دانشگاه گیلاننقد و نظریه ادبی2476-73873220180923Postmodern Persian Stories and Feminine Subjectداستان پسامدرن فارسی و «سوژۀ» زنانه528342610.22124/naqd.2019.13454.1743FAبهزادبرکتدانشیار گروه زبان و ادبیات انگلیسی، دانشگاه گیلان0000-0002-7117-6930Journal Article19700101Postmodernism as the last attempt to eradicate the modern “subject”, is irreconcilable with some principles of feminism. From a historical perspective, feminism necessarily defines the feminine identity as opposed to masculine identity, and thus will depend on the authority created by the “subject” which tends to change the masculine subject to feminine subject. Meanwhile, postmodernism is in line with feminism because it helps feminists to get rid of the masculine authority. In Iran, as a society which has experienced a different historical development from that of the western societies, this paradox ends in some results which are not always similar to those in the west. The present article is a theoretical study to trace the signs of this difference, although it is supported by evidence from some Persian novels. <br /> <br /><strong> </strong> <br /><strong>Extended Abstract</strong> <br /><strong> </strong> <br /><strong>1. Introduction</strong> <br />The Iranian interpretation of modern socio-cultural movements and trends can never be the same as the interpretation by Western communities, because, comparatively, Iran has gone through very different historical and socio-cultural experiences. For this very reason, Iranian intellectuals and men of letters have had their own readings of “Postmodernism” and “Feminism” among all the other trends. The present article asks whether it is logical to expect Iranian fiction writers to write postmodern stories, and if so, how much, why and in what ways these stories would be different from those written in Western countries. <br /> <br /><strong>2. Theoretical Framework</strong> <br />The article follows a historicist approach in which the major elements involved, in one way or another, in the formation of postmodernism and feminism will be concisely investigated both in the West and in Iran, in order to decide about the common points as well as the points of departure regarding the two movements in both cultures. Such an approach provides the article with the capacity of a deep and versatile understanding of the factors concerned with developing two different interpretations of postmodernism and feminism, one in Western culture and the other in Iranian culture. <br /><strong> </strong> <br /><strong>3. Methodology</strong> <br />Based on the idea of “Three Deaths” put forward by some thinkers of postmodernism and their counter-balances suggested by feminist intellectuals, the article does its best to find out whether the consequences of such a procedure have some counterparts in Iranian contemporary life, in order to be followed then, in some Iranian novels. The results, achieved in this way, will be categorized in a group of concepts and characteristics regularly seen in the selected novels and short stories as the representative of fictions written by women about women. <br /> <br /><strong>4. Findings</strong> <br />Our investigation shows that one of the crucial concerns of Iranian women as depicted in the short stories and novels has been “Women’s emancipation”. Women in Iran have struggled for freedom in any possible way. This freedom in all its manifestations, either social or individual, legal or conventional, physical or psychological, has been primarily threatened by a patriarchal culture in which “marriage” is a very fundamental mechanism of exercising authority. That is why all manners of escape, from abandoning marriage to stopping being a lover and just doing the family routine, and from having a secret love affair to running away from home and, at last, to getting divorced are the common forms of getting released from this authority. <br /> <br /><strong>5. Conclusion</strong> <br />Although Iranian women in their very recent history have enthusiastically struggled for actualizing their rights, they have not moved necessarily in the same ways as Western women did. Women storywriters have then narrated this unique experience of Iranian women, disregarding the temptation whether a group of their stories might be called postmodern; nevertheless, their portraits have included quite a number of the images and traits that the so-called postmodern fiction represents. <br /> پسامدرنیسم، درمقام آخرین رویکرد جریانی که در صدد امحای «سوژه»<sup>(1)</sup> برآمده از سنت انسان باوری است که از یکسو با فمینیسم یا جنبش زنمحور در تناقض قرار میگیرد. فمینیسم از منظر تاریخی تحقق هویت زنانه را در تقابل با هویت مردانه تعریف میکند و از این جهت وابسته به اقتداری میشود که در «سوژه» و ابقای آن موجودیت یافته است، پس میکوشد سوژه مذکر را به سوژه مونث تغییر دهد. اما از سوی دیگر پسامدرنیسم، در عین تناقض با فمینیسم، به سبب اعلام مرگ سوژه، به تفکر زنمحور کمک میکند تا نه تنها از اقتدار مردانه خلاص شود بلکه اسباب موثرتری برای ادراک خود پیدا کند. این دوگانگی، درجامعهای مانند ایران که زمینه تاریخی متفاوتی از غرب را آزموده نمودهایی در عرصههای مختلف از جمله ادبیات داستانی دارد که الزاماً قرینه یا همراستا با نمودهای نظیر آن در جامعه غربی نیست. هدف مقاله حاضر بررسی نظری این تفاوت است و جهت تایید، شواهدی نیز از آثار چند نویسنده زن<sup>(2)</sup> ارائه میشود.