Contemporary Poetry of Iran
razie fani aski; firooz fazeli; mahmood ranjbar
Abstract
A study of Situational Irony in Maroufie’s Stories:Year of Turmoil and Symphony of the DeadRaziyeh Fani1/ Firooz Fazeli2/ Mahmood Ranjbar31 Ph.D Candidate of Persian Language and Literature, Guilan University,(corresponding author), E-mail: raziefani@yahoo.com2 Assistant Professor of Persian Language ...
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A study of Situational Irony in Maroufie’s Stories:Year of Turmoil and Symphony of the DeadRaziyeh Fani1/ Firooz Fazeli2/ Mahmood Ranjbar31 Ph.D Candidate of Persian Language and Literature, Guilan University,(corresponding author), E-mail: raziefani@yahoo.com2 Assistant Professor of Persian Language and Literature, Guilan University,E-mail: drfiroozfazeli@yahoo.com3 Assistant Professor of Persian Language and Literature, Guilan University,E-mail: mamranjbar@gmail.comAbstractSituational irony is the result of phantasms, imaginations and concepts. Thissort of irony has an especial place in fiction. The two stories of "Year ofTurmoil "and “Symphony of the Dead" by Maroufie have an especial positionin fiction because of their critical language and the author’s authority indemonstrating specific problems. Personification, scene, plot and actions inthis work have potential power for irony of situation and grotesque showing.Therefore we endeavor to indicate all kinds of ironical situations andgrotesque in this research, methods of creating them and theme’s socialreflections. With deliberation in these stories, we see that ironical names andbehaviors are the dominant factors in the creation of situational irony in thesestories. Character’s experiments and network of communication betweenthem have important roles in ironical behavior, action, situation, scene anddialogue. But character’s situation is the pivotal point. The most importantsubjects that are writer’s purpose are: culture and jeopardy of society,modernism, lack of justice and existence of corruption among diverse classesin society.Key words: situational Irony, " Year of Turmoil” “Symphony of theDead”, Contemporary fiction, MAROUFI32 Persian Language and Literature, Vol. 71, Issue 238, Fall & Winter 2018- 2019Situational irony concerns what it is about situation that causes peopleto describe it as ironic. Situational irony is as complex andcommonplace as verbal and literary irony. When someone says thatthey find a situation, they mean that their conception of it defies thenormal way in which situations fit with their repertoire of concepts, thatthis misfit is noticeable in some way, that is evokes a particular kind ofemotional response, and perhaps, that it has a specific moralsignificance. For example, let’s consider a situation in whichfirefighters had a fire in their kitchen due to some chicken fingers leftcooking while they went out to answer a fire alarm. We usually thinkof firemen as people who put out fires, not as people who start them.This situation evokes a particular kind of emotional response. In thispaper, we try to find the ironical situations in two of Abbas Maroufi’sstories: "Year of Turmoil" and "Symphony of the Dead". These twoworks have an especial position in fiction because of their criticallanguage and the author’s authority in demonstrating specific problems.Moreover Maroufie’s position as a writer was confirmed by writingthese two stories. In "Year of Turmoil", he narrates one accidence fromseveral characters’ points of view. The original character in this story isa young poet that queers in his father’s displeasure. In his another work,i.e. "Symphony of the Dead", Maroufi had utilized historical myths.Hence he could illustrate the historical and sociological qualificationsof Iran in the Second World War and in Reza Shah’s dominance. In thisessay, we endeavor to indicate all kinds of ironical situations andgrotesque in this research, methods of creating them and theme’s socialreflections. In personification, Maroufi selected his characters fromdiverse types, professions, situations and dissimilar age groups toaccess to an ironical space. Moreover he selected various entrustmentand disparate behaviors. This technical work commanded an oppositeand grotesque space in stories with deliberation. In these stories, we seethat ironical names and behaviors are the dominant factor of creation ofsituational irony. Characters’ experiments and network ofcommunication between them have important roles in ironicalbehaviors, action, situation, scene and dialogue. Credulous andridiculous behaviors, surprises and actions that scintillate from tensionand infuriation or jitters, have an important role in making situationalirony in Maroufie’s story. Scene, backward or opposite values in plotand actions in this work have potential power for irony of situation andgrotesque showing. Therewith abnormal conversations that areA study of Situational Irony in Maroufie’s Stories… 33discordant with situations are dominant cases for creating ironicalsituations but character’s situation is the pivotal point and otherformation. The most important subjects that are writer’s purpose are:culture and jeopardy of society, modernism, lack of justice andexistence of corruption among diverse classes in the society.
