research article
faroogh nemati
Abstract
Extended Abstract
1- Introduction
The government which was empowered after Ayubians in Egypt and Levant was called Mamloukians approximately 656 AH (Anno Hegirae). Mamloukians were originally those slaves who were captured in wars by Ayubians. Inasmuch as they had physical strengths and were great ...
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Extended Abstract
1- Introduction
The government which was empowered after Ayubians in Egypt and Levant was called Mamloukians approximately 656 AH (Anno Hegirae). Mamloukians were originally those slaves who were captured in wars by Ayubians. Inasmuch as they had physical strengths and were great warriors, Ayubians could take the advantage of them in army and military affairs. After a while, Mamloukians seized power and Ayubian`s government gradually dropped out of sight. Then they established a government called Mamlouki. Although their language was Turkish, there wasn`t any desire and tendency to poem and poetry. Hence, poetry in that era were recessed and weakened. Poets, unlike previous periods, inevitably were made to do various jobs and professions to make ends meet. Therefore, each of them was known by the job that holds such as Kahal, Jazar, Varragh, Dahan, Hamami, etc. Not only unsupportive Mamloukians made their lives misery, but also Mamloukians` successive wars with Mangols, who had greedy eyes on Egypt and Levant, and also Crusaders who were looking to reclaim the land of Bayt al-Maqdis, had made people’s lives specially poets in poverty and left them destitute.
Since social situations were appalling and intolerable, Poets started creating the image of themselves and people`s pain and suffering. The other factor that poets were agonized was ruler`s, brokers` and governors` corruption, judges` bribery, worldliness of jurists, stinginess of the new rich (called upstarts). Those who had made the aspects of the society dark and hideous. Thus, poets complained about bribery, corruption and deviation of authorities that more than ever, thrived type of blame and complaint poetry. Consequently, they turned out to be two of the most noteworthy poetry techniques.
2- Theoretical Framework
As aforementioned, the most prominent subjects that comprise blame and complaint poetry in Mamlouki`s era are: poverty, indigence, cruelty, rulers` corruption, brokers` corruption, injustice, judges` bribery , impiety of scholars and jurists, the negligence of the rich to the poor community. Both their poems expressed on solving social problems, making depressed and grief-stricken people smile, and also make poets hidden from rulers` wrath and anger. They mingled the poems with humorous and satirical elements. Ultimately, a type of poetry was created which had complaint and comedy features that nowadays is called Black Comedy.
Direct description of personal traits: Whereas poets made political and social issue as central factor in Mamlouki`s era, their poems totally laced with political and social nature. It can be said that this feature is exclusively for Mamlouki poems and it has been unprecedented in previous periods. The most significant questions in this research are: 1- What is the most important structural and conceptual feature of blame and complaint poem? 2-What are the most prominent political and social issues that had impacts on blame and complaint poetry techniques? 3-What are the most important themes of blame and complaint poetry in Mamlouki`s era?
Indirect Description: The main hypothesis in this research is that the complaint poem affected by political and social situations, entered new level of existence and obtained social and political function while it used to be for personal intentions. Subsequently can be stated that generally Mamlouki poetry and specifically blame and complaint poem are appropriate source for studying the political and social situation of Mamlouki`s era.
3- Method
Research method is descriptive-analytic based on poets` Diwans (Poetical Wokrs) in Mamlouki`s era.
4- Conclusion
Key results of this research are: 1-Successive wars and natural disasters such as diseases, earthquakes and droughts had made the people`s lives tightened. 2- Based on the impacts of overwhelming and appalling situation of those days, the majority of poets and people had lived in poverty and deprivation that led to have unbearable jobs in contrast with Abassid`s era that they were in great comfort and contentment. 3- Since the poets illustrate the truth of social and political aspect such as: poverty, war, natural disasters, governors` corruption, brokers` and judges` bribery in poetry format, their poems laced with political and social nature. 4- Poets of blame and complaint poetry made their verses with satirical elements and can be considered as one of the most vitally technical and structural feature of blame and complaint poetry in Mamlouki`s era. 5- On the account of blame and complaint poetry technique in Mamlouki`s era, political and social events were illustrated. It is a proper source to be accustomed to state and condition of Mamlouki`s era.
research article
hossein ashoori
Abstract
Extended Abstract
1-Introduction
Identify the meaning and semantic connotation is the most important reserchers noteworthy issues. Abd -Al- quhir Al- jurjani is among reserchers who was attended to this subject. He exhibite the meaning of meaning theory pending on pitching the compilers purpose in ...
