyzes the narrator and focalizer’s belief in science as a savior and the single avenue towards understanding the world. It is concluded that the ecological stance in the story is grounded in the very epistemology from which the man-made climate change arises. <br /> <strong>Abstract</strong> <br />This paper studies the landscapes in Ian McEwan’s <em>Solar</em> and examines the narrator’s epistemological lens in his description of the landscapes. The research draws upon David Harvey’s definition of built environment, which contributes to the generation of a more practical definition of landscape, and argues that the narrator and the focalizer’s realistic descriptions of the landscapes have their origin in their scientistic mindset and firm reductionist belief in (neo)liberalism. With regard to such descriptions, the paper focuses on how, since the late twentieth century, the earth, as the cradle of nature and location of countries with definite political borders, is transformed into a landscape of a (blue) planet without any political or spatial borders on it. Using Harvey’s Marxist critiques of capitalism and neoliberalism, this study also analyzes the narrator and focalizer’s belief in science as a savior and the single avenue towards understanding the world. It is concluded that the ecological stance in the story is grounded in the very epistemology from which the man-made climate change arises. <br /> https://jor.ut.ac.ir/article_81120_1ed75a68ae9ca3ab0df1a2bd2dff059d.pdfUniversity of TehranResearch in Contemporary World Literature2588-413126120210823An Investigation of Henry Louis Gates’ Notions of “Signifying” and
“Double-voicedness” in Lorraine Hansberry’s Les BlancsAn Investigation of Henry Louis Gates’ Notions of “Signifying” and
“Double-voicedness” in Lorraine Hansberry’s Les Blancs39558111310.22059/jor.2019.270875.1773FAFazelAsadi AmjadFaculty Member of Kharazmi UniversityMohsenHanifKharazmi UniversityTaherehRezaeiAllameh Tabatabaei UniversityMaryamJalali Farahanikish International Campus, University of TehranJournal Article20181205<strong> </strong> <br /><strong>Abstract</strong> <br />The African American female playwright Lorraine Hansberry in her great plays not only exposes the various brutal shapes that the powerful mask of colonialism takes, but also emphasizes the celebration of African American culture, custom, literature, experience, and achievements. Hansberry’s second play, <em>Les Blancs</em>, can be considered the first brilliant work written by an African American dramatist focusing on Africa and deliberately and intentionally posing questions in the context of African Americans liberation debate. Hansberry wrote <em>Les Blancs</em> as a reply to <em>The Blacks</em> written by Jean Genet, in which the French dramatist staged an awful portrayal of African Americans. Indeed, he presented them as the protagonists of whites[S1] . Lorraine Hansberry in all her plays, including <em>Les Blanc, </em>objects to the omission and disregard of the African culture, people, literature, history and custom in maintaining the Western European American hegemony. She also denounces the stereotypical representation and depiction of African Americans. Henry Louis Gates is the most influential contemporary scholar in African American Studies. He believes in “double- voicedness”, speaking the language of the dominant culture and the language of the subordinated culture simultaneously, and asserts “Signifyin(g)” as its epitome . Gates has adopted Saussure’s theories on signification and redefined the word and the concept. According to Henry Louis Gates, “Signifyin(g)” in African American context is a linguistic wordplay, or a deferral of meaning. It can even be considered as a self-conscious manipulation of meanings that highlights the playfulness of the mechanisms of language and meaning making. Gates believes that the African American concept of “Signifyin(g)” is completely different from its Saussurean meaning in Standard English. He states that by “Signifyin(g)” the differentiation between the “signification” of Standard English language and that of the African American vernacular meaning of the words are made and mentioned. Henry Louis Gates says that the Standard meaning functions according to the Saussurean law of meaning making, in which signifiers acquire meaning by differing from other existing signifiers. But the vernacular meaning is made in a very different manner. This paper intends to apply Henry Louis Gates’ notions of “Double- voicedness” and “Signifyin(g)” on Lorraine Hansberry <em>Les Blancs </em>in order to describe how this technique has made Hansberry’s works rich, prominent, and comprehensive as a significant contribution to the African American literature. The current article first, introduces and describes notions of “double- voicedness” and “Signifyin(g), second, discovers some epitomes and examples of them in the mentioned play, and, third, discusses how these two notions have made Hansberry’s work African. This study concludes that Lorraine Hansberry’s drama attains its uniqueness from these African American voices and cultures. <br /> <br /><strong>Key words:</strong> Signification, Double-voicedness, Lorraine Hansberry, Henry Louis Gates <br /> <br /> <strong> </strong> <br /><strong>Abstract</strong> <br />The African American female playwright Lorraine Hansberry in her great plays not only exposes the various brutal shapes that the powerful mask of colonialism takes, but also emphasizes the celebration of African American culture, custom, literature, experience, and achievements. Hansberry’s second play, <em>Les Blancs</em>, can be considered the first brilliant work written by an African American dramatist focusing on Africa and deliberately