Literary interdisciplinary research
manoochehr joukar; ghodratollah zarouni; sara baharvand
Abstract
1.introduction
Social Constructionism is an approach that has been widely employed in numerous academic disciplines, such as psychology, sociology, philosophy, and literature. According to this approach, knowledge, meaning, and truth are understood to be socially constructed, and the structure of knowledge ...
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1.introduction
Social Constructionism is an approach that has been widely employed in numerous academic disciplines, such as psychology, sociology, philosophy, and literature. According to this approach, knowledge, meaning, and truth are understood to be socially constructed, and the structure of knowledge is influenced by social connections. They believe that all these social and individual actions are human creations and artifacts grounded in history, culture, and society and since these processes are subject to variability, the resulting reality is likewise variable. In fact, they do not deny human creations, rather, it serves to emphasize the constructed nature of tangible realities such as cultural practices and economic disparities, as well as intangible aspects like emotional articulations of familial dynamic which have become an institution or a habit as a result of repetition occurrences are products of construction. From the perspective of constructivism everything should be challenged and the mental and semantic deposits should be destroyed. In other words, they seek to discover the reality of how these things and phenomena are constructed and what is behind them?
Since social constructivism is a critical approach, its foremost concern lies in highlighting the ways through which we perceive and construct our reality and the analysis of literary works through this perspective unveils the hidden truths beneath their outer layers, exposing the depths of these texts. "The novel Suvashun stands out as a significant contemporary piece of fiction, characterized by its linguistic prowess and profound storytelling. Addressing pivotal social and cultural themes, a closer examination of this novel from a social constructivist viewpoint can offer fresh insights into its portrayal of the societal dynamics."
1- 2 Materials & Methods
Given that social constructivism intertwines with a critical approach and inherently concerns itself with society and the environment, this research endeavors to employ the library study method and the descriptive-analytical method. Our initial step involves scrutinizing and documenting pertinent evidence and concepts from Suvashun's novel, following which we will assess and analyze these findings through the lens of social constructivism.
2- Discussion & Result
A constructivist reading of narrative texts refers to a literary and analytical approach in which the narrative text is regarded as a dynamic and multilayered structure. This approach focuses on the structuring of narrative elements, characters, setting, and events, emphasizing their impact on the audience's understanding and interpretation. Based on the theory of social constructivism in prominent literary works of each period or era, it can be argued that literary works, rather than directly reflecting social realities, actively construct these realities through their narrative structures. From a constructivist perspective, Simin Daneshvar’s works, particularly the novel Suvushun, effectively address social conditions, including the role of women, patriarchy, ethnic and familial relationships, and the presence of foreign powers in Iran. In Suvushun, Daneshvar illustrates how Iranian society’s social conditions evolve under the influence of historical, cultural, and political events.
3-Conclusion
The narrative of Suvashun stands as a notable exemplar for examination through the lens of social constructivism. Gender, power dynamics, familial structures, societal influences, and religious elements constitute the facets scrutinized in this investigation, viewed through a constructivist framework. When it comes to gender, it must be acknowledged that gender disparities and prevailing social roles within society stem from the impact of intricate social and cultural dynamics. Suvashun's novel portrays Zari as a symbol of freedom and a strong commitment to family values. Initially, she adopts a conservative approach to safeguard her family's well-being. However, following the tragic demise of her husband, Yusuf, a figure synonymous with genuineness, intellect, advocacy for justice, and support for the underprivileged, Zari undergoes a transformation. She emerges as a vocal advocate for social change, embracing the role of a passionate social activist. In light of the social milieu and environmental factors shaping her circumstances, Zari emerges from a state of passivity to assume an active role within the social sphere as a woman. In Suvashun's novel, the act of swearing to Hazrat Abbas by Joseph's shepherd, like many other events in the story, can be considered as a symbolic element in the process of constructing meaning and interpreting reality. This gesture may serve as a symbol of deeply held beliefs and values that guide individuals in their pursuit of truth and enlightenment. Lying is a social construct created by individuals in society that has an impact on relationships and social realities. Factors such as culture, values, attitudes, and social conditions can play an important role in the formation and spread of lies. In this novel, Zari resorts to lies in the story of giving Khosrow's horse to the ruler's daughter, employing this gesture as a pre-emptive measure to avert a perceived future outcome. Zari's skepticism in this text stemming from his critique and analysis of social structures and values, as well as his criticisms and cultural and social background, may influence his decisions and actions. With statements of herself, Zari shows that she recognizes fear, inefficiency, and softness as her qualities and needs to justify these qualities. The exchange of perspectives between Zari and Yusuf shows that fear and doubt are normal in life decisions, especially when we are faced with change, and social connection can also play an important role in influencing one's decisions. This story vividly illustrates the profound impact of power distribution within societies, unveiling how power can create different realities that cause a variety of effects on social behaviors and communication.
Literary interdisciplinary research
sara chalak
Abstract
Preface
The novel "The Horrifying Confessions of a Dead Turtle" by Morteza Barzegar is the result of the author's grotesque approach to events. Grotesque is a way of looking at existence that was originally referred to as a style in painting and art, and was modeled after the style of ancient cave painting; ...
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Preface
The novel "The Horrifying Confessions of a Dead Turtle" by Morteza Barzegar is the result of the author's grotesque approach to events. Grotesque is a way of looking at existence that was originally referred to as a style in painting and art, and was modeled after the style of ancient cave painting; That is, complex decorations and the interweaving of disparate elements. The expansion of the meaning of this word and its spread to the field of literature took place in France in the 16th century. But it did not come into widespread use until the 18th century and the Age of Reason and Neoclassicism. One of the important characteristics of the grotesque is its comical aspect; But laughter in the grotesque has a special style. Ugly issue is so disgusting and strange that the mind cannot accept it. The shock and horror take on a comical aspect. In fact, the absurdity and impossibility of the subject evokes a reaction of laughter in the audience. The grotesque vision actually ridicules every serious, sacred matter, and every complex situation. This alienation introduces a person to a strange aspect of life. Existence is an unsolvable puzzle that bewilders man amidst terrifying and satisfying things. Every good deed can have a dark side hidden within it that causes human confusion and confusion. Grotesque's approach to the world is a reflection of this human desperation between evil and good. Our goal in this research is to answer two questions:
How are the characteristics of grotesque literature manifested in this novel?
2- Where does the grotesque narrator's (first person) statement originate?
Keywords: novel, grotesque, embodiment, mockery, unconscious, death
Methodology
In this article, using a descriptive method of content analysis, we analyze the elements of grotesque and how the author is influenced by these elements, and also examine the origins of the novel's narrator's tendency to use grotesque language and components.