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Extended Abstract
1-Introduction
Identify the meaning and semantic connotation is the most important reserchers noteworthy issues. Abd -Al- quhir Al- jurjani is among reserchers who was attended to this subject. He exhibite the meaning of meaning theory pending on pitching the compilers purpose in knowing the texts meaning. This theory is the reson for distiniction between slang and poetic language and added a second meaning to the didactic text. In resent decads structuralism and decanstructisms make the new methods replace text comprehention with reversalling this theoy. structuralism know enough text in undrstanding the meaning and decanstruct surrender undrstanding the meaning to the reader and introduce the multiplicity study or writer death.
2-Theorycal framwork
Each reserch has a reserchical structer aod theorical frame that is reserched duration it and after serching the key and formal words the resualt get earn. It can be said that ablo to gething signficance from the text ,have the specific position in didactic reserchs and language studie Arabs resercher have done extended reserchs about meaning of meaning theory and have added wew appinions to it. Western reserchers made basics changes in significance and introduction of two structuralism and decanstructisms.
3-Method
Presen reserch has aim to peruse proces of vicissitude meaninig of meaning from the first up to now and three discovering the significance methods existance in text: dominate the writer's porpuose in text (meaning of meaning) structure dominate (structuralism) and significance unpragmatism (Deconstruct). It can be said this topic is because of compartivecar study between this three new theory and hasn't been accomplished as it up to now .In continuance will be exhibit a briefe explanation about upon three methods.
a) Meaning of meaning: in this method the second and unright signficance become deliberate with standing on metaphor, Allegory and metonymy. This metpde has belived that can discover the main porpose and scompe in the text.
b) Structuralism: in this methode significance undrstanding without contemplate historical, social, political and caltural problems contemplate that is dominate on text and writers days.
c) decanstructisms: in this methode writer is a person who undrstand the significance and currect significance is that reader could undrestand it. Decanstruct dont give up any worthy for writer. decanstruct signify the unpragmatism theory with discuss the writer death theory in which each text is contain thousands significance based on writers undrestand.
4-Consequnt and discription the subject
Meaning of meaning is a lable that was invented for the first time by Abd-Al-quhir Al-jurnani ; this theory is pending on gamut pronunciation means metaphor, simile, allegory and metonymy and practice for the levele after the first significance. Roots of this theory exist on the thoughtfuls letters befor Abd-Al-qahir Al-jurjani under the title like "second significance". Current reviewers use other new terminoloy like: single significance and far functions insted of meaning of meaning.
5-Conclusion
Significance is an esoteric point in text that three upon isms thoughtful's have tried to undrestand it. Meaning of meaning has many diffrences with two structuralism and deconstructuralism as a first significance Try for discovering the meaning in text with two deconstruct and structuralism isms. This theory know the writer and his purpose undrstand significance based in text and has belive to significance twosome in one text ond possibility to discovering clear significance via undrstanding writer's purpose , but structuralism and deconstruct don't give up any prestige for meaning and meaning. Structuralism is based on text way in knowing significance and deconstruct is stand on writer realization for discovering text signiffance and know the writer death theory and unpragmatism significanc as index for undrstanding available significance in text.
Per this two isms, existance two significance spectrum and create don't have any places in knowing the meaning come from text.
research article
kobra rastgoo
Abstract
Extended Abstract
1- Introduction
Functional stylistics, as a new-found approach, is considered as a system between linguistics and new literary criticism because it considers aesthetic issues, valuation, and judgment and is based on linguistic results. So, in encountering a text world, the stylistic ...
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Extended Abstract
1- Introduction
Functional stylistics, as a new-found approach, is considered as a system between linguistics and new literary criticism because it considers aesthetic issues, valuation, and judgment and is based on linguistic results. So, in encountering a text world, the stylistic analysis tries to find the unique beauties of the text ordering, it’s integrated totality, and the ability of the text creator. Stylistic change is one of the miraculous features of the Quran language that can be analyzed based on the new linguistic approach. It occurs on different levels of language. The stylistic change is considered on the levels of sound, phoneme, word, sentence, and text. The major aim of this study is to investigate and to analyze the lexical replacement as one of the most important figures of speech in Arabic stylistic change in the Quran and as one of the semantic development factors of text and its solidarity. This figure of speech has been introduced in the words science in the past and sometimes it was mentioned in rhetorical issues. The researcher tries to answer the following questions to analyze the stylistic change of Quran Motashabehat:
