Literary Interdisciplinary Research

Abstract Introduction One of the writers who shone in creating social novels is Mahmoud Dowlatabadi (born August 1, 1940, in Sabzevar). Dowlatabadi's novels, especially his novel "Kelidar," are among the best contemporary realistic works. This novel possesses significant sociological characteristics in both its volume and structure. In this work, Dowlatabadi addresses one of the peasant uprisings in Iran during the tumultuous period following World War II in the 1940s. This monumental ten-volume novel narrates the uprising of an exiled Kurdish family in the Sabzevar region of Khorasan, who take up arms against the oppression of landlords and are ultimately severely suppressed due to betrayals and plots by these landlords. The author depicts this uprising, which coincided with his childhood, in an epic narrative filled with numerous characters, realistically reporting the socio-political conditions of society during that time. The abundance of characters and events, meticulous attention to detail, use of vocabulary and expressions from the Khorasani dialect, reflection of local culture, beliefs, and customs, along with the narration of historical events from that period, all contribute to making this novel a significant realistic work. In "Kelidar," we encounter a class-based society where each character embodies their class characteristics. In fact, this novel narrates a class struggle in which the lower classes eventually form one of the uprisings of the 1940s to free themselves from the oppression and exploitation of the upper classes.   Materials & Methods The present research aims to descriptively and analytically examine the social space of the realistic novel "Kelidar" based on Pierre Bourdieu's sociological theories and analyze the reasons for the emergence and decline of the peasant uprising based on the role of the social classes involved in it.   Discussion & Result The novel "Kelidar," as a realistic work, portrays the class society of Iran during the years following World War II. Dowlatabadi, by creating numerous characters from different classes, delves into the inner layers of these classes and reveals the dialectical relationships among them. In this novel, the lower classes (peasants and villagers) are in conflict and tension with the upper classes (landlords and government agents). This confrontation recalls the political pattern presented by Marxist theory. In this novel, the lower classes unite under the leadership of Gol Mohammad to rise against the landlords and achieve some degree of success; however, this uprising does not lead to the ultimate goal of Marxism, which is the collapse of the capitalist system and the establishment of a classless society. Although the class structure and conflict among classes can somewhat align with Marxist classification, the characteristics of the class society depicted in "Kelidar" are more compatible with Bourdieu's sociological model. This is because in this novel, each character possesses specific habits corresponding to their class. These habits are unconsciously ingrained in the characters' behaviors and shape their actions within the narrative.   Conclusion Aside from the existing historical documents and information regarding the overall nature of this uprising, which undoubtedly influenced this novel, the social world of this work also somewhat illustrates the reasons for the decline and failure of this uprising. One of the most important reasons is the lack of preparedness among the lower classes; although the peasant classes were fed up with the oppression and exploitation by the landlords, they were still not ready for such an uprising. The absence of self-belief among these classes and the internalization of the rules of domination in their subconscious undermine the uprising. On the one hand, the leader of the uprising—Gol Mohammad—experiences a lack of foresight and planning due to his disconnection from the intellectual class, which Bourdieu emphasizes as essential in social movements, thus discouraging the lower classes about the future of the uprising. On the other hand, the leader himself becomes spiritually doubtful and unstable. This leads to an internal collapse of the uprising, causing opportunities to slip away one after another. Meanwhile, on the opposing front, landlords unite against each other and, considering political changes in the country and government concentration on suppressing scattered uprisings, they seize this golden opportunity and involve the government in their efforts. In Bourdieu's sociological theory, the state is a super-capital that exerts power over all fields and treats all classes and social groups as tools in its hands. The state not only monopolizes physical violence (military and police) but also imposes its will on its opponents by internalizing its dominance over society—what Bourdieu terms symbolic violence. Therefore, in "Kelidar," although the state initially has a weak presence, it ultimately delivers a final blow to the uprising when it intervenes in suppressing it. Utilizing its symbolic power by granting titles and positions, it places local thugs and rebels at the forefront of repression, then violently and bloodily executes the leaders of the uprising, effectively crushing this rebellion.