and intentionally posing questions in the context of African Americans liberation debate. Hansberry wrote <em>Les Blancs</em> as a reply to <em>The Blacks</em> written by Jean Genet, in which the French dramatist staged an awful portrayal of African Americans. Indeed, he presented them as the protagonists of whites[S1] . Lorraine Hansberry in all her plays, including <em>Les Blanc, </em>objects to the omission and disregard of the African culture, people, literature, history and custom in maintaining the Western European American hegemony. She also denounces the stereotypical representation and depiction of African Americans. Henry Louis Gates is the most influential contemporary scholar in African American Studies. He believes in “double- voicedness”, speaking the language of the dominant culture and the language of the subordinated culture simultaneously, and asserts “Signifyin(g)” as its epitome . Gates has adopted Saussure’s theories on signification and redefined the word and the concept. According to Henry Louis Gates, “Signifyin(g)” in African American context is a linguistic wordplay, or a deferral of meaning. It can even be considered as a self-conscious manipulation of meanings that highlights the playfulness of the mechanisms of language and meaning making. Gates believes that the African American concept of “Signifyin(g)” is completely different from its Saussurean meaning in Standard English. He states that by “Signifyin(g)” the differentiation between the “signification” of Standard English language and that of the African American vernacular meaning of the words are made and mentioned. Henry Louis Gates says that the Standard meaning functions according to the Saussurean law of meaning making, in which signifiers acquire meaning by differing from other existing signifiers. But the vernacular meaning is made in a very different manner. This paper intends to apply Henry Louis Gates’ notions of “Double- voicedness” and “Signifyin(g)” on Lorraine Hansberry <em>Les Blancs </em>in order to describe how this technique has made Hansberry’s works rich, prominent, and comprehensive as a significant contribution to the African American literature. The current article first, introduces and describes notions of “double- voicedness” and “Signifyin(g), second, discovers some epitomes and examples of them in the mentioned play, and, third, discusses how these two notions have made Hansberry’s work African. This study concludes that Lorraine Hansberry’s drama attains its uniqueness from these African American voices and cultures. <br /> <br /><strong>Key words:</strong> Signification, Double-voicedness, Lorraine Hansberry, Henry Louis Gates <br /> <br /> https://jor.ut.ac.ir/article_81113_2110b1a9634b88734ea5533ba1207d4e.pdfUniversity of TehranResearch in Contemporary World Literature2588-413126120210823Comparative analysis of the school of socialism in the novel "The cloudy years" by Ali-Ashraf Darvishian and Maxim Gorky's works (The Mother and The Trilogy)Comparative analysis of the school of socialism in the novel "The cloudy years" by Ali-Ashraf Darvishian and Maxim Gorky's works (The Mother and The Trilogy)56828111710.22059/jor.2019.271961.1782FASeyed AmirJahadi HoseiniAssistant Professor Department of Persian Language and Literature, Shahid Bahonar University, Kerman, IranHamidrezaKharazmiAssistant Professor Department of Persian Language and Literature, Shahid Bahonar University, Kerman, IranHesamKhaloieDepartment of Persian Language and Literature, Shahid Bahonar University, Kerman, IranJournal Article20181220 <br /><strong>Abstract:</strong> <br />After Renaissance in Europe and the following period of scientific and social prosperity, socialism ultimately reached its peak in Russia with the revolution of October 1917. This event has greatly affected the countries of the world, especially the Communist Soviet neighbors, such as Iran. <em>The Cloudy Years</em> by Ali-Ashraf-Darvishian and Maxim Gorky’s trilogy are narratives of the lives of these socialist writers which disclose the inherent contradictions between socialist ideas and the present state of their societies. In this study, according to the goals and principles of socialism, and based on the American School of Comparative Literature, the similarities and differences between socialist thinking in Iranian and Russian societies will be addressed and analyzed. It is shown that these acclaimed works, while taking into consideration the severities and weaknesses and cultural differences, express criticism and denunciation of private ownership of local capitalists, social hostility caused by class differences, modern feudalism, tyranny and violence imposed upon villagers, and the destruction of women's social status as against men. Through these observations the influence of Russian Revolution on the context of ideas in the Iranian society is revealed. <br /> <br /><strong>Abstract:</strong> <br />After Renaissance in Europe and the following period of scientific and social prosperity, socialism ultimately reached its peak in Russia with the revolution of October 1917. This event has greatly affected the countries of the world, especially the Communist Soviet neighbors, such as Iran. <em>The Cloudy Years</em> by Ali-Ashraf-Darvishian and Maxim Gorky’s trilogy are narratives of the lives of these socialist writers which disclose the inherent contradictions between socialist ideas and the present state of their societies. In this study, according to the goals and principles of socialism, and based on the American School of Comparative Literature, the similarities and differences between socialist thinking in Iranian and Russian societies will be addressed and analyzed. It is shown that these acclaimed