Contemporary Persian Literature

Abstract The police institution is one of the topics that has found its way into contemporary Persian fiction and has been represented in the works of Iranian novelists.Carefully in these fictional works, it can be seen that the police institution had different representations in the works of authors attributed to different intellectual / literary currents, and the image of the police in the works of these intellectual currents is a different image.In this paper,To investigate this issue, three works of fiction that symbolize three different currents of thought in the contemporary history of Iran have been selected and studied and comparatively analyzed.These works include the novel "Terrible Tehran" by Morteza Mushfegh Kazemi, the story of "Gileh Mard" by the Bozorg Alavi and the novel "Secrets of My Land" by Reza Barahani. Each of the authors of these works, have different worldviews and look at society and social phenomena differently from the other two authors.It seems that the "element of time" and the difference in the type of "worldview" of these three authors, which is itself influenced by the historical discourse of their time, has caused a difference in the appearance of the police in their works and has led to different representations of the police in the works of these three writers.Findings of this study show that Persian fiction in connection with the social and discourse disciplines of the period, sometimes the police institution in opposition to the people's revolution and advocates of superficial reforms and "system", and sometimes in the form of dominance and class domination and the interests of the owners and the capitalists, and sometimes this institution in its connection with imperialism and the "West," are portrayed as "other."

Abstract تناسب زبان و نگاه در شعر شاعران از رهگذر تصاویر منتزع از اشعار آن­ها قابل ارزیابی است. هر نگاه ویژه­ای در بیان خاصی نمود پیدا می­کند و با بررسی جریان­های مختلف ادب فارسی، می­توان تناسب بیان و نگاه را دریافت. در این پژوهش به روش توصیفی تحلیلی سعی شده است تناسب تشبیه با بافت کلام در دو جریان شعری معاصر با تکیه بر سردمداران آن جریان­ها بررسی و تحلیل شود. بهبهانی و بهار به عنوان شاعران تجدّدگرای معاصر و مصدّق و مشیری به عنوان شاعران رمانتیسم معاصر¹، سهم ویژه­ای در ادب معاصر دارند. نتایج حاکی از آن است که شاعران تجدّد­گرا در کنار تصاویر برخاسته از تشبیه، سعی بیشتری در تناسب سطح کلام با واژگان کهن ادب فارسی داشته­اند و بهار به نسبت، بیشتر از بهبهانی این تناسب را در ارتباط با مشبّه­ها و مشبّه­به­های اشعار خود برقرار کرده و تخییل در اشعار او با زبان گذشته، بیشتر پیوند یافته است. بیشترین وجه گذشته­گرایی اشعار مصدّق در تشبیهات او، مقیّد بودن مشبّه­به­های آن است که هم تتابع صفات و هم اضافه­های مقلوب را شامل می­شود اما در نهایت به دلیل قرینه­های زیاد سطح بیت، مخاطب، تصاویر برخاسته از اشعار او را بیشتر به عنوان یک تصویر امروزی قبول می­کند و تناسب واژگان در سطح ابیات، بیشتر امروزی است نه مربوط به گذشتۀ ادب فارسی. مشیری به دلیل زبان ساده و توجّه ویژه­ای که در انتقال عاطفه و احساس داشته است در تشبیهات خود توجّهی به گذشتۀ ادب فارسی نکرده است و اگر گذشته­گرایی هم در شعر او دیده شود، هنجارگریزی­هایی ساده هستند که تنها در سطح بیت، آن هم بدون گره­خوردگی معناداری با تصاویر بکار رفته­اند.

Abstract Due to the challenges translators usually encounter while dealing with contemporary literary texts, assessment is considered to be a significant issue in literary studies. The paper aims at criticizing equivalent choice of Costello and Bashiri (translators of Hedayat’s Blind Owl) based on the semantic-lexical level in Garcés’ Model. The model consists of: Definition, Cultural (or functional) equivalence, Adaptation, (Grammatical) Expansion, Grammatical reduction, General versus particular or vice versa, and Ambiguity. Findings revealed the requirement of adding four more items to the model. Moreover, it was found that while Ambiguity had no occurrence in the corpus, Adaptation had the highest frequency. Furthermore, Bashiri never resorted to Deletion, while in Costello’s work two cases of this type were detected. In general, Bashiri’s quality of translation was recognized to be influenced by the translators’ frequent revision of his translation, as well as his access to Costello’s work.