Research outcome
In the novel in question, the main character, who is the narrator of the entire story, uses humorous language to turn the most difficult and overwhelming events in life into a terrifying farce. The narrator uses death and the images and customs surrounding it as a pretext to confront the reader with fear combined with an unconventional laugh. This style expresses the grotesque's unique view of life.
In this novel, the characters, sensitive situations, human relationships and emotions, customs and rituals are all influenced by this perspective. Bitterness emerges in ridicule, and a ridiculous paradox is formed of mourning and humor. The characters in this novel appear with all their physical and psychological flaws.
The body is an important issue in the grotesque category; not as a perfect and desirable form, but with exaggerated mention of flaws and shortcomings. Deformed faces, deformed limbs, and diseases whose description is usually accompanied by a sense of shame, feature prominently in Grotesque's works. Physical matters such as eating, defecation, and sexual relations are also revealed in an extreme way. Frantic descriptions of hunger and insatiability are evident throughout this novel. The description of eating often takes on a disgusting form, creating humor mixed with hatred. Another frequently used element is foul language, profanity, and obscene jokes, which are considered to be clear signs of grotesque.
result
In the novel The Horrifying Confessions of a Dead Turtle, the tragic and horrific situation of the death of the narrator's wife takes place in a grotesque atmosphere. The satirical language of the characters, physicality, inversion, and distortion of values are important characteristics of the style of this work, which have been analyzed in the article with various evidence. An important point that emerges from this research is the discovery of the roots and origins of this type of grotesque attitude in the novel. The narrator's subconscious is involved in unpleasant experiences and events that have affected his mind and language. Fear of death is one of the most important reasons for the emergence of grotesque in this novel. To cope with this unconscious fear, the narrator turns to humor and jokes. His role-playing and effeminacy can also be interpreted as a grotesque mask linked to the fear of death.
Literary interdisciplinary research
Mohammad Daneshgar; Reza Chehreghani
Abstract
Introduction
Raziq Faani is one of Afghanistan's prominent contemporary poets, who, with the help of high formal and content values, has dealt with social criticism, reflecting personal feelings and describing human-social issues. He has expressed romantic, social, mystical, didactical, and resistance ...
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Introduction
Raziq Faani is one of Afghanistan's prominent contemporary poets, who, with the help of high formal and content values, has dealt with social criticism, reflecting personal feelings and describing human-social issues. He has expressed romantic, social, mystical, didactical, and resistance themes in the form of Ghazal, Qaseede, Masnavi, Qatae, Robaa'i, Chaharpare, Ghazal Masnavi, and Nimaa'i. Even though Faani has a complete command over the rules of classical and seminal poetry and is well acquainted with different aspects of Persian poetry and literary traditions. But his poetry and personality have remained unknown to Iranian literary lovers and researchiss and have received less attention in this country. For this reason, with the aim of analyzing the trantextual relationships of Razagh Faani's poems, the present research investigates the influence of the form and content of the predecessors' poetry on Faani's poem, and by using Genette's transtextuality theory, she studies and examines Faani's inspiration from the pioneers of Persian poetry. Thisefore, this research tries to get detailed answers to the following questions:
Which classical and contemporary poets of Persian poetry influenced Raziq Faani?
Transtextual relationships in Faani's poem are based on which types of transtextuality are established?
Faani has often followed which poets in a systematic manner in his artistic creations?
Review
Raziq Faani is one of the prominent figures of Afghanistan's contemporary poetry, who often pays attention to the basic features of romanticism and his sonnets are aesthetically prominent. Affection in Faani's poems mostly carries political and social concepts and sometimes the sadness of migration and displacement is added to these concepts and makes the content of his poems rich. Because Faani has a good ability in lyric writing, literary industries have been skillfully used in his poem and have increased their beauty.
Generically, Faani's poems are written with simple and intimate words, and this simplicity and intimacy are accompanied by effect of speach, elegance of language, moderate modernity, and fluid emotions. Also, the horizontal axis and the syntactic structure of most of Faani's poems are created by breaking the norms and this feature is prominent in some of his sonnets and half-lengths, which has increased the quality of the inner music of Faani's poetry. Faani paid attention to different poets in composing poems and was influenced by Abu Salik Gorgani, Rudaki, Ferdowsi, Molavi, Hafez, Bedil, Moshtagh Esfahani, Yaghma-ye Jandaqi, Shater Abbas Sabouhi, Ismael Balkhi, and Simin Behbahani based on different types of trantextuality relationships.
Conclusion
Faani is one of the prominent poets of Afghanistan's contemporary poetry, who has reflected romantic, social, critical, resistance, didactical, and mystical themes in the forms of Ghazal, Masnavi, Qaseede, Robaa'i, Chaharpare, Makhmas, and Nimaa'I. For this reason, the findings of the current research on the topic of "The Survey and Analysis Study of Trantextuality Relationships in Raziq Faani's Poems" are as follows:
Faani paid attention to the writing of ten ghazals, three masnavis, two qaseedes, and one makhmas in the poems of Abu Salik Gorgan, Rudaki, Ferdowsi, Molavi, Hafez, Bedil, Moshtagh Esfahani, Yaghma-ye Jandaqi, Shater Abbas Sabouhi, Ismael Balkhi, and Simin Behbahani based on the relationship types of intertextual, paratextual, and architextual.
He wrote one qaseedeh based on the inspiration of Abu Salik; one masnavi with influence from Rudaki's Kalila and Demna; one Masnawi epic by imitating of Ferdowsi; two Masnawis, one qaseede and a Ghazal influenced by Masnavi of Mawlavi and his Ghazals; one ghazal masnavi and three ghazals according to Hafez's ghazals; two ghazals according to Bedil's ghazals; one Makhams according to Moshtagh Esfahani's poems; one ghazal with the influence of Yaghma-ye Jandaqi's poems. He wrote one ghazal with the inspiration of Shater Abbas Sabouhi one ghazal by imitating poem of Ismael Balkhi, and one qaseedeh with the influence of Simin Behbahani.
Faani paid more attention to Molavi and Hafez and was systematically influenced by these two poets based on the types of intertextuality, architextuality, and paratextuality.
Keywords: Afghanistan's contemporary poetry, Razaq Faani, transtextuality, Gérard Genette.
Literary interdisciplinary research
vahid sajjadifarfar; moosa parnian; Hamidreza Shairi
Abstract
Introduction
Iranian folk short tales are accounted among the most important types of classical narratives in which the mechanism of producing meaning from the point of view of semi-semantics in classical narratives have formed based on the two components of "having and not having", that is why the ...