works, while taking into consideration the severities and weaknesses and cultural differences, express criticism and denunciation of private ownership of local capitalists, social hostility caused by class differences, modern feudalism, tyranny and violence imposed upon villagers, and the destruction of women's social status as against men. Through these observations the influence of Russian Revolution on the context of ideas in the Iranian society is revealed. <br /> https://jor.ut.ac.ir/article_81117_20fe7b2042d887d06e0be518560e62fa.pdfUniversity of TehranResearch in Contemporary World Literature2588-413126120210823The Comparative Study of Migration from Golshiri and Kundera's Point of ViewThe Comparative Study of Migration from Golshiri and Kundera's Point of View831098111910.22059/jor.2019.291982.1914FAIssaSoleymaniPhD Student in French Literature, University of Tabriz, Tabriz, IranMohammad HosseinDjavariProfessor of French Language and Literature, Faculty of Literature and Foreign Languages, University of Tabriz0000-0001-6352-2752Journal Article20191105<strong>Abstract</strong> <br />“Migration” is not a modern concept or phenomenon; however, due to the modern situation and self-consciousness of humans, the outlook toward it has changed in the twentieth century and especially in its second half. Otherwise, migration and migrators have existed from the very beginning of creation ( great people such as Prophet Abraham and Prophet Mohammed and his disciples, or the large number of refugees during wartime are some examples). However, what here makes Kundera and Golshiri's view of the concept of migration different is the way they illustrate the alienation of the migrators (Golshiri 's view in <em>Mirrors with Doors</em>) and their return to their countries (Kundera's view in <em>Ignorance </em>), grasping the distinction between themselves and their compatriots and even their kin. Golshiri depicts Iranian immigrants living abroad and Kundera takes immigrants to Prague; notwithstanding these differences, both authors have written about migration, immigrants, and the transformations which occur in this process , finally leading to two different conclusions. <br /> <strong>Abstract</strong> <br />“Migration” is not a modern concept or phenomenon; however, due to the modern situation and self-consciousness of humans, the outlook toward it has changed in the twentieth century and especially in its second half. Otherwise, migration and migrators have existed from the very beginning of creation ( great people such as Prophet Abraham and Prophet Mohammed and his disciples, or the large number of refugees during wartime are some examples). However, what here makes Kundera and Golshiri's view of the concept of migration different is the way they illustrate the alienation of the migrators (Golshiri 's view in <em>Mirrors with Doors</em>) and their return to their countries (Kundera's view in <em>Ignorance </em>), grasping the distinction between themselves and their compatriots and even their kin. Golshiri depicts Iranian immigrants living abroad and Kundera takes immigrants to Prague; notwithstanding these differences, both authors have written about migration, immigrants, and the transformations which occur in this process , finally leading to two different conclusions. <br /> https://jor.ut.ac.ir/article_81119_fcc5e36780817b06f288f6b49361ade3.pdfUniversity of TehranResearch in Contemporary World Literature2588-413126120210823Comparative study on The Little Prince and Animals Farm according to Claude Duchet's sociocritical modelComparative study on The Little Prince and Animals Farm according to Claude Duchet's sociocritical model1101428112110.22059/jor.2020.301841.1982FANosratHejaziAssistant professor of French Language Department, Faculty of Humanities, Tehran, Iran000000015217027XMarziyehMeshginiM.S. of French Language & Literature, Shahid Chamran University, IranJournal Article20200428 <br />Abstract <br />In contemporary literature, allegorical language is used to convey concepts and simplify complex social, moral, and political issues that cannot be presented in a direct and explicit manner. Among these allegorical works are the two novels <em>The Little Prince</em> and <em>Animal Farm</em>, which, despite having seemingly different themes (respectively, psychological and political), are socially comparable. The question that arises is that, considering the difference between the personality and environment of the two authors, and most importantly between the two reference societies and two seemingly different substructures, can we arrive at a correspondence between two works and thus two seemingly different superstructures? Therefore, relying on the sociocritique of Claude Duchet and in the form of a comparative study, this research intends to find possible correlations in the individual as well as socio-historical contexts in which these novels were written in order to discover the traces of the author and the history in the formation of these two works; in other words, to study "hors-texte" of these two novels, the reference society from which the story was born, and the "sociotexte" created by the authors of these two works. The results of the analysis show that "sociality of the text" in the two stories reflects the sociocritical concerns of the two authors, and the "metatextual references" of the two works to substructure -that means "the reference society" the two authors experienced and lived in their own way- is achieved through the superstructure (plot, theme, characterization, ending). <br /> <br />Abstract <br />In contemporary literature, allegorical language is used to convey concepts and simplify complex social, moral, and political issues that cannot be presented