دانشگاه تهران پژوهش ادبیات معاصر جهان 2588-4131 30 2 2025 09 23 Mnemonic Heterotopia: Beckettian Mental Space in That Time (English) Mnemonic Heterotopia: Beckettian Mental Space in That Time 315 337 102375 10.22059/jor.2025.386353.2640 FA Shahriyar Mansouri گروه زبان و ادبیات انگلیسی، دانشکده ادبیات و علوم انسانی، دانشگاه شهید بهشتی،‌تهران،‌ایران. Journal Article 2025 05 10 This article examines heterotopia as a multimodal frontier in Samuel Beckett’s play That Time (1976), defining the concept through a Foucauldian lens. The article investigates the text of the play as a critical site that accommodates internal and external modes of spatial criticism, introducing mnemonic and external heterotopic sites, respectively. The play transforms into a critical locus that enables the artist to reconfigure spatiality and temporal locationality of certain places in Ireland by revisiting them through three fragmented voices. The article argues that the play not only disrupts conventional modes of storytelling set against a backdrop of descriptively relatable places but also challenges the audiences’ relationship with how memorialized times and spaces can reshape the historicity of lived experiences. The reshaped place is neither pure fabrication nor a byproduct of real-time simulation, but a product of conscious re-imagination cast across space-time continuum. As such, time is stretched across spatial continuum as much as one's memory deems necessary. The synchronic entanglement of memory and temporality transforms That Time into a site of epistemic inquiry, and changes the conventions of temporal progression. The play, the article concludes, expands spatial and temporal horizons simultaneously by considering episodic memories as well as visceral experiences. This article examines heterotopia as a multimodal frontier in Samuel Beckett’s play That Time (1976), defining the concept through a Foucauldian lens. The article investigates the text of the play as a critical site that accommodates internal and external modes of spatial criticism, introducing mnemonic and external heterotopic sites, respectively. The play transforms into a critical locus that enables the artist to reconfigure spatiality and temporal locationality of certain places in Ireland by revisiting them through three fragmented voices. The article argues that the play not only disrupts conventional modes of storytelling set against a backdrop of descriptively relatable places but also challenges the audiences’ relationship with how memorialized times and spaces can reshape the historicity of lived experiences. The reshaped place is neither pure fabrication nor a byproduct of real-time simulation, but a product of conscious re-imagination cast across space-time continuum. As such, time is stretched across spatial continuum as much as one's memory deems necessary. The synchronic entanglement of memory and temporality transforms That Time into a site of epistemic inquiry, and changes the conventions of temporal progression. The play, the article concludes, expands spatial and temporal horizons simultaneously by considering episodic memories as well as visceral experiences.

https://jor.ut.ac.ir/article_102375_56d3b308a4c72365832a81a7b6fec594.pdf

دانشگاه تهران پژوهش ادبیات معاصر جهان 2588-4131 30 2 2025 09 23 Necropoetics and the Art of Death in Sinan Antoon’s The Corpse Washer [English] Necropoetics and the Art of Death in Sinan Antoon’s The Corpse Washer 369 395 102785 10.22059/jor.2025.395118.2641 FA Kotaba Saleh Fenjan Department of Digital Media ,Massmedia College ,University of Thi-Qar,Nassiriya City -Iraq Journal Article 2025 05 12 In this essay, I use the new interpretive lens of necropoetics, the literary-critical discourse that intersects Achille Mbembe’s concept of necropolitics (the power of the state to kill) with aesthetics, to interpret Sinan Antoon’s The Corpse Washer (2013). Written from the perspective of a painter who became a corpse washer, Antoon’s novel looks back at death, memory, and protest in post-invasion Iraq. While previous analyses of the novel draw on trauma studies, existentialist thought, and post-colonial theory, I argue that through necropoetics, we can read the political and narrative practice of aestheticizing death that structures Antoon’s text. Rather than representing the loss that the artist-profession of corpse washing would typically represent, this practice transforms the cleaning of the dead from an act of loss to an act of artistic protest, of preservation against the political and historical obliteration of Iraqi lives. I show how necropoetics captures how Antoon’s prose resists the commodity politics of war trauma and positions the act of death as an intimate, subversive, and transgressive force that rebels against the violence and amnesia of the state. Consequently, this narrative is not simply about loss but is itself a necropoetic act. In this essay, I use the new interpretive lens of necropoetics, the literary-critical discourse that intersects Achille Mbembe’s concept of necropolitics (the power of the state to kill) with aesthetics, to interpret Sinan Antoon’s The Corpse Washer (2013). Written from the perspective of a painter who became a corpse washer, Antoon’s novel looks back at death, memory, and protest in post-invasion Iraq. While previous analyses of the novel draw on trauma studies, existentialist thought, and post-colonial theory, I argue that through necropoetics, we can read the political and narrative practice of aestheticizing death that structures Antoon’s text. Rather than representing the loss that the artist-profession of corpse washing would typically represent, this practice transforms the cleaning of the dead from an act of loss to an act of artistic protest, of preservation against the political and historical obliteration of Iraqi lives. I show how necropoetics captures how Antoon’s prose resists the commodity politics of war trauma and positions the act of death as an intimate, subversive, and transgressive force that rebels against the violence and amnesia of the state. Consequently, this narrative is not simply about loss but is itself a necropoetic act.