1. What is the equivalent of stylistic change in rhetoric?
2. What is the position of lexical replacement in the last Quranic studies as one of the features of stylistic change?
3. How does the order of lexical replacement in the Quran cope with expressing meaning and the creator’s purposes?
4. What are the functions of stylistic order of lexical replacement?
2- Theoretical Framework
The stylistics and style works have been considered by researchers and modernists in the last years. It doesn’t mean that it wasn’t important in older studies, but this science was indebted to the rhetoric and criticism basics. The modern stylistics has been stablished as a result of linguistic studies of Ferdinand de Saussure and his student Charles Bally in the beginning of the twentieth century. Saussure didn’t pay attention to the speech linguistics, but Bally made big changes in that and coined the term. According to Bally, style appears in a collection of linguistic elements and emotionally effects on a reader or listener. The stylistics duty is to survey the effective value of regular elements. One of the most important kinds of stylistics is the functional stylistics theory. This theory has a functional approach to meanings and experiences. The functional stylistics is based on attention to the meanings, language functions, surveying its structure in relation with language context factors, and interpersonal and social meanings. This theory emerged in contrast tothe formalist stylistics in the late 1970s by trending to the functional stylistics. Trending of stylistics to functional science was largely affected by methods of analyzing language functions especially the functional pattern of Halliday which is really acceptable named functional semantic linguistics or functional linguistics.
According to Halliday, you can change the formal state of a text, either in an oral or a written form. You can use it for an activity (like teaching language to students) or for expressing a lecture. This capability returns to the flexibility of language and its flowing nature. This is a normal feature of language.
In fact, functional semantic linguistics of Halliday is based on surveying the application of language, or language analysis in the context. . Based on this point of view, a language selection will be functional and meaningful, if it is used in a context, a social position or a culture. A functional analyzer intends to explain the semantic function of grammatical, functional, and semantic elements. He surveys the language elements and their structure to explain the semantic function.
3- Method
The researchers believe that one of the stylistic and structural features of the Quran, as a great sample of eloquent text, is its varied surface structure and continuous deep structure. This study, by using the descriptive analysis method and functional stylistics approach, sets the stylistic change as the first step of reading Quran motashabehat, and considers the structural issue of lexical replacement in three levels: noun, verb, and letter.
4- Results and Discussion
One of the most significant results of this study is establishing a link among the rhetoric, traditional science of words, and new linguistic issues, providing a new look to eltefat and the issue of synonyms and derivations in rhetoric and words science. We can also refer to the defamiliarization, highlighting, and creating artistic ambiguity as the most important rhetorical functions of stylistic ordering related to the lexical replacement as the main objective of the study. This figure of speech causes the lexical cohesion of text by developing its meaning. So, it can be considered as a factor of lexical cohesion in functional theory of Halliday and Hasan, and look at lexical cohesion as one of its other rhetorical functions.
5- Conclusion
This paper offers a linguistic-stylistic analysis of verses that have a similar structure, but are stylistically different, and states the reason of style change in the Quran samples. It sees the aforementioned issue as a creative use of language facilities. It also considers the relation of text and context in the light of syntagmatic and paradigmatic axis, and sees the stylistic variety of the Quran as a factor of semantic development and lexical cohesion. It also shows the hidden semantic subtleties in mentioned verses. It is worth mentioning that some issues like structure knowledge, changing the point of view, changing the state, word order, word form, and … are some samples of stylistic change in the Arabic language of the Quran. They are suggested to be analyzed based on functional stylistics theory.
research article
monireh zibayi
Abstract
Extended Abstract
1- Introduction
Epic is an ancient genre that has been the subject of growing attention by many nations and societies since old days, with its emergence in national literature depending on specific historical, social, and cultural circumstances. In the Arabic poems belonging to the ...
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Extended Abstract
1- Introduction
Epic is an ancient genre that has been the subject of growing attention by many nations and societies since old days, with its emergence in national literature depending on specific historical, social, and cultural circumstances. In the Arabic poems belonging to the Era of Ignorance, despite the absence of these conditions, there is no sign of epopee in the technical sense of the word, but one can find poems in which poets brag about their heroism on the battlefield, their heritage and ancestry while at the same time depreciate people from other tribes. Antara’s ode, as a perfect example of such poems, is investigated in the present paper to shed some light on the conventional elements of epopee in this genre and its compliance with epic constructs.
