Document Type : Original Article
Authors
1
Assistant Professor, Department of Arabic Language and Literature, Faculty of Literature and Humanities, University of Zabol, Zabol, Iran.
2
Associate Professor, Department of Arabic Language and Literature, Faculty of Literature and Humanities,University of Zabol, Zabol, Iran.
10.22067/jall.2026.97697.1630
Abstract
The perplexity of intellectuals amidst conflicting social structures is a central theme in Gha'ib Tu'ma Farman's novel “Khamsat Aswat” (Five Voices), which portrays the lives of five symbolic characters in 1950s Baghdad. This study aims to conduct a sociological analysis of the novel, employing Pierre Bourdieu's theory of practice as its framework. Bourdieu's theory, with its key concepts of field, habitus, and capital, provides an analytical tool for examining the dialectical relationship between the individual and structure and for explaining the characters' social positioning and actions across various spheres. Utilizing a descriptive-analytical method, the findings demonstrate how the concepts of this theory are objectively manifested in the novel's narrative structure and characterization. The analysis indicates that the unequal and non-convertible distribution of economic, cultural, and social capital places the novel's characters in marginal and precarious positions within conflicting fields such as the bureaucratic, journalistic, and familial spheres. Consequently, the bewildered and suspended habitus formed under these conditions—such as Sa'id's passivity or Sharif's performative theatrics—generates ineffective actions that lead to the reproduction of a vicious cycle of failure and paralysis. Thus, the crisis depicted in the novel is not an individual tragedy but rather a necessary outcome of heterogeneous social structures and the absence of an autonomous intellectual field, entrapping the characters in a web of irresolvable contradictions. Consequently, the bewildered and suspended habitus formed under these conditions—such as Sa'id's passivity or Sharif's performative theatrics—generates ineffective actions that lead to the reproduction of a vicious cycle of failure and paralysis. Thus, the crisis depicted in the novel is not an individual tragedy but rather a necessary outcome of heterogeneous social structures and the absence of an autonomous intellectual field, entrapping the characters in a web of irresolvable contradictions.
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