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Introduction
Iranian folk short tales are accounted among the most important types of classical narratives in which the mechanism of producing meaning from the point of view of semi-semantics in classical narratives have formed based on the two components of "having and not having", that is why the object is the main motivation for the formation of the action process of the subjects in Iranian folk short tales or any other classical narrative, which these objects can have a different appearance in each story, which subjects experience a special kind of shortcoming in relative to them; For this reason, knowing the shortcomings that the subjects feel towards the objects and also explaining the types of objects, provides a better understanding of the meaning production mechanism in these stories; Therefore, in this research, how the objects appear and the feeling of shortage that the subjects feel towards the objects, according to the semantic class of the subjects (social position) as well as their central or secondary position, has been stated as an important issue in the form of two questions. It can be analyzed below:
In Iranian folk short tales, the subjects enter into an action process based on what feelings of shortcomings they have towards the objects?
In Iranian short folk tales, objects appear in the form of what components and what is their frequency?
Materials & Methods
In this research, with analytical- descriptive method which is influenced by the discourse semi-semantic approach in classical narratives. A try have been made that with regard to semantic class of subjects, which includes five classes of ordinary or peasant-subjects, average subjects, special or ruler subjects, legendary subjects and mythological subjects, as well as their focal or secondary position, 661 subjects in 201 short Iranian folk tales - collected from the four-volume collection Dokhtar-e Naranj and Tonraj, What did the flower do to the fir tree?, Arusak and Sang-e Sabor, and Iranian stories, collected by Seyyed Abolqasem Enjavi Shirazi, it should be analyzed to explain and investigate the possible shortcomings of the subjects in relation to the objects and their types or possible types.
Discussion & Result
The findings of this research show that the subjects in these stories have five classes: normal or peasant-subject, average, special or ruler-subject, legendary and mythological, in compared to objects, have experienced two types of shortcomings: affirmative (must be), privative (must be again) and a feeling of the danger of privative shortage (must not be lost), among which affirmative shortcoming have the most frequency, and also the objects in these stories are divided into four categories: abstract objects, inanimate objects, merely animate objects, intelligent animate objects. It has been shown that the type of abstract objects includes any mental non-tangible and non-invisible things such as: revenge, honor, title, etc. Also, inanimate objects in these stories include all inanimate touchable and visible things, among which we can mention such things as: treasure, magical pot, magical relic, etc. in these stories. But the merely animate objects in Iranian folk short tales include: animals, birds and creatures that lack any human consciousness, for this reason they can never be placed in the position of an independent subject; But the last group of objects in these stories are intelligent living objects; In means that these objects are living beings, whether human beings or mythical creatures, that can be an object for another subject while being a subject and having an independent action process.
Conclusion
The results of this research, according to its findings, show that affirmative shortcomings have the most frequency in these stories, and this frequency is mostly manifested among special sub-subjects. Also, the data of these statistics show that the privative shortcomings have had the lowest frequency in these stories and its highest frequency was among the focal ordinary subjects. Also, the findings of this research show that abstract objects have the highest frequency in these stories, and in terms of being focal or secondary, as well as the five semantic classes, they have been seen more among specific secondary subjects, while living objects have the least frequency in Iranian folk short stories. this object is mostly seen among medium focal subjects. Therefore, in these stories, the subjects have looked for something that they have never had, and the most objects that have been searched for, in these stories are abstract and mental objects.
Literary interdisciplinary research
Fahimeh Shakiba; Hamed Mowlaei Kuhbanani; Fatemeh Mohammadi Rafsanjanipur
Abstract
Introduction
To determine the linguistic category of Persian based on typological models, some researches have been conducted, and in some of them, hypotheses have been proposed about the non-correlation of sentence word order and the word order of other phrases.
Among noun phrases, the Adpositional ...
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Introduction
To determine the linguistic category of Persian based on typological models, some researches have been conducted, and in some of them, hypotheses have been proposed about the non-correlation of sentence word order and the word order of other phrases.
Among noun phrases, the Adpositional phrase is one of the problematic phrases in linguistic studies; the reason for this is the existence of different definitions and functions for the Adposition. Some researchers, such as Dryer, believe that cross-linguistic findings show a tendency for verb-final languages to use postpositions and object-final languages to use prepositions (1991: 34). He and Haspelmath, in a comprehensive study, divided the world's languages into three categories of prepositions, interpositions, and postpositions based on the position of adpositions relative to the noun phrase. They believe that prepositions and postpositions are the most common forms of adpositions in the world's languages. However, the results show that some languages do not have prepositions at all or use prepositions and postpositions relatively equally (2011: 178). New Persian does not conform to Dryer's theory in this respect and is considered a typologically disharmonic language. To further examine this, here an attempt is made to study the historical course of this issue with consideration of evidence from Middle Persian.
Middle Persian, a language of the Western Middle Iranian branch, exhibits a unique adpositional usage pattern, employing adpositions both before and after the noun they modify (Abolghasemi 2013: 266). This characteristic sets it apart from many other languages, which typically adhere to either a prepositional or postpositional system.
To illustrate this distinctive feature, this response delves into a comparative study of adpositions in two notable texts: The Middle Persian Kārnāmag ī Ardaxšīr ī Pābagān and the New Persian Zoroaster's last journey.
Kārnāmag ī Ardaxšīr ī Pābagān, possibly dating back to the 7th century AD, narrates the life events, rise to power, and battles of Ardaxšīr ī Pābagān, the founder of the Sassanian Empire. In contrast, the novel Zoroaster's last journey (Keshvari, 2007) revolves around the life and deeds of Zoroaster.
Despite its significance in Middle Persian grammar, adpositional usage has received relatively scant scholarly attention. Among the notable contributions in this area are the works of Azhideh Moghaddam (2005 and 2009), which provide a comprehensive overview of Middle Persian adpositions. Additionally, Lazard (1975 and 1986), MacKenzie (1990), and Skjærvø (2013) have also addressed the topic of adpositions in their respective studies. In contrast, research on adpositions in New Persian is more extensive, with numerous studies complementing the existing grammar books (see bibliography).
This research stands out from previous work by employing a theoretical framework based on Dryer’s Branching Direction Theory to examine adpositions in both Middle and New Persian. This novel approach offers a fresh perspective on adpositional usage in these two closely related languages.
The primary goal of this study is to determine the frequency of different types of adpositions: simple prepositions, compound prepositions, simple postpositions, and compound postpositions. In this context, the focus is on the occurrence frequency of prepositions, rather than the number of unique prepositions.
Here, the study delves into the classification of adpositional phrases (APs) based on the position of the core, the central element of the phrase. To effectively categorize APs, both structural and semantic criteria are employed. This approach ensures greater precision and confidence in identifying and analyzing APs.