https://jor.ut.ac.ir/article_102785_24cf815fef880b243e7c262d214efbd1.pdf

دانشگاه تهران پژوهش ادبیات معاصر جهان 2588-4131 30 2 2025 09 23 Alienation in Duong Thu Huong’s Novel Without a Name and Viet Thanh Nguyen’s The Sympathizer [English] Alienation in Duong Thu Huong’s Novel Without a Name and Viet Thanh Nguyen’s The Sympathizer 425 454 102858 10.22059/jor.2025.396653.2659 FA JingJie Liu Department of English, Faculty of Modern Languages and Communication, Universiti Putra Malaysia Journal Article 2025 06 03 Challenging the postcolonial studies focus on trauma, memory, and identity, this study instead draws on the concept of alienation in Marxist theory to analyze the ideological transformations of four representative soldiers in Duong Thu Huong's Novel Without a Name (1995) and Viet Thanh Nguyen's The Sympathizer (2015). This paper examines the different forms of alienation experienced by selected soldiers within the context of North Vietnamese society and its military system. It aims to analyze how these experiences of alienation influence their decisions and actions, and how the soldiers respond to the oppression that caused the alienation. Using a structural analogy method, the paper applies Marx's four aspects of alienation—the product of labor, the process of labor, others, and self—within the socio-political context during the Vietnam War and its aftermath. This study finds that those loyal, patriotic, and innocent Vietnamese soldiers, driven by a sincere desire to rebuild their state, were exploited by the political ambitions of Viet Cong leaders and shaped by the long-term indoctrination of Vietnamese communist ideology, which led to their gradual alienation from their ideology. By highlighting ideological alienation rather than trauma or memory, this research offers a new critical lens on communist military narratives and expands Marxist literary criticism within postcolonial studies. Challenging the postcolonial studies focus on trauma, memory, and identity, this study instead draws on the concept of alienation in Marxist theory to analyze the ideological transformations of four representative soldiers in Duong Thu Huong’s Novel Without a Name (1995) and Viet Thanh Nguyen’s The Sympathizer (2015). This paper examines the different forms of alienation experienced by selected soldiers within the context of North Vietnamese society and its military system. It aims to analyze how these experiences of alienation influence their decisions and actions, and how the soldiers respond to the oppression that caused the alienation. Using a structural analogy method, the paper applies Marx’s four aspects of alienation—the product of labor, the process of labor, others, and self—within the socio-political context during the Vietnam War and its aftermath. This study finds that those loyal, patriotic, and innocent Vietnamese soldiers, driven by a sincere desire to rebuild their state, were exploited by the political ambitions of Viet Cong leaders and shaped by the long-term indoctrination of Vietnamese communist ideology, which led to their gradual alienation from their ideology. By highlighting ideological alienation rather than trauma or memory, this research offers a new critical lens on communist military narratives and expands Marxist literary criticism within postcolonial studies.

https://jor.ut.ac.ir/article_102858_299c31696e29ddbf3813ef272a9ebe8b.pdf

دانشگاه تهران پژوهش ادبیات معاصر جهان 2588-4131 30 2 2025 09 23 NARRATIVE DISRUPTIONS: REINTERPRETING MODERNISM THROUGH CONTEMPORARY MEDIA Narrative Disruptions: Reinterpreting Modernism Through Contemporary Media 479 510 103932 10.22059/jor.2025.396741.2660 FA Erinda Papa Department of Foreign Languages, Faculty of Education and Philology, Fan S. Noli University, Korce, Albania Journal Article 2025 06 05 This article examines how the narrative disruptions characteristic of literary Modernism—fragmentation, non-linear storytelling, and unreliable narration—are reinterpreted and extended through contemporary cinematic adaptations of literary texts. As such, the shift away from the traditional structure of telling a story was a unique and effective way that Modernist writers were able to reveal multiple vantage points as well as to present reality in parallel. Drawing on canonical Modernist techniques, the study explores their resonance in films such as TThe Great Gatsby (2013), The Hours (2002), and Atonement (2007), which adapt both Modernist and non-Modernist literary works. It argues that these films mirror the Modernist rejection of linear coherence by employing fragmented, multi-perspective storytelling to address contemporary cultural concerns. The article situates these disruptions within the theoretical frameworks of Modernist literary innovation and media theory, highlighting parallels between early 20th-century narrative experimentation and present-day cinematic storytelling. These case studies illustrate the evolving forms of narrative subjectivity and temporality, reimagining Modernist themes of time, memory, and identity through cinematic techniques like rapid montages, anachronistic soundscapes, and subjective voiceovers. By demonstrating that Modernist narrative techniques remain relevant in contemporary film, this study calls for an expanded Modernist canon that includes cinematic adaptations, underscoring the enduring impact of Modernist aesthetics on contemporary culture. This article examines how the narrative disruptions characteristic of literary Modernism—fragmentation, non-linear storytelling, and unreliable narration—are reinterpreted and extended through contemporary cinematic adaptations of literary texts. Drawing on canonical Modernist techniques, the study explores their resonance in films such as TThe Great Gatsby (2013), The Hours (2002), and Atonement (2007), which adapt both Modernist and non-Modernist literary works. It argues that these films mirror the Modernist rejection of linear coherence by employing fragmented, multi-perspective storytelling to address contemporary cultural concerns. The article situates these disruptions within the theoretical frameworks of Modernist literary innovation and media theory, highlighting parallels between early 20th-century narrative experimentation and present-day cinematic storytelling. These case studies illustrate the evolving forms of narrative subjectivity and temporality, reimagining Modernist themes of time, memory, and identity through cinematic techniques like rapid montages, anachronistic soundscapes, and subjective voiceovers. By demonstrating that Modernist narrative techniques remain relevant in contemporary film, this study calls for an expanded Modernist canon that includes cinematic adaptations, underscoring the enduring impact of Modernist aesthetics on contemporary culture.

https://jor.ut.ac.ir/article_103932_7ca39ce9cf5a6c42bd3a76a960b627a2.pdf

دانشگاه تهران پژوهش ادبیات معاصر جهان 2588-4131 30 2 2025 09 23 Homo Sacer, Colonial Sovereignty, and Ontological Crisis in Soyinka’s Death and the King’s Horseman Homo Sacer, Colonial Sovereignty, and Ontological Crisis in Soyinka’s Death and the King’s Horseman 543 571 102703 10.22059/jor.2025.397647.2667 FA Ali Salami Department of English Language and Literature, Faculty of Foreign Languages and Literatures, University of Tehran, Tehran, Iran Journal Article 2024 12 26 This essay revisits Wole Soyinka’s Death and the King’s Horseman through the prism of Giorgio Agamben’s homo sacer, only to fracture the coherence of that figure within the colonial encounter. Elesin Oba’s suspended subjectivity is not a metaphysical lapse or a tragic misreading between cultural grammars; it is a colonial deformation of ritual legibility, where the sacred and the abject no longer oppose but cohabit. The British interruption of Yoruba ritual suicide enacts more than cultural interference: it inaugurates a “state of exception” in which the suspension of indigenous law reasserts imperial sovereignty. Yet Soyinka’s dramaturgy exceeds Agamben’s juridico-political logic. Elesin is not merely abandoned by law but saturated by competing orders of ritual cosmology and colonial biopolitics that overdetermine his body. His death, once a consecrated passage, becomes a foreclosure of sacrifice itself as a recognizable form. In staging this impasse, Soyinka does not illustrate Agamben’s paradigm; he displaces it. What emerges is a sacrificial subject fractured between ritual investiture and colonial apprehension, whose interrupted body is left neither sanctified nor redeemed, but suspended in the epistemic violence of imperial modernity. This essay revisits Wole Soyinka’s Death and the King’s Horseman through the prism of Giorgio Agamben’s homo sacer, only to fracture the coherence of that figure within the colonial encounter. Elesin Oba’s suspended subjectivity is not a metaphysical lapse or a tragic misreading between cultural grammars; it is a colonial deformation of ritual legibility, where the sacred and the abject no longer oppose but cohabit. The British interruption of Yoruba ritual suicide enacts more than cultural interference: it inaugurates a “state of exception” in which the suspension of indigenous law reasserts imperial sovereignty. Yet Soyinka’s dramaturgy exceeds Agamben’s juridico-political logic. Elesin is not merely abandoned by law but saturated by competing orders of ritual cosmology and colonial biopolitics that overdetermine his body. His death, once a consecrated passage, becomes a foreclosure of sacrifice itself as a recognizable form. In staging this impasse, Soyinka does not illustrate Agamben’s paradigm; he displaces it. What emerges is a sacrificial subject fractured between ritual investiture and colonial apprehension, whose interrupted body is left neither sanctified nor redeemed, but suspended in the epistemic violence of imperial modernity.

