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Showing 2 results for Fantasy
Taghi Pournamdarian, Maryam Seyyedan,
Volume 17, Issue 64 (5-2009)
Abstract
Magic Realism is a modern fiction style. Although it invokes a South American's name and Gabriel Garsia Markez, specially, it is typical of the third world nations. In fictions of this style, reality and fantasy tie together but in the manner that reality dominates fantasy rather than the other way around. Among Persian novelists, Qolamhossein Saedi is inclined to this style in his fictions. It is possible to divide Saedi 's fictions into two groups: The first one, fictions that have been written in Magic Realism style. The second one, fictions in which only traces of Magic Realism can be found. In this article, both groups of fictions and the rational why Saedi followed this style will be discussed.
Mahnoosh Vahdati,
Volume 32, Issue 97 (1-2025)
Abstract
The current study attempts to discuss one of the most mysterious and enchanting biographical anecdotes of Bidel Dehlavi from a Lacanian psychoanalytical perspective. The primary goal is to scrutinize the psychoanalytical evolution of the story's main character based on three significant Lacanian stages of the unconscious: The mirror stage, the Symbolic stage, and the Real order. In addition, the psychoanalytical portrayal of the main character is reflected in the light of Lacanian theories of Fantasy, the Other, Lack, Objet petit a, and Castration. The Lacanian subject in Bidel's story encounters a huge void. To fill this hole, he strives to identify himself with the other or the image that has been painted by his friend, Anub. The barred subject discovers himself in the harmonious and perfect image and strains to recover his lost identity in the flawless picture. The subject is unaware that by entering the Symbolic stage, he would suffer alienation and distortion. Therefore, by clinging to Fantasy, he endeavors to keep the illusion of being complete. However, by stepping into the Real order and facing the trauma of this field and the impossibility of symbolizing his pains, he commits symbolic suicide and breaks the chain of recurring signifiers. The present article concludes that the main character passes through the Mirror stage with an imaginary knowledge of himself, then faces the alienation of the Symbolic stage, and in the Real order, as a psychotic subject, he is baffled between Fantasy and reality and commits a symbolic suicide.
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