Abstract Introduction The doctrine of deconstruction was proposed by the French-Algerian philosopher Jacques Derrida, which has had a tremendous impact on various philosophical and literary fields. Deconstruction is a complex and broad concept, to the point that Derrida wrote a book called A Letter to a Japanese Friend to explain it to Izutsu, explaining that this concept is so broad that it includes dimensions such as meaning, literature, philosophy, ethics, politics, many concepts, and in general, philosophical and non-philosophical teachings. This breadth goes so far as to include deconstruction itself. As Derrida himself says, “Deconstruction deconstructs itself.” (Lucy, 2010: 210).      One Thousand and One Nights is a multinational collection and is considered an ancient book in the field of stories and legends, and parts of it may have been formed before Islam and parts during the Islamic period (Mahjoob, 2007: 369-379). Unlike its ancestors, namely the Thousand Fables and Indian collections, etc., this book seems to be a different book (Eghlidi, 2014: 4). In this book, whose narrator is Shahrzad and whose direct addressee is Shahryar, various stories and legends, many of which are intertwined, are seen. Of course, not all of its stories have the same literary value. But it seems that the fables in it contain valuable and cryptic meanings .Since animal stories have a wide audience and include children and adults, fables can be used in teaching philosophical concepts in addition to their traditional use. The contrast of friendship and enmity is one of the common philosophical concepts in literature, including fables, which dates back to Aristotle. Therefore, the natural nature of fables, along with the need for narrative formats to explain philosophical concepts, became an incentive for the present study to address it. For this purpose, two stories from the fables in One Thousand and One Nights were selected for deconstruction. Based on what has been said, the following essay seeks to deconstruct selected stories about animals in One Thousand and One Nights using a descriptive-analytical method and Derrida's philosophical approach and to answer this question: -What new meanings does the deconstruction of the oppositions in the story of the fox and the wolf and the story of the fox and the crow create? Materials & Methods Derrida's method of deconstructing literature and writing is based on finding binary oppositions in the text that determine its dominant ideology. The next step is to deconstruct these oppositions by finding contradictory elements in the text, and finally, a new reading based on this deconstruction completes the work. Discussion & Result Derrida considered deconstruction indefinable and described it as mysterious, mystical, and an experience of the impossible.“The main reason for the indefinability of deconstruction from Derrida's perspective is that he assumes ambiguity to be an inherent characteristic of meaning” (Haghighi, 2000:47-48). However, since an acceptable and close definition of deconstruction must be provided, the concept of presence, absence, and difference must be explained. One of the foundations of Western philosophy is logocentrism and the centrality of reason. It is necessary to know two points to understand Derrida's criticism of Western philosophy. First, Western philosophy has assumed existence to be equivalent to presence (Ahmadi, 2021: 384). Second one, it considers the presence of meaning in dualistic oppositions that always give priority to the first pole of otherness, which is called logical focus or logos and implies the distinction of the presence of meaning on the first side with its owner (Al-Ruwaili and Al-Bazei, 2002: 108). Derrida also assumed language to be a kind of metaphysics in which the duality of speech and writing is considered the axis of speech. In this opposition, speech has always been preferred over writing, because it has been assumed that meaning is present in speech and is absent in writing. Derrida focused all his attention on saying that the complete presence is found in writing as much as in speech (Honarmand, 2021: 202). He believes that the centrality of speech in the text must be broken, the text neutralized, and the reader saved from the dominance of speech (Shamisa, 2014: 224). In this research, an attempt has been made to free the audience from the constraints of the structural dualities that govern the text. The results of the deconstruction of the two stories are listed below: -Deconstruction targets the ideologies present in the text and, like the action of an architect, destroys and reconstructs the current aspect of the word axis. In the story of the fox and the wolf, the presence of enmity is superior to friendship. However, this valuation is not definitive, but rather the contradictory evidence in the text highlights the relationship of friendship. At the beginning of the reading, only the form (either friend or enemy) was conceivable, but in the end, these two concepts were mixed and created the form (both friend and enemy(. -The deconstruction of the fable of the fox and the crow identifies two separate thematic axes for each of the characters in the story. The preference for friendship in the fox's view and the preference for enmity in the crow's view is what it seems. However, after the deconstruction, the text moves in favor of the absent side and ultimately presents an inverted state. So that The audience perceives the crow as seeking friendship and the fox as supporting enmity. This deconstruction continues and makes the absent form (neither friendship nor enmity) present. Conclusion In the deconstruction of the two stories, structural dualities are continuously collapsed and new structures are built. These successive collapses and formations raise the question that the results obtained are not definitive and that the meaning of friendship or enmity is being violated at every moment. This issue can be answered by returning to Derrida's teachings because, in his view, deconstruction creates an unstable state of the meaning of the text that constantly deconstructs the results of the deconstruction. Therefore, creating doubt in the results can be a sign of successful deconstruction of the text.

