https://www.ialcsa.ir/ Comparative Art and Literature en daily 1 Thu, 21 Nov 2024 00:00:00 +0330 Thu, 21 Nov 2024 00:00:00 +0330 https://www.ialcsa.ir/article_232909.html This paper wants to understand the mindset and perspective of prominent Iranian filmmaker Abbas Kiarostami regarding the passage of time and death, and how these concepts are reflected in his cinematic images, through the study of the time and death imagery in his triplet ("Khāneh-ye doost kujāst?", Zendegi va digar hich" and "Zir-e derakhtān-e zeytoun"). Anxiety about the passage of time and death is prominent in this triplet, and this anxiety manifests in multiple ways in the filmmaker’s creative imagination. Since, in the approach of the French theorist Gilbert Durand, symbolic images reflecting the concept of the passage of time and death hold significant importance, this study, using a comparative and interdisciplinary approach based on Durand’s framework, analyzes and examines the images of time and death in Kiarostami’s triplet. Overall, it can be said that the filmmaker’s thinking is bipolar and interactive. Through their interaction, the symbolic images moderated his thought system. In his imagination, time and death are sometimes reflected as terrifying and sometimes non-terrifying images. Kiarostami depicts anxiety about the passage of time and fear of death through symbols such as animals, darkness, and falling. However, he contrasts these negative images with symbols of the everyday world that have positive aspects—symbols such as spectacle and ascension, which reduces fear. The symbols of the night world in Kiarostami’s triplet mostly appear as cyclical symbols, inner sanctuarie, and symbols of progress, which reduce and control fear by creating an idealistic world. https://www.ialcsa.ir/article_232910.html Myths, as archetypal reflections of the collective psyche, play a pivotal role in representing existential and cultural questions of modern humanity in contemporary literature. This study, employing a qualitative approach and mythological content analysis, conducts an in-depth and systematic examination of mythical manifestations in the novels The Stone of Fortune by Majid Qeysari and The Alchemist by Paulo Coelho to analyze how mythical structures and archetypes are reimagined to address issues of identity and spirituality. The research methodology involves qualitative content analysis of the original texts of the novels, utilizing the framework of Carl Gustav Jung’s analytical psychology and Joseph Campbell’s comparative mythology, and extracting themes related to the archetypes of “sacrifice” and “hero’s journey,” supplemented by Iranian and global mythological sources. The study reveals that The Stone of Fortune draws on indigenous Iranian myths, particularly beliefs associated with water and the archetype of sacrifice, to critique superstition and analyze the collective identity crisis in the fictional society of “Chahardivar,” which represents a community trapped in restrictive traditions. In contrast, The Alchemist relies on the monomythic pattern of the hero’s journey, depicting Santiago’s path to self-discovery and unity with the “world soul” through his pursuit of his “personal legend.” The comparative analysis of these two works highlights profound differences in the application of myths within Iranian and global cultural contexts while simultaneously underscoring their deep connections to the universal needs of modern humanity. https://www.ialcsa.ir/article_235185.html Jame'al-Hikayat is the name of a manuscript with forty-six stories from famous and less famous folk tales. This manuscript, according to Mr. Golchin Maani must have been compiled in India at the beginning of the 11th century for Jalaleddin Mohammad Akbar king (963-1014). Debate review between the thief and the judge from the famous folk tales in the Jame'al-Hikayat was conducted using a descriptive-analytical method using library resources to answer this question:1)How can a Muslim writer tell about the hidden injustices of those trusted by society and give confidence to the people that he aware of the inequality and obliged to criticize? Research shows:The author has created a play with two characters so that they fight for survival in a contest of intelligence, knowledge, and memory. In the debate between the thief and the judge, the relationship between language, power, and ideology is demonstrated. In fact, the Muslim author of this story pits the rhetoric(the role of language and the instrument of power) of the thief against the legitimate social power of the judge, and provides