دانشگاه گیلاننقد و نظریه ادبی2476-73873220180923An Analysis of the Infiltration of Ideology into Young Adult Novels Case Study: Lullaby for a Dead Girlکاوشی بر میزان نفوذ ایدئولوژی در رمان نوجوان، مورد مطالعه: رمان لالایی برای دختر مرده2951329510.22124/naqd.2019.10636.1476FAمهنازجوکاریدانشجوی دکتری زبان و ادبیات فارسی (ادبیات غنایی) دانشگاه شیرازبهیحدائقاستادیار زبان و ادبیات انگلیسی دانشگاه شیرازJournal Article19700101One of the fundamental transformations in critical thinking and education during last 20 years has been the acceptance of the fact that all texts are inevitably mixed with ideology, and ideology does not have a separate meaning from text. This emphasizes the need for rigorous studies in these fields, particularly in children’s and young adults literature in which the relation between the children and the adult writers has always resulted in an unbalanced relation of power to the extent that the authors have always inculcated their perspectives in children and young adults. In recent decades, authors have attempted to reduce the pressure of ideology on the readers through some techniques. But what is important is that sometimes using such techniques has even intensified the ideological infiltration of the text. One of the approaches through which we can investigate the authors’ techniques, especially in the filed of narrative, is narrative discourse in which narrative factors, such as implicit author, narrator, characters, addressees and the implicit reader can be studied. In this paper, we aim to examine narrative factors in the novel <em>Lullaby for a Dead Girl</em> based on Bakhtinian concepts of polyphony and double-voiced discourse. We also try to find out if this novel moves towards the inculcation or the defeat of ideology. <br /> <strong> </strong> <br /><strong>Extended Abstract </strong> <br /><strong> </strong> <br /><strong>1. Introduction</strong> <br />Different ideologies present in texts have been examined by critics, especially in young adult and children’s literature whose artistic and educational aspects have been constantly debated. Ideology is not just what is seen in the theme and content of a work; it also exists in hidden layers of texts. Every single book has a kind of implicit ideology, which is a more powerful way to influence the audience. <br />The language, narration of the story as well as different aesthetic aspects of the text, can help to hide ideologies. Stephens believes in a special form of language that leads to instilling values and attitudes. He maintains that ideology is expressed in and through language, meanings are developed within the social context, and narration is also shaped by language. Thus, the narrative and aesthetic structures of the text can be examined within ideological frameworks. <br />Apart from the author, different narrative factors are involved in the process of the making of a text and can serve the goals and ideology of the implied author or express their independent voices. The presence of different voices in a text can bring about a plurality of meanings and eventually reduce the ideological pressure of the text. These various voices are not restricted to the voice of the characters within the text, but the independent voice of the narrative and phonetic factors can have a profound influence on the text’s polyphony, thus disrupting the center-oriented ideology of the text. <br />In this study, the authors have tried to examine the role of narrative factors in the formation of the text, the influence of ideology, and also the role of Bakhtian's theories in reducing the ideological pressures of the text through examining the novel <em>Lullaby for a Dead Girl</em>. <br /> <br /><strong>2. Theoretical Framework</strong> <br />In <em>Ideology and Control in Children's Literature</em> Murray Knowles and Kristen Malmkjaer have generalized these relations of domination to socially-organized ones such as those between men and women, those among people, and even those between children and adults. They consider adults to be superior because of their experiences, greater power, and access to the mass media. Adults, who are themselves controlled by other ideological relationships in their society, use various tools to convey their dominant ideas to children. <br />Language, ideology, and power, as major concepts in critical discourse analysis, are more prominent in the analysis of literary texts. Ronald Carter holds that the term literature cannot be defined apart from the term ideology; in the same way, the scientific study and description of language cannot be neutral and unbiased, since the sociocultural position of the analyst requires the description and analysis of texts to be accompanied by political factors. <br />Bakhtin also stresses the role of narrative factors in creating discourses in novels. The author, narrator, characters, and readers form the discourse of the novel in a dynamic interaction with each other and display their independent voices, thus creating polyphony in the novel and reducing the ideological pressure of the text. To Bakhtin, considering the audience as an active factor in the process of reading the text is essential for having a dynamic dialogue. <br /> <br /><strong>3. Methodology </strong> <br />The