https://jor.ut.ac.ir/article_102703_0a5c372f37f871fb309fcd803a98f276.pdf

دانشگاه تهران پژوهش ادبیات معاصر جهان 2588-4131 30 2 2025 09 23 When the Subaltern Speaks: Violence, Hybridity, and Decolonization in Ursula K. Le Guin’s The Word for World is Forest [English] When the Subaltern Speaks: Violence, Hybridity, and Decolonization in Ursula K. Le Guin’s The Word for World is Forest (1972) 665 693 103060 10.22059/jor.2025.397816.2669 FA Hussein Hassan Halmoosh Department of English, College of Education for Human Sciences, Wasit University, Iraq Thamir R. S. Az-Zubaidy Department of English, College of Education for Human Sciences, Wasit University, Iraq Journal Article 2025 06 30 This study examines Ursula K. Le Guin’s The Word for World is Forest (1972) as a speculative representation of colonialism and resistance. The novella portrays a brutal encounter between Terran colonizers and the indigenous Athsheans, where colonialist exploitation threatens their identity, culture, and peaceful nature. Although existing scholarship on Le Guin’s work has explored ecological and feminist dimensions, this paper fills a gap in knowledge by examining other aspects, namely, colonial violence, dehumanization, and the process of decolonization. Through thematic and close textual analysis and drawing on the decolonial thought of Aimé Césaire and Frantz Fanon, the postcolonial critique of Gayatri Spivak and Homi Bhabha, and Amílcar Cabral’s modes of resistance, this paper reflects on the traditional colonial dynamics to subvert its claim of progress and expose it as an enduring system of exploitation. It further examines resistance as a multi-layered phenomenon that both challenges and replicates colonial power dynamics. While portraying how hybrid identity enables new forms of agency within the process of decolonization, this paper contends that colonial domination goes beyond physical violence and oppression to encompass epistemic violence, cultural transformation, and deformed identity. Ultimately, it underscores the continuing relevance of Le Guin’s novella in critiquing imperial legacies through its imaginative futuristic context that transcends traditional colonial structures. This study examines Ursula K. Le Guin’s The Word for World is Forest (1972) as a speculative representation of colonialism and resistance. The novella portrays a brutal encounter between Terran colonizers and the indigenous Athsheans, where colonialist exploitation threatens their identity, culture, and peaceful nature. Although existing scholarship on Le Guin’s work has explored ecological and feminist dimensions, this paper fills a gap in knowledge by examining other aspects, namely, colonial violence, dehumanization, and the process of decolonization. Through thematic and close textual analysis and drawing on the decolonial thought of Aimé Césaire and Frantz Fanon, the postcolonial critique of Gayatri Spivak and Homi Bhabha, and Amílcar Cabral’s modes of resistance, this paper reflects on the traditional colonial dynamics to subvert its claim of progress and expose it as an enduring system of exploitation. It further examines resistance as a multi-layered phenomenon that both challenges and replicates colonial power dynamics. While portraying how hybrid identity enables new forms of agency within the process of decolonization, this paper contends that colonial domination goes beyond physical violence and oppression to encompass epistemic violence, cultural transformation, and deformed identity. Ultimately, it underscores the continuing relevance of Le Guin’s novella in critiquing imperial legacies through its imaginative futuristic context that transcends traditional colonial structures.

https://jor.ut.ac.ir/article_103060_98a79cd05822c45a3fc269f4de2fbca6.pdf

دانشگاه تهران پژوهش ادبیات معاصر جهان 2588-4131 30 2 2025 09 23 Born-Digital Dialectics: Twitter Literature as a Cyberspace Genre Born-Digital Dialectics: Twitter Literature as a Cyberspace Genre 695 732 103418 10.22059/jor.2025.400667.2711 FA Mohammad Bagher Shabanpour Department of English Language and Literature, Faculty of Foreign Languages and Literatures, University of Tehran, Tehran, Iran Journal Article 2025 08 14 This paper establishes Twitter literature as a distinct born-literature literary genre shaped by the dialectical nature of cyberspace and its constraints and affordances, including enforced brevity, threading modularity, and algorithmic virality. It addresses the critical gap in studies on electronic literature and digital humanities, traditionally pivoted on studies of hypertext fiction, while pushing the literary potentials of microblogging to the margin. Synthesizing Hayles’s media-specific analysis, Levine’s genre theory, and other ideas on the dynamics of cyberspace, it argues that the constraints of Twitter do not overshadow creative forms of cultural critiques, but, on the contrary, they radically democratize the production of literature through a highly social space of engagement and participation. Through a genealogical analysis, the literary possibilities behind Twitter literature and its evolution are traced to pre-digital fragments, digital precursors, and key movements on Twitter. Analyses of two examples, including Jennifer Egan's Black Box and Teju Cole’s Small Fates, demonstrate how constraints foster aphoristic density, nonlinear narratives, and participatory meaning-making. The study suggests that although Twitter democratizes authorship and facilitates decolonial agencies and critiques, its algorithmic virality replicates hierarchies through mechanisms like visibility biases. The paper promotes digital humanities by redefining twenty-first-century literariness and placing cyberspace as a potential zone for genre formation. This paper establishes Twitter literature as a born-digital literary genre shaped by the dialectical nature of cyberspace and its constraints and affordances, including enforced brevity, threading modularity, and algorithmic virality. It addresses the gap in studies on electronic literature and digital humanities, traditionally pivoted on studies of hypertext fiction, while pushing the literary potentials of microblogging to the margin. Synthesizing Hayles’s media-specific analysis, Levine’s genre theory, and other ideas on the dynamics of cyberspace, it argues that the constraints of Twitter do not overshadow creative forms of cultural critique, but, on the contrary, they create a space of tension between democratization and hierarchy. This paper contends that the constraints potentially democratize the production of literature through a highly social space of engagement and participation, yet the algorithmic systems usually preserve the hierarchies and attenuate the democratic potential. Through a genealogical analysis, the literary possibilities behind Twitter literature and its evolution are traced to pre-digital fragments, digital precursors, and key movements on Twitter. Analyses of two examples, including Jennifer Egan's Black Box and Teju Cole’s Small Fates, demonstrate how constraints foster aphoristic density, nonlinear narratives, and participatory meaning-making within the contested space. The paper promotes digital humanities by redefining twenty-first-century literariness and placing cyberspace as a potential zone for genre formation.