in a direct and explicit manner. Among these allegorical works are the two novels <em>The Little Prince</em> and <em>Animal Farm</em>, which, despite having seemingly different themes (respectively, psychological and political), are socially comparable. The question that arises is that, considering the difference between the personality and environment of the two authors, and most importantly between the two reference societies and two seemingly different substructures, can we arrive at a correspondence between two works and thus two seemingly different superstructures? Therefore, relying on the sociocritique of Claude Duchet and in the form of a comparative study, this research intends to find possible correlations in the individual as well as socio-historical contexts in which these novels were written in order to discover the traces of the author and the history in the formation of these two works; in other words, to study "hors-texte" of these two novels, the reference society from which the story was born, and the "sociotexte" created by the authors of these two works. The results of the analysis show that "sociality of the text" in the two stories reflects the sociocritical concerns of the two authors, and the "metatextual references" of the two works to substructure -that means "the reference society" the two authors experienced and lived in their own way- is achieved through the superstructure (plot, theme, characterization, ending). <br /> https://jor.ut.ac.ir/article_81121_5f8f91040af41baf20dcd23e419f5c9d.pdfUniversity of TehranResearch in Contemporary World Literature2588-413126120210823The poetic output and manifestation of sorrow and roving in “Abdullah Pashew’s” and “Ma’aruf Rosafi’s’’ poetryThe poetic output and manifestation of sorrow and roving in “Abdullah Pashew’s” and “Ma’aruf Rosafi’s’’ poetry1431918111810.22059/jor.2019.275016.1808FAEsmaeilBarwasiphd student arabic language and laterature of ferdowsi university0000-0001-7418-3020AhmadrezaHeidaryan ShahriAssociate professor of Arabic language and literature of Ferdowsi University0000-0002-2671-0727HoseinNazeriAssociate professor of Arabic language and literature Ferdowsi UniversityJournal Article20190129<strong>Abstract</strong> <br />Ma’aruf Rosafi, a well-known Arab poet and Abdullah Pashew, a well-known Kurd poet in Iraq, are two contemporary poets who suffered from alienation. The study possesses great significance, since the issue of alienation has never previously been investigated through a stand-alone comparative study. Thus, the researcher has tried to adopt a descriptive-analytic approach to <em>alienation</em> in Rosafi’s and Pashew’s poetry. The two poets suffered from a sense of social, political and mental alienation caused by the hegemony of colonialism, tyranny, the marginalization of the educated, the monopoly of management by the ignoble, Iraq’s backward social situation, lack of freedom, their denied wishes and dreams, moral decay, the inconsistency between their life and the society’s criteria, political division, refusal of their request and invitation by their nation, a nostalgic feeling originating from regretting for the values and a magnificent history and their distance from their country in that time. In contrast to Rosafi’s alienation and sorrow which is confined to regional issues, the one experienced by “Pashew” is tran-regional and transnational. The roving experienced by Rosafi is an imprisoned feeling which is expressed by sorrowful poems. However, Pashew’s roving is expressed through poems which originate from the outburst of a deeply-rooted anger and sorrow. The “homeland” is one of the most frequent manifestations of alienation which affects all the aspects of roving in the poems of the two poets. This frequency is due to the fact that in addition to the period being far from their homeland, they experienced an increased feeling of sorrow and roving even when they were living in their own country. <br /> <strong>Abstract</strong> <br />Ma’aruf Rosafi, a well-known Arab poet and Abdullah Pashew, a well-known Kurd poet in Iraq, are two contemporary poets who suffered from alienation. The study possesses great significance, since the issue of alienation has never previously been investigated through a stand-alone comparative study. Thus, the researcher has tried to adopt a descriptive-analytic approach to <em>alienation</em> in Rosafi’s and Pashew’s poetry. The two poets suffered from a sense of social, political and mental alienation caused by the hegemony of colonialism, tyranny, the marginalization of the educated, the monopoly of management by the ignoble, Iraq’s backward social situation, lack of freedom, their denied wishes and dreams, moral decay, the inconsistency between their life and the society’s criteria, political division, refusal of their request and invitation by their nation, a nostalgic feeling originating from regretting for the values and a magnificent history and their distance from their country in that time. In contrast to Rosafi’s alienation and sorrow which is confined to regional issues, the one experienced by “Pashew” is tran-regional and transnational. The roving experienced by Rosafi is an imprisoned feeling which is expressed by sorrowful poems. However, Pashew’s roving is expressed through poems which originate from the outburst of a deeply-rooted anger and sorrow. The “homeland” is one of the most frequent manifestations of alienation which affects all the aspects of roving in the poems of the two poets. This frequency is due to the fact that in addition to the period being far from their homeland, they experienced an increased feeling of sorrow and roving even when they were living in their own country. <br /> https://jor.ut.ac.ir/article_81118_c38843b80235de703e02abfd49851ad4.pdfUniversity of TehranResearch in Contemporary World Literature2588-413126120210823Feminist critic of the novels "The daughters of Riyath" by Rejaosaneh and "we get used to" by Zoaya PirzadFeminist critic of the novels "The daughters of Riyath" by Rejaosaneh and "we get used to" by Zoaya Pirzad1922158111110.22059/jor.2019.264609.1739FAHosseinNejatipguRasoulBalavinullAliKhezriJournal Article20180829<strong>Abstract:</strong> <br />With the emergence of the feminist movements in 19th and 20th centuries, women and her issues became the focus of attentions of the writers and poets round the world. However, most experts have studied on women and their problems at surface and in a stereotype manner, but in a few works of forerunners in this regard, we witness their close attention to this gender. Rejaosaneh, the famous writer of Saudi Arabia and Zoaya Pirzad Armenian - Iranian writer are those who took over the other writers in the field. In addition to deal with women as principal and effective personalities, the two writers discuss the problems and difficulties women encounter. By means of descriptive-analytical method, this paper is intended to review and analyze the novel "The daughters of Riyath" by Rejaosaneh and the novel "we get used to" by Zoaya Pirzad and render a feminist critic from the two. Results show that despite the fact that both writers have differences regarding dwelling place, custom, language, culture, and a part of their thoughts, but both influenced by feminism school of thought, have reflected common topics and concepts in their works. Women in both novelsare liberty seekers who stand against men and traditional society and defend their own rights. <br /> <br /> <br /> <strong>Abstract:</strong> <br />With the emergence of the feminist movements in 19th and 20th centuries, women and her issues became the focus of attentions of the writers and poets round the world. However, most experts have studied on women and their problems at surface and in a stereotype manner, but in a few works of forerunners in this regard, we witness their close attention to this gender. Rejaosaneh, the famous writer of Saudi Arabia and Zoaya Pirzad Armenian - Iranian writer are those who took over the other writers in the field. In addition to deal with women as principal and effective personalities, the two writers discuss the problems and difficulties women encounter. By means of descriptive-analytical method, this paper is intended to review and analyze the novel "The daughters of Riyath" by Rejaosaneh and the novel "we get used to" by Zoaya Pirzad and render a feminist critic from the two. Results show that despite the fact that both writers have differences regarding dwelling place, custom, language, culture, and a part of their thoughts, but both influenced by feminism school of thought, have reflected common topics and concepts in their works. Women in both novelsare liberty seekers who stand against men and traditional society and defend their own rights. <br /> <br /> <br /> https://jor.ut.ac.ir/article_81111_fb01cc41a8321237a03452abb608554c.pdfUniversity of TehranResearch in Contemporary World Literature2588-413126120210823A study examines Shakespeare’s King Lear according to the Lacanian PsychoanalysisA study examines Shakespeare’s King Lear according to the Lacanian Psychoanalysis2162438159610.22059/jor.2021.228878.2059FAMohammad HoseinRamezan KiaeeSajadMotaharniaTehran university, Alborz Campus, Languages and foreign literature, English language and literatureJournal Article20200929The present study examines Shakespeare’s King Lear according to the Lacanian Psychoanalysis specifically in the light of the Lacan’s four discourses concept. The main question concerns the madness of King Lear and the subsequent turmoil ravaging society after the dominant stability and order in the beginning. The study shows that when King Lear as the master signifier and the locus of identification for the barred subjects, is removed from the discourse, the truth of discourse is going to be revealed, the veil of fantasy is torn apart, and the king and society find themselves in madness. The researchers first present a lengthy introduction mainly discussing the history of psychoanalytic criticism and showing how dramatically it is changed after the radical psychoanalytic innovations made by Jacques Lacan. The next part is totally allocated to explaining the theory of the discourse of master and its constituent components such as the master signifier, the other, the object petit a and the truth.The present study examines Shakespeare’s King Lear according to the Lacanian Psychoanalysis specifically in the light of the Lacan’s four discourses concept. The main question concerns the madness of King Lear and the subsequent turmoil ravaging society after the dominant stability and order in the beginning. The study shows that when King Lear as the master signifier and the locus of identification for the barred subjects, is removed from the discourse, the truth of discourse is going to be revealed, the veil of fantasy is torn apart, and the king and society find themselves in madness. The researchers first present a lengthy introduction mainly discussing the history of psychoanalytic criticism and showing how dramatically it is changed after the radical psychoanalytic innovations made by Jacques Lacan. The next part is totally allocated to explaining the theory of the discourse of master and its constituent components such as the master signifier, the other, the object petit a and the truth.https://jor.ut.ac.ir/article_81596_a3d7471f08ea20f861efd5bc7651fa46.pdfUniversity of TehranResearch in Contemporary World Literature2588-413126120210823Landscape, Scientistic