methodology adopted in the present paper is descriptive-analytical. <br /> <br /><strong>4. Findings</strong> <br />In this novel, the argumentative discourse of narrators tries to affect the mental orientation of the audience. As none of the narrators has an independent voice different from the implied author, this novel can be considered a monophonic one. Similarly, the indirect characterization and the characters’ external point of view have reduced the empathic atmosphere of the story, as if the author has written the story only to convey his own message. Additionally, due to the narrator's direct reports and implied propositions by the author, the text has a closed atmosphere, and the gaps in the story, due to recurrent denouements, have only contributed to suspense in the novel. Different narrators are used to narrate the story; however, as already mentioned, since the narrators serve the goals of the implied author and have no independent voice, we cannot call the novel a polyphonic one. While there is centralism in this novel, as Bakhtin has noted, there is also an intermediate mode between polyphony and monophony, which can be considered the initial stage of polyphony. Heteroglossia or polytonality reflects the diversity of the characters' tones, but when the writer's authority still plays an important role in the story, the story remains heteroglossic and does not achieve polyphony. <br /> <br /><strong>5.</strong> <strong>Conclusion</strong> <br />Novels like <em>Lullaby for a Dead Girl</em> are at the beginning of their path towards moving beyond direct ideology transmission. While the author's footprints are still seen in such novels, the use of modern aesthetic techniques is a valuable step. However, it should be noted that these techniques should follow a specific goal, which is, as Bakhtin has pointed out, moving beyond centralism and breaking the ideology within the text. <br /> از دگرگونیهای بنیادین در جریان تفکر و آموزش انتقادی در بیست سال اخیر، پذیرش این مسأله است که تمام متون به طرز گریزناپذیری با ایدئولوژی درآمیختهاند و ایدئولوژی معنایی جداگانه بر دوش متن نیست. این امر، ضرورت بررسیهای پیچیدهتر در این زمینه را بیش از پیش آشکار میکند؛ بهویژه در حوزه ادبیات کودک و نوجوان که همواره رابطه بین بزرگسالی که کتاب را مینویسد و کودک و نوجوانی که کتاب را میخواند، منجر به نوعی عدم توازن قدرت شدهاست و نویسندگان همواره کوشیدهاند تا به القای دیدگاه خود به مخاطب کودک و نوجوان بپردازند. در دهه اخیر، نویسندگان کوشیدهاند که با استفاده از تکنیکهایی از فشار هرچه بیشتر ایدئولوژی بر مخاطب خود بکاهند. اما آنچه اهمیت دارد این است که صرف استفاده از این تکنیکها، گاهی حتی به القای هرچه بیشتر ایدئولوژی یک متن منجر شدهاست. یکی از رویکردهایی که از طریق آن میتوان تکنیکهای بهکاررفته توسط نویسندگان را بهخصوص در حوزه روایت بررسی کرد، گفتمان روایی است که در آن، عاملهای روایی، مانند نویسنده ضمنی، راوی، شخصیتهای داستان، روایتشنو و خواننده ضمنی بررسی میشوند. در این پژوهش، برآنیم که این عاملهای روایی را باتوجه به رویکرد باختین به چندصدایی، دوصدایی و تکصدایی در رمان نوجوان <em>لالایی برای دختر مرده</em> بررسی کنیم و اینکه نشان داده شود این رمان، چه اندازه به سمت القای ایدئولوژی یا شکست آن در متن پیش رفتهاست.دانشگاه گیلاننقد و نظریه ادبی2476-73873220180923The Epistemological Background of the Impossibility of Literary Sociology and Historiography in the Middle Ages: An Archaeological Analysis of Tazkireh Writingزمینههای معرفتشناختی امتناع جامعهشناسی و تاریخنگاری ادبی در قرون میانی: تحلیل دیرینهشناختی تذکرهنویسی ادبی5374329310.22124/naqd.2019.9582.1395FAمحمدحسیندلال رحمانیدانشجوی دکتری جامعهشناسی دانشگاه یاسوجاصغرمیرفردیدانشیار جامعهشناسی و عضو هیأت علمی بخش جامعهشناسی و برنامهریزی اجتماعی دانشگاه شیراز0000-0002-1219-4485مریممختاریدانشیار جامعه شناسی و عضو هیأت علمی گروه جامعهشناسی دانشگاه یاسوجJournal Article19700101Until the advent of literary historiography during the previous century, the tradition of biography writing was devoted to the subject of poets’ life and works. This article, adopting an archaeological approach, seeks to describe the rules of knowledge of biography writing in the Middle Ages in Persian literature. The present study shows that biography writing, according to discursive traits of Middle Ages, does not pay attention to the presentation of the details of the life of the poets, and uses the principle of similarity to classify them. This tradition, with a god-like definition of the poet, considers poetry independent of socio-historical conditions and results from the consciousness and intention of the poet. The belief in the consciousness and willfulness of the poem contains a religious basis and an attempt to emphasize its distinction with divine revelation. In both the latter cases, the literary text is depicted as something that contains an unknowing aspect that enters the text through the socio-historical conditions. The belief to consciousness in poetry can be regarded as an epistemological obstacle to the emergence of literary historiography and sociology of literature which could be removed merely through the departure from the tradition of <em>tazkireh</em> writing and the emergence of a new discourse.