https://jor.ut.ac.ir/article_103418_759c8524ad428f65837fe1a63d2b96c3.pdf

دانشگاه تهران پژوهش ادبیات معاصر جهان 2588-4131 30 2 2025 09 23 Cognitive Analysis of Conceptual Metaphors in Contemporary Persian and English Poetry Cognitive Analysis of Conceptual Metaphors in Contemporary Persian and English Poetry 599 634 102783 10.22059/jor.2025.398402.2676 FA Ahmad Mohamadi گروه زبان و ادبیات فارسی، واحد تهران شمال، دانشگاه آزاد اسلامی ، تهران، ایران Asghar Dadbeh گروه زبان و ادبیات فارسی، واحد تهران شمال، دانشگاه آزاد اسلامی ، تهران، ایران Bahram Parvin Gonabadi گروه زبان و ادبیات فارسی، واحد تهران شمال، دانشگاه آزاد اسلامی ، تهران، ایران Journal Article 2025 07 11 This essay undertakes a comparative study of metaphorical imagination in the poetry of Walt Whitman and Sohrab Sepehri, not to flatten their poetics into a single cognitive frame but to ask how differently embodied minds, inflected by culture, geography, and cosmology, render abstraction sensuous. Refusing the tidy predictability often associated with conceptual metaphor theory, the study reworks its premises through the friction of image schema theory, affective cognition, and the irreducibility of cultural embodiment. Metaphors here are not ornaments or mere vehicles of thought: they are perceptual infrastructures, felt vectors, spiritual gestures. In Whitman, metaphor dilates space and amplifies energy, crafting a porous, vibrating body politic immersed in the democratic weather of the cosmos. In Sepehri, the metaphoric pulse slows, roots downward, dissolves into vegetal time and translucent perception, a mysticism attuned not to ascension but to erosion, to the grain of sand and the drop of water. Each poet’s figurative lexicon stages a different negotiation between self and world, body and spirit, opacity and clarity. Reading across these metaphorical archives, the study advances no universal theory but a comparative poetics of situated cognition, one attentive to how language thinks through the body, feels through the environment, and believes through its figures. This essay undertakes a comparative study of metaphorical imagination in the poetry of Walt Whitman and Sohrab Sepehri, not to flatten their poetics into a single cognitive frame but to ask how differently embodied minds, inflected by culture, geography, and cosmology, render abstraction sensuous. Refusing the tidy predictability often associated with conceptual metaphor theory, the study reworks its premises through the friction of image schema theory, affective cognition, and the irreducibility of cultural embodiment. Metaphors here are not ornaments or mere vehicles of thought: they are perceptual infrastructures, felt vectors, spiritual gestures. In Whitman, metaphor dilates space and amplifies energy, crafting a porous, vibrating body politic immersed in the democratic weather of the cosmos. In Sepehri, the metaphoric pulse slows, roots downward, dissolves into vegetal time and translucent perception, a mysticism attuned not to ascension but to erosion, to the grain of sand and the drop of water. Each poet’s figurative lexicon stages a different negotiation between self and world, body and spirit, opacity and clarity. Reading across these metaphorical archives, the study advances no universal theory but a comparative poetics of situated cognition, one attentive to how language thinks through the body, feels through the environment, and believes through its figures.

https://jor.ut.ac.ir/article_102783_9eda71cfc5e2f928f1da28533549ea20.pdf

دانشگاه تهران پژوهش ادبیات معاصر جهان 2588-4131 30 2 2025 09 23 The Image of Eastern Women in the Works of Alexander Pushkin سیمای زنان شرقی در آثار آلکساندر پوشکین 299 314 102704 10.22059/jor.2025.396140.2655 FA پاول آلیکسیف گروه ادبیات روسی، دانشکده تاریخ و فیلولوژی، دانشگاه دولتی گورنا-آلتایسک. گورنا-آلتایسک، روسیه مرضیه یحیی پور گروه زبان و ادبیات روسی، دانشکده زبان‌ها و ادبیات خارجی، دانشگاه تهران، ایران جان‌اله کریمی مطهر گروه زبان و ادبیات روسی دانشکده زبان‌ها و ادبیات خارجی، دانشگاه تهران، ایران Journal Article 2025 05 27 This article explores the role and status of Eastern women in the works of Alexander Pushkin, a celebrated figure in Russian literature. From the sacred scriptures to the tales of One Thousand and One Nights, Eastern narratives have long captivated Russian poets and writers. The Russian literary world has demonstrated a profound interest in Eastern culture, with some authors traveling to the East and others drawing inspiration from texts and oral stories. Women play a pivotal role in many of these orientalist narratives. Pushkin, a key literary figure of Russia’s Golden Age, created works enriched by Eastern culture, granting particular attention to the image and emotional world of Eastern women. This study seeks to answer the following questions: From what perspective does Pushkin address the Eastern woman? Does he admire or criticize them? Is his portrayal of these women intended to foster intercultural dialogue? By analyzing the Eastern woman motif in Pushkin’s works, it becomes clear that various dimensions of women’s individual and social lives were significant to him. Inspired by his personal disposition and the cultural climate of his time, Pushkin created narratives where the theme of Eastern women often draws from religious archetypes and touches upon political, historical, spiritual, social, moral, and romantic dimensions. His works have significantly contributed to the understanding of Eastern women and have left a lasting impact on Russian society. مقالۀ حاضر به موضوع جایگاه زنان مشرق‌زمین در آثار آلکساندر پوشکین، مِهر ادبیات روسی می‌پردازد. داستان‌های کهن شرقی از قصه‌های کتاب‌های مقدس گرفته تا قصه‌های هزار‌و‌یک شب شهرزادِ قصه‌گو همیشه مورد توجه شاعران و نویسندگان روس بوده است. عطش شناخت فرهنگ مشرق‌زمین از سوی ادیبان روسی شگفت‌آور است. برخی با سفر و عده‌ای نیز با بهره از نوشته‌ها و شنیده‌ها، اشعاری با مضامین شرقی سروده‌اند که نقش زنان در آنها کلیدی است. پوشکین، شاعر و نویسندۀ سدۀ زرّین ادبیات روسی با بهره‌‌گیری از فرهنگ شرقی آثاری آفرید که در آنها به حال و هوای زن شرقی جلوۀ ویژه‌ای داده‌ است. هدف پژوهش حاضر پاسخ به این سؤالات است: پوشکین از چه منظری به موضوع زن شرقی در آثار خود پرداخته‌ است؟ او در آثارش زنان شرقی را مورد ستایش و تمجید قرار داده‌ یا نکوهش؟ آیا هدف او از توصیف شخصیت زنان ایجاد گفت‌و‌گوی بینافرهنگی است؟ با بررسی موتیو زن شرقی در آثار این شاعر و نویسندۀ روس به این نتیجه می‌رسیم که ابعاد گوناگون زندگی فردی و اجتماعی زنان برای او مهم بوده است. او بنا به اقتضای حال و هوای درونی و شرایط خود دست به خلق آثاری دربارۀ زنان شرقی زده‌ است. موضوع زن شرقی، گاهی با بهره‌گیری از کهن‌الگوهای کتاب‌های مقدس، در زمینه‌های سیاسی، تاریخی، دینی - عرفانی، اجتماعی، اخلاقی و عشق زمینی- احساسی پس‌زمینۀ اصلی برخی از آثار او است. آثار پوشکین کمک شایسته‌ای در شناخت زنان شرقی در ابعاد گوناگون داشته و تأثیر عمیقی بر جامعه روسی گذاشته‌ است.

