English Language and Literature
Alireza Khazaee; Zohreh Taebi Noghandari; Rajabali Askarzadeh Torghabeh
Abstract
Althusser believed governments require toolkits to fulfill the desires of the ruling class. He proposed that the old-school scheme of the earlier Marxists, that governments functioned solely by repression, is inadequate and cannot explain how the society goes under service voluntarily. He divided the ...
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Althusser believed governments require toolkits to fulfill the desires of the ruling class. He proposed that the old-school scheme of the earlier Marxists, that governments functioned solely by repression, is inadequate and cannot explain how the society goes under service voluntarily. He divided the governing tools into ideological (ISA) and repressive (RSA) and proposed that the constant functions of the former keep the society balanced, and the latter backs it up by prioritizing violence and force. This research analyzes the instances of the failure of the ISA in the society of A Clockwork Orange (1962) (ACO). The protagonist is a teenager greatly prizing his individuality. Almost all the ISA-related institutions cannot affect him. Subtly, ACO (1962) makes every part of the ISA responsible for the protagonist's fate. The results indicate that while ISAs in ACO (1962) are at work, they are malfunctioning.
Farzaneh Radmehr; Zohreh Taebi; Vahideh Sayedi
Abstract
Until now, a large number of researchers have pointed to the structural complexity of The Waste Land by T.S. Eliot as it is shown in the relationship of the personages. In this paper, the sayings and the behaviors of five couples among many other personages of this poem are studied based on Eric Berne's ...
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Until now, a large number of researchers have pointed to the structural complexity of The Waste Land by T.S. Eliot as it is shown in the relationship of the personages. In this paper, the sayings and the behaviors of five couples among many other personages of this poem are studied based on Eric Berne's theory of Transactional Analysis. For this purpose, the Structural Pathology of the couples is examined to identify the roots to their unsolved problems through which one can clearly understand the present condition of their relationships. The results of the present research indicates that two cases of Child Contamination, two persons with Parent Contamination, and one individual with Excluding Adult are observed in total out of five sub-categories of Structural Pathology. Therefore, the presence of the Adult Ego State, which is able to balance out the Parent and the Child Ego states is deficient in the intrapersonal and interpersonal relationships of these couples.
Samira Haghi; Mahmoud Reza Ghorban Sabbagh; Zohreh Taebi Noghondari
Abstract
Margaret Atwood’s The Handmaid’s Tale (1985) explores the notion of femininity in the context of a dystopian society of Gilead. In this totalitarian society, women are defined by reproduction ability of their bodies. Exploitation, objectification and alienation of the handmaid’s body ...
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Margaret Atwood’s The Handmaid’s Tale (1985) explores the notion of femininity in the context of a dystopian society of Gilead. In this totalitarian society, women are defined by reproduction ability of their bodies. Exploitation, objectification and alienation of the handmaid’s body can be explored in both the text and the context within which the novel has been written. In this novel, the negative and instrumental view towards female body can be explored in the light of biological and social contexts. The underlying assumption of these discourses is that female body can be manipulated and appropriated by patriarchal ideology in the name of religion and social reform. Tracing views on body in history, religion, society, and the novel itself, this paper attempts to explore how female body is represented and perceived. The following study focuses on the ways biological and social views try to define female body with certain functions and consequently identify women based on deterministic gendered ideologies. It also discusses the body’s potential to act as an empowering force to oppose different manifestations of power.
Roya Abbas Zadeh; Azra Ghandeharion; Zohreh Taebi
Abstract
1. IntroductionAdaptation studies, as a new branch in comparative studies, has been subject to various reviews and criticisms. Although the negative attitude of Iranian directors towards adaptations as a secondary profession has been ameliorated nowadays, there are still many directors who try to avoid ...