<br /><strong> </strong><br /><strong>Extended Abstract</strong><br /><strong> </strong><br /><strong>1. Introduction </strong><br />For both literary historiography and sociology of literature, literary texts are influenced by historical and social conditions, and from this point of view, they have common rules. Before its emergence, <em>tazkireh</em> (admonitory biography) was mainly about the life and works of poets. <em>Tazkireh</em> means “reminding” and refers to works that deal with the lives of poets and their poems. This tradition began in the 5th century A.H. and lasted until the Constitutional Revolution. With the advent of the modern era, writing<em> tazkireh</em> was replaced by new disciplines of knowledge. The present article focuses on this tradition and tries to answer the following questions: What are the rules of <em>tazkireh </em>writing? Why did literary historiography and sociology of literature not appear in the Middle Ages? Was there an epistemological obstacle in this regard?<br /> <br /><strong>2. Theoretical Framework</strong><br />Adopting an archaeological approach, this article seeks to describe the rules of <em>tazkireh</em> writing in the Middle Ages in Persian literature. Archaeology, developed in the second half of the twentieth century through the work of Foucault, is a method for studying systems of knowledge. It is a theory-method that tries to remove the subject from its central position and write the history of thought based on discontinuities and displacements, without the assumption of evolution or continuity.<br /> <br /><strong>3. Methodology</strong><br />Unlike structural and hermeneutic methods, archeology does not look for a deep structure or hidden meanings for the subject in question, but is rather a method that focuses on the surface. The approach in this study is descriptive and does not seek to investigate the reasons for the emergence of a discourse or the factors changing it. In the archeology of knowledge, the network of serious ideas, i.e. the words of experts, is examined. But the analysis does not start with a topic that has already existed, and the subject of a discourse appears only through the same discourse.<br /> <br /><strong>4. Findings</strong><br />The present study shows that in <em>tazkireh</em> writing, due to discursive characteristics of the Middle Ages, the details of the lives of poets are not provided and the principle of similarity is utilized to classify the poets. It considers poetry to be independent from the socio-historical conditions and the consciousness and intention of the poet, which is clearly in contrast to historiography and sociology of literature.<br /> <br /><strong>5. Conclusion</strong><br />A study of the rules of <em>tazkireh</em> writing indicates that poets and poetry, as the subject matter of<em> tazkireh</em>, were not objective phenomena, but were rather produced within <em>tazkireh</em> and according to its rules. These concepts made it impossible for literary historiography and sociology of literature to be developed in the Middle Ages because these disciplines focused on a different concept, which had a fundamental relationship with the socio-historical factors and were based on the unconsciousness of the author. Thus, the transition from <em>tazkireh</em> writing to literary historiography was a departure from previous rules and development of new rules based on which the literary text was closely linked to the socio-historical conditions of the poet's life. This transition could not have been the result of some kind of evolution or continuity since the literary historiographical definition of poets and of poetry, its relation to the socio-historical conditions, and the unconscious aspect of the literary text had no background in the tradition of biography writing so that literary historiography could be developed through their evolution.<br /> تا پیش از ظهور تاریخنگاری ادبی در یک سده اخیر، سنت تذکرهنویسی ادبی به موضوع زندگی و آثار شاعران میپرداخت. این مقاله با رویکردی دیرینهشناختی، در پی توصیف قواعد دانش تذکرهنویسی در قرون میانی است. بررسی حاضر نشان میدهد که تذکرهنویسی، بنا به خصایص گفتمانی قرون میانی، توجهی به ارائه جزئیات زندگی شاعران ندارد و برای دستهبندی شاعران از اصل شباهت بهره میگیرد. این سنت با تعریفی خدایگونه از شاعر، شعر را مستقل و رها از شرایط تاریخی-اجتماعی و حاصل آگاهی و قصد شاعر تلقی میکند. اعتقاد به آگاهانه و ارادی بودن شعر، بر بنیانی مذهبی و تلاشی برای تأکید بر تمایز آن با وحی الهی استوار است. این قواعد، به طور مشخص در تقابل با تاریخ نگاری ادبی و جامعهشناسی ادبیات قرار دارد. در هر دو مورد اخیر، متن ادبی بهمثابه امری تصویر میشود که شامل وجهی ناآگاهانه است که به واسطه شرایط تاریخی-اجتماعی به متن وارد میگردد. اعتقاد به آگاهانه و ارادی بودن شعر را میتوان به عنوان مانعی معرفتشناختی در مقابل ظهور تاریخنگاری ادبی و جامعهشناسی ادبیات قلمداد کرد که تنها با گسست از سنت تذکرهنویسی و ظهور گفتمانی تازه از میان برداشته شد.