Realism, and Climate Change in Ian McEwan's SolarLandscape, Scientistic Realism, and Climate Change in Ian McEwan's Solar2442758110810.22059/jor.2020.307370.2023FASeyed MohammadMarandiDepartment of English, faculty of Foreign languages and Literatures, University of Tehran, Tehran, Iran0000-0003-3600-1008ZohreRaminDepartment of English, Faculty of Foreign Languages and Literatures, University of Tehran, Tehran, Iran0000-0003-1347-1592Mohammad BagherShabanpourEnglish Department, Faculty of Foreign Languages and Literatures, University of Tehran, Tehran, Iran0000-0002-7549-4012Journal Article20200802<strong>Abstract</strong> <br />This paper studies the landscapes in Ian McEwan’s <em>Solar</em> and examines the narrator’s epistemological lens in his description of the landscapes. The research draws upon David Harvey’s definition of built environment, which contributes to the generation of a more practical definition of landscape, and argues that the narrator and the focalizer’s realistic descriptions of the landscapes have their origin in their scientistic mindset and firm reductionist belief in (neo)liberalism. With regard to such descriptions, the paper focuses on how, since the late twentieth century, the earth, as the cradle of nature and location of countries with definite political borders, is transformed into a landscape of a (blue) planet without any political or spatial borders on it. Using Harvey’s Marxist critiques of capitalism and neoliberalism, this study also analyzes the narrator and focalizer’s belief in science as a savior and the single avenue towards understanding the world. It is concluded that the ecological stance in the story is grounded in the very epistemology from which the man-made climate change arises. <br /><br /> <strong>Abstract</strong> <br />This paper studies the landscapes in Ian McEwan’s <em>Solar</em> and examines the narrator’s epistemological lens in his description of the landscapes. The research draws upon David Harvey’s definition of built environment, which contributes to the generation of a more practical definition of landscape, and argues that the narrator and the focalizer’s realistic descriptions of the landscapes have their origin in their scientistic mindset and firm reductionist belief in (neo)liberalism. With regard to such descriptions, the paper focuses on how, since the late twentieth century, the earth, as the cradle of nature and location of countries with definite political borders, is transformed into a landscape of a (blue) planet without any political or spatial borders on it. Using Harvey’s Marxist critiques of capitalism and neoliberalism, this study also analyzes the narrator and focalizer’s belief in science as a savior and the single avenue towards understanding the world. It is concluded that the ecological stance in the story is grounded in the very epistemology from which the man-made climate change arises. <br /><br /> https://jor.ut.ac.ir/article_81108_04833dad080c7fb48b3c2b75daea815b.pdfUniversity of TehranResearch in Contemporary World Literature2588-413126120210823The confrontation of the Individual and the society: Jean-Jaques Rousseau traced in Albert Camus' The strangerThe confrontation of the Individual and the society: Jean-Jaques Rousseau traced in Albert Camus' The stranger2762938187910.22059/jor.2021.319556.2116FAAbbasFarhadneqhadAssistant Professor, Department of French Language and Literature, University of Tehran
Tehran Iran0009-0002-0576-7094Journal Article20210224Since its publishing in 1942, the majority of critics have interpreted The Stranger by Albert Camus to be the manifestation of the Absurd philosophy, which was previously introduced in The Myth of Sisyphus. However, Camus later answered the disambiguation concerning the hero of his book in an introduction to this novel’s English translation. The importance of this introduction lies with the fact it gives us the first notion of how the novel centers on the confrontation of the individual and the society. This theme is also present in the previous works of writers and intellects. More specifically, it is thoroughly investigated in the works of Jean- Jaques Rousseau, where he challenges The Human in the State of Nature against the civil and moral society. In this article, we demonstrate how The Stranger’s hero, Meursault, is similar to Rousseau’s Human in the State of Nature, and although never directly mentioned by Camus, how the 18th-century philosopher can be traced in the novel.Since its publishing in 1942, the majority of critics have interpreted The Stranger by Albert Camus to be the manifestation of the Absurd philosophy, which was previously introduced in The Myth of Sisyphus. However, Camus later answered the disambiguation concerning the hero of his book in an introduction to this novel’s English translation. The importance of this introduction lies with the fact it gives us the first notion of how the novel centers on the confrontation of the individual and the society. This theme is also present in the previous works of writers and intellects. More specifically, it is thoroughly investigated in the works of Jean- Jaques Rousseau, where he challenges The Human in the State of Nature against the civil and moral society. In this article, we demonstrate how The Stranger’s hero, Meursault, is similar to Rousseau’s Human in the State of Nature, and although never directly mentioned by Camus, how the 18th-century philosopher can be traced in the novel.https://jor.ut.ac.ir/article_81879_597a79dca0d046cbcabfbe3882b19213.pdfUniversity of TehranResearch in Contemporary World Literature2588-413126120210823A comparative study of the kingdom novel and the strange case of Dr. Jekyll and Mr. Hyde from the Gothic School