The study aims to address the intriguing question of why Persian, throughout its Middle and New Persian stages, has not consistently adhered to either a core-initial or core-final typology. Instead, Persian exhibits characteristics that fall between these two extremes, possessing elements of both. This typological ambiguity sets Persian apart from languages that exhibit a more consistent core-initial or core-final structure.
Methodology
This research employs Dryer’s Branching Direction Theory (1992) to examine the usage of adpositions in Middle Persian text from the Kārnāmag ī Ardaxšīr ī Pābagān and New Persian text from Zoroaster's last journey. Dryer’s Theory is based on the correlation between 23 pairs of features and the order of verb and object across languages. Features 1 (postposition/preposition) and 23 (object-verb order) exhibit unique behavior in both Middle and New Persian, encompassing examples of both possibilities. Hence, they are termed “bifurcated features”. The study provides a statistical analysis of the frequency of each variant of Dryer's Feature 1 in the two selected works of Middle and New Persian. This analysis serves as evidence for further examination of DabirMoghaddam's Hypothesis 34 (2013) and other works that claim a shift in Persian's typological alignment.
Findings and Observation
In Middle Persian text:
3% of prepositional phrases (PPs) exhibit core-initial (prepositional) structure.
3% of PPs exhibit core-final (postpositional) structure.
4% of PPs exhibit both core-initial and core-final structure.
In New Persian text:
73% of PPs exhibit core-initial structure.
27% of PPs exhibit core-final structure.
Both Middle and New Persian demonstrate a preference for prepositional over postpositional PPs. Furthermore, New Persian exhibits a particularly strong inclination towards prepositional PPs, with only one postposition (“rā”) and even its status as a true postposition being debated among linguists.
Conclusian
The proportions of core-initial and core-final prepositional phrases (PPs) in the two analyzed works do not exhibit a perfect match, and Middle Persian has a higher number of postpositions. The lower percentage of postpositions in Middle Persian is attributed to the author's emphasis on the dominant prepositional tendency in each work individually, rather than indicating a typological shift from Middle to New Persian. According to Dryer (1992), object-verb (OV) languages tend to use postpositions, while verb-object (VO) languages tend to use prepositions. Since both languages retain both OV and VO word order and exhibit an intermediate position between strong verb-final and strong verb-initial languages, it can be concluded that while both works exhibit an intermediate OV-VO order, both languages also exhibit an intermediate preposition-postposition order. Based on the statistics presented here, Middle Persian, with its higher number of postpositions, may naturally lean towards OV languages, while New Persian, with only one postposition (“rā”), may lean more towards VO languages.
Literary interdisciplinary research
Saeedeh Tahiri Rustomi; Mandana Mangeli; Soheila Mousavi Sirjani
Abstract
Introduction
The present paper examines the behavioral traits of the characters in the novel Fall of the Final Season of Nasim Marashi (born in 1984) based on the theory of traits from the point of view of Raymond Cattell (1905-1998 AD). The main characters of the mentioned novel are three women named ...
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Introduction
The present paper examines the behavioral traits of the characters in the novel Fall of the Final Season of Nasim Marashi (born in 1984) based on the theory of traits from the point of view of Raymond Cattell (1905-1998 AD). The main characters of the mentioned novel are three women named Leila, Roja, and Shabana who have behavioral traits that are involved in migration, family, emotional, and work relationships. One of the viewpoints about personality can be called Raymond Cattell's trait theory. This theory tries to describe the person’s traits caused by their behavior. According to Raymond Cattell, traits are a psychological structure inferred from specific human behavior observation. In a person's personality, formal traits are obvious and superficial, and their durability is very short, while deep traits are durable and are more important in Cattell's view. Raymond Cattell presents sixteen factors about personality traits, thirteen of which can be seen in the novel under review.
The present paper tries to answer this main question in a descriptive-analytical way, based on Cattell's theory. The characters of the novel and their main types are analysed in the study. According to the results of the research, the most common character type based on Raymond Cattell's personality type theories is the anxious and disturbed character. This character appears in the autumn story in the last season of the year. The other prominent character is that of the night mother. She is worried and disturbed due to social problems, working outside the home, and taking care of her mentally retarded child.
Materials & Methods
This paper is written based on library tools and the research findings and is presented in descriptive and analytical form.
Discussion & Result
Characters are significant in the novel because they move the story forward with their behavior and speech. Fictional characters reflect life, effort, spirit of altruism, pessimism, optimism, jealousy, etc. In characterization, the author must always be with the characters of her story and live and get familiar with them, and progress her story by using the character's presence in the novel in the form of behavior, speech, and actions. The characters must act, or the story will feel like an essay. Therefore, the character of each person in the fiction shows the author's processing method and the specific purpose that the writer has for creating that character. In addition to the novel, characters are also important in psychology. From this point of view, they can be used in interdisciplinary research. Interdisciplinary research is a solution that should be considered to speed up the promotion and spread of scientific development to provide a platform for researchers of all disciplines. This problem leads to the knowledge of more scientific efforts. Raymond Cattell's theory of personality and personality traits is one of the topics discussed in psychology that examines personality theory from Cattell's point of view. The novel Autumn is the Last Season of the Year by Nasim Marashi, is a character-oriented story. This research tries to investigate the similarities between the characters of the above-mentioned novel from Cattell's point of view. This paper answers the following questions:
- In the story of autumn, it is the last season of the year, can this be accepted and approved character based on Cattell's theory?
- In the story of autumn, it is the last season of the year, can there be a despicable character according to Cattell's theory?
Conclusion
In the story of autumn, it is the last season of the year, the accepted and approved character based on Cattell's theory is Roja, who is independent, self-reliant, and bold.
In the story of autumn, it is the last season of the year, according to Cattell's theory, the despicable character who is always anxious and disturbed is the night mother, whose anxiety casts an ominous shadow on her family.
In general, anxious characters (three types) and risk-taker characters (two types) are assigned to the highest frequency in the novel Autumn is the last season of the year.
Other results of this paper include the following:
In the novel Autumn is the last season of the year, according to Raymond Bernard Cattell's opinion, Nasim Marashi used the method of investigating the life case to achieve the deep characteristics of the characters which include information about the person's past obtained through the official records of the centers or interviews with the person's friends and family. This is the same method used in the characters of the three protagonists and the main narrator of the mentioned novel, namely Leila, Roja, and Shabana. By comparison with other people in the story, Leila is among all the characters who possess the dynamic traits, abilities, and temperament from Cattell's point of view.
Literary interdisciplinary research
Somayyeh Al-Sadat Tabatabaei
Abstract
Introduction
Following Propp, Peter Gillette tries to find out the secret of the joint creation of wonderful stories and to reveal its connection with its surroundings. He based the textual and contextual model of PROP tries to present a more efficient model by revising it. Gillette needed a textual ...