دانشگاه گیلاننقد و نظریه ادبی2476-73873220180923The Process of the Transformation of the Historical Genre into Religious Epic Case Study: Mokhtarnamehفرآیند تبدیل ژانر تاریخی به حماسه مذهبی (مطالعه موردی: مختارنامه)7598329010.22124/naqd.2019.10315.1446FAرویارستگاردانشجوی دکتری زبان و ادبیات فارسی دانشگاه فردوسی مشهدسید مهدیزرقانیاستاد زبان و ادبیات فارسی دانشگاه فردوسی مشهدمحمد جعفریاحقیاستاد زبان و ادبیات فارسی دانشگاه فردوسی مشهدJournal Article19700101The religious epic is the outcome of the combination of the epic genre with historical and religious genres. This study explores <em>Mokhtarnameh</em>, one of the most famous religious epics, that has been variously composed by a number of poets in different historical periods. Assuming that this genre is derived from other genres, we aim to show how this process of transformation and metamorphosis has taken place. In other words, under what conditions has a religious narrative become a religious epic? This study, which has been conducted using documents, and by analyzing the contents of these documents, shows how in their lifetime, genres are transformed into each other or how one genre, evolving from another one, has become an independent genre. For instance, from the time it entered the religious epic category, the story of Mokhtar has changed and evolved, and its introduction into the cinematic genre shows that this evolution still continues. The story of Mokhtar is one of the good examples for the creation and evolution of these genres.<br /> <br /><strong>Extended Abstract</strong><br /><strong> </strong><br /><strong>1.</strong> <strong>Introduction</strong><br />Genres develop by drawing on the other already existing genres. Religious epic is the outcome of the collective need of Iranian Shia Muslims and it can provide the setting for the realization of this collective wish. <em>Mokhtarnameh</em> is a collection of important religious epics about the life of its main hero, Mokhtar Thaqafi, written by numerous writers and poets in different eras. In the present article, while focusing on <em>Mokhtarnameh</em>, attempt is made to discuss how different genres are combined and how a religious epic is formed.<br /> <br /><strong>2.</strong> <strong>Theoretical Framework</strong> <br />In the present paper religious and historical epics are the main focus of attention. Historical epics are the ones that depict the life of the heroes and the way they relate to people, and religious epics are the ones whose heroes are important religious figures. This paper also analyzes the term “discourse” and external and internal influences on it from a linguistic point of view.<br /> <br /><strong>3.</strong> <strong>Methodology</strong><br />The present paper adopts a descriptive-analytical approach. Data has been collected using library research method and library documents and manuscripts have been studied for this purpose.<br /> <br /><strong>4.</strong> <strong>Findings</strong><br />Mokhtar’s historical personality has been a mixed one, made up of legends and fiction. It has developed great ideological potentials necessary for the formation of a religious myth. A religious epic has two important components of epic and religion, manifestations of which have been examined in <em>Mokhtarnameh</em>.<br /> <br /><strong>5.</strong> <strong>Conclusion</strong><br />Genres have always been influenced by previous genres, with religious epics as an example. <em>Mokhtarnameh</em> was shaped through a combination of religious and historical narratives. In the historical genre, the historian’s imagination plays an important role. And when the story of Mokhtar entered literary genres, the writers’ secondary imagination influenced the shape of the narrative, resulting in a kind of metamorphosis. Thus, the story develops within the framework of a genre we refer to as religious epic.<br /> حماسه مذهبی برآیند تلفیق ژانر حماسی با ژانرهای تاریخی و مذهبی است. در این تحقیق یکی از مشهورترین انواع حماسههای مذهبی را، به نام مختارنامه که شاعران متعددی در دورههای تاریخی مختلف آن را سرودهاند، برگزیدیم. اگر بپذیریم که حماسه مذهبی برآمده از دل ژانرهای دیگر است، برآنیم تا نشان دهیم سیر انتقال و فرآیند دگردیسی در آن چگونه صورت گرفتهاست؟ و چطور و تحت چه شرایطی روایت تاریخی تبدیل به حماسهای مذهبی شدهاست؟ حاصل این پژوهش که به شیوه اسنادی و با استفاده از شیوه تحلیل محتواست، نشان میدهد که ژانرها در طول حیات خود به یکدیگر تبدیل میشوند یا یک ژانر از دل ژانرهای دیگر سر برمیآورد و تبدیل به ژانر مستقلی میشود. مثلاً روایت مختار از وقتی وارد حماسههای مذهبی شد تغییر و تحولی مداوم را نشان میدهد و ورود این روایت به ژانرهای مدرن همچون سینما، نشاندهنده آن است که هنوز این تحولات ادامه دارد. روایت مختار یکی از نمونههای خوب برای نشاندادن زایش و تحول ژانرهاست.<br /> دانشگاه گیلاننقد و نظریه ادبی2476-73873220180923Critical Realism and the Problematic Character in Call Me Zibaتحلیل رئالیسم انتقادی شخصیت پروبلماتیک در رمان «زیبا صدایم کن»99119329610.22124/naqd.2019.11008.1516FAمحمودرنجبراستادیار گروه زبان و ادبیات فارسی دانشگاه گیلانJournal Article19700101Critical Realism is the continuation of Marxist sociology. Critical Realism tries to convey the objective and accurate experience of reality. This is transmitted to the reader through the contradiction in group and individual behavior. Lukács and Goldmann believe that people in the capitalist world have become like objects. The novel is like bourgeois epic and shows the difference between society and the problematic personality. In this paper we have used Lukács and Goldmann’s theories. Lukács has divided the form and content of the novel into three parts. On the basis of this, we have examined the problematic characters of Farhad Hasanzadeh’s <em>Call me Ziba</em>. In this novel, Ziba and Khosrow represent the issues of a certain historical period. The purpose of this article is to critique social segregation of human identity in today's society. The results of the study show that the author has mixed ideas of abstract idealism and novels of psychological pessimism. The protagonists of this novel confront the values of the community to seek their true values. They show that social reality is lacking in Iran's pseudo-modern society.