Abstract Introduction A narrative is a collection of events in a context of time and place with the presence of characters and actors who shape its events. The set of characteristics that govern every narrative in every literary genre forms the narrative system of that work, which have fundamental differences at the macro and sometimes micro levels. One of the influential aspects of Ferdowsi's Shahnameh is the system that governs its narrative. Narrative pace is a term coined by the Frenchman Gerard Gennet to distinguish between the time of the text and the time of its narration and it monitors the speed at which the reader reads the narrative, which is sometimes slow and sometimes fast, depending on factors. This study examines the pace of narration in the story of Zahhak from Ferdowsi's Shahnameh. In addition, the narrative speed examined in this study is not based on Genette's ideas, but rather on the models presented in the article "Models for Examining Narrative Speed." According to the authors' searches in databases, no research was found that directly examined the narrative speed in the story of Zahhak. However, some studies have paid attention to this story from the perspective of narratology, which can be considered a complementary and more explanatory aspect for this research. The article "Narrative Structure in the Story of Zahhak", the article "Narrative Analysis of the Captivity of Zahhak in Baysanqori's Shahnameh Based on Gerard Genette's Theory" and the article "Structural Analysis of the Story of Zahhak Based on Claude Bermont's Logic of Roles Model", each of which deals with the story of Zahhak in the Shahnameh from different perspectives related to the present research question. Materials & Methods This research, using a descriptive-analytical method and relying on library studies, examines and analyzes the narrative speed in the story of Zahhak, as the first story in Ferdowsi's Shahnameh with a complete plot. Meanwhile, in examining and analyzing the speed of narration, Genette's theory is not the criterion, but the rhythm of narration is examined and analyzed based on other patterns. Discussion & Result Among the most important findings of this research, apart from analyzing the narrative speed in the story of Zahhak, we can mention the type of research and the importance of paying attention to the fit between theory and text. This means that at first glance, in any research, and especially in research based on literary theories, one must look critically at the theory and its relevance to the text under study. Theories should not be taken as holy scripture, nor should the text be examined solely on the basis of their proposed structure. Rather, in any research, the essence is the text under study, and theory must also enable a new reading and interpretation of it. Otherwise, the research will not yield any new and novel results. As in this study, the discussion of "narrative speed" has been viewed critically, and then, considering the nature of narrative verse texts and based on other models, the analysis of the narrative speed in the story of Zahhak has been carried out. Conclusion Ferdowsi used 12 key events in the story of Zahhak and based the story's consistency on those 12 events. In delivering the narrative pace of Zahhak's story, he has tried to narrate the nuclear events of the first part of the narrative at a faster pace. The reason for this could be his attention to introducing the story's setting to the reader and helping him enter the world of the story. Also, there is no need for length or detail in the initial events of the story, and Zahhak's story follows the logic of traditional narrative structure. The second part of the narration of Zahhak's story has negative momentum, and Ferdowsi has tried to narrate this part with greater focus, length, and detail. The reason for this is to establish the concepts in question in the confrontation between the two forces of good and evil. Since Ferdowsi has tried to provide education and advice in various places in the Shahnameh, this part of the narrative is an appropriate place to express his intended teachings. On the other hand, due to the mythical and epic nature of this section, as well as the fruition of the struggle between the forces of good and evil, the mention of actions and their description, the expression of bravery and heroism, and in a word, the establishment of the spirit of heroism in the story, the second part of the narrative required greater length and detail.

Abstract The presence of nature in novel “Fig Tree of Temples” by Ahmad Mahmoud is subject to discourses that affect all structures of society, which can analyzed in four categories of subversion, rupture, externalization and alterity based on Foucault's thought. In this research, with a descriptive-analytical method, we will deal with question that conflict between two discourses of tradition and modernity has contained what developments and consequences in biogeography of fictional society under our research? By responding to it, we will find out causes of lack of evolution of human and natural environment in order to reach a kind of epistemology in dealing with nature. The results of research indicate that, based on principle of inversion, man's domination over nature in modern era resulted in adverse consequences for environmental and human society. The destruction of garden and construction of town and lack of attention to nature and essence of nature in discourse of modernity reproduces breaking point of tradition and modernity. According to Foucault's principle of externality, inconsistency of existing layers in traditional and modern discourse and its application in a specific geographical area has caused entropy in biological and human society which is based on principle of alterity its roots can be seen in concepts of knowledge in two historical periods with different functions; Different functions that have formed resistances and caused ecological and human society not to go through an evolutionary process and do not imply emergence of new environmental propositions that will put nature on a new path.