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Introduction
Following Propp, Peter Gillette tries to find out the secret of the joint creation of wonderful stories and to reveal its connection with its surroundings. He based the textual and contextual model of PROP tries to present a more efficient model by revising it. Gillette needed a textual theory to explain the joint construction of these stories. In addition, stories have meanings and connections with each other and tell important points about the world in which we live.In this way, a contextual theory also finds its way into Gillette's studies.He defined a common textual format to achieve a global textual-contextual theory;Then, based on that format, he discussed the metatextual reasons of the originator of the legend.Gillette's most important claim is that his proposed model includes all the wonderful stories of the world. He also emphasizes that his model is interested in both text and hypertext. So,this article will find the truth or falsity of these two claims in connection with Iranian and Arabic legends.In other words, the main question is, to what extent are the wonderful stories of Iranian and Arabic magic consistent with Peter Gillett's textual- contextual pattern?
Materials & Methods
In this research, the method of Peter Gillette in the book of Vladimir Propp and the global oral story is used.In this work, he bases his theory on the adjustment of the Propp model.Then it measures its efficiency through its compatibility with stories from different lands. We said that Gillette pattern has two dimensions:textual and metatextual(contextual).The rite of passage is the foundation of the textural part. After examining the structure of the story, he adapts its constituent parts to the rite of Initiation.
Discussion & Result
In this research, five Iranian legends and five Arabic legends have been examined. Iranian stories: 1.The Golden Bird 2.The Magician and the Six-Legged Horse 3.Nosh-Afarin 4.Shorbalul 5.Hazardastan
Arabic stories: 6.Al-Ghali and Al-Bali 7.Al-Ghazal 8.Al-Worud Al-Ajiba 9.Al-Rahla to Al-Waq Al-Waq 10.Tayir al-Risha.
Functions of legend
1.The first situation: This situation, which is the beginning of the story, sometimes involves a deficiency (prime deficiency) and sometimes it is related to a mistake (prime mistake) that occurs on the the hero or one of his people. This function is the first and main driving force of the story.
legend
First deficiency/error
Second deficiency/error
Third deficiency/error
Fourth deficiency/erro
1
The cure for the princess's insanity
Find the golden bird
Rescue the girl from the demon
2
Kill the white demon
Save the wife from the witch
3
Finding the leaf of darkness
Canceling the magic of the princess and saving the brothers
4
Save the girls of the black devil, the red devil and the white devil
Finding the Shorbalul
Saving the three sisters from the demon
7
Finding Parizad's daughter and marrying her
Violating the prohibition (no entry to the room)
Finding the demon's glass of life
9
Fulfilling the condition of marrying ten brothers with ten sisters
Saving the wife from the clutches of the witch
10
Find the golden bird
Find the magic horse
Find the magic pomegranate
Bringing the daughter of the Jewish king
2.Interaction with the helper:The helper is the one who helps the hero in fulfilling his wish and reaching his goal; Now,this help can be in the form of guiding or giving magic or directly.
1
2
3
4
5
6
7
8
9
10
Man - helper
*
*
*
*
*
*
*
*
animal-helper
*
*
*
*
*
*
magical creature
*
*
*
*
*
guidance
*
*
*
*
*
*
*
*
*
*
Giving a magical device
*
*
*
*
*
*
*
Direct help
*
*
*
*
*
Help at the border of two worlds
*
*
*
*
*
*
*
*
*
Help among another world
*
*
*
*
*
3.Interaction with the princess:
Princess's connection with the other world can be divided into three categories:in the first category, there is the most dominant connection; Because the princess is the queen of another realm (Noush-Afarin in story 3;Golia Gol-zadeh in 4;Balqis in 5). In the second category, the princess is the daughter of the king of another world(4-7)and in the third category, she is the captive of the ruler of that realm. In this type, the girl is often kidnapped by a demon/witch (1-2-6-8-9-10).
4.Interaction with the enemy
All the important encounters of the other world's powerful being, that is, the hero's most important enemy, which is equivalent to the evil persona of the prop model, are included in this function. The meaning of the enemy is not the one who is incompatible with the hero in the ordinary world, but the one who asks the hero to do a difficult task;Something that may seem normal, like eating sweets, but to do it, you need magical power and other help.
5.Return of the hero
After passing the tests, the hero gets what he wants and returns to the normal world. Sometimes, on the way back, the ruling forces of the other realm follow him to take back what he stole from them and prevent him from crossing the borders of the other world.We don't have such a case in the ten reviewed legends because the hero has taken the guardians of another realm with him.
Conclusion
These legends are completely compatible with Gillette's model. They have a common textual structure, which is reflected in the five functions of the investigated model. But they are not only common in this structure,but all of them are the rites of Initiation.Each of the transition stages can be adapted to one of the five functions:
Separating the person→the first position
Isolation→interaction with the helper
Hard tests/symbolic death and rebirth→interaction with the enemy and the princess
The return of the person→the return of the hero
Literary interdisciplinary research
Hamzeh Alemi Cheraghali
Abstract
Introduction
This article examines “The Representation of Subjectivity in the Works of Jalal Al-Ahmad and the Possibility of Proposing or Rejecting the Return to the Self”. The idea of "Return to Self" is considered an important and effective component in the Islamic Revolution of ...
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Introduction
This article examines “The Representation of Subjectivity in the Works of Jalal Al-Ahmad and the Possibility of Proposing or Rejecting the Return to the Self”. The idea of "Return to Self" is considered an important and effective component in the Islamic Revolution of Iran. This idea became an important discourse during the Iranian revolution with the articles and fiction works of Jalal Al Ahmad, and in the following years with the writings and speeches of Dr. Shariati. The idea of "returning to self", is depends on the emergence of the “subjectivity”, and therefore the question is that the thoughts and works of Jalal al -' Ahmad, as one of the main proponents of this idea, is to allow the emergence of "subjectivity"?
There have been many studies on the idea of returning to oneself in the thought of Jalal Al-Ahmad, but none of them evaluate and criticize this idea based on Al-Ahmad's fictional works and socio-political treatises. Farzin Vahdat concludes in his book, Iran's Intellectual Encounter with Modernity, that the "self" that Al-Ahmad pursues is ambiguous. Ali Mirsepassi in Iranian Modernity considers Al-Ahmad's idea to be influenced by German Romanticism. Ali Qaysari also criticizes Jalal's view on Returning to the Original, in his book, Iranian Intellectuals in the Twentieth Century.And finally, in the Jalal Al Ahmad and the transition from tradition to modernity, Ghazian also believes that the roots and elements of "self" are missing in the works of Al-Ahmad.
Accordingly most authors who have examined the "Return to Oneself' in Jalal Al-Ahmad's works, consider it to lack a clear formulation and perspective, but have not provided a more detailed explanation in this regard. This article attempts to explain this issue in more detail by examining all of Jalal Al-Ahmad's works.