the two characters in his story with the weapon of his Islamic faith with the aim of breaking down inequality and creating social change. He consciously and dreamily, for the mental pleasure of the listener, makes the judge submit and powerless against the wisdom and eloquence of the thief; And he encourages the audience to gain knowledge and acquire personal and social skill, until the effective relationship between language, power, and belief is depicted. https://www.ialcsa.ir/article_235186.html Geoffrey Wagner (1935–2006) authored an influential work in the field of adaptation studies entitled The Novel and the Cinema (1975), in which he proposed the tripartite classification of transposition, commentary, and analogy for the analysis and examination of different types of adaptation. Most Iranian scholars, however, attribute this classification to Deborah Cartmell. This article seeks to introduce Geoffrey Wagner, his significant book, and the aforementioned classification, and—through an analytical-documentary method and by revisiting primary and secondary sources—trace the origins of this common misattribution. Accordingly, the classification is first explained and clarified as it appears in Wagner’s book, followed by a discussion of its significance in adaptation studies. Finally, by reviewing the trajectory of citations to this classification and tracking them step-by-step in relation to its original source, we examine the reasons behind its incorrect attribution to Deborah Cartmell. The findings show that Julie Sanders was the first to mistakenly attribute this classification to Cartmell in her book Adaptation and Appropriation (2006), and that, due to the wide scholarly influence of Sanders’s work, this misattribution has been repeated and reinforced within Iranian academia. Relying on this erroneous attribution, Iranian researchers have cited and used the classification under Cartmell’s name in their own studies. The present study underscores the necessity of consulting primary sources directly, exercising precision in citation chains, and avoiding the reproduction of secondary interpretations. https://www.ialcsa.ir/article_235528.html Literary criticism serves as a means to guide readers beyond the surface-level narrative of a novel and promotes a more comprehensive understanding of the work. Literature possesses the power to transcend storytelling, serving as a mirror reflecting the world around us and enabling readers to confront issues that may be challenging to address in daily life. One such issue is mourning, which is an inescapable aspect of human existence that has persisted throughout history. Its significance has garnered attention from numerous psychologists worldwide who seek to mitigate its negative effects. While mourning has been explored by philosophers, it remains less studied within this field. Notably, Michael Chalabi has uniquely approached the subject of mourning, examining it from multiple perspectives. The current research focuses on Night of Shams, a novel by Milad Hosseini, as an Iranian work with a familiar cultural origin to delve into the concept of mourning. This descriptive-analytical study investigates the various aspects of bereavement experienced by different individuals. The findings reveal that apart from the grief experienced by those close to the deceased, there exists another form of mourning about oneself and one's future following a loss. This type of mourning can lead to deeper self-awareness and personal growth if navigated properly and thoroughly. However, if the process remains incomplete, it may result in an individual's downfall. https://www.ialcsa.ir/article_237322.html This study examines the intertextual relations of Akbar Radi’s play Hamlet with Seasonal Salad with Shakespeare’s Hamlet and other literary hypotexts, using a descriptive-analytical and qualitative methodology. Focusing on how Radi employs Gérard Genette’s five types of transtextuality to rework classical tragedy within the context of the Iranian intellectual identity crisis, the research reveals that Radi transforms the structure of Hamlet into a derivative and altered form, re-creates the protagonist as the ironically named “Professor Chekh Bakhtiar,” and converts Hamlet’s tragic trial into a grotesque, external courtroom scene; intertextual analysis further discloses the marked influence of Chekhov, Kafka, and the Persian tale Amir Arsalan-e Namdar on the play’s atmosphere, language, and themes, while at the metatextual and architextual levels familiar tragic patterns are reinterpretively turned into social and critical