Fiction Literature
abbas baghinejad
Abstract
Ahmad Mahmoud is a climate writer and realist whose works deal with history, events and historical figures in various ways. The " Hamsayeha" (Neighbors) novel is the author's first novel, with a compilation of historical documentation, imagination, and memoirs by the author. "Hamsayeha", while having ...
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Ahmad Mahmoud is a climate writer and realist whose works deal with history, events and historical figures in various ways. The " Hamsayeha" (Neighbors) novel is the author's first novel, with a compilation of historical documentation, imagination, and memoirs by the author. "Hamsayeha", while having the characteristics of a fictional narrative, like the other Ahmad Mahmoud novels, deals with the realist narrative of an important historical event.The story of the "nationalization of the oil industry in Iran" is the plot of this novel, and this historical event plays a central role in shaping it. Much of the novel' relationships and this historical event have been structurally related and structured.In this essay, the reflection and reflection of this historical event and its related events in the "Hamsayeha" novel as well as the author's historical approach and judgment, have been contemplated; And its similarities and differences have been explained and analyzed by historical documents.
Fiction Literature
shahin ghasemi
Abstract
The main focus of this research is to analyze the narrative structure of narrative in the sacred defense novel Ermia, relying on modern models of structuralism and narrative, so since most of the research in the field of sacred defense fiction works in a general way, Or, at the very least, introducing ...
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The main focus of this research is to analyze the narrative structure of narrative in the sacred defense novel Ermia, relying on modern models of structuralism and narrative, so since most of the research in the field of sacred defense fiction works in a general way, Or, at the very least, introducing the elements of the story, in this study we will examine, for the first time, relying on modern models of structuralism and narrative, which are emerging literary criticisms, in the novel of Ermiaby Reza Amirkhani. So first, while introducing the structuralism theories Greimas and the narrative paradigm of Jappe Lint Veldt and GeererGennet, a brief history of the two sciences of structuralism and narrative in the fictional literature will be mentioned, followed by the two communication patterns (linkage and rupture) in the plot structure will be analyzed. Based on the research theory, while examining the structure of the plot, we will try to analyze the type of narration and its functions in this work, relying on the mentioned model
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