<br /> <br /><strong>Extended Abstract</strong><br /><strong> </strong><br /><strong>1. Introduction</strong><br />Critical realism, in the interaction between social classes, highlights the contradictory activities of different ideologies and the unfair relations in the modern world. As one of the most important approaches to human actions, critical realism was developed by Georg Lukacs as the implicit reflection of human activities. The critical aspect of realism deals with artistic production on the basis of the narration of the lives of the deprived in the natural course of events and explains contradictions in this regard. It deals with the interaction between the upper and the lower classes and criticizes the oppressive relations of the bourgeoisie and reveals the contradictory behavior of bourgeois ideology. At the initial stages of the realistic outlook, novels had an organic relationship with social experiences. Writers such as Balzac, as social investigators, focused on events, human behavior and the settings of the events. Later, Maxim Gorky, in <em>Foma Gordeyev</em> and <em>The</em> <em>Mother</em>, created characters who criticized society through their problematic behavior.<br /> <br /><strong>2. Theoretical Framework</strong><br />Critical realism is rooted in social realism. The humanistic trend in the 19th century revolved around the importance of humans and their needs. Realistic novels served as a tool to develop a network of human actions and values between writers and the society. Thus, the essence of realism can be social criticism and analysis, the study of human life in society, the relationship between the individual and society, and the structure of the society.<br /> <br /><strong>3. Methodology</strong><br />In this study the novel <em>Call Me Ziba</em> by Farhad Hasanzadeh is examined using the Marxist critical realism. Moreover, answers are provided for these questions: what values do the problematic characters of the novel follow in their confrontation with the individualistic semi-modern society produced by the market? What are their most important issues in modern society? How can they adapt their ideal desires to the reality?<br /> <br /><strong>4. Findings</strong><br />In critical realism writers try to convey to their readers an objective depiction of reality with all the contradictions existing in the individual and collective behavior of people. Thus, they create a problematic hero.<br /> <br /><strong>5. Conclusion </strong><br />This novel relies on critical realism in its dealing with two characters, who are problematic, have no future, and are critical of the status quo of the semi-modern society. As in the educational novels, in the structural categorization by Lukacs, they are a combination of heroes of abstract idealistic and psychological novels. The father, like Don Quixote, and other heroes of abstract idealistic novels, tries to change the reality and adjust it to his desires. Ziba criticizes the social realities and restrictions and retires to her solitude and imagination. The novelist, by highlighting the dynamism of Ziba and her father, combines abstract idealism and disillusionment to enable the characters to reveal the hegemonic constructs and search for the hidden totality of life.<br /> رئالیسم انتقادی از تبار جامعهشناسی مارکسیستی است که تلاش میکند تجربه عینی و دقیق واقعیت را به همراه تناقضها در رفتار جمعی و فردی به خواننده منتقل کند. در این پژوهش با بهرهگیری از آرای لوکاچ و گلدمن ضمن تأکید بر صورتبندی گلدمن از فرم و محتوای رمان در سه قسم به مهمترین مسائل شخصیتهای پروبلماتیک در رمان <em>زیبا صدایم کن</em> اثر فرهاد حسنزاده پرداختیم. هدف از این پژوهش نقد اجتماعی گسست هویت انسان در جامعه امروز است. نتایج بررسی نشان میدهد که نویسنده با تلفیق دو رویکرد درباره شخصیت مسألهدار زمینه را فراهم میسازد تا قهرمانان رمان با جستوجوی ارزشهای راستین و تضاد با ارزشهای برساخت اجتماع، تصویری انتقادی را از واقعیت اجتماعی فاقد معنا در جامعه شبهمدرن ایران به نمایش بگذارد.<br /> دانشگاه گیلاننقد و نظریه ادبی2476-73873220180923A Lacanian Reading of Parichehrخوانش لکانی رمان عامه پسند پریچهر121141329410.22124/naqd.2019.10664.1479FAفاطمه نساصابریدانشجوی دکتری زبان و ادبیات فارسی دانشکده علوم انسانی دانشگاه هرمزگانمصطفیصدیقیدانشیار زبان و ادبیات فارسی دانشکده علوم انسانی دانشگاه هرمزگان0000-0003-2432-1784فرامرزخجستهدانشیار زبان و ادبیات فارسی دانشکده علوم انسانی دانشگاه هرمزگانJournal Article19700101Popular romantic novels, as a cultural medium, have, for many years, been producing and reproducing gender ideology. Neglecting these kinds of works results in their withdrawal from serious critical studies; whereas creating awareness in the audience requires scientific critique. Examining and analyzing such works is quite important because of the high sales and their attraction to teenagers and the young audience. Interdisciplinary studies, including Lacanian psychoanalysis, are one of the most effective approaches in this regard. This paper is focused on the Lacanian theory of the process of psychological growth through the stages of