Methodology
The following article, by reading all the published texts of Jalal Al-Ahmad, examining the possibility or refusal of the emergence of "Iranian subjectivity" in Al-Ahmad's thought and works. From the perspective of the research method,this research follows the texts and thoughts of Jalal Al-Ahmad in the context of social-political events and Al-Ahmad's encounter with these events and thoughts of his time. This is the context-centered and text-centered interpretivism presented by Quinton Skinner
Discussion and Conclusion
In this research, "Returning to Oneself" has been viewed as an identity issue, and since many identity theorists consider subjectivity and human agency to be an important element in the formation of identity, according to this view, the idea of Return to the Self is also defined as dependent on the emergence and strength of the subject. In fact Identity and “subjectivity” have an existential relationship with each other.
The present study, by using the theoretical premises of subjectivism and the concept of "Representation", has sought the identity of the self and subjectivity in the works of Al-Ahmad, and has studied the representation of the "self" and the real world or simulation and the movement towards the hyper reality, as the basis for proposing or rejecting the return to the self in Al-Ahmad's works.
By studying the life and type of encounter of Jalal Al-Ahmed with the events of his time and then examining the position of the subject and "self" in Al-Ahmed's fictional works and political treatises, we come to the conclusion that the emergence of the idea of returning to oneself in Jalal's works is mostly in the form of protest to current situation. Of course, this protest approach is mixed with despair and appears mostly in the expression of negative feelings, and in this way, "Returning to Oneself" in Al-Ahmed's thinking faces important obstacles, and that is the ambiguous and fragile existence of the subject. Al-Ahmad does not allow subjectivity to take root. He always seeks to negate onself, or "subjectivity", and place it in a shadow of ambiguity. In this situation, the human subject exists and is defined only through a negative encounter with the other, and this negative approach towards the other, ultimately leads to the eliminat of oneself. Here, the only situation where human "subjectivity" appears is in a dramatic and unreal existence. In fact, the "oneself" always feels that he has no footing in reality and follows a pseudo-real life. Such an identity of the "self" causes him to move from the representation of the real world to the threshold of hyper reality. The "self" that appears on the threshold of hyper reality transforms the image and representation into something real and, instead of representation, approaches the hyper reality of Baudrillard. The result of this situation is a hazy understanding of the past and the future. The subjectivity presented by Al Ahmad has a hazy understanding of his history and tradition and does not know how to face his past and future. The idea of "Returning to Oneself" first of all requires a relatively clear understanding of what and who one is, and this is achieved by establishing stability, but the presence of a strong element of protest against the existing situation puts the subject in a state of continuous instability. This instability destroys the reflection and rethinking that is necessary to return to oneself and makes human subjectivity subordinate to the will directed to negation and protest. In this way, both subjectivity and self-awareness are questioned, and the real environment is seen as an arena of conflict and domination. Therefore, Al-Ahmed's thoughts and works have destroyed the primary and central element of Returning to Oneself, self-emerging and the elevation of human "subjectivity", and although he proposes this idea, he ultimately rejects it.
Literary interdisciplinary research
zahra alidoosti; sajad najafi behzadi; Ebrahim Zaheri abdevand
Abstract
Introduction
Picture books, by conveying concepts through images, play an important role in education and training, as well as in the formation and development of children's mental and personality dimensions. With the help of images, these books give children the opportunity to experience and understand ...
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Introduction
Picture books, by conveying concepts through images, play an important role in education and training, as well as in the formation and development of children's mental and personality dimensions. With the help of images, these books give children the opportunity to experience and understand aesthetics and teach them how to use the power of imagination to broaden their vision and understanding of the universe and thus free themselves from the pressure of undesirable realities (Najafi, 2010: 3). Nikolaeva and Scott believe that in books where words and images cover each other's gaps, there is no room for the reader's imagination; but according to Nodelman, nowhere in the book do they provide a reason to present such a seemingly scientific and objective list to praise or condemn some examples (Nodelman, 2014: 53). Nodelman believes that images play an important role in strengthening children's imagination and imagination; because the text engages the child's and adolescent's minds with the future, but the image stops the child in the present and makes him understand that he must look at something that is happening now. In fact, the image has a static state for young children, and this has a psychological and developmental reason, because young children cannot perform mental operations that follow logical rules.There is much debate about the importance of images in children's imagination. The aim of this study is to examine and analyze the images of the rewritten stories of the Shahnameh narrated by Salehi and Fattahi based on Perry Nodelman's theory of image and text and to answer the following questions: 1. To what extent do the images of the rewritten stories correspond to Nodelman's six components of image? 2. Which component of Nodelman's six components is seen in the images of the rewritten stories? 3. Which narration's (Salehi or Fattahi) rewritten images correspond more to the six components?
Materials & Methods
The research method in this study is content analysis and the method of data collection is also a review of library documents. After reviewing and explaining the theoretical concepts of the research (the dimensions of Nodelman's text and image theory), the rewritten stories of the Shahnameh narrated by Atousa Salehi and Hossein Fattahi are evaluated based on Nodelman's six components of text and image. The illustrations of Salehi's stories were done by Niloufar Mirmohammadi and the illustrations of Fattahi's stories were done by Mohammadreza Dadgar, Morteza Sahi and Farhad Jamshidi.
Discussion & Result
Based on Nudelman's theory of text-image correlation, six types of relationships can be considered for text and image. In this section, the goal is to evaluate the images of the stories in the two collections based on the six components of Nudelman's theory to find out which rewrites the images are more consistent and consistent with this theory. To this end, by mentioning each component, we examine the images related to it in both collections and finally present the information obtained in the form of a table. The style chosen by the illustrators in Fattahi's collection is not very suitable for the epic and mythological stories of Shahnameh, which has caused; in addition to reducing the level of correspondence between text and image information, the illustrations also perform very poorly in adding to the text information.
Conclusion
By examining the number of images that correspond to the third to sixth components, it can be concluded that out of the 7 images in the story "Zahak and Kaveh ", only 1 image corresponds to the fifth component and none of the images are able to correspond to the third, fourth and sixth components. Out of the 5 images in the story "Gordafarid", none of the images correspond to the third and sixth components and only 2 images correspond to the fourth component and 1 image to the fifth component. Since the illustrations of Fatahi's stories were designed by several illustrators, each illustrator has a different style and perspective; and this different perspective and style has created various illustrations; while the illustrations of Salehi's stories were done by one illustrator. This has been effective in using a style and method.
