درخت حوزه‌های تخصصی

Nulle part dans la maison de mon père, roman autobiographique d’Assia Djebar, représente la condition des femmes de l’Algérie vers les années 1940-50. D’autres écrivaines francophones ont traité certainement de tels sujets, mais le point de vue de Djebar est remarquable. De même, la littérature persane voit surgir une file de romancières qui traitent dans leurs œuvres la condition féminine en Iran de leur temps. La protagoniste de La Bohémienne près du feu, roman de Moniru Ravanipur, symbolise d’une certaine manière les femmes de son temps. Dans la recherche présente, pour mieux cerner le statut de la femme de manière contrastive et nous attarder sur l’univers social du texte, on se propose de recourir à l’approche sociocritique s’efforçant de déceler la socialité de l’œuvre littéraire à travers l’analyse des niveaux textuels. Appuyée sur le rôle intermédiaire de la langue, cette méthode aide à relever dans le texte littéraire les traces de la situation sociale contemporaine à l’œuvre. En nous référant à la méthode sociocritique préconisée par Pierre V. Zima, nous procédons à l’analyse des deux romans pour y clarifier le statut de la femme par rapport à l’homme et chercher les racines de cette position dans les circonstances sociales extérieures.

The present research seeks to read Steve Toltz’s novel A Fraction of the Whole in terms of the Lacanian three orders. Its central argument is to reveal the affinity between Lacanian three orders that the characters undergo. In the course of A Fraction of the Whole , Martin Dean in pursuing his desire to gain power and strength, passes through three stages of Lacanian theory; the Imaginary Order, the Symbolic Order, and the Real Order. Both Martin and Jasper in Toltz’s novel have problematic relations with their mothers in different ways. Therefore, the Imaginary Order plays a vital role in shaping the characters’ subjectivity. To examine Lacan’s concepts of subjectivity, desire and Others in the Symbolic are the aims of this study. The main objectives are explaining the role of three Lacanian orders in shaping the identity and subjectivization of the characters. It is concluded that Jasper wanted to have an object of love in the Symbolic Order, so he preferred his own uncle, Terry Dean, over his own father. His father was the dominant figure in the Symbolic Order for Jasper as Martin tried to manipulate his son’s mind through words and language. Martin was stuck in a loop of life and death through the Symbolic Order of his life and there was no way out for him and he had turned into a traumatic character. Martin’s experience of the Real Order was shown as he found out that his own mother wanted to kill him by poisoning Martin.

This paper seeks to demonstrate how Haji Qadir Koyi’s poetry experienced three different stages in terms of form and content, through which Haji highlighted the discourse of Kurdish national identity. In the first stage, Haji used “Gazal” (sonnet), in which he imitated the rules of Persian classic poetry and the content of several Kurdish classic poets such as Nali and Salim. The second stage is a transitional period in which he stayed away from “Gazal” and used “Qasida” (long descriptive poem including “ode”) to express his nationalistic feelings. Exploring another form of poetry named “Masnavi” (couplet) in the last stage, Haji addressed and further enhanced the discourse of Kurdish nationalism as the political ideology by which Kurdistan could liberate itself from the dominance of both Ottoman and Persian empires. The paper indicates that how the employment of literary forms in Haji’s poetry was in close parallel with the process of changes in his thought and worldview regarding the status of the Kurdish nation.

Dynamic Assessment, referred to in this paper as DA, is one of the various methods of adopting a particular evaluation procedure in order to identify possessed language skills of individual learners in addition to their learning perspective. The dynamic assessment procedure in other words accentuates individuals’ learning potential before and during a systematic curriculum. This would help examiners to conduct the most fitted criteria for future sessions.  DA, derived from Lev Vygotsky’s (1989) Socio-cultural Theory (SCT) and his concept of Zone of Proximal Development (ZPD), is based on the view that observing individuals’ independent performance discloses the results of their past development, while the purpose of most assessments is prediction of learners’ future performance. The present study thus reviewed the Iranian literature on DA due to the significance of the topic. To this aim, the theoretical background of DA will be first explained. What follows next is the section on the approaches to DA that are fully examined. Finally, recent related studies conducted on DA in Iran will be addressed and reviewed.

Modernism is one of the most significant and informative books written in the field of literary theory and criticism. It is an easy-access, wide-ranging and efficient book that tries to explore different aspects of Modernism and its neighboring concepts. Despite its limited space, it has fully rendered the humongous burden of Modernism and demonstrating its various aspects. The book comprises an introduction and three main chapters. It starts off with a set of definitions for Romance, Realism, Modernism, and Postmodernism. Childs endeavors to approach the discussion in a comparative light, particularly the comparison between Modernism and Postmodernism in the introduction. The book is more concerned with the close analysis of movements in contexts and literary works rather than entangling with pure abstract definitions. The discussion about Modernism is accompanied by adjacent movements such as Postmodernism and Realism and marginalized points are included as well. Instead of coming up with rock-solid definitions, Childs seeks to look for traces of each movement in the other and how these terms are overlapped and intertwined.

Hegel’s approach to tragedy is innovative and impressive, putting such a tremendous impact on the ethical canons that has been unprecedented since Aristotle. Hegel studies both the modern and the Greek classic tragedies, concluding that the Greek tragedy, in particular, Sophocles’ Antigone is superior to all the masterpieces of the classical and modern world… the most magnificent and satisfying (Aesthetics II 1218). Resorting to his dialectics, he declares that Antigone is a brilliant demonstration of what he names the ethical substances, the universal pathos or divine wills of the Greek mythological gods incarnated in the particulars, that’s is, the human beings that consciously choose to actualize them. Hegel thus illustrates that in Antigone the characters’ wills and actions are counterpoised by the unseen and intangible ethical substances just to confirm the triad of the Dialectal method where the thesis and anti-thesis’s dispute will subside down at the reconciling synthesis. Jacques Lacan, despite the incontrovertible impacts he takes from Hegel, argues that the essence of tragedy has to be sought in the very private world the subject internalizes in itself in interaction with the object-cause of its desire. Lacan adds that the object-cause of desire, unlike Hegel’s dynamic and lively external stimuli, is a common object that the subject elevates to the level of sublimity. Lacan also proposes that the very incomprehensibility of the Thing causes the subject to encounter the blinding Real, as an essentially-internal part of the subject’s symbolic world.