Iraj Shahbazi
Abstract
In order to be able to build a prosperous, free and happy Iran, we need to have a completely correct and realistic understanding of our past. For this purpose, in addition to using the sources provided by historians and sociologists, it is necessary to use other sources, such as literary and artistic ...
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In order to be able to build a prosperous, free and happy Iran, we need to have a completely correct and realistic understanding of our past. For this purpose, in addition to using the sources provided by historians and sociologists, it is necessary to use other sources, such as literary and artistic texts. Such texts seem to be one of the best and most reliable sources for understanding the Iranian society; Because these resources are often not customized. Moreover, literary and artistic masterpieces typically arise in a state of unconsciousness, in which the poet or writer frees himself from the domination of masks and hypocrisy and becomes the unconscious spokesman of himself and his people; For this reason, artistic and literary texts seem to have valuable sociological implications and can modify or supplement the findings of historians and sociologists. Undoubtedly, Hafez's Divan is one of the texts that are in the peak of our country's literary heritage. Apart from its direct references to our cultural and social elements, Hafez's Divan is also structurally a mirror of Iran. In this article, by examining three important issues, namely 1) the structure of Hafez's poetry, 2) Hafez's language, and 3) cultural schism, it becomes clear that Hafez's divan is a clear mirror in which the image of Iran and Iranians can be clearly seen and believed. Hafez's study actually means the study of Iran.
Roozbeh Moradi; Bahman Zandi; Maryam Sadat Ghiasian
Volume 9, Issue 2 , Winter 2019, , Pages 115-139
Abstract
Since the publication of the novel “Savushun”, contemporary female novelists have challenged the traditional crises of Iran’s literary novels via creating female protagonists and even, occasionally, an antagonist. The two studied authors have very well represented the social and identity ...
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Since the publication of the novel “Savushun”, contemporary female novelists have challenged the traditional crises of Iran’s literary novels via creating female protagonists and even, occasionally, an antagonist. The two studied authors have very well represented the social and identity crises of the women within formats unique to them and, in the meanwhile, they have depicted the process of the society’s transition from its traditional to modern forms. The present article intends analyzing the relationships between the literary work, the creator of the work as well as the society wherein the author lives based on sociological literature theory proposed by Lucian Goldman followed by the comparative analysis of these aspects, if possible. In doing so, pivoting about the relationship between the society and the community, the social crises and conflicts and the norms governing the Iranian society, the sociological investigation of the mentioned social concepts will be carried out. The novel “wandering island”, has been successful in representing various viewpoints regarding the social life of women in Iran as well as the social and cultural norms that are somehow interwoven with the history of this country. Ravanipour, as well, has been able to portray the rapid social and cultural changes in conjunction with the southern regions’ ecosystem within the cast of a character named gypsy girl.