2- Theoretical Framework
A true and perfect epic refers to a fictional poem with heroic, ethnic or national themes that is scene to extraordinary events (Safe, 2000). This genre is completely objective in nature and detached from the poet himself. In this genre of poetry, poet’s emotions are not involved in the original story (Razmju, 2003). In Arabic literature, epic is studied under the title of "Malhameh" and definitions proposed by researchers in this area are not inclusive, with each author sufficing to a couple of structural features and elements of epic.
According to the above-discussed points regarding the definition of this genre, what is meant by epic elements is a series of features that are chiefly used in an epic context. These elements include: fictional nature, struggle between good and evil, national context, dethroned centrality of "I" of the poet, geographic and temporal scope of epic stories, indefiniteness of time and place, mythical structure, miracles, detailed account of weaponry and battles, epic rhythm and tone, epic style, expressive illustrations, descriptions and portrayal of scenes of combat, hyperbole, presence of brave heroes with noble and moral humane attributes, the solitary combat of the hero with his opponent, and love of goddess for him(Shamisa, 2002).
These are the most prominent elements that distinguish epic from non-epic stories. This paper seeks to examine these elements in Antara's ode.
3- Method
In this study, a descriptive method has been adopted. After a brief review of the literal and technical meaning of epic and 'Malhameh' in Arabic literature, and its comparison with the complete form of saga, the most important elements of epic in a poetic system are analyzed one by one in Antara's ode to determine the features that resemble that of national epics in this work.
4- Results and Discussion
Antara's ode has a fictional background. In this ode, there are parts in which the poet offers a narrative account of his achievements and conquers so that some of the fictional elements in their basic forms can be distinguished.
The battle of good and evil in this poem is depicted as an internal battle between poet’s tribe and their enemies in an attempt to defend their territory, which is basically a representation of the bravery of the poet in the eye of his lover. This ode is epic in style and tone and the poet’s use of language (words and phrases), especially literary devices such as simile, metaphor and imagery, description of colors, and the cadence are fraught with epic elements and his exaggerated and hyperbolic manner of narration are similar to epic works. In this ode, the poet depicts a rather unorthodox picture of the hero and his steed and sometimes exhibits behavior that is inconsistent with logic and scientific experience.
A portrayal of Arabic society with its manifestations are reflected in this ode. Like the epics of other nations, this work provides information about the culture, habits and customs, and ethics of the pre-Islamic Arabs and their battles, combat strategies and the type of weapons used in those days.
The events of this ode do not go beyond the boundaries of the battlefield and they are restricted to the heroic acts of the poet in part of Ghabra and Dahs battles.
5- Conclusion
Antara's ode with its epic features can be considered as an example of epic genre, but due to the absence of some primary elements of epic works, and its resemblance of epics in secondary elements and details, it cannot be considered as an epic in the true sense of the word. That is, it only bears a semblance of epics and its poems are wrapped in epic format, which is why it makes more sense to call it quasi-epic or epic-like.
In this ode, the battle is between two tribes rather than two nations. The hero is bereft of a stable and accepted identity and he is primarily motivated by his personal intentions. The emergence of the ode has nothing to do with national chauvin ismas it is tampered with the poet's emotions and feelings. Unlike other epics in which a woman falls in love with the heroic figure of the story, in this ode the hero is infatuated with his beloved and he is engaged in battles and displays daring sacrifices to catch her attention. The realm of heroic events in the ode is not as widespread as the geographical extent of sagas and it covers only a particular period of time. In short, the absence of mythological themes, emphasis on details of lives and affairs, and specification of the time and location of events make Antara's ode more of a historical work rather than an epic one.
research article
mohammad ghafouri
Abstract
Extended Abstract
1- Introduction
Stylistics is a realm of literature that is used as a means to evaluate the value of literary works. The knowledge of stylistics provides a ground upon which the effect of a work of its readers can be assessed with reference to linguistic features and the literary ...
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Extended Abstract
1- Introduction
Stylistics is a realm of literature that is used as a means to evaluate the value of literary works. The knowledge of stylistics provides a ground upon which the effect of a work of its readers can be assessed with reference to linguistic features and the literary prowess and expertise of the author. The unique stylistic features serve as a factor that distinguishes a work of literature from others. In other words, such stylistic features can be seen as the identity of a text that sets it apart from similar works of literature.