https://jor.ut.ac.ir/article_102704_39c509b69930afbeaba7787d0d251271.pdf

دانشگاه تهران پژوهش ادبیات معاصر جهان 2588-4131 30 2 2025 09 23 The Blind Owl Transformed: Indigenization Strategies in Ruiz's La Chouette Aveugle and Lynch's Lost Highway بررسی تطبیقی روند بومی‌سازی در اقتباس‌های سینمایی از رمان بوف کور بوف کور رائول روییز و بزرگراه گمشده دیوید لینچ 339 368 102680 10.22059/jor.2025.395978.2652 FA اسماعیل نجار گروه ادبیات نمایشی، دانشکده هنر، دانشگاه تربیت مدرس، تهران، ایران محمد علی منصوریان گروه ادبیات نمایشی، دانشکده هنر، دانشگاه تربیت مدرس، تهران، ایران Journal Article 2025 05 24 This study conducts a comparative analysis of the indigenization processes in two cinematic adaptations of Sadegh Hedayat's The Blind Owl: Raúl Ruiz's La Chouette Aveugle and David Lynch's Lost Highway. Despite differing approaches, both directors sought to harmonize the novel with their respective cultural norms, resulting in distinct transformations of the source material. Drawing on adaptation theories —particularly Linda Hutcheon's concept of indigenization— and critical perspectives, this study examines how Ruiz and Lynch embedded their personal experiences, worldviews, and stylistic approaches into their respective adaptations. The findings reveal that each director's geographic and cultural context significantly influenced their adaptation, yielding new works that reflect their individual perspectives. While Ruiz’s adaptation resonates with themes of exile, cultural dissonance, and postcolonial identity, transforming Hedayat’s novel, first translated into English in 1957, into a meditation on displacement, Lynch’s version reinterprets the novel through a psychological and noir-inflected lens, embedding it in a distinctly American and contemporary milieu. By exploring the intersections of culture, adaptation, and creative vision, this study sheds light on the dynamic processes involved in reinterpreting and reimagining literary works for the screen. The study's results underscore that such cross-cultural adaptations are not merely reproductions of literary texts, but creative acts of reinterpretation that generate new meanings within the cultural frameworks of the directors. در مطالعات اقتباس، بومی‌سازی به مجموعه راهکارهایی اطلاق می‌شود که اقتباس‌کننده برای همخوان‌سازی یک اثر با فرهنگ مقصد به کارمی‌گیرد. در این فرآیند، انطباق اثر با هنجارهای فرهنگی مقصد، قصد و استراتژی اقتباس‌کننده و دریافت مخاطب بیش از وفاداری به متن اصلی اهمیت دارد. پژوهش حاضر با تکیه بر نظریات اقتباس، بویژه مفهوم بومی‌سازی نزد هاچن، و با در نظر گرفتن خوانش‌های مختلف از بوف کور صادق هدایت، به بررسی تطبیقی و کیفی روند و شگردهای بومی‌سازی در اقتباس سینمایی از رمان بوف‌کور، توسط دو فیلم‌ساز از دو بافت جغرافیایی متفاوت می‌بپردازد یکی رائول روییز فیلمساز شیلیایی و دیگری دیوید لینچ فیلمساز آمریکایی. بنابر یافته‌های پژوهش هر دو فیلمساز با شیوه‌هایی متفاوت، اثر هدایت را با جغرافیا، فرهنگ، زیست، دغدغه‌ها و سبک خود سازگار کرده‌اند که به تغییر معنای اثر و خلق آثاری جدید منجر شده است. اقتباس روییز همخوان با تجربۀ زیستۀ فیلمساز، با تأکید بر تجربۀ مهاجرت، بیگانگی و تصادم فرهنگی، به بازتابی از هویت پسااستعماری بدل شده است؛ درحالی‌که لینچ با تلفیق درون‌مایه‌های روان‌شناختی و مؤلفه‌های ژانر نوآر، بوف کور را، در بستری مدرن و آمریکایی بازتفسیر کرده است. این مقاله نشان می‌دهد که اقتباس‌های میان‌ فرهنگی نه بازتولید، بلکه بازآفرینی‌هایی هستند که معنای تازه‌ و همخوان با فرهنگ خود، در بستر جدید خلق می‌کنند.

