درخت حوزه‌های تخصصی

In this article, the story of Sin , by Jalal Al-e Ahmad, is analytically criticized in a two-sided comprehensive view. Literature is a link between art and thought, and an important part of the ideas visualized in literary texts are social. The story, and especially the short story, is an appropriate genre for expressing the writers' thoughts and thus it is a distinguished context for sociological-literary interdisciplinary research. Generally, the criticism of these works is one-dimensional and one-sided, and usually either literary is examined regardless of the social context, or the former is overlooked at the cost of the latter. Jalal Al-e Ahmad on the one hand, due to his excellent writing and literary skills, and on the other hand, because of the precision, sensitivity, and specificity to social issues, has a special place among the short story writers. In the Sin story of the Se Tar collection, describing the narrator-hero inner characteristics, he has depicted the social conflict and, consequently, the anti-normalization. Gender discrimination, misbeliefs, ignorance of the truth of religion, and, as a result, hypocrisy, and weakness of religiousness, routine life, and stagnation of society are other features depicted in this story.

The present article investigates Emily Dickinson's poem "I taste a liquor never brewed" and aims to solve the confusion of scholars that struggled to specify the precise meaning of some of the terms in the text and fully appreciate the psychic dynamics of it in terms of Lacanian psychoanalysis. The first question the article asks is how is 'desire' represented, and the second is whether the speaker of the poem longs for an 'Other jouissance.' In Seminar XX, Lacan defines Other jouissance as the most intense and ineffable kind and equals it to the jouissance of the mystics. Desire, in Lacanian teachings, is unattainable and an inevitable consequence of language. The famous Lacanian maxims "desire is the desire of the Other," and the "Other is the treasure trove of signifiers" indicate that desire could be represented through signifiers. The article integrates These Lacanian notions in Paul Ricoeur's three-staged hermeneutic Arc, which consists of 1) explanation, 2) understanding, and 3) appropriation. The poem will undergo these three stages of interpretation. By the end of the last stage, the world of the text is appropriated by the selected Lacanian notions. The results of the study are the following: 1) the poem is unique in displaying what Lacan termed 'Other jouissance,' 2) it demonstrates an intense desire for a supreme being—the Other, 3) desire is explicitly named in the poem: it is manifested explicitly in the words ‘liquor," tankards," Alcohol," inebriate," debauchee," drams," drink," little tippler.'