the real, the imaginary, and the symbolic to analyze M. Moaddabpour’s popular romantic novel, <em>Parichehr</em>. The research process suggests that by depicting the patriarchal discourse, this popular novel represents the Lacanian imaginary stage and plays a role by addressing the object of desire to construct the reader’s ego (the ideal ‘I’). <br /><strong> </strong> <br /><strong>Extended Abstract</strong> <br /><strong> </strong> <br /><strong>1. Introduction </strong> <br />In the second half of the 20th century, with the emergence of terms such as "high/low" and "elite/popular" in discussions on literature, new attitudes toward the novel and cultural studies developed. The founders of the Frankfurt School, while introducing the concept of culture industry, mostly disapproved of popular art. Followers of the Birmingham School, unlike those of the elitist tradition, argued that elite culture is only one aspect of culture and the study of culture should include the popular culture of the masses as well. Research on popular literature constitutes an important part of cultural analysis. The Lacanian approach to subjectivity, especially how feminine subjectivity is constructed in some specific realms and through specific media, can be relevant to our study. <br /> <br /><strong>2. Theoretical Framework </strong> <br />Lacan’s post-structuralist criticism, unlike classical psychoanalytical criticism, focuses on the reader, text and language. In his theory of human mental development, Lacan speaks of the real, the imaginary and the symbolic. At the beginning of life infants see no distinction between themselves and their mothers, a stage Lacan refers to as the real. From six to eighteen months the child develops an integrated image of himself and thus enters the mirror stage (the imaginary order) and develops an imaginary picture of himself called "ego", which is distinct from that of his mother. The subject is formed when the child enters the world of language and symbolic order and is confronted with a change of signifiers and also the unconscious. <br /> <br /><strong>3. Methodology</strong> <br />A psychoanalytical analysis of the text and the audience of popular novels can be of great help in studying this kind of novel and its audience. This study relies on the content analysis method and employs the descriptive-analytical approach in its Lacanian reading of <em>Parichehr</em>. <br /> <br /><strong>4. Findings</strong> <br />Using different narrative techniques, this novel creates an ideal image of the beloved based on patriarchal ideology. Based on the Hegelian master-slave dialectic, the fundamental desire driving humans is the desire to accept. Ego-ideal can be regarded as the master and the real self as the slave. <br /> <br /><strong>5. Conclusion </strong> <br />Teenage and young girls turn to the popular genre of romance to find their perfect image. The novel <em>Parichehr</em>, which corresponds to the Lacanian mirror stage, represents the imaginary stage and, with its structural features, depicts the ego-ideal. The ideal image of the female character in the novel, as the mirror image, provides the possibility of narcissistic identification for the subject/audience, and their ego is formed in an imaginary way. The subjects, with the illusion of accessing the little other, feel secure in the linear mother-child relationship, take refuge in the imaginary order stage and do not feel the need to enter the symbolic order. This image, which is based on the patriarchal ideology, absorbs the subject/audience in a way that they unconsciously follow it as their ideal model. <br /> رمانهای عامهپسند عاشقانه،به عنوان یکی از رسانههای فرهنگی، سالهاست که در کنج امن خود به تولید و بازتولید ایدئولوژی جنسیتی دامن میزنند.نفی و نادیده انگاشتن اینگونه آثار، منجر به خروج آنها از بوته نقد میگردد؛ حال آنکه آگاهیبخشی به مخاطب، مستلزم نقد علمی است. واکاوی و تحلیل اینگونه آثار به دلیل فروش زیاد و جذب مخاطب نوجوان و جوان بسیار ضروری به نظر میرسد. نقدهای بینارشتهای، ازجمله نقد روانکاوانه لکانی، یکی از رهیافتهای کارساز در این زمینه است. این جستار با بهرهگیری از تئوری لکانی رشد روانی سهگانه امر واقعی، نظم خیالی و نظم نمادین به خوانش رمان عامهپسند عاشقانه<em>پریچهر </em>مؤدبپور پرداختهاست. فرایند پژوهش گویای آن است که این اثر عامهپسند، با ترسیم جهانی آرمانی مبتنی بر گفتمان مردسالارانه، مرحله نظم خیالی (آینهای) را نمایندگی و در برساخت اگو (من آرمانی) مخاطب نقش ایفا میکند.دانشگاه گیلاننقد و نظریه ادبی2476-73873220180923The Methodology of Biography Writing in Mystical Literature Case Study: Attar Neyshabouri’s Tadhkirat al-Awliyaروششناسی زندگینامه نویسی در ادبیات عرفانی (مطالعه موردی: تذکرۃ الاولیاء عطار نیشابوری)143166329210.22124/naqd.2019.11748.1586FAبهمننزهتاستاد، گروه زبان و ادبیات فارسی، دانشگاه ارومیهیحییحسیناییدانشآموخته دکتری، رشته زبان و ادبیات فارسی، دانشگاه ارومیه0000-0003-4759-2800Journal Article19700101Biography is a written account of the dimensions of a historical figure’s life. Therefore, it is now regarded as one of the main and effective components in the fields of literary and historical studies. Considering the various patterns and methods used to write biographies among different nations, one can pose the following questions: What principles and rules are biographies based on, and what categories are they required to consider in the domains of epistemology and ontology? What scientific place and stylistic features do mystical biographies have? And what sources and types of knowledge are used in the writing and concretization of these kinds of biographies? In this study of the methodology of mystical biographies, we have reviewed <em>Tadhkirat al-Awliya</em>,one of the most prominent texts of mystical prose. As a response to the above-mentioned question, we have tried to provide a general overview of the literary, mystical, and historical nature of this work by utilizing new literary theories and analyzing its vast epistemic dimensions. Moreover, we have explained the role of biographical principles and how they are used by Attar in formulating literary and mystical propositions.