https://jor.ut.ac.ir/article_102680_25e0c04aae9f5e149af66f0372748f10.pdf

دانشگاه تهران پژوهش ادبیات معاصر جهان 2588-4131 30 2 2025 09 23 The Representation of Foucault’s Concepts of Biopolitics and Governmentality in Michael Frayn’s Copenhagen بازنمایی مفاهیم «زیست‌سیاست» و «حکومتمندی» فوکو در نمایشنامۀ کپنهاگ اثر مایکل فرین 397 424 102837 10.22059/jor.2025.386736.2591 FA نازنین قرائی نژاد گروه زبان و ادبیات انگلیسی، پردیس البرز دانشگاه تهران،تهران،ایران بهروز محمودی بختیاری گروه هنرهای زیبا.دانشکده هنرهای نمایشی و موسیقی،تهران،ایران مریم سلطان بیاد گروه زبان و ادبیات انگلیسی،‌دانشکده زبانها و ادبیات خارجی دانشگاه تهران.تهران،ایران Journal Article 2024 12 09 Michael Frayn (b. 1933) is a British playwright whose politically and socially charged works emerged during Margaret Thatcher’s premiership (1979–1990). Influenced by the dominant ideology and political crises of the Thatcher era, his plays often reflect themes associated with neoliberalism. Copenhagen, one of his most significant plays, unfolds within the historical contexts of World War II, the Cold War, and the rise of quantum physics. By offering new interpretations of surveillance and control, the play engages with Foucauldian concepts of power/knowledge. This study aims to analyze the key Foucauldian concepts of governmentality and biopolitics, which serve as analytical tools for understanding the socio-political conditions of the Thatcher era. These concepts, critically examined by Michel Foucault, occupy a central place in modern theoretical discourse. The analysis of Copenhagen through the lens of governmentality and biopolitics reveals how Frayn re-reads Thatcher’s rule in Foucauldian terms and demonstrates how these concepts evolved in that historical period. Furthermore, the role of scientific knowledge in shaping these Foucauldian ideas—both in the context of the play and in Thatcher’s Britain—is explored. This perspective suggests that applying such theoretical frameworks to literary texts can open a window into the political and social truths of the time in which the work was written. مایکل فرین ‌( 1933.م) نمایشنامه‌نویس بریتانیایی است که در دورۀ زمامداری تاچر (1979-1990) در انگلستان آثاری با مضامین سیاسی- اجتماعی از خود به جای گذاشت. آثار این نویسنده تحت تأثیر ایدئولوژی حاکم و معضلات سیاسی در دوره تاچر‌ و مفهوم نئولیبرالیسم بودند. نمایشنامۀ کپنهاگ یکی از مهم‌ترین آثار وی، در بستری از تحولات جنگ جهانی دوم و همچنین جنگ سرد در قرن بیستم و ظهور فیزیک کوانتوم شکل می‌گیرد و با ارائۀ تعریف جدیدی از مفاهیم نظارت و کنترل، به روابط پیچیده‌تری از قدرت و دانش، به مفاهیم فوکویی می‌پردازد. هدف از این پژوهش، بررسی و تحلیل مفاهیمی مانند حکومت‌مندی و‌‌ زیست‌سیاست است که مفاهیمی اصلی در مطالعۀ شرایط اجتماعی دوران حکومت تاچر محسوب می‌شوند. این مفاهیم توسط فوکو به نقد و بررسی کشیده شده‌اند و در اندیشۀ مدرن جایگاه گفتمانی مهمی می‌یابند. در همین راستا، بررسی مفاهیم زیست‌سیاست و حکومت‌مندی در نمایشنامۀ کپنهاگ نشان می‌دهند که چگونه فرین، دوران تاچر را با مفاهیم فوکویی بازخوانی کرده و شکل‌گیری این مفاهیم را در دورۀ تاریخی تاچر تحلیل کرده است. همچنین تأثیر و نقش دانش در شکل‌گیری مفاهیم فوکویی، چه در نمایشنامۀ کپنهاگ و چه در دورۀ تاچر، قابل بررسی می‌شود و این چشم انداز را ایجاد می‌کند که بتوان با کاربست این مفاهیم در یک متن ادبی، دریچه‌ای برای آشکار ساختن حقایق اجتماعی و سیاسی زمانۀ تألیف آن اثر، یافت

https://jor.ut.ac.ir/article_102837_afec8845c33a1517ef8a0c07ba7cde1b.pdf

دانشگاه تهران پژوهش ادبیات معاصر جهان 2588-4131 30 2 2025 09 23 Examining Women's Subjugation in Postcolonial Discourse: A Comparative Reading of Simin Daneshvar’s Savushun and Ahmadou Kourouma’s The Suns of Independence خوانش جلوه‌های زنان فرودست درگفتمان پسااستعمار سووشون اثر سیمین دانشور و خورشیدهای استقلال از احمدو کوروما 455 477 102917 10.22059/jor.2024.369488.2488 FA محمدحسین جواری گروه زبان و ادبیات فرانسه و تطبیقی، دانشگاه تبریز، تبریز، ایران مینا دارابی امین گروه زبان و ادبیات فرانسه و تطبیقی، دانشگاه تبریز، تبریز، ایران سکینه رفیعی فرد گروه زبان و ادبیات فرانسه و تطبیقی، دانشگاه تبریز، تبریز، ایران Journal Article 2023 12 12 Postcolonial critique is one of the interdisciplinary studies that examines the political, cultural, and social contexts of literary works. Since dealing with identity and gender inferiority is one of the axes of this approach, the issue of women and examining their situation is one of its important theoretical branches. One of the most important theorists in this field is Gayatri Chakravorty Spivak, who bases her studies on investigating the problems of lower-class women within masculinist systems and colonial societies. The novels The Suns of Independence by Ahmadou Kourouma, an African writer, and Savushun by Simin Daneshvar, an Iranian woman writer, record a similar frame of critical conditions for women. The present research looks at the cultural and political differences between African and Iranian societies and achieves common concepts in the context of their social, cultural, and historical evolution. Examining these concepts from the perspective of postcolonial studies reveals the specific conditions of subalterns (as women) within the historical and political impulses of various nations. The evolutionary course of women's characters, which includes their identity, agency, and passivity, is studied. نقد پسااستعماری یکی از پژوهش‌هایی است که زمینه‌های سیاسی، فرهنگی و اجتماعی آثار ادبی را بررسی می‌کند. از آنجا که پرداختن به هویت، جنسیت و فرودستی جنسیتی از محورهای این رهیافت میباشد؛ موضوع زنان و بررسی وضعیت آنان یکی از شاخههای مهم نظری این رویکرد بهشمار میآید. یکی از شاخص‌ترین نظریهپردازان این حوزه، گایاتری چاکراورتی اسپیواک میباشد که مطالعات خویش را بر پایۀ بررسی مشکلات اقشار زنان فرودست در میان جوامع مردسالارانه و استعماری قرار میدهد. رمانهای خورشیدهای استقلال از احمدو کوروما، نویسندۀ آفریقاییتبار و سووشون اثر سیمین دانشور، نویسندۀ ایرانی از این قبیل آثار به شمار می‌آیند که از نقش و جایگاه فرودستانۀ زنان در جوامع ملتهب آفریقایی و همچنین در اجتماع پرفراز و نشیب گذشتۀ ایران صحبت می‌کنند.. تحقیق حاضر به تفاوتهای فرهنگی و سیاسی و همچنین تغییر و تحولات جایگاه زنان این دو ملت پرداخته و به مفاهیمی مشترک در بستر تحولات اجتماعی، فرهنگی و تاریخی دست می‌یابد. بررسی این مفاهیم از منظر مطالعات پسااستعماری، گویای شرایط خاص زنان در بحبوحۀ تکانه‌های تاریخی و سیاسی ملتهای گوناگون بوده و سیر تحولی شخصیتهای زن که شامل عاملیت و انفعال هویتی آنان میباشد را مورد مطالعه قرار می‌دهد.