2- Theoretical Framework
One of the important issues that is considered in stylistic analysis of a literary work is the analysis of phonetic features of the text language or its phonetic style. Phonetic stylistics deals with the value and application of sounds and their aesthetic effect and role in the speech style. It yields clear and concrete results with regard to the analysis of music in the poetry or prose as well as the literary style of the author (Fotouhi, 2012).
Sermons of the Nahj al-Balaghe exemplify a religious text that is worthy of analysis in terms of phonetic stylistics, for one of its striking stylistic features is lexical and musical arrangement of words or musical elements. This paper is an attempt to study the phonetic style of sermons of Nahj al-Balaghe, hoping to make artist and literature readers more familiar with the phonetic style of Amir al-Momenin and thereby shed further light on its aesthetics and values to offer a new insights about these sermons.
3- Method
In this paper, a descriptive analytical method based on a reference to sermons of Nahj al-Balaghe (the version translated by Dashti) has been adopted.
4- Results and Discussion
One factor that marks the distinction between different styles is the phonetic or musical level that contributes to the beauty and impact of a text.
The analysis of phonetic style of texts helps appreciate their nature and discover their beauty. Moreover, it contributes to exploring emotional and spiritual reactions intended by the author by using specific sounds and music, because it is obvious that sound is a manifestation of inner feelings, and passivity naturally leads to the diversity of sound and voice (Al-Rafei, 1997). In other words, the inner emotions of the author have enabled him to exploit particular sounds and words to create a musical effect that magnifies the impact of the work on its readers (Salih, 2003).
Through an analysis of a work of literature at phonetic level, one can evaluate the performance of the writer or creator of the work, as sounds offer huge expressive potentials; therefore, sounds, songs, their extent and intensity, continuity and repetition, and intervals of silent letters possess immense capacities in terms of expression (Fazl, 1998).
Among phonetic elements that play a pivotal role at this linguistic level and contribute to the emergence of outstanding style of speech are external music, which is judged from the meter and rhyme in poetry, and internal music, which is assessed based on the application of literary devices such as Saj (parallel, balanced, etc.), puns (incomplete, derivative, etc.), and repetition and internal music, which are evaluated by means of conflict and contrast in the text (Shamisa, 1995).
In the study of phonetic stylistics of sermons of Nahj al-Balaghe, we deal with features that are conspicuously manifested in sermons, bestow prominence to the words of Imam and give it a particular form that is distinctive from normal speech and standard language. These features include: rhyme, pun, inner rhyme and music, repetition, contradiction and contrast.
5- Conclusion
The analysis of the phonetic stylistics of sermons of Nahj al-Balaghe suggests that rhyme, pun, inner music (phonotactics), repetition (letters and words), conflict and contrast are prominent phonetic manifestations in the sermons of Nahj al-Balaghe. Meanwhile, Saj and puns have relatively higher frequency than other elements. The music arising from any of these phonetic elements not only adds to the melody and capturing of the minds and thoughts of the audience, but also allows inference of meanings and implicit concepts of the sermons. In other words, Imam Ali (AS) utilizes the music of words in a way that each of these words serve as a symphony and orchestra that touches the strings of heart and inspire a wave of exhilaration, delight or apprehension in the hearts and takes away their fatigue. Besides, it contributes to the evocation of meanings intended by Imam Ali (AS). This play of the music and intended concepts have bestowed striking harmony to the sermons and reinforced the internal coherence of the text.
research article
dr.ali sayadani
Abstract
Extended Abstract
1. Introduction
The title of every literary work is intertwined with its ideological concepts, characters and its other elements; It Challenges the readers' mind, puts forward hypotheses for them, provokes them into a new reading of the text and is like a riddle which the main text ...