<br /><strong> </strong><strong> </strong><br /><strong>Extended Abstract</strong><br /><strong> </strong><br /><strong>1. Introduction</strong><br />Islamic mysticism revolves around the individual and social conduct of human beings. Mystical biographies in Islamic literature were originally written in Arabic and developed in a systematic way. Then, as a result, this kind of biography found its way into Persian literature. Using a limited number of his narrative elements, Attar chose elements that would help him make the different stages and hierarchy of mysticism reasonable to the readers. <em><strong>Tadhkirat</strong></em><em>al-</em><em><strong>Awliya</strong></em> is a valuable mystical-literary work in which the teachings and details of the mystical life of the great figures of Islamic mysticism are explained. The narration and power of expression, the spirituality governing the text, and Attar's mystical interpretations and perceptions of the attitudes and conduct of the <em>awliya</em> are among the elements that reconstruct the story of the <em>awliya</em>.<br /> <br /><strong>2. Theoretical Framework</strong><br />Biography is a written account of different dimensions of the lives of historical figures. In the present article new literary theories are employed to analyze the structures and principles of biography writing. Attar describes the lives of the <em>awliya</em> in the form of short narratives in special narrative forms. While the new rules of biography writing are followed, Attar pays special attention to the moral and emotaional apsects of the <em>awliya</em>.<br /> <br /><strong>3. Methodology</strong><br />The present study employs the qualitative content analysis method to analyze different aspects of the writer’s mind. First, <em><strong>Tadhkirat</strong></em><em>al-</em><em><strong>Awliya</strong></em> is examined as a biographical work using specific approaches in literary criticism. Then, the fundamental concepts of the book are analyzed and the structural and epistemological rules are explained.<br /> <br /><strong>4. Findings </strong><br />In <em><strong>Tadhkirat</strong></em><em>al-</em><em><strong>Awliya</strong></em> propositions containing profound epistemic and mystical meanings are closely intertwined with the literary language. Attar relies on intuition to recreate the mystical states and experience. He depicts the conduct of characters skillfully such that there is a causal relationship between the elements, and events occur in a specific time sequence. He connects seemingly unrelated mystical ideas, sometimes by identifying himself with the characters, in a way that they seem quite reasonable to the readers.<br /> <br /><strong>5. Conclusion </strong><br />We have tried to provide a general overview of the literary, mystical, and historical nature of <em><strong>Tadhkirat</strong></em><em>al-</em><em><strong>Awliya</strong></em> by employing new literary theories and analyzing different epistemic dimensions of <em><strong>this work</strong></em>. Thus, attempt has been made to explain the role of autobiographical principles, and how they are used by Attar, in formulating literary and mystical propositions. To recreate mystical states and experiences Attar mostly draws on intuition and persistence in different mystical moments. He uses his powerful expression, which dervies from his mystical experience and observation, in his literary expression and thus makes the lives and mental states of the saints understandable.<br /> زندگینامه بهمثابه گزارش و حکایت کتبی از ابعاد زندگی شخصیتی تاریخی است. این شیوه در عصر حاضر یکی از مؤلفههای اصلی و کارآمد در حوزه ادبیات و تاریخ محسوب میشود. با توجه به الگوها و شیوههای متعددی که در نگارش زندگینامههای ملل مختلف به کار رفتهاست، میتوان پرسشهایی به شرح زیر مطرح کرد: زندگینامهها بر پایه چه اصول و قواعدی نگارش یافته و در حوزه معرفتشناسی و هستیشناسی ملزم به رعایت چه مقولاتی است؟ زندگینامههای عرفانی از چه جایگاه علمی و ویژگیهای بیانی برخوردارند؟ و در نگارش و عینیتبخشی به این نوع از زندگینامهها از چه منابع و دانشهایی استفاده میشود؟ برای مطالعه روششناسانه زندگینامههای عرفانی، یکی از برجستهترین متون نثر عرفانی، یعنی <em>تذکر</em><em>ۃ</em><em>الاولیاء</em> را بررسی کردهایم. در مقام پاسخ به پرسشهای مذکور و تبیین آن کوشیدیم که با بهرهگیری از نظریههای جدید ادبی و تجزیه و تحلیلِ ابعاد وسیع معرفتی <em>تذکر</em><em>ۃ</em><em>الاولیاء</em>، شرحی کلی از سرشت ادبی- عرفانی و تاریخی این اثر ارائه دهیم و نقش اصول زندگینامهنویسی و نحوه استفاده آنها را توسط عطار، در شکلگیری گزارههای ادبی و عرفانی تبیین کنیم.