مرتضی لک

The present paper examines the juxtaposition of Wyndham Lewis's polemical and disputatious works Hitler (1931) and The Hitler Cult (1939) under the theoretical framework of the political trajectories of Fascism to present an intriguing lens through which to examine Lewis's evolving views on fascism and Adolf Hitler during the tumultuous peak and trough of the twentieth-century authoritarian regime. By delving into the nuanced language of Lewis's notorious writings on fascism, the conjectural boundaries of his intuitive, conceptual, and artistic framework established his reputation as an avant-garde advocate of fascism. In this fashion, the paper encapsulates Lewis's vision of his manifestation of the political insights of fascist predispositions, which reveal a loading towards specific socio-political matrixes over the course of the interwar period (1919-1938). Building logically on this political concept, the present study is meant a) to reflect Lewis's initial fascination with the fascist movement and its charismatic leader, Adolf Hitler, to portray him as a dynamic and transformative figure who embodies the spirit of the times and offers a viable substitute for the perceived failures of liberal democracy and socialism; and b) to represent a critical reassessment of Hitler and the fascist movement in light of the escalating tensions and atrocities of the late 1930s. In The Hitler Cult (1939), Lewis adopts a more skeptical and condemnatory stance toward Hitler and the cult of personality surrounding him by exposing the contradictions and hypocrisies of Hitler's regime and criticizing its propaganda techniques, suppression of dissent, and expansionist ambitions.

This paper aims to analyze Doris Lessing's narrative techniques to explore how she developed the discourse of her stories and depicted her contemporary realities in her story worlds. It seeks to address the question of whether there is a relationship between her real world and her storytelling, and whether her ideology and personal background influenced her narrative approach. To accomplish this goal, we will analyze the novels The Grass is Singing and Martha Quest using Gavin's Text World Theory, a cognitive approach that provides a framework encompassing three levels of analysis: Discourse World, Text World, and Sub-Worlds. Our analysis reveals that the discourse of her stories closely mirrors her real-life discourse, indicating a direct relationship between her real worlds and her storytelling. Lessing’s intricate descriptions of world-building elements, such as time, locations, characters, objects, and actions within the story, serve to advance the narrative forward through both material and existential processes. Moreover, her use of sub-worlds to express her yearning for freedom and justice reflects her critical viewpoints on the oppressive systems prevalent in her time, particularly colonization and racial issues. Furthermore, it becomes apparent that from 1944 to 1956, her storytelling method was influenced by her communist ideology. In essence, the concepts and themes represented in her stories emerge as reflections of her real-world experiences, effectively conveyed through her narrative techniques.

The deep tragedy, that the environmental damages and mental problems have caused for human, led to the development of an interdisciplinary approach -ecopsychology- which is the integration of ecology and psychology to examine above all biophilia and its impact on human psyche. Applying the ecopsychological approach, the present study proposes an innovative reading of Salvage the Bones by Jesmyn Ward, the American female novelist. Ward depicts the ecological unconscious of the main characters through delineating mental peace they receive from nature. Moreover, the novel delicately portrays transpersonal ecology resulting in man’s transpersonal identification with nature. Jesmyn Ward’s work is indicative of key concepts such as ecopsychology, ecotherapy and transpersonal ecology, which were first introduced to the field of ecopsychology ecopsychology by eminent theorists, Theodore Roszak, Linda Buzzel and Warwick Fox. The present research intends to study the positive and negative effects of biophilia and eco-phobia caused mainly by psychological trauma following man’s alienation from nature. While demarcating the positive effects of biophilia on human psyche, the researcher substantiates the way psychological trauma comes to be subjected to therapy through man’s integration with green nature. Additionally, the research elaborates the importance of transpersonal ecology and identification with nature, by understanding the harmony between man and nature.

This study investigates Doris Lessing's narrative techniques for depicting fictional realms in her science fiction stories. Focusing on two pivotal works, The Memoirs of a Survivor and Briefing for a Descent into Hell, we examine how Lessing employs World-Building Elements and Function-Advancing Propositions, as defined by Gavin's Text-World Theory, to represent imaginary text-worlds and develop the discourse in her science fiction stories. Our analysis reveals Lessing's adept use of supernatural world-building elements, such as one-eyed giants, giant fishes, and armies of angels, to establish the backdrop of her narratives. Additionally, she utilizes unreal, transtemporal, and extraterrestrial actions—such as passing through walls and temporal excursions—to propel the narrative and enrich its discourse. The temporal and spatial elements remain ambiguous and unknown, with narrative progression primarily occurring through mental and relational processes. This study helps to understand and identify Lessing's narrative techniques in her science fiction stories, offering a unique perspective on examining her works.

The progression of culture and literature in the three subsequent eras of Modernism, Postmodernism and Post Postmodernism since the late-20th-century can be considered as one of the vivid factors that has led to the chain of transformation of man. In Modernism, the superiority of authentic and governmental power over people was dominant and later in the era of Postmodernism or the late capitalism, the notion of fragmentation controlled the life of the people; but in the third one, Post Postmodernism, a freshgenus of humanism was introduced by innovative authors such as David Foster Wallace who, in his philosophy of writing, illustrates not only the pain and limitations of man but also the healing instruments. Philosophically speaking, through the critical gates of Wallace’s philosophy, the subjectivity of man is given a niche, and thanks to the opportunity he has gained in the social networks, he could have made it possible to create a type of sharing and mutual communication amongst the fragmented individuals. That is to say, all alienated and limited individuals can have the role of active agents, communicators, and producers instead of being passive watchers, readers, and one-way communicators organized by the structures of the past eras. Therefore, the present study aims to investigate David Foster Wallace’s (1962-2008) trilogy—The Broom of the System (1987), Infinite Jest (1996), and The Pale King (2011)—according to his philosophy of Post postmodernism.