PerspectiveA comparative study of the kingdom novel and the strange case of Dr. Jekyll and Mr. Hyde from the Gothic School Perspective2943188111610.22059/jor.2019.271342.1777FAFereshtehMalekiPhD student in Persian language and literatureAlirezaShohani.Associate Professor, Department of Persian Language and Literature, Ilam UniversityAlirezaAsadi.Assistant Professor, Department of Persian Language and Literature, Ilam UniversityJournal Article20181211<strong>Abstract</strong>: <br />In the world of storytelling, Gothic is a kind of story that asserts a line between reality, illusion, and madness. The interplay between reality and illusion, using a mysterious concept, and in particular drawing upon the general illusions and fears about death induce an incomprehensible apprehension in the reader. Such stories usually take place in a painful and morbid atmosphere. One of the most important works written in this style in the nineteenth century was the novel <em>Dr. Jekyll and Mr. Hyde</em> by Robert Louis Stevenson. This genre also found its way into the field of Iranian novel writing, and one of the works that has the most important characteristics of this style is <em>Malakoot</em>, which in terms of content and characteristics of the Gothic school is comparable to Stevenson’s novel. The helplessness and duality of the characters, the metamorphosis, the conflict of the characters with the inner and outer world, the presence of ghosts, scary places, death, madness, horrible murders, strange, scary and unreasonable events, fear, etc. are some of the Gothic features of both these works. <br /> <strong>Abstract</strong>: <br />In the world of storytelling, Gothic is a kind of story that asserts a line between reality, illusion, and madness. The interplay between reality and illusion, using a mysterious concept, and in particular drawing upon the general illusions and fears about death induce an incomprehensible apprehension in the reader. Such stories usually take place in a painful and morbid atmosphere. One of the most important works written in this style in the nineteenth century was the novel <em>Dr. Jekyll and Mr. Hyde</em> by Robert Louis Stevenson. This genre also found its way into the field of Iranian novel writing, and one of the works that has the most important characteristics of this style is <em>Malakoot</em>, which in terms of content and characteristics of the Gothic school is comparable to Stevenson’s novel. The helplessness and duality of the characters, the metamorphosis, the conflict of the characters with the inner and outer world, the presence of ghosts, scary places, death, madness, horrible murders, strange, scary and unreasonable events, fear, etc. are some of the Gothic features of both these works. <br /> https://jor.ut.ac.ir/article_81116_0ad163285fda61ceb4e6afe2e0ae57cd.pdfUniversity of TehranResearch in Contemporary World Literature2588-413126120210823Phenomenology of History and Body-Subject in Charles Olson’s PoeticsPhenomenology of History and Body-Subject in Charles Olson’s Poetics3193408110910.22059/jor.2018.239244.1563FANargesMontakhabi BakhtvarDepartment of English Language and Literature, Faculty of Foreign Languages, Central Tehran Branch, Islamic Azad University, Tehran, IranJournal Article20170805<strong>Abstract</strong> <br />Postmodern American poetry pioneered by Charles Olson, with its combination of the (pre)historical and the personal, provides a dynamic platform for phenomenological analysis. This research scrutinizes Olson’s poetics from the perspective of Maurice Merleau-Ponty’s phenomenology. “Perception” and “body-subject” are the key concepts in Merleau-Ponty’s thought utilized in analyzing Olson’s first major poem, “The Kingfishers”. In the present study the researcher attempts to answer these questions: What is Olson’s approach to contemporary identity and history? And how does he reread American identity in relation to ancient history? The concept of body-subject is a nexus of myths, contemporary and ancient history, (un)conscious mind, and archetypes trying to achieve perception through the torrents of objects. However, perception cannot be obtained without body’s intermediation and its senses. Olson conceives of perception as an embodied and unstable phenomenon that is exposed to sensory data. It is fragmented due to the impact of vague memories, contemporary American history, European mythology, and ancient Southeast Asian and Latin American cults. A phenomenological study of Olson’s poetry reveals that postmodern perception is a composite of historical, mythological, and embodied impulses. <br /> <br /> <strong>Abstract</strong> <br />Postmodern American poetry pioneered by Charles Olson, with its combination of the (pre)historical and the personal, provides a dynamic platform for phenomenological analysis. This research scrutinizes Olson’s poetics from the perspective of Maurice Merleau-Ponty’s phenomenology. “Perception” and “body-subject” are the key concepts in Merleau-Ponty’s thought utilized in analyzing Olson’s first major poem, “The Kingfishers”. In the present study the researcher attempts to answer these questions: What is Olson’s approach to contemporary identity and history? And how does he reread American identity in relation to ancient history? The concept of body-subject is a nexus of myths, contemporary and ancient history, (un)conscious mind, and archetypes trying to achieve perception through the torrents of objects. However, perception cannot be obtained without body’s intermediation and its senses. Olson conceives of perception as an embodied and unstable phenomenon that is exposed to sensory data. It is fragmented due to the impact of vague memories, contemporary American history, European