Abstract Novels are the sphere of influence and power of perspectives and discourses that most of which are applied by the author in the context of the novels. For that reason, what emerges from the concept of adolescence in young adults’ novels is not the adolescent reality itself, but only the construction of culture and society of any period; meanwhile what is necessary is the subjects of this novels, adolescent subjects that can be considered as exemplars of adolescence construction from the culture and society of any particular time period.In this study we analyze the construction of subject in relation with power, dominant discourse and resistance in confront of that. For this reason, based on social semiotics, signs in social context (Speech acts, communicational and body) and textual context (linguistics, authenticity and intertextuality) analyzed. Result have shown that, power in this novel is interactional that leads to resistor woman of subject in transition from teenager juvenile to adulthood.

Abstract This study has selected the novel "Rud e Ravi" written by Abu Torab Khosravi as a model of traditional totalitarian society and "Mortelle" written by Christopher Frank as a model of totalitarian society in the modern era. The research method is based on the opinions of thinkers who have studied the individual / subject relationship with the system of domination and objectification methods. In explaining the political function of totalitarian systems on individuals, it has used the views of thinkers such as Michel Foucault, Hannah Arendt, Rigel, Haywood, and in classifying body types as objects of power, has been based on the views of Cregan and Le Breton.  The study of the “Rud e Ravi” shows that the process of depersonalization and homogenization in a traditional society takes place through torture and display of it, And in the “Motelle” the totalitarian system in the modern age, along with the torture and persecution that usually takes place in non-public places, transforms the thoughts and transforms them into a general identity. But torture in sectarian-traditional systems has more doctrinal and religious functions and in the totalitarian system of the modern period, it is done for political purposes.
What both novels have in common is the inviolability of principles, the loss of privacy, the confrontation with love as a manifestation of individuality, and in a word, the removal of any manifestation of individualism and the transformation of individuals into object bodies, And what distinguishes the two novels is the degree of objectivity and subjectivity of the individual in the world of novels.

Abstract The Flourishing of Literary Criticism in the Twenties
With the onset of World War II and the departure of Reza Shah from the country, a relatively open political and social atmosphere was formed in Iran in the 1940s/1320s (A.H(. As the activities of the parties began, literary journals were published with a new approach and the "first Iranian Writers' Congress" was convened. Taken together, these factors provided a good basis for the development of literary criticism. Today, with the passing of time, one can better appreciate the developments of that period, and it is evident that leftist thinking was the dominant element of literary criticism in the twenties, such that the two other streams of literary criticism at that time, namely, academic criticism. And romantic criticism were also affected by it. In addition to the ideological criticism that was characteristic of Ehsan Tabari and also Morteza Keyvan during this decade, the academic criticism based on the scholarly approach of the Orientalists to Persian classical literary texts in this period provided new capacities. A prominent representative of this trend in the twenties was Fatemeh Sayyah. Another stream of criticism, which was relatively a new approach emerging from the controversy of old and new trends, was romantic criticism. A prominent representative of this trend in the twenties was Nima Yushij. In order to understand more about the critical approaches of this decade, the works of its prominent representatives have been reviewed and analyzed; moreover, due to his unquestionable influence, the works of Morteza Keyvan have been mentioned, and it is discussed how such individuals became the proponents of a new literary criticism which had begun in the constitutional period.
Twenties; Academic Criticism; Romantic Criticism; Ideological Criticism; Literary Criticism

Abstract Life Writing has been a most common historical-literary trend in Persian writings in the contemporary period, for the last 150 years. Persian Life Writing as a general genre iconsists of the different writings. All of them contain a realistic account of the life of Iranians. They are all written in two general methods: writing the memoir (memory- based) and writing the daily (daily- based). So we have many sub- genres as biography, autobiography, travel writing and personal letter. But their number and variety has increased in recent decades. Life Writing of Memory Includes "Single- emory'', "memoir", "autobiography" and "personal history" . the recognition and classification of the first one is the subject of this paper. ''Single- emory" is the only memory that appears in the construction of writing. is the core of all types of memoirs and short cuts of the life, with these characteristics: Show in the moment, compactness, wonder, unity of impact, time and place. ''Single- emory'' Shows a single screen, Unlike the memoirs, autobiographies, and personal histories that display a collection of personal circumstances, statements, behaviors, and observations. They are the result of collecting Single-memoirs, which mostly there are similarities between them in terms of subject, time and subject. Furthermore, they are often provided through the other person/ persons. These collections are divided into several types in terms of various aspects mentioned in this paper. This article has been written in content analysis method by examining hundreds of Persian Life Writings.