Literary interdisciplinary research
Ramona Issa; Khadijeh Hajiyan
Abstract
Introduction
Bertolt Friedrich Brecht, writer, director, critic, founder of the Epic Theater, epoch-making personality and people whom Jean-Paul Sartre called without a doubt the greatest contemporary playwright. A poet who influenced Europe, an innovation that transformed the art of theater and opened ...
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Introduction
Bertolt Friedrich Brecht, writer, director, critic, founder of the Epic Theater, epoch-making personality and people whom Jean-Paul Sartre called without a doubt the greatest contemporary playwright. A poet who influenced Europe, an innovation that transformed the art of theater and opened new and surprising ways for the writer, director, actor and audience. His plays are still staged. Brecht's position in Iran is closely related to theater and plays. With his ideas about epic theater, he created a fundamental role in the realization of modern theater and contrasted his theater with Aristotelian theater, which was rooted in German dramatic literature until the beginning of the 20th century. Brecht's narrative theater pays special attention to the dignity of man in society.
About Shams Tabrizi and his relationship with Rumi, fantasy, aesthetics, imagery, analysis of fictional elements of Shams's articles; Also, the poetic stories of Ghazliat have been spoken, but so far, no attention has been paid to the structure and content of the stories of the essays and stories of Ghazliat (Moulana) on the basis of implication in narrative plays. In order to know the rational thought and the mystical-artistic and mystical view of Shams, a solid foundation must be found to accompany As a result, the dramatic theater of stories will be staged.
Materials&Methods
The suggestion of the research is that, with the collective cooperation of thinkers and those who are interested in this field, by displaying the above-mentioned stories in the "Brecht's theater" method, the moral, mystical teachings and more importantly, the knowledge of Shams Tabrizi's mysticism should become widespread and universal. And he was not confined among the elites and experts. The research shows that Brecht's system, at least in the field of narrative-educational drama, can be suitable for staging essays and lyrical stories. It can be said that the novelty and originality of Brecht's work lies in the fact that he tries to depict humans in opposition to a social system more than anything else.
The question is, how should it be made available to the public so that it can be understood and rationally awakened? The claim is that stories can be staged through directorial elements such as Brecht's in order to make the human society aware of the constant reflection and training of existence. This research is of a theoretical type, with a comparative-analytical approach. The method of collecting library information and analyzing qualitative information was. The background shows that a research entitled "Reinterpretation of literary images in Shams's sonnets from the perspective of image aesthetics in cinema" by Dr. Hayati and Pournamdarian has been devoted to the reinterpretation of literary images in Shams' sonnets, and Dr. Ali Gravand also in "Boutique of mysterious stories in Shams' sonnets" They have extensively analyzed and detailed the stories.
Discussion& Result Conclusion
The findings show that Bresht considers theater to be free of imitation, just as Shams also considers imitation to be an obstacle to the flourishing of thought, Shams's essays are not merely mystical; rather, they make the audience think; therefore, the rich story of Shams and Moulana is presented with the help of the components of "alienation", "distance", and the presence of personality in the narratives. And the dialogue element, one of the characteristics of Brecht's style, can be staged.
Literary interdisciplinary research
Sareh Malaki; Fahime Pahlavan
Abstract
Introduction
In visual arts, novel ways of creativity can be achieved by combining literary arrays and art. Since the governing system of lexical language is not directly translated into visual language, the criteria and rules are generally different in visual language from lexical language. A visual ...
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Introduction
In visual arts, novel ways of creativity can be achieved by combining literary arrays and art. Since the governing system of lexical language is not directly translated into visual language, the criteria and rules are generally different in visual language from lexical language. A visual pun is substituting one object for another object from the point of view of formal similarity. The purpose of this research is the interaction and confrontation of the array of puns in words and images, and in line with this goal, visual puns and their use in poster design were introduced, finally, two posters were studied as examples, in terms of the characteristics of the elements in the visual field. Iconography and language have been investigated. According to the research objectives, the questions pursued in this research are: 1) What is the interaction and contrast of puns in words and images? 2) What is a visual pun? And how is it used in poster design? 3) How is the visual quality of the analyzed samples? 4) What is the role of images and writing in how to convey the message of the analyzed examples? Studying to find and invent solutions to attract and persuade the audience and expanding it is one of the research requirements in graphic design; Therefore, getting to know the ways of creating literary works and comparing them with creative ways in the image can be one of the solutions.
Materials & Methods
In this qualitative research, two AIDS-related posters designed in the United States in 2008 and 2009 were selected as the sample community, based on their significant use of puns in both words and images. The data were collected through a library method for theoretical background and through electronic sources to gather the samples. Reliable graphic design platforms such as Posterpage and Graphis were used to locate relevant posters. The research primarily focused on analyzing the use of puns in these posters, examining their visual and symbolic elements, as well as their linguistic and photographic components. The semiotic method of graphic design analysis, developed by Pahlavan (2004, 2007), was applied to visually decode the posters. The sample posters were analyzed according to four categories: visual, symbolic, linguistic messages, and the use of visual puns.
Discussion & Results
The findings of this research highlight that visual puns, much like puns in words, can creatively solve graphic design challenges. In both sample posters, puns were used to communicate key messages about AIDS, but with different strategies. One poster used puns to emphasize the risks of AIDS transmission, while the other focused on societal misconceptions about AIDS patients. The written text on the posters either reinforced or stabilized the visual message, guiding the audience's interpretation. The results showed that visual puns made the message memorable and impactful through their formal similarity to unrelated elements. The posters demonstrated the effective integration of meta-linguistic functions, where the visual elements prioritized the communicative message over other aesthetic considerations.
Conclusion
This comparative study reveals that the use of puns in both language and visual arts can effectively convey complex messages concisely and memorably. The findings suggest that visual puns can be a powerful tool in graphic design, particularly in poster design, by allowing designers to compress a narrative into a few visual elements. Both analyzed examples showed how visual puns helped to simplify and communicate their messages while engaging the audience. The study also emphasizes the potential of visual puns as a creative solution for graphic designers to address design challenges and create compelling, communicative artwork. Therefore, visual puns offer a valuable method for designers aiming to convey complex social messages with minimal visual clutter.
Literary interdisciplinary research
masomeh mirnaseri; Rahman Zabihi; Mohamad Taghi Jahani
Abstract
Introduction
Skaz is an important concept in Russian formalist theories which does not let itself to precise definition. This term, as contrasted to plot, underscores the colloquial tone. Skaz is considered as a sort of heteroglossia which was referred to, by Bakhtin, as “hybrid ...