https://jor.ut.ac.ir/article_102917_c976b432b6516abb7c56c723342d6a33.pdf

دانشگاه تهران پژوهش ادبیات معاصر جهان 2588-4131 30 2 2025 09 23 Interactive aspects of subject and gesture in Beckett's trilogy وجوه تعاملی سوژه و ژست در سه‌گانۀ بکت 511 541 102793 10.22059/jor.2024.384214.2579 FA اکرم صفی خانی گروه زبان و ادبیات فارسی، دانشکدۀ علوم انسانی، دانشگاه کوثر بجنورد، بجنورد، ایران ابراهیم کنعانی گروه زبان و ادبیات فارسی، دانشکدۀ علوم انسانی، دانشگاه کوثر بجنورد، بجنورد، ایران امید وحدانی فر گروه زبان و ادبیات فارسی، دانشکدۀ علوم انسانی، دانشگاه کوثر بجنورد، بجنورد، ایران Journal Article 2024 10 23 Subject and gesture are concepts that are in an interactive and corresponding relationship with each other. In literary discourse, the subject is transformed by the effect of the gesture, and the gesture plays a role in reproducing the identity of the subject. The problem of this research is the effect of the gesture on the subject and the expression of its mechanisms. One of the effects of the effect of the subject on the gesture can be found in the works of Samuel Beckett. Beckett's type of thinking transformed the literary and intellectual structures of the 20th century, and from this point of view, the interactive aspects of these two concepts are very important in this structure. In this research, the interactive aspects of the subject and gesture in Beckett's trilogy are analyzed and the effect of the gesture on the decline of the subject is revealed. The metamorphosis of the subject refers to the concept that the lack of gesture makes Beckett's subjects faceless and degenerate, which even reach pre-subjectivity. To show this process, the movement of the subject in Beckett is represented in three areas: pre-decline, decline and post-decline. In this process, Beckett's subject refuses to conform to the symbolic order and does not become a subject. The downward path of Beckett's figure, by going to the field of nothing, removes the body and gives her a static body and a restless mind. Therefore, the body of the subject (figure) becomes a collapsed, disintegrated and mass-like body. سوژه و ژست از مفاهیمی هستند که در رابطۀ تعاملی و تناظری با یکدیگر قرار دارند. در گفتمان‌ ادبی، سوژه به‌تأثیر از ژست دچار استحاله می‌شود و از این منظر، ژست در بازتولید هویّت و باورمندی سوژه ایفای نقش می‌کند. مسئلۀ اصلی پژوهشِ حاضر تأثیر ژست بر سوژه و تبیین سازوکارها و کارکردهای آن است. یکی از جلوه‌های تأثیرپذیری سوژه از ژست و وجوه تعاملی این دو مفهوم را در آثار ساموئل بکت می‌توان پی‌جویی کرد. نوع تفکّر بکت که از نواندیشی فلسفی و طنز گزندۀ او مایه می‌گیرد، موجب تحوّل ساختارهای ادبی و اندیشگانی در قرن بیستم شد و از این منظر، وجوه تعاملی این دو مفهوم در این ساختار بسیار اهمیت دارد. در این پژوهش کارکرد سوژه و ژست و وجوه تعاملی آن در سه‌گانۀ بکت واکاوی می‌شود و تأثیر ژست بر افول سوژه‌ نمایان می‌گردد. استحالۀ سوژه به‌میانجی ژست از این منظر قابل بازنمایی است که در روایت سه‌گانۀ بکت، فقدان ژست‌، سوژه‌های بکتی را بی‌چهره و مستهلک می‌کند که حتّی به ماقبل سوژگی می‌رسند. برای نشان دادن این فرایند، مسیر حرکت سوژه در بکت در سه ساحت پیشا- افول، افول و پسا- افول بازنمایی شده است. در این فرایند سوژۀ بکتی از تن دادن به نظم نمادین سر باز میزند و به سوژگی نمیرسد. مسیر افولی فیگور بکتی با رفتن به ساحت هیچ، تن را می‌زُداید و تنی ساکن و ذهنی وراج را برای او رقم می‌زند. بنابراین تنِ سوژه (فیگور) در گفتمان بکت به تنی فروپاشیده، از هم گسیخته و به‌غایتِ تودگی می‌رسد.