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Extended Abstract
1. Introduction
The title of every literary work is intertwined with its ideological concepts, characters and its other elements; It Challenges the readers' mind, puts forward hypotheses for them, provokes them into a new reading of the text and is like a riddle which the main text strives to solve. A prominent literary work for which its author was awarded The Nobel Prize in Literature, The Cairo Trilogy by Naguib Mahfouz is a trilogy whose titles, apparently, are taken from the names of Cairo districts; however, the events that take place in the novel are indicative of the fact that beyond these titles lie hidden meanings, congruent with the overall spirit of the novel in portraying its ideological concepts. The trilogy, which is comprised of three novels (Palace Walk, Palace of Desire, and Sugar Street), depicts the challenges among three generations of middleclass fathers, offspring, and their descendants. In order to lay bare the relationship between the titles of the novels and their axes, semiotic theory, developed by Ferdinand de Saussure, can be used. To this end, the present study aims to answer the following questions:
1. What has the author's main intention been in choosing the names of Cairo's districts?
2. To what extent has the main text of the novel been able to disentangle the titles' puzzle, reflecting the author's main intention?
It is worth mentioning that to this date, this trilogy has been the subject of many studies, though none has studied it from a semiotic perspective.
2. Theoretical Framework
Regardless of researchers' inattention to the titles of literary works, following the success of structuralism in understanding texts, experts grew interested in meanings and titles, leading to the advent of “la titrologie”. Roland Barthes defines “title” as “signifying and sign-based systems into which moral, social and ideological values are embedded” (Alhamdawi, 1997: p96). Charles Grivel believes titles serve three functions: identifying the work, designating the work's subject matter, and playing up the work (Abou-tayyib, 1996: p193). After him, Mitran added two more functions to the list: 1. Historical attraction, and 2. Ideological function (Hoek, 1981: p5). In order to discover the relationship between the title of a literary work and its hidden ideological concepts, one should resort to semiotics.
Linguists define semiotics as the scientific study of linguistic and non-linguistic codes “validated as a communicative tool”. Among the prominent figures in the field of semiotic theory Ferdinand de Saussure and Robert Emmanuel Pirès can be named. Saussure's theory of semiotic hinges upon the notions of signifier, signified, and the relationship between the two. To him, a linguistic sign is comprised of a signifier (a vocal notion) and a signified (conceptual notion). In Saussurian semiotics, signified is not recognized through reference to reality, but it is a mental concept; that is, signified is not the object, but the concept of the object and signifier refers to a concept, and not an object. Assuming the titles of the trilogy to be signifiers, the present research aims to study whether Cairo's districts are the references of these signifiers or whether their perceived concepts were objects of desire.
3- Research Method
The present research, using the titles of Naguib Mahfouz's trilogy in a descriptive-analytical approach and drawing upon semiotic concepts, aims to discover the relationship between the tiles (signifiers) and concepts and intentions behind them (the signified); hence the titles are studied at two levels
First level: title as an independent structure at two grammatical and lexical levels
Second level: title as a structure parallel to the text at a semantic level
4- Conclusion
Palace Walk is the scene of events facing the first generation of “fathers”, characterizing imitation, mindlessness, tyranny, hypocrisy, patriarchy and presenting contradictions that create a problematic protagonist. The events of this novel indicate that members of the family have fallen to the abyss of two types of tyranny: the dominant patriarchy together with British domination, tyranny and colonialism.
Palace of Desire is a portrayal of questioning a father's values and the collapse of his ideals. Characters, in order to become free from the two aforementioned tyrannies, strive to produce solutions to their problems and endeavor; however, their spirits and souls are wounded along this trajectory and they end up in some sort of mental, moral deadlock. In other words, they succumb to some sort of spiritual tyranny and domination.
Sugar Street recounts the process of the development of thought and culture and the creation of social commitment along with the entrance of individuals into social and revolutionary streams. The term “sugar” in Sugar Street boasts two contradictory meanings and begets some sort of paradox, for on one hand the protagonists of the third generation have found a way to emancipate themselves from the problems besetting the two generations before them, which is a reason for euphoria; though unforeseen incidents such as the death of the daughter (Aisha) and Amina (the mother), sours the sweet taste of achievement. In other words, the incidents pertaining to the third generation appear as joyful (The Sugar Street: sugary) and the ones pertaining to the second and the first generation appear as woeful (The Sugar Street: poisonous)
Finally, the characters of The Palace Walk face both internal and external confinements, but in Palace of Desire they mainly face internal, psychological confinement. In Sugar Street, though, the protagonists of the third generation have broken free from the internal confinement and know the path they want to take; notwithstanding the external confinement (political pressure) they are free from the bewilderments of the previous generations, striding toward their transcendental goals, howbeit the tragic backdrop created by the viewpoints of the two generations before them has, also, touched on their lives.
research article
ROOH ALLAH NASIRI
Abstract
Extended Abstract
1. Introduction
Carl Gustav Jung, a famous Swiss psychiatrist, defines archetype as the behavioral themes common among human beings throughout the history. Man through a spiritual journey and in interaction with the archetype completes his individuation. Individuation is a process ...
