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Research in Contemporary World Literature/ Pazhuhesh-e Zabanha-ye Khareji (25887092) 23(1)pp. 197-216
Study of cross-cultural dialogism process in Crasy for Elsa- intertextual approach:Intertextual approach as one of the great achievements of post-structuralism opened a new horizon in criticism. The term “intertextuality” was first introduced as Julia Kristeva’s translation of Mikhail Bakhtin’s conception of the “dialogic”. According to this approach no text is independent and it is affected by the previous texts. People like Genette, Barthe, Riffaterre and Jenny also began to spread this approach to literary criticism. Contemporary French poet and writer, Louis Aragon, also tried to take advantage of intertextual relations in the discovery of convergences in the world's collective memory and sees cognitive features of each nation such distinctions that can build together a global culture. Relying on the intertextuality approach, in this research we have tried to study the intertextuality in “Crazy for Elsa” written by Louis Aragon and We have also tried to study the process of dialogism and the importance of literary thinking in transfer of a sense of solidarity that defined in the united in diversity.
Semiotica (00371998) 2022(246)pp. 1-18
Widely exploited in different fields of study and practice in information and communication sciences and discussed in research related to the cultural world (museums, libraries, and cultural centers), the notion of mediation has not ceased to extend, despite its conceptual diversity, to other spheres of the human and social sciences. Considered as a vehicle of the process of semiosis, this notion interposes itself in the heart of the semiotic reflection as an instance in charge of passing on the meaning. This study focuses on the space of the city, its components, and the practices that take place there. It inquires how the bridge as an architectural element in the space of a city is able to function as semiotic mediator by its status, the practices that take place there, and the values that it carries. We will try to show through the study of our object, the Khadjou bridge in Isfahan, Iran, how this mediating role is implanted at the cognitive as well as at the emotional level of its citizens. © 2022 Walter de Gruyter GmbH, Berlin/Boston.
Semiotica (00371998) 2020(233)pp. 179-204
Les études déjà menées depuis des années 1970 autour de la sémiotique de l'espace montrent que les fondements méthodologiques et épistémologiques de cette approche se situent bel et bien, dans la lignée de la sémiotique structurale. Pourtant, certains espaces et le sens qui y émerge en acte ne peuvent pas être réduits à un cadre théorique si restreint. Cet article se propose de montrer, à travers l'analyse d'une chambre décrite par Sohrab Sépehri (1928-1980), poète et peintre moderne iranien, comment l'explication de la production du sens dans cet espace échappe aux fondements de l'appareil théorique classique. Notre hypothèse est que cette chambre en tant qu'espace qui ne se veut plus comme un objet-valeur, ni comme un espace opératoire ou manipulateur, prend sens dans un processus interactionnel comme un mouvement tourbillonnaire qui implique le sujet, l'entoure, l'engage et le fait ainsi vivre une expérience vécue. Cet espace éprouvé devient ainsi l'espace existentiel de la présence du monde du poète. Mais selon quelles caractéristiques déterminons-nous le régime d'espace auquel appartient la Chambre bleue de Sépehri Comment et dans quelle mesure la Chambre qui appelle le poète sans arrêt, contribue à lui former un nouvel être au monde et à le faire avancer dans son itinéraire transcendant C'est à ces questions que ce texte essaiera de répondre. © 2020 Walter de Gruyter GmbH, Berlin/Boston 2020.
Language Related Research (23223081) 8(8)pp. 1-21
By adopting the insights of phenomenological approach since late 80th century we easily observe the passage from classic narrative scheme to the semiotics with sensible and existential landscape. This approach is called semiotics with ontological foundations in which the reading and interpretation is no more related to the simple coding of a text, but it involves in movement towards the live experience of signification process in the world. In the discourse of Blind Owl by Sadegh Hedayat, we encounter with this manner of presence and interaction of subject with the world; that is to say, the perception of character from the world, himself and other (alterity) depends on sensible and dynamic presence of subject with his constant interaction with phenomena. Therefore, the aim of this study is to analyze by referring to Landowski and Greimas’s theories and ideas, the presence of the subject and his relationship with himself and others. Then, we study how the interaction with the "other" creates new systems such as the transcendental or ecstasy discourses and how the being of subject is determined in interaction with others. © 2017, Tarbiat Modares University. All rights reserved.
Studia Iranica (02215004) 46(1)pp. 125-142
The late arrival of postmodern American and French novels in Iran explains, clearly, the delay of Persian literature in creating works that would reflect the postmodern world where man has no knowledge of himself. Despite the efforts of young writers, postmodern works have barely succeeded in implementing features of the postmodern novel, and they seem to be rather formal imitations of foreign works. This paper aims to follow the progress of this literary movement in Persian literature and to show, through one of Mohammad Hasan Šahsavai's works entitled The Possible Night (Šab-e Momken) (1971), as a successful example of this kind, how the distinguishing characteristics of postmodernism arise in the Persian novel and to what extent Šahsavari's work is a postmodernist piece of literature. We will explain the mechanisms that the writer activates-on the narrative level as well as the socio-cultural context - in order to prove that this work can appear as a postmodern work. © 2017 Peeters Publishers. All Rights Reserved.
Social Sciences (discontinued) (18185800) 11(6)pp. 903-905
Present era is the era of media diplomacy. These days collective medias play an important role in international relations and are known as a mirror which reflect countries through showing communities' culture and national identity and prepare the causes of foreign governments policy stability. Therefore, it is possible to consider group medias as efficient tools in order to realize the goals of foreign policy and reaching the national advantages of government which is the most important tool of cultural diplomacy. The main goal of this essay is to determine the important role and considerable effect of collective medias in progressing cultural diplomatic goals of France which was the first Western country that is committed to cultural diplomacy. Since French were the second European nation who accepted the democracy, at the beginning of the third millennium, media is still the fourth column of democracy for France which itself is the cradle of freedom of expression. © Medwell Journals, 2016.
Language Related Research (23223081) 7(2)pp. 1-18
“Forgiveness” is a collection of stories of Sadegh Hedayat’s Three drops of blood. It narrates the story of a woman whose jealousy causes the death of the first and second children of his husband’s second wife and the latter. The history is full of sense of reproach and suffering of the feelings of jealousy. In this study, we try to analyze, following the theory of Landowski on the human feelings and the patterns provided by experts as Greimas, Fontanille and Landowski about the human emotions’s production, the “jealousy” through the perspective of semiotics of passion. The aim of this research is to show how this feeling takes the discursive properties. We will also examine how the status of emotion of jealousy in this story corresponds with the systematic patterns of semiotics of Paris school and its recent theories. This review will provide and assess the applicability of these models on the Persian literary products. © 2016, Tarbiat Modares University. All rights reserved.
Language Related Research (23223081) 6(1)pp. 21-39
The “Discursive Semiotics” of speech is proposed as a new method for the analysis of literary texts in which the production of meaning is directly linked with sensory conditions’ perceptive. In these circumstances, the meaning does not follow a logical plan, rather due to the presence of the perceptual subject that makes the sign phenomenal in discours, it is continuous, fluid, multi-dimensional and always being reborn. This study examines the discursive process in three dimensions (emotional, perceptual and aesthetic) in the poetry of Nima, and presents this approach as a new method of text analysis. The study also looks at the way in which the poet describes the world. This study not only creates a new reading of the poetry of Nima but also shows how the process of producing the dynamic sense in the poem is formed. © 2015, Tarbiat Modares University. All rights reserved.