Abstract Abstract
The world of literature reflects social changes and the psychological effects consequent upon these changes. The notion of identity is one such effect. Shaped by the society, culture, politics and ideology, identity- as a theme- finds its way into literary works. The present study uses content analysis and text mining to do a library –based research of the theme of feminine identity in Sylvia Plath’s The Bell Jar and Marjan Basiri’s The Itinerant Idol. The major character of each novel is a modern women who lives in a patriarch society and experiences a crisis of identity which results in her depression, madness and final suicide. The results of the study show that the clash of tradition and modernity has caused a crisis in meaning and identity, especially for women. Women are isolated from the mechanism of the society, placed as if in the bell jars of history. This isolation has made women react in different ways and through different social and cultural movements to the injustices which keep recurring in various forms. These worries and concerns are also reflected in the world of fiction. The Itinerant Idol and The Bell Jar reflect such worries: women try to free themselves from the shackles of the identity imposed on them by repressive social orders. The major characters of the two novels try to redefine themselves in search of their identity.
Keywords: Identity; Patriarchy; The Bell Jar; The Itinerant Idol; Sylvia Plat; Marjan Basiri.

Abstract Although Naser Khosrow wrote the first Persian travelogue in the fifth century AH, no other travelogue was written in Persian until the 12th century AH except for two travelogues. But from the time of Fath Ali Shah until the end of the Qajar period, the process of travel writing in Iran accelerated and more than thirty travelogues were written in Persian describing Farang and its developments. During the Pahlavi era, instead of describing the West, Iranian intellectuals wrote travelogues describing the countries ruled by the socialist system or traveling to the remote lands of Iran, and on the other hand, the number of Persian travelogues decreased to some extent.Which was gradually marginalized from the scene of contemporary Iranian literature and continued to exist in the form of memoirs. In this article, the author has tried to explain why travel writing is prevalent in a certain historical period, change its approach in other periods and finally marginalize it.
It seems that the function of travelogues during the Qajar period, ie the introduction of the intellectual, social and political system of the West, has led to its prosperity in this period. With the realization of the constitutional political system and some other social developments in the Pahlavi era, as well as the influence of socialist and communist tendencies in this period, the attention of intellectuals instead of the West turned to the countries ruled by the communal system, so to test this system , Traveled to these countries and wrote travelogues describing them. On the other hand, with the formation of the discourse of westernization and return to the self, the attention of the Iranian intellectual community was focused on the remote inner regions of Iran and travelogues were written to describe these regions. In the old days, it gradually declined and continued to live more as a memoir.

Abstract From the perspective of critical discourse analysis, this study examined the ways children are represented in the adult narrative literature. The novels of “Su va shun”,Simin Daneshvar (1348), “Turn off the Lights”, Zoya Pirzad (2001) and “My Bird”, Fariba Vafi (2002), were selected as data for this study. The paradigm used as the concept of representation of social actors by Van Leuven (1996). In order to analyze the data, discursive structures and interpretations were separated and counted as non- discursive structures. Then the frequency and percentage of discursive components and the amount of discord were determined. The results showed that the children were actively, dynamically and explicitly represented. They have become more individualized in these texts, and among the individual components a part of the naming component has been used more to represent them, reflecting the personal and individual identity of the children. Also, children were not subjected to gender discrimination in these works, and there was no significant difference between boys and girls.

Abstract Magical realism is a narrative that has been spread in Latin America since the second half of the twentieth century, and consequently in the world. In this style of writing, the marvelous affair with the real is so combined that their separation becomes impossible. One of the most debatable issues about magical realism is why the writers of this work move towards magical realistic stories, what are their reasons for writing their stories in the form of magical realism? In what ways are the spheres of magic realism more likely to grow? In this study, along with an overview of the definitions and history of magical realism in the world and Iran we have tried to analyze the tendencies of Iranian writers in this style through descriptive analytical method. The findings of this study show that the space and lifestyle of Iranian writers have made extensive use of the features of magical realism in their works. Factors such as the confrontation between tradition and modernity, cultural context or climatic conditions, politics, myths, representations of climatological culture and novelty are among the most important reasons for authors' tendency to magical realism

Abstract In Persian language, there are poems which are merely made of long syllable. These poems are of two types: 1- A verse or line which its scansion meter turned to be a string of long syllables because of its Taskin license; whereas its standard meter should be found out through studying other sections of the poem. These scansion meters are free variant of the other meters. Syllabification in these poems is done based on standard meter. If two different verses of this type, each of them being free variant of another meter, have an equal length, so phonetic characteristic, which distinguishes the meter of these two verses, is foot stress. This stress is placed in the latest, long, non-final syllable of foot; and its nature is non-linguistic. 2- Poems which are originally made of only long syllable. The meter of such poems cannot be considered as free variant of another meter; their being rhythmic is resulted from their syllabification based on the length and boundary of words in such a way that the boundary of foot is usually coincident with the boundary of the word; and by an alteration in the length and syllabification of the words, their meter will also change. Phonetic characteristic, which makes it possible for foots to be identified, is the stress on the first syllable of each foot. Stress unifies some syllables together and differentiates them from other syllables as well as converting them to one foot; and meter is determined according to the number of syllables of foot.

