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Showing 2 results for Azarnava
Qolam Ali Fallah, Lida Azarnava,
year 21, Issue 75 (12-2013)
Abstract
The narrative focus has a significant role in the analysis of those techniques that the storyteller uses in creating his own stories. The point of view, with respect to its semantic extension in modern narratives, is a special aspect by which the narrator shapes the temporal, cognitive – emotional and ideological components of his story and the narratee is sometimes led to read the text when the narrator changes and creates various points of view and presents different views. Therefore, the story finds a dynamic process by an interaction among the narrator, the character and the reader. In the story of Rostam and Esfandiyar, the narrator portrays the setting, incidents, characters and their actions, thoughts and inner feelings in an aesthetic and beautiful way and this is done by using different and changeable narrative focuses. In addition, the narrator provides presentation, evaluation and judgment of the story by his absence or presence in some parts of the story and also by combination of two ways of narration and drama. Furthermore, sometimes the narratee is led to a more effective and sincere inspiration of the story by narrating the story from the characters’ point of view. In addition, the narrator expresses his own doctrines and special ideology by using non-narrator focus or the characters’ words; as a result he prepares the situation for the presentation and conjunction of different views or opinions, and in this aspect it equals many modern narratives. The analysis ofa few parts of this story can show Firdausi’s exceptional genius in his creation of this universal masterpiece.
Ph.d Badrieh Ghavami, Ph.d Lida Azarnava,
year 30, Issue 93 (1-2023)
Abstract
Semiotics is an interdisciplinary approach that examines sign systems in a literary work; Among the approaches to semiotics is the theory of Michael Riffaterre, a French-American theorist on the semiotics of poetry. According to this approach, the reader is a very important factor in the process of reading the text; Riffaterre believes that meaning is always present in the text of a poem and only the reader should extract it. In his view, the meanings of poetry should be understood on its own, not by referring its signs to external realizations, and understanding poetry requires the reader to try to find an intertwined network of signs, and in this regard, her approach can also be considered as a reader-cantered critique. In this research, Ebtehaj's poem " Arghavan" [English Equivalent: purple] has been analysed using Riffaterre approach. The central idea of the poem is "the isolation of the poet in an inappropriate social space", which is expressed in different ways in the text of the poem. Although this idea is not mentioned directly in the poem, the widely used propositions and clichés of the language that the poet uses by repeating them in the process of "over determination" or through the "conversion" process, by modifying those propositions, or using the "expansion" process, by extending the general idea to more detailed ideas. In addition, by discovering two semantic processes of "accumulation" as well as "descriptive anthologies", which all come from the same source and guide the poem to induce a single theme, the descriptive anthology of " Azadi" (freedom) that evokes words such as "morning", "spring", "candle", "lamp", "sun", "dawn" and "sun"; In contrast to "Sharayet-e Namonaseb-e Ejtemaei" (unfavourable social conditions) that the "forgotten silent corner", "crypt" and "night of darkness" evoke the same concept.
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