درخت حوزه‌های تخصصی

Reading and reciting the Shahnameh in Persian was popular not only in Persianate lands, like some parts of the Caucasus and Central Asia, but in Ottoman empire as well. Furthermore, some of the stories of the Shahnameh were known through oral tradition. Copying and making illuminated manuscripts of the Shahnameh was another method of spreading the fame of Ferdowsi. Ferdowsi, like many other poets of Iran, had considerable influence on the Ottoman literature. The present article examines translations and imitations of the Shahnameh in Turkish Lands.

In “Ākhar-e Shāhnāmeh” by Mehdi Akhavān Sāles (1929-1990), one of the foremost representatives of “New Poetry” in Iran, a fictive orality is staged: The poem becomes decipherable only to a reader attuned to the tradition of epic storytelling. This paper examines the relationship between language, perception, self, time, and world created through the fiction of storytelling. Drawing on theories of perception, narrative time, and epic performance, our discussion touches upon the nature of “I” and “we”, the shifting narrative grounds and identities enacted by the narration, the imbrication of past and present in the figure of the storyteller, and the memory spaces that are created both in and through the text. The imaginary speech act of the storyteller casts the reader as audience, while at the same time, the epic past is overlayed by a tumble-down present. Language itself becomes incommensurable with what it describes. Rather than a nostalgic invocation of a lost age of epic heroes, as has often been claimed, ĀKHAR-E SHĀHNĀMEH emerges as the profoundly modern diagnosis of a split consciousness that affects the individual in a society that can no longer return to epic naïveté.

Le champ littéraire contemporain témoigne de la profusion d’écritures de soi, avec une grande diversité et inventivité. Cette prédilection esthétique pour l’écriture de l’intime se révèle notamment dans de nombreux récits, écrits par des femmes, entre autres, les récits de deuil, faisant l’objet de nombreuses publications depuis quelques décennies. Le présent article se propose d’enquêter la pratique thanatographique d’Annie Ernaux et de Louise Dupré, qui mettent en mots leur expérience de la perte de leur mère, en commémorant la vie avec cette dernière et en dévoilant leur enfance et leurs conflits avec la progénitrice. Or, force est de constater que cette écriture de deuil, ayant reflété une présence quasi-totale de la figure maternelle qui l’emporte dans le texte, donne l’occasion à la fille d’aménager, dans le texte, un espace d’autodécouverte. Chez elles, l’écriture de deuil se manifeste tantôt comme l’écriture de l’autre, la mère en l’occurrence, tantôt comme l’écriture de moi. C’est ce que l’on se propose d’étudier à la lumière des théories de critique littéraire générique au féminin.

This paper examines Julian Barnes’s Flaubert’s Parrot by the five semiotic codes of the French literary critic Roland Barthes introduced in his renowned work S/Z, to show that the novel is a ‘writerly’ rather than a ‘readerly’ text. The paper defines what Barthes means by the text of the writerly and then attempts to see if the selected novel yields to this sort of interpretation. Since the novel has been categorized as both modernist and postmodernist by prominent literary critics, it can be a proper case to be examined as a writerly text. The paper shows that the codes of semantic, symbolic and cultural which produce the writerly text are at work in this novel whereas the codes of the hermeneutic and proairetic which are concerned with the conventional realist novels are marginalized or even absent. The article examines the writerly text makers of the author role, the theme of biography, the notion of literary criticism and the narration of the novel, referring to the codes creating the writerly text. The paper finally concludes that the semiotic sophistication and innovations in the narrative act of the novel stem from the categories discussed in the essay, ending in the construction of a highly sophisticated writerly text.

This article sketches the application of Wendy B. Faris’s primary features of narrative techniques in magical realist fiction in the selected novels The War of Don Emmanuel's Nether Parts (1990) by the British novelist Louis de Bernières and I Stared at the Night of the City (2008) by Kurdish novelist Bakhtiyar Ali, while keeping an eye on Chanady’s and Hegerfeldt’s perspectives where relevant. The focus is on the authors' use of Faris's features; namely the phenomenal world, unsettling doubts, merging-realms, irreducible elements and disruptions of time, space and identity, to depict their war-torn communities. These novelists have manipulated these characteristics from their diverse viewpoints. Despite their different cultural backgrounds and intellectual perspectives, both novelists attempt to convey a sense of reality by exploring the enigmatic nature of human behaviour and psychology, politics, and life in general. In this study, the researchers aim to elucidate the significance of these features in the selected novels to demonstrate the dilemma of war-stricken communities. Essentially, the researchers seek to unravel how these literary elements help in representing the complex and multifaceted nature of societies grappling with the impacts of conflict. The authors' manipulation of Faris's features becomes a lens through which they examine and articulate the intricate realities of war-stricken communities in their respective works.