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1. IntroductionAdaptation studies, as a new branch in comparative studies, has been subject to various reviews and criticisms. Although the negative attitude of Iranian directors towards adaptations as a secondary profession has been ameliorated nowadays, there are still many directors who try to avoid adaptations. As one of the most recent Iranian adaptations of western literary works, Mosaffa’s “The Last Step” [Pelle-ye Akhar, 2012] is based on Joyce’s (1882-1941) “The Dead” (1992) and Tolstoy’s (1828-1910) “Death of Ivan Ilych” (1886). However, this film adaptation is mostly based on Joyce’s short story, rather than Tolstoy’s novella. Thus, this paper will explore the changes in the narration of the short story and Mosaffa’s adaptation. “The Last Step” is concerned with the life of a high-conflict couple, Khosro and Leyli. The movie starts with Leyli’s incessant laughter after the death of her husband and the audience will gradually find out the cause of this laughter her and emotional detachment. “The Dead” also narrates the story of the conflict and emotional detachment of a couple. Nonetheless, the linear, third person, omniscient narration of the short story turns into the nonlinear narration of Mosaffa’s adaptation. The movie is narrated through the narrative voice-overs of the two main characters (Leyli and Khosro) though Khosro is more authoritative in his narration. The findings of this study show that the (un) conscious effects of a male adapter on narration has resulted in the changes in narration. 2. MethodologyThe current study is qualitative in nature. Benefitting from Gerard Genette’s ideas about focalization, this paper investigates the changes applied to narration in the shift from the written text to the movie. The signifimnace of these shifs and modifications are also discusseded and analaized. Introducing the three types of focalization (i.e., external, internal, and zero) as well as the four different types of narrative, based on the narrator’s level and relation to the story (i.e., extradiegetic-heterodiegetic, extradiegetic- homodiegetic, intradiegetic-heterodiegetic, and intradiegetic-homodiegetic), Genette’s theory of focalization provides us with an appropriate tool to compare the literary work with its adaptation through a narratological viewpoint. The aim of this comparison is to reveal the significance, causes, and consequences of these narratological changes in “The Dead” and “The Last Step”.3. DiscussionUsually, in the move from a novel to a film, the increase in the visual dimension and the decrease in the aural dimension are expected. However, the two narrative voices express the emotions, decisions, past experiences, and intentions of the characters in Mosaffa’s “The Last Step”. The narrator is not an omniscient one and each character’s feelings are expressed through another character’s narrative voice, while the narrator of “The Dead” is a third person omniscient narrator, who is aware of all characters’ emotions, feelings, and past experiences. The narrator does not interfere with the storyline and he is aware of all characters’ feelings and experiences almost equally; also, he is not a character in the story, thus one can call this narrator heterodiegetic. On the other hand, the film adaptation is narrated through the voice-overs of its two main characters. The male character is privileged over the female one. Even the female narrator mainly describes the male character’s feelings, rather than her own. Therefore, one can call the narrative of this movie as homodiegetic. Furthermore, based on Genette’s focalization types, the omniscient narrator of “The Dead” is close to zero focalization and that of “The Last Step” is close to internal focalization, in which one or two of the characters narrate the story. Besides, based on Genette’s discussion over the different levels of narration, Khosro’s narrative voice recounts the story of his alienation from his wife and his death, in which the narrative voice of Leyli plays the role of a narrator. Thus, his narrative is one level higher than that of Leyli and is considered as extradiegetic-homodiegetic. Yet, Leyli’s narrative, who mostly recounts Khosro’s story except in the scene of her confession, is called intradiegetic-heterodiegetic. 4. ConclusionThe findings of this study show that the third person omniscient narrator of “The Dead” turns into the first person narrative voices of the two main characters in the movie. Thus, the extradiegetic-homodiegetic narrative voice of Khosro, which narrates his own story, is one level higher than Leyli’s intradiegetic-heterodiegetic narrative voice. Therefore, while it seems that both these male and female characters have narrative voices, it is Khosro, who plays the main role in attracting the audience’s attention, winning their sympathy, and having the higher level of narrative voice. One can conclude that the (un)conscious effects of a male adapter on narration has resulted in the marginalization of female role and brought audience’s sympathy with the passive male protagonist of this movie, Khosro. Despite the complex narration of the movie, the change in narration has made the characters’ recognition easier for the audience.
Zohreh Taebi; Fatemeh Heidari
Abstract
The present paper is to find traces of postcolonial discourse and its main characteristic, namely legitimization of the Western culture and its values. Seeking this aim, and considering the ideas of celebrated postcolonial scholars like Saeed, and Fanon, the researchers studied the full text of Edward ...
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The present paper is to find traces of postcolonial discourse and its main characteristic, namely legitimization of the Western culture and its values. Seeking this aim, and considering the ideas of celebrated postcolonial scholars like Saeed, and Fanon, the researchers studied the full text of Edward Browne's diary "A year amongst the Persian" written in 1888, in qajar era. The text was studied to get an impression on the way Iranian culture was represented. There were about more than 40 cultural cases in which a sort of Self/ Other representation was obvious. They were all introduced in the methodology section with a message under each case that uncovers the hidden ideological attitudes toward our culture. Moreover, these cases were juxtaposed with their Persian translation (by Zabiholah Mansoori) to see how these partial cases were translated into Persian. We got the point that he mostly used "addition" and "deletion" technique to foil the postcolonial attitudes of the author.