mythology, and ancient Southeast Asian and Latin American cults. A phenomenological study of Olson’s poetry reveals that postmodern perception is a composite of historical, mythological, and embodied impulses. <br /> <br /> https://jor.ut.ac.ir/article_81109_abd6549de5c2fa4a7942b1718a22bc2c.pdfUniversity of TehranResearch in Contemporary World Literature2588-413126120210823Investigation of "personality" in the novel "Karamazov Brothers" by Dostoevsky based on the theory of personality from "Sigmund Freud"Investigation of "personality" in the novel "Karamazov Brothers" by Dostoevsky based on the theory of personality from "Sigmund Freud"3413648111510.22059/jor.2019.271206.1775FAFatemehMoosavi SabetUniversity of Sistan and BaluchestanMoham AlimadMahmoodiAssociate Professor, Department of Literature and HumanitiesJournal Article20181210karamazov s brothers is the masterwork of Fyodor Dastayavsky who is pioneer in psychological writing in world literature. About personality structure, we can purpose this work, as a affective work whit exclusivity of psychological theme. As this novel, purposed whit Zigmund Freud and he wrote article" Dastayavsky and patricide". Freud at this article,called this novel as upmost novels which is written. He called this novel equivalent whit Hamlet and Odipus, on the ground of patricide topic too. In this article, whit Analytical method I surveyed whit psychological criticism, sights of personality on grand Karamazov on base of Freud notion and showed that either pron of Karamazov s sons are ilka from one of sights of triple grand Karamazov s personality.<br />Rowdy and oversexed Dmitri is representative from Libido, cultured Ivan and underdog Smerdyakov, jointly, are representative from ego and kind hearted Alyosha isrepresentative from superego in grand Karamazov s personality.karamazov s brothers is the masterwork of Fyodor Dastayavsky who is pioneer in psychological writing in world literature. About personality structure, we can purpose this work, as a affective work whit exclusivity of psychological theme. As this novel, purposed whit Zigmund Freud and he wrote article" Dastayavsky and patricide". Freud at this article,called this novel as upmost novels which is written. He called this novel equivalent whit Hamlet and Odipus, on the ground of patricide topic too. In this article, whit Analytical method I surveyed whit psychological criticism, sights of personality on grand Karamazov on base of Freud notion and showed that either pron of Karamazov s sons are ilka from one of sights of triple grand Karamazov s personality.<br />Rowdy and oversexed Dmitri is representative from Libido, cultured Ivan and underdog Smerdyakov, jointly, are representative from ego and kind hearted Alyosha isrepresentative from superego in grand Karamazov s personality.https://jor.ut.ac.ir/article_81115_f50aa80bf7c0d2a5e2b4b9f2bec8cb32.pdfUniversity of TehranResearch in Contemporary World Literature2588-413126120210823Study of Ingeborg Bachmann's thoughts based on the critique of everything's storyStudy of Ingeborg Bachmann's thoughts based on the critique of everything's story3653938111210.22059/jor.2019.266611.1750FAFarahNarenjiPhD in German Language, Faculty of Foreign Languages and Literatures, University of Tehran0000-0002-1818-4405ParisaDerakhshan MoghaddamAssistant Professor of German Department Faculty of Foreign Languages, Islamic Azad University, Central Tehran Branch,0000000160960407Journal Article20181001<strong>Abstract:</strong> <br />Ingeborg Bachmann, the celebrated Austrian author, in her short story “Everything”, presents a picture of the Western man of the modern age which, despite the advances in technology, is still unable to establish a reasonable and balanced relationship with humanity. She recounts the story beautifully using narrative elements in order to reveal the narrator’s mental distress. In the story, the helpless, confused, and wandering narrator in the world of contradictions is trying to escape into a new and utopian world, but, entangled in the fence of language, he continues to move in the orbit of anguish. In “Everything”, Bachmann, not pointing to the frustration of modern humans of the death of moral values and spirituality, considers the main challenge of the narrator and his wife to be language and the inability to express thoughts and feelings. The present research, using the library and documentary method, and by studying the structure and content of “Everything” tries to depict the views and beliefs of this German writer and provide a critique of it. <br /> <br /> <strong>Abstract:</strong> <br />Ingeborg Bachmann, the celebrated Austrian author, in her short story “Everything”, presents a picture of the Western man of the modern age which, despite the advances in technology, is still unable to establish a reasonable and balanced relationship with humanity. She recounts the story beautifully using narrative elements in order to reveal the narrator’s mental distress. In the story, the helpless, confused, and wandering narrator in the world of contradictions is trying to escape into a new and utopian world, but, entangled in the fence of language, he continues to move in the orbit of anguish. In “Everything”, Bachmann, not pointing to the frustration of modern humans of the death of moral values and spirituality, considers the main challenge of the narrator and his wife to be language and the inability to express thoughts and feelings. The present research, using the library and documentary method, and by studying the structure and content of “Everything” tries to depict the views and beliefs of this German writer and provide a critique of it. <br /> <br /> https://jor.ut.ac.ir/article_81112_8290063bc83d6fc63d3b84369a4b7e91.pdf