Firouz Fazeli; Mohammad Mohammad
Volume 68, Issue 231 , January 0, , Pages 77-108
Abstract
dramatic Spacing was first introduced by the german playwright and director, brecht, but the origin of this term stems from the divisions in epic and tragedy presented by plato and Aristotle. Aristotle considered tragedy as dramatic and epic as narrative. since brecht believed that the illusion of reality ...
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dramatic Spacing was first introduced by the german playwright and director, brecht, but the origin of this term stems from the divisions in epic and tragedy presented by plato and Aristotle. Aristotle considered tragedy as dramatic and epic as narrative. since brecht believed that the illusion of reality in a drama deprives the audience of an independent viewpoint and a sense of judgement he created a type of drama based on narration and spacing derived from aristotles theory on epic and studies he conducted on eastern literature. There were no play in Persian classical literature؛ meaning that epic poems and drama lyrics had a narrative style and This was in contrast with aristotles notion on the non-narrative nature of tragedy, therefore Persian drama lyrics, much like epics, do possess a kind of spacing which originates more from eastern tradition than it does from brechts design. In this study, spacing in aristatelian epic and brechts theatre will be explained first and then spacing in nizamis poems, as one of the most prominent Persian lyricists, will be scrutinized so that we can have an understanding of the ideology of Persian literature and also analyze the spacing in these works as a fallacy for their lack of reality and solidaritydramatic Spacing was first introduced by the german playwright and director, brecht, but the origin of this term stems from the divisions in epic and tragedy presented by plato and Aristotle. Aristotle considered tragedy as dramatic and epic as narrative. since brecht believed that the illusion of reality in a drama deprives the audience of an independent viewpoint and a sense of judgement he created a type of drama based on narration and spacing derived from aristotles theory on epic and studies he conducted on eastern literature. There were no play in Persian classical literature؛ meaning that epic poems and drama lyrics had a narrative style and This was in contrast with aristotles notion on the non-narrative nature of tragedy, therefore Persian drama lyrics, much like epics, do possess a kind of spacing which originates more from eastern tradition than it does from brechts design. In this study, spacing in aristatelian epic and brechts theatre will be explained first and then spacing in nizamis poems, as one of the most prominent Persian lyricists, will be scrutinized so that we can have an understanding of the ideology of Persian literature and also analyze the spacing in these works as a fallacy for their lack of reality and solidaritydramatic Spacing was first introduced by the german playwright and director, brecht, but the origin of this term stems from the divisions in epic and tragedy presented by plato and Aristotle. Aristotle considered tragedy as dramatic and epic as narrative. since brecht believed that the illusion of reality in a drama deprives the audience of an independent viewpoint and a sense of judgement he created a type of drama based on narration and spacing derived from aristotles theory on epic and studies he conducted on eastern literature. There were no play in Persian classical literature؛ meaning that epic poems and drama lyrics had a narrative style and This was in contrast with aristotles notion on the non-narrative nature of tragedy, therefore Persian drama lyrics, much like epics, do possess a kind of spacing which originates more from eastern tradition than it does from brechts design. In this study, spacing in aristatelian epic and brechts theatre will be explained first and then spacing in nizamis poems, as one of the most prominent Persian lyricists, will be scrutinized so that we can have an understanding of the ideology of Persian literature and also analyze the spacing in these works as a fallacy for their lack of reality and solidarity
