مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103023792026923A Study and Analysis of Black Color Manifestations in Siavash Story in Shahnamehبررسی و تحلیل نمودهای رنگ سیاه در داستان سیاوشِ شاهنامه129faمرتضی مصفادانشجوی دکتری زبان و ادبیات فارسی، علوم انسانی، دانشکده ادبیات فارسی و زبان‌های خارجی، دانشگاه سمنان، سمنان، ایران https: //orcid.org/0009-0006-2000-2726علی محمدشاه سنیاستادیار گروه زبان و ادبیات فارسی، دانشکده ادبیات فارسی و زبان‌های خارجی، دانشگاه سمنان، سمنان، ایران https: //orcid.org/0009-0008-3095-44262025922A Study and Analysis of Black Color Manifestations in Siavash Story in Shahnameh   Morteza Mosaffa<a href="#_ftn1" name="_ftnref1">*</a> Ali-Mohammad Shah-Sani<a href="#_ftn2" name="_ftnref2">**</a>   Color is one of the most effective tools of literary and artistic creation. The application of color is shaped according to the structure and theme of the stories in the Shahnameh. The story of Siavash in the Shahnameh is one of these stories that is constructed and narrated in this way. The black color in this story is narrated and expressed in accordance with the narrative flow of the story and the mythic theme that is discussed in it. However, the black color in this story has functions that represent dual aspects, meaning that sometimes it reflects a good and positive concept and sometimes it represents a negative image, and this is a matter of reflection as to what cultural and mythical beliefs and thoughts such an attitude arises from. Accordingly, the aim of this paper is to analyse the cultural and mythological roots of the color black function in this story, and the most important question of the present research is what attitudes the cultural and mythological roots of the positive and negative aspects of this color in this story arise from in the scope of Iranian and Islamic culture, which will be addressed with a descriptive-analytical method and based on library studies (documentation). The most important hypothesis that is raised in response to this question is that the contrasting manifestations of the color black in Siavash's story were influenced by the breadth of Ferdowsi's intellectual and cultural sphere and also arose from the diversity of thoughts and ideas of the diverse Iranian and non-Iranian ethnic groups. In brief, the results of the research indicate that although the color black generally has a negative and ominous manifestation in the mythology and culture of nations, in the Shahnameh, and especially the story of Siavash, it sometimes has a good and blessed manifestation under the influence of different ideas and beliefs that existed in the Iranian civilization. The color black in this story is in line with the Iranian dualistic worldview, carrying a positive and negative duality, but what is evident in this story is the dominant thought of the Aryan worldview, which did not like darkness and blackness and considered them evil under Zoroastrian teachings.   Keywords: Shahnameh, Ferdowsi, Black Color, Myth, Siavash.   <ol style="text-align: left;"> <li>Introduction </li> </ol> Great literary masterpieces are composed of elements that, within their specific context and structure, contribute to the overall coherence and unity of the work. The enduring majesty of such works lies in the harmonious integration of these minute elements within a broader systemic framework. In this regard, Ferdowsi's Shahnameh stands as a foundational work, characterized by meticulous precision in the employment of poetic techniques and subtleties. One of the primary elements manifesting in the imaginative and emotional fabric of Ferdowsi's poetic language is the element of "color." Ferdowsi exhibited a profound attention to this multifaceted component, more so than his contemporaries, and his sophisticated use of color is a primary reason for the vividness and sensory impact of his imagery. In Ferdowsi's poetry, color transcends mere material description, acquiring a perceptible and emotional expressive power that extends from the physical realm to spiritual dimensions. He deliberately employs the dramatic, theatrical, and symbolic aspects of color within his poetic discourse. During the era of the Shahnameh's composition, poets were exceptionally precise in their use of color within imagery, ensuring that every entity or phenomenon was rendered with a specific hue to establish a vivid connection between life and nature. Within this framework, light and darkness as fundamental aspects of color play a critical role in creating the "chiaroscuro" (light and shadow) effect of the imagery. As a master of the Khorasani style, Ferdowsi demonstrated a particular devotion to landscape painting and realism, utilizing color to make abstract concepts perceptible. In the various narratives of the Shahnameh, the application of color is shaped by the structure and thematic core of the story. The narrative of Siyavash is one such instance where the color black is deployed in accordance with the narrative arc and mythological motifs. A compelling aspect of this story is that the color black exhibits a dualistic function; it simultaneously reflects positive, auspicious meanings and negative, ominous images. Consequently, the primary question of this research is: In which elements and characters of Siyavash's story does the color black manifest, and from what cultural and mythological perspectives in the broader Iranian and Islamic tradition do these contradictory positive and negative connotations derive?   <ol style="text-align: left;" start="3"> <li> Theoretical Framework and Methodology</li> </ol> Color resides within the realm of human perception and visual sensory input. In literary and artistic dimensions, color serves as a vital tool for imagery, particularly in the Khorasani style, which is grounded in naturalism and a sensory engagement with the surrounding world. In this style, colors are employed both in their literal material sense and through metaphorical and rhetorical structures. This research adopts a descriptive-analytical method based on library research. The theoretical premise of the study is that the contradictory manifestations of the color black in the story of Siyavash are influenced by the breadth of Ferdowsi's intellectual horizon and the diverse thoughts of Iranian and non-Iranian peoples. In this context, the color black is analyzed as a symbol that conveys opposing meanings depending on the narrative context.   <ol style="text-align: left;" start="4"> <li> Key Findings and Analysis of the Five Axes of Black</li> </ol> The analysis of the prominent manifestations of the color black in the story of Siyavash is conducted across five primary axes, each representing a different facet of semantic contradiction: First: The Name of Siyavash and Mythological Roots; The color black first appears in the name of the protagonist. Siyavash appears in Afrasiyab's dream as a "black-clad rider." In mythological analysis, two perspectives exist: the Mesopotamian narrative reduces this black-clad appearance to ritualistic customs (applying black pigment to the face), symbolizing the return of a deity from the underworld. However, the Transoxiana (Fararud) narrative, which aligns more closely with the Shahnameh, suggests that Siyavash was originally a "totem" in the form of a black horse, which evolved into the image of a rider (king) as human societies developed. This indicates that the blackness in Siyavash's name is rooted in ancient totemic beliefs, embodying a sense of authenticity and return. *Second: Geography and the Land of Turan; In the description of Turan, the color black manifests as "darkness." Turan, located to the north of Iran, was perceived by Aryan peoples as the direction of the North (Apakhtar) the abode of darkness and the damned. Here, the color black is a symbol of misfortune and malignancy. This darkness is also embodied in the character of Afrasiyab, whose appearance and conduct are depicted as dark and black, akin to demons and Ahrimanic entities. In this axis, black is entirely linked to negative and demonic concepts. Third: Shabrang (The Black Horse); The black horse of Siyavash represents another positive manifestation of the color black. The visual and semantic similarities between Shabrang and Siyavash reflect the same ancient Transoxiana rituals. The human-like nobility and loyalty of Shabrang, and his assistance to Siyavash and Key Khosrow in critical situations, demonstrate that the color black here transcends ominous meanings, becoming a symbol of auspiciousness, loyalty, and power. Fourth: The Racial Mark of the Kiyani Kings; The presence of a black mark on the bodies of the Kiyani kings (inherited from Key Qobad) serves as a direct sign of distinction, royal power, and genealogical authenticity. In this instance, black is no longer a symbol of darkness but serves as a "racial code," representing a positive and legitimizing facet of royal lineage.   Fifth: The Tradition of Black-wearing in Mourning; Conversely, wearing black during the loss of loved ones serves a negative function. According to Zoroastrian belief, death is inherently Ahrimanic, and Ahriman belongs to the realm of darkness. Thus, the link between bereavement and the color black in Iranian-Islamic culture is rooted in this belief. In the Shahnameh, when the courtiers of Iran clothe themselves in black upon hearing the news of Siyavash's death, they utilize the color black as a symbol of grief and a connection to the dark realm of death.   <ol style="text-align: left;" start="5"> <li> Conclusion</li> </ol> In conclusion, this research demonstrates that the color black in the story of Siyavash, influenced by the diverse intellectual currents of the Iranian civilization, simultaneously carries dualistic positive and negative connotations. While in the Aryan worldview and Zoroastrian teachings, darkness and blackness were viewed with apprehension due to their association with Ahriman, they nonetheless manifest as auspicious and noble in certain mythological layers (such as the name, the totemic horse, and the royal mark). Therefore, the color black in this narrative is aligned with the Iranian dualistic worldview. 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Tehran.     <a href="#_ftnref1" name="_ftn1">*</a> PhD Student in Persian Language and Literature, Faculty of Persian Literature and Foreign Languages, Semnan University, Semnan, Iran. m_mosaffa@semnan.ac.ir                                   https://orcid.org/0009-0006-2000-2726 <a href="#_ftnref2" name="_ftn2">**</a> Corresponding Author: Assistant Professor, Department of Persian Language and Literature, Faculty of Persian Literature and Foreign Languages, Semnan University, Semnan, Iran. a_shahsani@semnan.ac.ir https://orcid.org/0009-0008-3095-4426یکی از مؤثرترین ابزارهای آفرینش ادبی- هنری، رنگ است. در داستانهای شاهنامه، کاربرد رنگ با توجه به ساختار و درون&zwnj;مایة داستان شکل میگیرد. داستان سیاوش در شاهنامه، یکی از این داستانهایی است که به همین گونه کارسازی و روایت شده است. رنگ سیاه در این داستان مطابق با سیر روایی داستان و مضمون اسطورهای که در آن مطرح است، روایت و بیان شده است. با وجود این رنگ سیاه در این داستان، کارکردهایی دارد که ابعادی دوگانه را نمایش میدهد؛ بدین &zwnj;معنی که گاهی مفهوم نیک و مثبت را بازتاب میدهد و گاه تصویری منفی را بازمینمایاند و این خود محل تأمل است که چنین نگرشی برخاسته از چه باور و اندیشه&zwnj;های فرهنگی و اسطورهای است. بر این اساس هدف این مقاله، واکاوی ریشههای فرهنگی و اساطیری کارکرد رنگ سیاه در این داستان است و مهم&zwnj;ترین پرسش پژوهش حاضر این است که ریشه&zwnj;های فرهنگی و اسطورهای بعد مثبت و منفی این رنگ در این داستان، ناشی از چه نگرش&zwnj;هایی در گستره فرهنگ ایرانی و اسلامی میشود که با روشی توصیفی- تحلیلی و بر &zwnj;پایه مطالعات کتابخانهای بدان پرداخته خواهد شد. مهمترین فرضی که در برابر این سؤال مطرح میشود آن است که جلوههای متضاد رنگ سیاه در داستان سیاوش، متأثر از گستردگی حوزه فکری و فرهنگی فردوسی و همچنین برخاسته از تنوع افکار و اندیشه&zwnj;های متکثر اقوام ایرانی و انیرانی بوده است. اجمالاً نتایج پژوهش نشان میدهد که رنگ سیاه هرچند عموماً در اساطیر و فرهنگ ملل، نمودی منفی و شوم دارد، در شاهنامه و به&zwnj;ویژه داستان سیاوش تحت &zwnj;تأثیر اندیشه و باورهای متفاوتی که در پهنه تمدن ایرانی وجود داشته است، گاهی نمودی نیک و خجسته یافته است. رنگ سیاه در این داستان همراستا با جهان&zwnj;بینی ثنوی ایرانی حامل دوگانهای مثبت و منفی است. ولی آنچه بیشتر در این داستان آشکار است، همان فکر مسلط جهان&zwnj;بینی آریایی است که تیرگی و سیاهی را خوش نمیداشتند و تحت تعالیم آموزههای زردتشتی، آن را اهریمنی می&zwnj;دانستند.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103023792026923A Comparative and Analytical Study of the Image of the “Savior” in Contemporary Persian Poetry (With Emphasis on Arashe Kmangir, Morghe Amin, and Kasi ke Mesle Hichkas Nist)تحلیل تطبیقی تصویر «منجی» در شعر معاصر (با تکیه بر «آرش کمانگیر»، «مرغ آمین» و «کسی که مثل هیچ‌کس نیست»)3158faسعید بزرگ بیگدلیاستاد گروه زبان و ادبیات فارسی، دانشکده علوم انسانی، دانشگاه تربیت مدرس، تهران، ایرانhttps://orcid.org/0000-0001-9633-7019 سارا حسینیدانش‌آموخته دکتری زبان و ادبیات فارسی، دانشکده علوم انسانی، دانشگاه ایلام، ایلام، ایرانhttps: //orcid.org/0000-0002-1351-75302025112A Comparative and Analytical Study of the Image of the “Savior” in Contemporary Persian Poetry (With Emphasis on Arashe Kmangir, Morghe Amin, and Kasi ke Mesle Hichkas Nist)   Saeed Bozorg Bigdeli<a href="#_ftn1" name="_ftnref1">*</a> Sara Hosseini<a href="#_ftn2" name="_ftnref2">**</a>   Throughout human history, dissatisfaction with the existing condition and the aspiration for a more ideal state have fostered humanity's enduring need for a redemptive figure. Across different religions and belief systems, saviors known by various names and envisioned in diverse forms are expected to emerge at different historical junctures to liberate humankind from suffering and adversity and guide it toward an ideal order. Reflecting this enduring human expectation, literary works have likewise portrayed the figure of the savior in a wide variety of forms. In contemporary Persian poetry, from the mid-1960s to the early 1970s, three significant poems were composed and published: Arashe Kamangir by Siavash Kasraei, Morghe Amin by Nima Yushij, and Kasi ke Mesle Hichkas Nist by Forough Farrokhzad. Employing a descriptive-analytical approach, the present study examines these three poems from ten distinct perspectives, analyzing both their convergences and divergences. The study seeks to answer the central question of how the literary field of these poems has been shaped by political, social, cultural, and economic forces, and what characteristics each poet attributes to the savior figure. The findings indicate that, despite differences in the poets' ideological and artistic perspectives, the three poems present, in most respects, a remarkably convergent and consistent image of the savior.   