Abstract Due to the disagreements over the use of original and adapted literary texts in teaching a foreign/second language to non-Persian speakers, the present research determines the amount and degree of importance of the component indicators of original and adapted literary texts in teaching the Persian language to non-Persian speakers at beginner, intermediate and advanced levels by a survey method. So, a researcher-made questionnaire containing six items was prepared and given to 94 Iranian teachers with teaching experience in this field in a non-random accessible and targeted way. Analysis of the results using SPSS 22 software and one-sided chi-square and Friedman statistical tests showed that the sample population, believing that adapted literary texts have an element of literature, did not evaluate any of the indicators of this category as important at the elementary level due to the lack of proportion, unlike the intermediate and advanced. In general, due to anonymity, universality, importance in the global approach to language teaching, efficiency, and belonging to the contemporary period, more importance has been given to the adapted representatives of stories and prose than to the type of order and at the advanced level, because of the increase in the language and communication ability of Persian learners, original literary texts are considered important.

Abstract The purpose of this study is to read and interpret a play titled “the verb” written by Mohammad Rezaei Rad, not by the traditional analysis of dramatic texts, but by the Roland Barthes approach to textual analysis. According to Barthes, a text is a system of codes and in order to analyze these codes, the active role of the reader (or performer) in constructing the narration and meaning-making process of the text is highly suggested. Barthes identifies five different kinds of semiotic elements that are common to all texts. He gathers these signifiers into five codes: Hermeneutic, Proairetic, Semantic, Symbolic, and Cultural that his method of textual analysis is based on these five codes. This method studies how a text is structured and meaningful and allows for various interpretations of the text by criticizing, analyzing, and decoding the five codes that are combined into lexical units within the text. Interpretations are related to the effective role of the reader or performer. This study investigates both the structural contraction of the text and possible interpretations of it by analyzing and decoding the codes of play “the Verb". On the other hand, it has explored the method of development and distribution of meaning in this text.