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Extended Abstract
1. Introduction
Carl Gustav Jung, a famous Swiss psychiatrist, defines archetype as the behavioral themes common among human beings throughout the history. Man through a spiritual journey and in interaction with the archetype completes his individuation. Individuation is a process during which “I” as the center of consciousness moves to ‘self’ which is the innermost part of unconsciousness. Dream and vision are the ones within which the content of archetype becomes clear and interpretable.
Ashahaz (beggar) written by Naguib Mahfouz, the well-known Egypt writer and noble winner in literature can be interpreted considering the basis. This novel, as a psychoanalytical work, has the potential of being interpreted variously. It is the story of the human being’s spiritual journey to the deepest parts of unconscious.
2. Theoretical Framework
The story is about three friends called Omar, Othman and Mustafa, seeking revolutionary ideals, try to assassinate an official but fail. Othman is caught by the police but the two others escape. Omar and Mustsafa live a life of wealth and positions, while Othman is imprisoned but does not give out his connections with Omar and Othman. Omar Hamzavi, the protagonist becomes depressed and gives up his life and work. He indulges in sexual activities with women who do not care about him but want to enjoy the moment. Passing some time in this way he suddenly changes. This is when all darkness vanishes, he feels light and experiences an unreasonable joy. Toward the end of the story, dream dominates and everything is surprising and spectacular.
3. Method
Using a descriptive-analytical method and the approach of psychoanalytic criticism authors try to answer these questions in the present study: how are Jung's archetypes represented in this novel? And how are they effective on the completion of psychological process of individuation in the novel?
4. Results and Discussion
Jung’s important archetypes such as ‘shadow’, ‘mask’, ‘anima’ and ‘rebirth’ are easily traceable in the story. Shadow as the negative aspect of character and the one which man generally denies, is represented in the form of Omar’s feelings of uselessness and inefficacy. The other manifestation is declaiming the ideals and turning to wealth and transient prestige which leads to the masks of ‘reliable attorney’ and ‘magnificent house’. The protagonist wears the masks but they are not his real identity and have to be put away at the end of the story. The archetype of anima is very remarkable in this story. To complete the process of individuation, the protagonist has to test some of the negative and destructive animas – such as the women with whom he experiences short-lived love - to get the positive and constructive anima of his soul. So, the existence of negative animas is necessary for reaching the appropriate anima. The positive anima in this story comes up in the form of Omar’s wife (Zeinab) who is kind, loves her family and is pregnant (pregnancy and birth are symbols of constructive anima). The other effective anima in the story is Bathia (Omar’s daughter) who loves poesy. Omar himself was a poet when he was young but in the second part of his life he puts it aside.
Rebirth is the other important archetype in this story in which the protagonist, after having a very difficult journey, finds himself. At the end of the story Omar Hamzavi’s poetic illuminations appear and he remembers his forgotten poems. Samir, Omar’s son, is born. This can be considered as Omar’s ‘self’, since to Jung, child is a symbol of ‘self’. Going back home is also the sign of completeness of individuation process and success in ‘self-discovery’. In the end, the protagonist successfully passes the masks and shadows. Othman is a symbol of reconciliation of conscious and unconscious. Omar meets Othman after several years. This is again a symbol of meeting self (rejoining the unconscious and conscious), especially because the meeting happens after his son is born (rebirth) and returns home (the end of journey in unconscious). Othman has been imprisoned for several years and this is a symbol of Omar’s imprisonment with the fetter of shadow and mask and Othman’s release from prison means Omar’ return to life.
5. Conclusion
Considering all aspects of the story and Jung’s ideas, it can be concluded that all characters of the story are different aspects of one person, i.e. Omar (protagonist). Bathina and Zeinab are positive animas of his soul and Warda, Mona, and Margaret are negative and destructive animas. Othman (the one whom Omar has forgotten for many years) is considered his lost half and Mustafa (who always asks Omar to ignore the individuation and his past problems) is the symbol of the shadow of Omar’s personality. One of the reasons of coming to the conclusion is Omar’s surprising dream at the end of the story.
Omar is a symbol of modern man that sadness, depression, and fear of death have ruined his peace and science is incapable of treating his spiritual disaster.