Abstract Using fiction and novels, as a permit to live in the new age, try to imagine philosophical, psychological and sociological theories based on the modern world, and experience things that humans (…). Yet, some novels, due to the fact that they treat the author’s illness with sociological and philosophical theories in a certain period of time, illustrate the causes and factors of human suffering and anxiety. Reza Amirkhani is one of the contemporary writers who in all his fiction works (from Ermiah to Rehesh) talks about the abnormal condition of modern man. In his collections of stories, especially Rahesh, anxiety is one of the most important human emotions, and it is represented in a clear and vivid way by its characters (such as Ala’em and Farazandeh). Paying special attention to “Status anxiety” as one of the prominent themes in Amirkhani's latest novel regarding the city and the urban landscape as the foundation of anxiety, placing the reader form this critical perspective. In this article, the author uses the critical-analytical method to analyse “Rahesh” - a popular Iranian novel - based on the principles and framework of "Status Anxiety" in view of Alain de Button, and the human anxieties from the point of view of Paul Tillich. The analysis shows that this novel was formed around the idea of anxiety, which is the condition of contemporary Iranian man, and as De Botton states,it is tolerable and analysable.

Abstract The main goals of stylistics are discovering individual aspects, stylistic similarities, and individualities in different works. But can these goals be reached by cognitive stylistic? This research demonstrates by logical argument and poetry examples that cognitive stylistic cannot be used to discover literary distinguished and stylization aspects. In the stylistic domain, this perspective can be used to discover general, periodic, or discourse styles. For this purpose, we showed that discovering individuality and stylistic distinctions are the basis of stylistic studies. Then we define cognitive stylistic as a branch of stylistic. In the next part of the article, it is determined that literary works are accepted generally when they place in general culture cycle which is the birthplace of repetitive cultural metaphors. After that, as a practical proof for the research claim, we analyzed some works of post-Nima mainstream leaders and classical Persian poetry. Results showed that cognitive systems manifested in these poets' works are similar. Finally, we concluded that cognitive stylistic cannot be considered as a reliable research perspective to discover cognitive individuality.

Abstract The linguistic analysis of the texts which are written in naturalistic style helps to understand the close association of the characters’ living with the structure and functions of the language by which they are speaking. The most important matter in the speech of naturalistic characters is the opposition of the literate and illiterate characters’ languages. In such a kind of naturalistic context, characters, because of social and financial problems are deprived of having education and schooling, and this is reflected in the oral-based speech of them. Sadeq Chubak, the Iranian contemporary so-called naturalist story-writer, in his works is delicately concerned with the miserable, wretched and full of ignorance life of the men who are incapable of providing the essentials of living. Mohammad Mahmoud, in his Ph.D disseratation provides patterns for naturalistic language; in this paper, after outlining those patterns, with the focus on Sang e Sabour, Antari ke Lutiash Morde bud, and Kheymeh shab-bazi, we will analyze the naturalistic language of the works written by Chubak. The purpose of this paper is to study those constant and repetitive elements of naturalistic language which are playing an essential role in the form and content of Chubak’s novels and stories.

Abstract Immigration literature is one of the most important areas of study in postcolonial theory. Post-colonialism was initially presented as a research branch in cultural studies. The fictional literature of Afghan migration especially those which related to West has the the most elements and components of postcolonial theory, so reading and researching immigration fiction is important based on a postcolonial perspective, especially Edward Saeed's Orientalism. From the point of view of postcolonial theory, this article intends to study the case study of Green, Red, Blue novel from Aref Farman in a descriptive and analytical way. From another point of view, this article analyzes the green, red, blue novel according to the discourse of the "East" versus the "West" which are in contrast and considered as the Self and Other. In this novel the migrant is defined as the Other and the host community as the Self. In green, red, blue, what is important is to disrupt the equation of east and west, which leads to the placement of the "other" in the center. Women are given ‘Other’ or ‘second sex’ in the patriarchal culture of Afghanistan which this consideration confirmed the Simone de Beauvoir and Gayatri Chakravorty Spivak‘s opinions. Women are given as subaltern in Afghanistan who never given to speak.  Afghan women are marginalized by patriarchal culture and society, as well as by the women by themselves, who place them in multifaceted colonialism