بررسی ویژگی های پست مدرن در آثار ابوتراب خسروی و بیژن نجدی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
داستان های پست مدرنیستی تلفیقی از دنیای واقعی و فراواقعی هستند که ویژگی های فراوانی را در خود دارند و مهم ترین ویژگی های این نوع داستان ها حضور مشخص راوی، داستان، درهم ریختگی زمانی و عدم توالی، ابهام، تعدد راویان و بی هویتی است. در این مقاله با هدف شناخت ویژگی های پست مدرنیسم در آثار نویسندگان ایرانی، برخی آثار بیژن نجدی و ابوتراب خسروی به روش توصیفی- تحلیلی به شیوه انتخاب موردی، براساس مؤلفه های مکتب پست مدرن مورد بررسی قرار گرفته و این ویژگی ها در آن ها تحلیل و مقایسه شده است. ابوتراب خسروی غالبا در داستان های پست مدرن خود از شخصیت های بدون هویت نام می برد و با حروف الفبا از آن ها یاد می کند، راویان متعدد و رفت و برگشت های زمانی و حضور راوی- نویسنده در داستان و کاربرد عناصر بینامتنی به صورت بازنویسی از ویژگی های این نویسنده است. بیژن نجدی نیز در آثار خود مستقیماً با خواننده وارد گفت وگو شده درباره داستان توضیح می دهد. شخصیت های وی نیز یا نامی ندارند یا دارای نام های تکراری اند؛ از این رو هویت مشخصی ندارند. توالی روایت نیز در داستان های وی به دلیل رفت و برگشت های متعدد به هم می ریزد. بینامتنیت نیز به صورت برداشت های اسطوره ای در داستان های وی حضور دارد.An Investigation of Postmodern Characteristics in the Selected Works of Abu-Torab Khosravi and Bijan Najdi
Postmodernist stories are a combination of the real world and the meta-real world, containing many characteristics, among which the most important are the distinct presence of the narrator, temporal confusion and a lack of sequence, ambiguity, a multiplicity of narrators, and anonymity. In this article, selected works by Bijan Najdi and Abu-Torab Khosravi are reviewed, and these features are analyzed and compared. Abu-Torab Khosravi often uses anonymous characters in his postmodern stories, referring to them with alphabetical letters; multiple narrators, time reversals, the presence of the narrator-author in the story, and the use of intertextual elements in the form of rewriting are the characteristics of this author. In his works, Bijan Najdi talks directly to the reader and explains the story. His characters either do not have a name or have repeated names and therefore lack a specific identity. The narrative sequence in his stories is also disrupted by frequent back-and-forth movement. Intertextuality is also present in his stories in the form of mythological impressions. Introduction Postmodernism, as one of the most significant intellectual and literary movements of the contemporary era, emerged in response to the principles and foundations of modernism. Rejecting rational certainties and absolute metanarratives, postmodernism emphasizes relativity, multiplicity, and the instability of meaning. In literature, it is characterized by features such as polyphony, intertextuality, the disruption of linear time and space, and the blurring of boundaries between reality and imagination. Persian postmodern fiction, particularly in recent decades, has been deeply influenced by these elements. Among its most prominent figures are Abu-Torab Khosravi and Bijan Najdi, both of whom have employed metafictional techniques, self-reference, and variable narrative perspectives to create innovative forms of storytelling that reflect the fragmented consciousness of modern humanity. The present study aims to examine how postmodern elements are manifested in the narrative structures of these two authors. Literature Review Within the field of Persian postmodern literary studies, numerous works have explored the fiction of Bijan Najdi and Abu-Torab Khosravi; however, few comparative studies have directly examined both authors in relation to one another. Tadayoni (2008), in “The Rebirth of a Metafiction,” analyzed postmodern features in Khosravi’s works through the lens of metafiction. Nobakht (2012) examined polyphony and the multiplicity of characters in Asfar-e Katiban , interpreting them as manifestations of the narrator’s fragmented self. Similarly, Shakarian and colleagues (2016) analyzed metafictional elements in An Elegy for Zhāleh and Her Killer . On the other hand, Mohibi (2014) and Kiani & Jalali-Pandari (2015) focused on Najdi’s fiction, exploring metafictional devices, narrative ambiguity, and reader-text interaction. Although these studies have effectively identified postmodern features in each author’s works, a comparative investigation of narrative perspective and narration across both authors has been largely neglected. This research seeks to fill that gap. Methodology This study adopts a descriptive-analytical approach based on library research. Selected works by Bijan Najdi and Abu-Torab Khosravi were analyzed to extract narrative elements related to narration and point of view. Drawing on theoretical frameworks proposed by postmodern critics, the study examines each author’s treatment of narrative structure, polyphony, and the manipulation of time and space. In the comparative stage, similarities and differences between the two writers in their application of postmodernist elements are identified to determine how closely their works align with the theoretical principles of postmodernism. Conclusion The findings reveal that, due to its fluid and multifaceted nature, postmodernism lacks a fixed and uniform framework, and its manifestations vary across different literary works. In Khosravi’s fiction, elements such as multiple narrators, temporal distortion, and loss of identity are particularly prominent. Through ambiguous and interwoven narrators and characters, he constructs multilayered narratives that engage the reader’s interpretive faculties. In contrast, Najdi employs a more poetic mode of narration, erasing individual identities and repeating names to evoke a sense of cosmopolitan unity and human interconnectedness. By incorporating surrealistic elements and blending fantasy with reality, Najdi blurs the boundary between narrator and narrative, inviting the reader to participate in the process of sense-making. A comparative analysis demonstrates that, although both authors transcend the limits of modernism and enter the realm of postmodernism, their approaches to postmodern aesthetics differ. Khosravi’s works reveal a stronger philosophical and mystical inclination, intertwining philosophical and literary discourses, whereas Najdi draws on history and mythology to achieve intertextual depth. Ultimately, both writers, through their use of intertextuality, foregrounding, and polyphonic narration, have contributed to the localization of postmodern aesthetics in Persian literature, offering an indigenous expression of this global literary movement.
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