https://jor.ut.ac.ir/article_102793_636c36628434e49fe9e5df6491815645.pdf

دانشگاه تهران پژوهش ادبیات معاصر جهان 2588-4131 30 2 2025 09 23 Running Towards the Inner Self: A Psychological Exploration of Haruki Murakami's "What I Talk About When I Talk About Running" with a Mind-Body Approach دویدن به سمت درون کاوش روان‌شناختی کتاب «وقتی از دو حرف میزنم، از چه حرف میزنم» نوشتۀ هاروکی موراکامی با رویکرد ذهن و بدن 573 597 103677 10.22059/jor.2025.382784.2574 FA منیژه فیروزی گروه روانشناسی، دانشکده روانشناسی و علوم تربیتی، دانشگاه تهران، تهران، ایران الهه کریمی ریابی گروه روانشناسی، دانشکده روانشناسی و علوم تربیتی، دانشگاه تهران، تهران، ایران. 0000-0002-8366-0754 Journal Article 2024 11 27 In the present study, we continue the psychological explorations of previous critics by examining Haruki Murakami's work "What I Talk About When I Talk About Running" from a new perspective. Our chosen approach is multifaceted, addressing various aspects of this work. Specifically, we focused on mind-body theories. In our view, in this book, the mind and body are considered as two separate entities that ultimately converge to form a unified whole. An indispensable aspect of this analysis is the Lacanian perspective, which adds greater depth to the work. By leveraging health psychology, of which mind-body theories are a part, we illustrated a framework that the runner navigates to overcome challenges; three pivotal stops that every runner inevitably faces: success and failure, coping with life challenges, and aging. In the end, we paid attention to the influence of Japanese culture on this work and its hidden connection to Iranian mystical culture. This study demonstrates how Murakami uses running as a tool for discipline and structure, contributing to his identity as both a writer and an individual, and how it creates a profound connection between physical activities and mental creativity. Keywords: Haruki Murakami, mind-body theories, Japanese culture, success and failure, life challenges, aging. پژوهش حاضر از زاویه‌ای جدید به بررسی اثر هاروکی موراکامی از دو که حرف می‌زنم، از چه حرف می‌زنم می‎پردازد و تلاش شده است بر مبنای دیدگاهی چندوجهی و بین‌رشته‌ای و به‌طور خاص، با تمرکز بر نظریه‌های ذهن و بدن و رویکرد لاکانی جنبه‌های گوناگون کتاب بررسی گردد. روش پژوهش، تحلیل تفسیری است. به باور نویسندگان در این کتاب، ذهن و بدن به‌عنوان دو شخصیت مجزا در نظر گرفته شده‌اند که در نهایت به هم پیوسته و واحد یکپارچه‌ای را شکل می‌دهند. وجه غیرقابل چشم‌پوشی در این تحلیل، نگاه لاکانی به این اثر است که عمق بیشتری به آن می‌بخشد. با بهره‌گیری از روان‌شناسی سلامت، که نظریه‌های ذهن و بدن بخشی از آن هستند، چهارچوبی به تصویر کشیده شده است که دونده به دنبال غلبه بر آنها گام می‌نهد؛ سه توقفگاه که انسان دونده ناگزیر از مواجهه با آنهاست: موفقیت و شکست، مقابله با چالش‌های زندگی و پیری. این پژوهش نشان می‌دهد که موراکامی چگونه از دویدن همانند ابزاری برای نظم و انضباط و ساختار استفاده می‌کند که به هویت او به‌عنوان نویسنده و فرد کمک کرده و ارتباط عمیقی بین فعالیت‌های جسمی و خلاقیت ذهنی او ایجاد می‌نماید.

https://jor.ut.ac.ir/article_103677_852ab448186f7f1c319a822d964a95c2.pdf

دانشگاه تهران پژوهش ادبیات معاصر جهان 2588-4131 30 2 2025 09 23 Tracing Literary Influence: Hemingway’s The Old Man and the Sea and Munif’s The Unfinished Bridge مطالعۀ تطبیقی تأثیرگذاری داستان پیرمرد و دریا اثر ارنست همینگوی بر پل ناتمام اثر عبدالرحمن منیف 635 663 102863 10.22059/jor.2025.380331.2554 FA نعمت عزیزی گروه آموزشی زبان و ادبیات عربی، دانشکده ادبیات، دانشگاه ایلام، ایلام، ایران. شیرین کرمی گروه آموزشی زبان و ادبیات عربی، دانشکده ادبیات، دانشگاه ایلام، ایلام، ایران. Journal Article 2024 08 03 Comparative literature is a branch of literary criticism that focuses on exploring literary relationships, influences, and receptivity, as well as examining aspects of correspondence and contrast between the literatures of two or more nations. The Old Man and the Sea by Ernest Hemingway is considered a masterpiece of contemporary world literature, earning him the Nobel Prize in Literature and solidifying his position as an influential source of inspiration. The similarities between the novel The Unfinished Bridge by Saudi writer Abdul Rahman Munif and The Old Man and the Sea are so striking that they cannot easily be overlooked, prompting the assumption that Munif was influenced by Hemingway. The findings of this study suggest that Munif has been influenced by both the structural and content-related aspects of old age and the sea. At the content level, themes such as hunting, defeat, belief in luck, and various structural elements including character development, setting description, irony, dialogue, and so forth, show very close similarities between the two novels. These similarities become particularly non-coincidental when the author directly borrows many words and sentences from The Old Man and the Sea. The present study aims to elucidate and demonstrate the influence of Ernest Hemingway’s The Old Man and the Sea on Abdul Rahman Munif’s The Unfinished Bridge, using a comparative French literature approach and employing a descriptive-analytical method. ادبیات تطبیقی شاخه‌ای از نقد ادبی است که به بررسی روابط ادبی، تأثیرگذاری و تأثیرپذیریها و همچنین بررسی وجوه تناظر و تباین میان ادبیات دو یا چند ملّت میپردازد. پیرمرد و دریا اثر ارنست همینگوی یکی از شاهکارهای ادبیات معاصر جهان است که توانسته جایزۀ نوبل ادبیات را از آن خود کند و جایگاه خود را به‌عنوان منبعی الهامبخش، تثبیت نماید. تشابهات رمان پل ناتمام (حین ترکنا الجسر) اثر عبدالرحمن منیف نویسندۀ سعودی با پیرمرد و دریا تا جایی است که نمیتوان به راحتی از کنار آن گذشت و این فرضیه را به ذهن متبادر میسازد که منیف از همینگوی، تأثیر پذیرفته است. نتایج این مطالعه حاکی از آن است که منیف، در دو جنبۀ ساختاری و محتوایی از پیرمرد و دریا تأثیر پذیرفته است؛ از جنبۀ محتوایی، مضامینی همچون موفقیت، شکار، شکست، اعتقاد به شانس، فردیت و از جنبۀ ساختاری نیز عناصری از جمله شخصیت و شخصیتپردازی، توصیف مکان، پیرنگ، گفتوگو و... دارای اشتراکات بسیار نزدیکی هستند که این اشتراکات، زمانی غیرتصادفی مینماید که منیف، بسیاری از واژگان و جملات خود را عیناً از پیرمرد و دریا اقتباس نموده است. پژوهش حاضر با هدف تبیین و اثبات تأثیرپذیری عبدالرحمن منیف در پل ناتمام از پیرمرد و دریای ارنست همینگوی، با رویکرد ادبیات تطبیقی فرانسوی و به روش توصیفی- تحلیلی انجام میشود.

https://jor.ut.ac.ir/article_102863_d0b224668e7929b04b50aae72ff7ae07.pdf