Sufism and Mysticism
Parvin Golizadeh; manouchehr joukar; Zeinab Rahmati
Abstract
Discussing the “extraordinary” element in a system in which the place of elements is determined according to their relation to the overall design of the narrative is an appropriate way of analyzing magical realism and those mystical narratives consisting of extraordinary events. In order ...
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Discussing the “extraordinary” element in a system in which the place of elements is determined according to their relation to the overall design of the narrative is an appropriate way of analyzing magical realism and those mystical narratives consisting of extraordinary events. In order to display the existent correlation between the magical deep structure and the plot of these literary productions, the narrative structure of these mystical texts: Asrārottowhid, Resāle - ye Qoshayriye, Kashfol- Mahjūb, Mersādol-’ebād, Mesbāhol- Hedāye and Meftāhol- Kefāye and these fictions including One Hundred Years of Solitude, Metamorphosis, The Handsomest Drowned Man in the World, A Very Old Man with Enormous Wings and Aura is investigated with an eye to Claude Bremond’s model so that we can extract the main sequences in these works and we can specify the structural similarities and dissimilarities in these works’ main sequence according to the combination of “realistic” and “extraordinary” functions in a sequence. The obtained results indicate that there are similarities in the structure of the main sequence and their utilization of “realistic” and “extraordinary” sequences. The shared structures in the analyzed works are: “the linear structure without excluding the main constituents”, “the exclusion of initial state of equilibrium and the commencement with a crisis”, and “the nonlinear structure”. The shared combinations of main sequences in terms of the inclusion of realistic or extraordinary tasks are depicted as “exclusionary-extraordinary-realistic”, “exclusionary-extraordinary-extraordinary” and “extraordinary-extraordinary-extraordinary”.
Maryam Ebadi Asayesh; Mahmood Reza Gheibi
Volume 70, Issue 235 , January 0, , Pages 97-122
Abstract
Esfar-e-Kateban (The Script of the Scribes) won Mehregan Prize in 2000 for its author, Abu-Torab Khosravi. This work which consists of various narrative layers, in its first layer attempts to tell the story of Said and Eklima’s acquaintance. In the other narrative layers, it rereads the old texts ...
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Esfar-e-Kateban (The Script of the Scribes) won Mehregan Prize in 2000 for its author, Abu-Torab Khosravi. This work which consists of various narrative layers, in its first layer attempts to tell the story of Said and Eklima’s acquaintance. In the other narrative layers, it rereads the old texts such as Masadig-al-Asar of Sheykh Yaha Kondori or Mozaffari History and the life of Saint Shedrek. This characteristic which is seen in postmodern fiction, is called mise-en-abyme. Esfar-e-Kateban which includes the description of the greatness of Khawjas and saints has the features of a magical realist fiction. Magical Realism is an oxymoron that consists of magical+real elements. Many writers, have used this genre for studying the clashes between colonial, postcolonial, and imperialist powers with their society. And sometimes they have revisioned the harsh realities of history using Magical realism. The present study after examining mise-en-abyme in Esfar-e-Kateban and mentioning the characteristics of magical realist fictions such as the irreducible element, the phenomenal world, unsettling doubts, merging realms, disruptions of time, space, and identity according to Faris’ classification, finds the mentioned novel a magical realist one and then it expresses the revisionary nostalgia of the writer in order to rewrite the historical narratives of the lives of Shah Mansour Mozaffari and Saint Shedrek.