Abstract Introduction Emotion is one of the main drivers of the formation of works of art in particular. Poets always express their aroused emotions as a result of encountering social and internal phenomena and events in the form of poetry. Scholars have emphasized the value of emotions in writing poetry and have considered emotion as the fundamental element of poetry to the extent that Shafii Kodkani considered emotionless poetry to be dead and soulless poetry. Considering the value of emotions, scholars of the past have paid attention to the element of emotion in their studies of poetry. Since its inception, the study of emotions has suffered many harms; Because researchers have done research in this field with incorrect assumptions and without paying attention to psychological knowledge, which has caused great damage to the flow of emotional research. Lately, many dissertations have been devoted to the study of emotion and its types in poets' poetry; but the researchers, regardless of the fact that emotion is one of the fundamental discussions of psychology, have done emotional analysis of the poem, which has caused a lot of damage to these researches and the researchers cannot accept the scientific results. have been achieved. Therefore, it is necessary to use methods appropriate to the subject and psychological knowledge because emotion is one of the basic discussions of psychologists' knowledge and psychologists have studied human emotions in its broad form. The present research has been done to identify the pathology of the flow of emotional research, especially theses. In addition, recently, in order to identify the types of emotions, the theory of "fundamental emotions" by Robert Plachik has been proposed as one of the strategies for researching the emotions of poetry. This research was done according to the following questions: 1. Which problems emotional research face in literature? 2. What methods can be used to improve emotional research?   Review Due to its value in poetry, emotion has always been the focus of researchers. Due to some reasons, these researches have been affected by a lot of problems, which has not been researched so far. Of course, some work has been done on the problems of literary research; Among them, Ali Gholami-Nejad and Ehsan Gubool (2006) in the article "Problems of Persian Language and Literature Theses", scientific-literary macro-view, lack of specific scientific-research method, selection of general topics, Carrying out repetitive topics and... have been considered as the problems of these theses; Aladdin Tabatabai (1386) in his article "Points on the Challenges of Some Persian Cultures", considers the working method, the lack of knowledge and resources to be the shortcoming of Persian language cultures; Maryam Draper (2013) in the article "Classification and Problems of Persian Stylistic Researches and Proposed Solutions", the predominance of historical mentality, lack of theoretical support, not using linguistic knowledge, etc. The problems of stylistic studies is known; Mohammad Yazdan Jo et al. (2017) in the article "Problems of Rhetoric Science Discussions in Rhetoric Books", mentioning repeated definitions and examples, excessive use of Arabic and extreme rewriting, etc. are among the problem of this Researches have stated; Elham Ganj Karimi et al. (2019) in the article "Pathology of Atar Research Articles in the Field of Comparative Literature", lack of methodology, lack of scientific accuracy and detail, repetitive topics, ignoring new theories, etc. are the most important shortcomings. Despite these researches, no efforts have been made in the field of emotional studies pathology; Accordingly, this is the first research that has been done on this issue.   Research Methodology The present essay has analyzed the theses written in the field of emotional research in a descriptive-analytical way. In this research, most of the dissertations written in this field of investigation and its major harms are identified and ranked according to the evidence, and finally, the theory of "fundamental emotions" by Robert Plachik, having more emotional variations, is the best model for research. The emotional features of the poem are suggested.   Discussion In Persian literature, theses and articles have been written in the field of emotional analysis of some poets' poems. This research has suffered serious pathology due to the esoteric nature and unclear boundaries of emotions and the use of non-scientific theories and divisions. First, none of these researches are theory-oriented and methodical; Because this research was done based on previous works or incorrect assumptions of researchers who did not have a proper understanding of emotion. In most of these researches, emotions are divided into individual, social and human, this classification has caused researchers to mention all human and social content as emotions and forget the important emotions. As a result, it can be said that it was not theory oriented, lack of scientific methodology, wrong understanding of emotion and its types, judgment on the apparent meaning of words, wrong choice of titles, mismatch of title and content, similarity of contents of different titles and Generalization is one of the great harms that threatens these researches.

Abstract John Bowlby (1907-1990) is an English researcher famous for his child development and attachment theory. His view is one of the most important theories that refers to the relationship between parents (primary caregiver or wet nurse or substitute mother) and the child and its consequences in adulthood. He defines attachment as a stable psychological relationship between two people that continues until adulthood because the behavior of dependence has a biological origin and forms the basis of emotional bonds. Childhood attachment extends to adulthood and determines the future of a person. Various narrations are available about the allegorical poems of Salámán and Absál. This is the story of Prince Salaman and wet-nurse, Absal who develops a fondness for him and turns into her romance. In this mystical story, a deep attachment and emotional bond between the wet nurse, who is like a mother, and the child emerges, which turns into a passionate love in adulthood. The wet-nurse creates such a safe base and a sense of security in Salaman that Salaman decides to commit suicide by avoiding the wet nurse. In this story, attachment has an evolving component that helps Salaman survive. According to the research results, in the story of Salámán and Absál, from Bowlby's view, an insecure relationship between parent and child has caused mistrust, difficulty in coordination and sensitivity, and emotional dissatisfaction in romantic relationships in adulthood.

Abstract Transactional acts begin when the Operant sends an instinctive Stimulus to the Respondent and the pay-off is the perception of “Ego states” from reality here and now. Eric Berne based his therapeutic attitude on the “Ego states” (child, parent, and adult). The research aimed to examine the structural pattern of Berne's games in several examples of behavioural exchanges in the Shahnameh and specify the appearance of the characters' "Ego states" according to life Scripts and incompatible schemas. In this research, we intend to Dramatic transactional acts investigation encountering “Tahmine and Tahmtan”, and the battle of “Gerdãfarid and Sohrab” according to the “Transactional Analysis” attitude. The psycho-oriented exploration of games leads to the reception of Transactional semantics, the pattern of "Ego State" in the characters' behaviours, appearing as a result of Schemes and Life Scripts. Berne believes that childhood experiences shape our understanding of life. He sees mythological thinking as symbolic of the "old Ego state" containing the blueprint for our lives. The Shahnameh's stories hold deep symbolic meaning ingrained in society's consciousness, influencing the destiny of nations through pre-conscious activism. Finally, the only psychological game of Tahmineh and Rostam is the “Cavalier” game; the operant is Tahmine and the Respondent is Rostam. In the battle between Gerdãfarid and Sohrab, we are witnessing two psychological games from the category of “Underworld” games: the operant is Gordãfarid and the Respondent is Sohrab.