Keywords: Savior, Contemporary Persian Poetry, Siavash Kasraei, Nima Yushij, Forough Farrokhzad.   Introduction The aspiration for a savior has been a recurring phenomenon throughout human history. Across diverse religions and belief systems, political and ideological movements, and various social strata, people have repeatedly sought the advent of a redeemer capable of delivering them from undesirable conditions. In its broadest sense, a savior may be understood as any agent capable of fulfilling an individual's aspirations and demands; conversely, the concept may also refer to an individual who realizes the collective expectations of a community. In another sense, the savior may take the form of a systematic institution or social structure that satisfies the needs of either an individual or a collective. Consequently, the desire to transcend an unfavorable reality and to construct a more desirable world extends far beyond the sphere of religious belief. The quest for a savior is therefore not confined to religious traditions or ideological doctrines; rather, it frequently manifests itself in both the personal and collective dimensions of human life, even when it bears no direct relationship to the religious or ideological convictions of those who articulate such expectations.   Discussion The corpus selected for this study consists of three poems composed by three distinguished poets between 1951 and 1963. Each of these poems offers a distinctive representation of the figure of the savior, and examining their convergences and divergences provides valuable insight into the transformation of the concept of salvation from classical Persian literature to contemporary poetic discourse. Before undertaking such an analysis, however, it is essential to recognize that any meaningful interpretation of a work of art must take into account the historical moment of its creation. Situating an artistic work within its temporal context reveals the historical necessities and social conditions that governed its production. A literary text cannot simply be regarded as the autonomous product of an author's imagination, detached from the political, social, and cultural realities of its time. Although certain theoretical approaches such as the doctrine of art for art's sake, which attributes artistic creation exclusively to the author's individual will, or Roland Barthes' theory of the "death of the author," which argues that the author's authority ceases upon the completion of the text may be viewed as important exceptions, the dominant currents in literary and artistic theory maintain that a work of art derives much of its significance from its relationship with the historical and sociopolitical circumstances in which it was produced. Nima Yushij composed Morghe Amin during the winter of 1951, at a historical moment that coincided with the rise of Iran's National Movement under the leadership of Dr. Mohammad Mossadegh and the nationalization of the Iranian oil industry, which effectively curtailed British control over the country's oil resources. Although Nima initially portrays the Amen Bird as a sorrowful wanderer and depicts the homeland as a realm of oppression and injustice, the dialogues between the bird and the people reveal unmistakable signs of hope and expectation for social transformation. Iranian society at that time was marked by profound political instability and social unrest, while the conditions leading to the coup d'état of 19 August 1953 were gradually taking shape. Moreover, despite Nima's explicit denial of membership in the Tudeh Party in his Daily Notes, several prominent members of that party, including Anvar Khamei journalist and one of its founders maintained that Nima held leftist political sympathies. This interpretation is further supported by earlier poems such as The King of Victory and The Dust Beneath the Worker's Feet, whose ideological orientation clearly reflects Marxist concerns. More broadly, traces of Marxist thought can be identified throughout Nima's prose writings produced between 1921 and the end of the 1940s, as well as in the journals he selected for publishing his works. Although he never formally joined a political party, his ideological inclinations remain readily discernible in his writings. The composition of Morghe Amin during the 1950s demonstrates that these intellectual commitments continued to shape his worldview, albeit with less intensity than in the preceding decades. The poem ultimately serves as a comprehensive reflection of the suffering and anguish of a people exhausted by what the poet perceives as oppressive tyranny and searching for a new refuge capable of responding to their demand for justice and distributing the dawn of hope equally among the members of society.   