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Introduction
Skaz is an important concept in Russian formalist theories which does not let itself to precise definition. This term, as contrasted to plot, underscores the colloquial tone. Skaz is considered as a sort of heteroglossia which was referred to, by Bakhtin, as “hybrid discourse” and “indirect free discourse”. According to the concept of skaz, which was first proposed by Boris Eikhenbaum in 1924, in some narrative works a narrator sets a relationship between the author and the reader such that the illusion of a colloquial narrative is created by grammatical, syntactic and lexical designs of the language. The skaz happens when the author is not able to find a specific form for direct expression of her thoughts and attitude thus her work takes in a multitude of plots and voices or is forced to express herself through a narrator. By bringing in a narrator, skaz tries to set up a balance among the form and content and reduce the effect of the dichotomy between these two. Skaz, sometimes referred to as “Lahn” in Persian, is an instance of voice multiplicity and combination of narratives and is linked to the element of narration. Therefore, it is feasible that multi-voiced narrative works be analyzable from this point of view.
Materials & Methods
The major elements of skaz in the narrative poems of Mehdi Akhavan-Sales are structural features such as narrative structure, dialogue orientation, colloquialism and content features such as limitation of thought horizon, absence of censorship and ambiguity in language. This research uses a descrptive and analytical method to examine some narrative poems of Mehdi Akhavan-Sales’ such as Katibeh (Inscription), Mard va Markab and Qese-ye Shahr-e Sangestan, Miras, Peyvand-ha Va Baaq, Chavoushi, Angah Pas az Tondar, Akhar-e Shahnameh, and others, which were published in the poetry collections as Zemestan, Akhar-e Shahnameh, Az in Avesta, and Dar Hayat-e Kouchak-e Payiz dar Zendan.
Discussion & Result
In a great deal of Mehdi Akhavan-Sales’ poems, narration is a pivotal element. Regarding the connection of the concept of skaz with the element of narration, it is a proper criterion for critique and analysis of these sorts of poetry. One of the major elements of skaz is the colloquial tone in the sense of showing the bodily gestures and internal changes of the characters or the narrator who, as the first person single, narrates the story in the skaz. This feature is present in some of Mehdi Akhavan-Sales’ poems which are influenced by the tradition of Naqqali (an old version of Persian storytelling).
Conclusion
In this study, Akhavan’s 18 narrative poems were examined and analyzed in order to probe their compatibility with the targeted Skaz features. In these poems, lingual characteristics of skaz exist, yet in only nine poems, they have created bilingualism and intellectual distance between the poet and the narrator. Also, oral and vernacular language in almost all the poems is present which in combination with the language of classic Persian literature creates a kind of bilingualism and difference between the language of the poet and the narrator. The vernacular is an expression of the narrator as an ordinary person and the old language is an expression of the poet as an intellectual. The dialogue orientation and question-answer structure in 14 poems have created meaning as well as the feeling and emotion of identification which render the poet’s words tangible for the audience. From among the content features of the skaz, the limitation of thought horizon is investigable in 10 poems. The absence of censorship and spontaneity exist in 5 poems in which the poet by exactly mentioning the characters’ words and thoughts, communicates their mentality that creates in the reader the illusion of being part of the story. Ambiguity in language which in skaz comes about as a result of various evocations and the stream of consciousness, is detectible in 5 poems and usually occurs due to the symbolic structure, opaque beginning and open ending. Only 3 poems namely Katibeh, Mard va Markab, and Qeseh-ye Shahr-re Sangestan from among16 poems are compatible with all of the targeted skaz features and thus investigable from this perspective.
Literary interdisciplinary research
Mohammad Hashemi
Abstract
Introduction
The subject of this article is the study of the short story "The Stray Dog" written by Sadegh Hedayat, using the perspective of ecosemiotics from Charles Sanders Peirce's point of view. The problem of this article is how the relationship between the organism and its environment is narrated ...
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Introduction
The subject of this article is the study of the short story "The Stray Dog" written by Sadegh Hedayat, using the perspective of ecosemiotics from Charles Sanders Peirce's point of view. The problem of this article is how the relationship between the organism and its environment is narrated in this story.
The questions of this research are as follows: First, what is the relationship between the organism and its environment in the story of the stray dog? And secondly: How can the relationship between organism and environment be analyzed in the story of the stray dog based on Peirce's evolutionary theory and synechism between mind and environment?
One of the most important articles in the background section of our research is the article "Literary Sign-Ecology: Theory and Method" (Shoairi, Seyedebrahimi, 2018). In this article, the authors have described ecology as the flow of life in a place, which is related to the existence and experience of living and to birth and dynamics. According to the writings of Shayiri and Seyedabrahimi, the sign-ecoslogy emphasizes on the one hand the relationship between creatures and the place they live in, and on the other hand, the relationship between the elements of the place with each other. This is a rotational relationship in which the environment affects humans and humans affect the environment and then the elements of the environment affect each other. Therefore, we can talk about a transchain cycle that has both human and ecological characteristics. Also, the article "Semiotics of Decentralization and Isolation of the Subject in the story of the Stray Dog" (Fathi, 2013) has examined how the codes governing Pat's fate all imply his inevitable isolation.
Methodology
The purpose of this research is to provide an understanding of the semiotic relationship between the organism and its environment by using Peirce's method of ecological semiotics, which has been considered in an important Iranian literary work. The present article is a qualitative article that has investigated its topic in a descriptive and analytical way and based on library data.
3.Findings
Dog/human/organism in the story of the stray dog, in addition to being outside the organism, it seems that is also inside him. That is, there is no distinction between the dog's mind and its external environment, and what is depicted in the story is not only the story of the organism's relationship with its external world, but also its relationship with its internal world, and basically these two are inseparable. The first person point of view of the story confirms that the mind of the organism and its habitat are in a continuous relationship, not an opposite relationship. It can be concluded that this isolation and separation of the organism from its external and internal habitat is not only related to this dog/human, but it is related to all similar organisms and in a holistic view, it is the problem of all human beings.
Discussion and conclusion
In the story of The Stray Dog, the dog has both its animal role and a human role, thus presenting a broad view of the organism that is not exclusive to the animal. This dog/human organism is in two situations when faced with its habitat. In the first situation, when he is in his childhood, with his mother and brother, in his owner's house and with his owner's family, he establishes a triadic relationship with his environment. A relationship that is semiotic from Peirce's point of view and in which there is a third thing like a meaning. This third thing, ofcourse, is caused by a kind of security, vitality and dynamism that basically reminds the organism of its ancestral land of Scotland. Where the meaning originally resided. In the second situation, Pot in Varamin is separated from the desirable triadic relationship of the past and enters into a direct, rough and accidental dyadic relationship with its environment. In this state, which is the state of maturity and adulthood, the organism constantly tries to project meaning onto an object to establish a triadic relationship with its environment, but none of these objects can return the lost third meaning to her relationship with its environment. So, this third meaning is removed from the reach of the dog/human/organism in different ways.