Abstract By asking about the status of nomadic communities in Iran in less than half a century ago, the present research explores the children's stories of a female writer who won the Iranian Council Children's Book Award in 1984. The question is that the stories that the author acknowledges; Mahdokht Kashkoli is derived from reality, what report does it give about the situation and social problems affecting the Qashqai tribe? What view do these stories present of social relations within the family and gender relations? The qualitative research method is based on the analysis of the narrative of five stories of the book Rasm Ma and Sahme Ma. The findings show that in terms of form, one story is close to memoir writing, one story is in the form of a tale, and the other three stories are in the form of a short story: all manifest a real style. Migration to the cities, stereotypical and sometimes disturbing images of nomads, drought and livelihood effects, lack of institutional support for nomadic social neighbors such as homeless women, the elderly, especially childless women, domestic violence, the domination of traditional societies such as blood-lust, among others. The most important social issues are reported during the stories. Also, narrating the daily life of women includes numerous and difficult mandatory and positive role expectations. Women are the main protagonists of the stories, and each of the characters is a glorious symbol of a mature, self-reliant, self-respecting, wise, kind, beautiful, patient and hardworking nomadic woman.

Abstract Comparative cultural studies in an age of globalization constitute a key analytical framework for literature, particularly intercultural texts. Steven Tötösy de Zepetnek, a prominent researcher in comparative cultural studies, emphasizes the movement towards the dialogue of cultures and working against the contemporary paradox of globalization versus localization. This essay employs a descriptive-analytical method, based on Tötösy's principles, to analyze a novel by Iranian Novelist Mahmoud Dolatabadi, “That Red Mane Mare”. The novel revolves around Imru' al-Qais, an ancient Arabian poet seeking revenge against his father's killers. While the meta-fictional presence of the author in the narrative and the relationship between the Persian man and Imru' al-Qais claim to establish a cross-cultural dialogue as its central discourse, fundamentally, merging the "other"’s voice in author’s and the recognition of the "other" based on the benefits it provides, contradict that claim. Indeed, the novel has serious cultural paradoxes that make it a local text without strong connections with the "other" as it seems.

Abstract persuasion is an important skill in human communication and it is an interdisciplinary subject that has been dealt with in various fields such as social psychology and communication sciences. The essay aims to investigate the process of persuasion in the book Kimiai Saadat written by Imam Mohammad Ghazali (450-505 AH) within the framework of the persuasion model of Carl Howland, a social psychologist, and to answer this question in a descriptive-analytical method that What are the most obvious characteristics of the source, message, and audience that can lead to persuasion in the text of Kimiya-i-Sa'adat? The results show that credibility, power, and likability are the characteristics of the message sources of Kimiya-i-Sa'adat. In delivering the message, Ghazali paid attention to the characteristics of message comprehensibility, timely emphasis on emotion or reasoning, the order and arrangement of the message, and whether it is unilateral or bilateral. Intelligence and self-esteem are also among the components that have been taken into consideration in the selection of the in-text audience of Kimia Saadat.

Abstract In the researches of contemporary literary criticism, interdisciplinary analyzes between various fields and types of art are of great importance. This issue arose from the intertextual theories that started with the dialogue approach of Kristeva and Bakhtin's texts and reached its peak in the intertextual discussions of Gérard Genette. In the meantime, examining the relationships and dialogues between literature and other arts is very attractive among literary critics. Therefore, this research tries to investigate the relationship between Sadegh Hedayat's works and Qasim Hajizadeh's paintings with a descriptive-analytical method and with a more textual approach by Gerard Genet. From the results of this research, we can point to the direct and unconscious influence of Hedayat's character and his narratives on both linguistic and content levels in the form, structure and message of Hajizadeh's works. This effectiveness can be mentioned in the form of color selection, personality, location and use of visual symbols. On the other hand, in the field of messages such as anti-superstition, a critical look at the society's perception of women, isolation and alienation from oneself, and loneliness of modern man, Hajizadeh is more than anything influenced by the text and content data of Sadiq Hedayat.