satire. The findings ultimately show that, by intertwining various forms of transtextuality, Radi generates a new narrative that mirrors the collapse of intellectual identity and the failure of social classes in contemporary Iranian society https://www.ialcsa.ir/article_237323.html این مطالعه مفهوم بداهه‌بافی در قالی‌های قشقایی را به‌عنوان شکلی تجسم‌یافته، شناختی و تکاملی از روایت بررسی می‌کند و شباهت آن را با هنر عامیانه و هنر مردمی برجسته می‌سازد. برخلاف تفاسیر سنتی که به دنبال معانی نمادین مستتر در نقش‌ها هستند، این پژوهش نشان می‌دهد که روایت از طریق خود فرآیند بافت شکل می‌گیرد. هر نقش، انتخاب رنگ یا تغییر الگو، بازتاب تعامل‌های موقعیتی میان حافظه بافنده، شناخت بدن‌مند و زمینه اکولوژیکی است. بافت بداهه‌بافی تحت تأثیر دانش فرهنگی تجمعی و ساختارهای عصبی سازگار شکل می‌گیرد و دنباله‌های نوظهوری ایجاد می‌کند که با روایت‌های شفاهی اپیزودیک و غیرخطی قابل مقایسه‌اند.با چارچوب‌بندی روایت به‌عنوان فرآیندی پویا و در لحظه، مطالعه نشان می‌دهد که هم بافت قشقایی و هم روایتگری عامیانه به‌عنوان عمل‌های سازگار و نوظهور عمل می‌کنند. معنا از پیش تعیین‌شده نیست، بلکه از تعامل مستمر میان انسان‌ها، مواد و محیط پدید می‌آید و خود فرآیند خلاقانه تبدیل به روایت می‌شود. این دیدگاه بنیادهای شناختی، فرهنگی و تکاملی بداهه‌بافی در صنایع دستی قبیله‌ای را روشن می‌سازد و قالی‌های قشقایی را در چارچوب بحث‌های گسترده‌تر درباره روایت، تعامل با ماده و هنر عامیانه جای می‌دهد. https://www.ialcsa.ir/article_242652.html For a long time, a woman's identity ties to the concept of "motherhood". Fertility is the prelude to suffering that can also overshadow other aspects of his life. Dariush Mehrjui portrays the life of a woman named Leila in the film "Lila" whose married life is in trouble with her infertility. He portrays the suffering caused by Leila's rejection, by "Mother Jun", her husband's mother, for her infertility. This rejection, based on the psychoanalytic theory of Julia Kristeva, a Bulgarian French linguist and psychoanalyst, is an “abjection”. Leila is "abject" by Reza's mother. Therefore, in this research, we try to compare "Leila" and "Mother Jun" characters with a comparative comparison to answer these questions: How does Mehrjui portray Leila's rejection from her married life? What is the process of forming abjections in film? What effect does the process of abjection have on the main character (Leila)? To find the answers to these questions, we will try to study the concept of abjection in the film Leila, using a comparative approach and citing Kristeva's "abjection Theory". In the end, we will see that by accepting this contamination, Leila rejects from her married life, and in the end, this in itself causes the transformation and purification of Leila's personality. https://www.ialcsa.ir/article_242653.html Oral legends constitute rich sources for understanding the worldview, value systems, and symbolic structures of diverse societies. Among these legends, “Shamārān”—as the archetypal embodiment of the “human-serpent” motif—occupies a distinctive place in Kurdish, Turkic, and Indian cultures. The central question of this study is how this mythical being reflects a shared core of human dualities (knowledge/betrayal, reason/instinct, nature/civilization), and to what extent cultural differences have influenced its social and psychological functions. Employing a descriptive-analytical approach and library-based research, this paper comparatively examines the narratives of Shamārān and demonstrates that, despite superficial variations in narrative details—such as Shamārān’s gender, the nature of her relationship with the human hero, or whether the ending is tragic or redemptive—the core elements of the story (the fusion of human and serpent, subterranean existence, emotional bond, betrayal, and access to hidden knowledge) remain consistent across all versions.The findings are interpreted through Mircea Eliade’s semiotic framework—where the serpent symbolizes the dualities of life/death and healing/poison—and Carl Jung’s archetypal psychology, which regards hybrid human-animal figures as bridges between instinct and reason. The results indicate that Shamārān functions not only as a symbol of power, wisdom, and protection but also as a reflection of fundamental human dualities (reason/instinct, beauty/terror, friendship/betrayal), resonating closely with Indian mythological traditions. By emphasizing the “human-serpent” as a universal archetype, this research fills gaps in previous scholarship and opens a space for intercultural dialogue, wherein myth transforms from a didactic tool promoting ethical values (e.g., loyalty to nature) into a contemporary symbol of resistance.