Conclusion The representation of the savior in Siavash Kasraei’s Arashe Kamangir, Nima Yushij’s Morghe Amin, and Forough Farrokhzad’s Kasi ke Mesle Hichkas Nist raises ten fundamental questions. The first concerns the nature of expectation among those awaiting the savior: is their anticipation passive or active? The second question examines whether the savior is “of the people” and belongs to their own lineage, or whether he is “above the people,” originating from a superior and elevated generation, like a king or a divine messenger. The third question addresses whether the poem under examination narrates the definite presence of the savior or merely expresses hope and faith in his future emergence. In other words, the issue is whether the savior exists within the narrative itself or whether he is presented as a figure who will arrive in the future, with his presence being anticipated rather than experienced. The fourth question concerns the mediators of the savior’s emergence; that is, beyond the general representation of society and those awaiting salvation, who are the figures whose actions prepare the conditions necessary for the savior’s arrival? The fifth question focuses on the nature of the interaction between the savior and those awaiting him. Does the savior engage in dialogue, interaction, or collective action with his people, or is he so exalted that his sphere of existence remains separate from theirs, and is he selected from a superior lineage to save humanity? The sixth question concerns the identity of those who await salvation: when they are referred to as “the people,” are they portrayed under the influence of the poet’s perspective as the oppressed masses and lower social classes who endure suffering and labor while those in positions of power accumulate wealth and privilege? The seventh question relates to the conclusion of this waiting and, consequently, the ending of the poem itself. In other words, this study seeks to determine the ultimate outcome of this expectation and spiritual journey. The eighth question concerns the domains of salvation. Answering this question reveals which dimensions of the lives of the savior’s followers the political, social, cultural, economic, or ideological dimensions are expected to be transformed by his emergence. The ninth question examines the nature of the enemies confronting the people. Are these enemies forces that have pushed back the borders of the homeland, requiring the savior to restore and expand the lost territory? Or are they those who have plundered the social and economic resources of the people? Are they individuals who have risen on the ladder of the people’s suffering and labor, or those who threaten the very existence of the homeland? The final question concerns the nature of the savior’s appearance: does he possess a miraculous and transcendent form of emergence beyond the limits of human expectations and seek to reform all aspects of people’s lives, or is he a fighter who struggles to reclaim lost territories? In other words, the ultimate question is whether the savior is an extraordinary and invincible figure or one who sacrifices himself because he shares the very essence and physical existence of his own people.   References Akhlaqi, Saeideh, & Monireh Ferdowsinia (2020) “Belief in the Savior in Christianity.” Mouoodpajoohi, 2(3), pp. 93–106. Babachahi, Ali (1998) Gozarehā-ye Monfarad (A Critical Study of Contemporary Iranian Poetry). Tehran: Narenj. Pournamdarian, Taghi (2017) Khāne-am Abrist. Tehran: Morvarid. Tahsili, Ali (2008) “The One Who Is Like No One.” Ferdowsi, Nos. 67–68, pp. 40–44. Jalali, Abdolzahra (2008) “The Belief in the Savior in Primitive Religions and Monotheistic Religions.” Payk-e Noor, 6(4), pp. 129–149. Jorkesh, Shapour (2011) The Poetics of Modern Poetry: A New Perspective on the Theory and Poetry of Nima Yushij. Tehran: Qoqnoos. Hosseini, Sara (2023) Dar Shākh-e Tālaghan: An Analysis of the Poetics of Image in the Poetry of Nima Yushij. Karaj: Orazan. Hoghooghi, Mohammad (2005) Forough Farrokhzad (The Poetry of Our Time). 9th ed. Tehran: Negah. Reza, Enayatollah (1992) “The Philosophy of Marxism.” Keyhan Farhangi, No. 84, pp. 8–11. Royani, Vahid, & Mansour Hataminejad (2014) “Arash by Siavash Kasraei and the Literary Field of Iran.” Literary Criticism, 7(26), pp. 67–90. Sattari, Reza, & Safoura Sadat Rashidi (2015) “An Examination of the Savior Archetype in Forough Farrokhzad’s Poem ‘The One Who Is Like No One.’” Dor-e Dari (Lyric and Mystical Literature), 5(15), pp. 65–78. Shakeri-Yekta, Mohammad Ali (2007) “A Critical Analysis of a Long Poem: ‘The Death of the Hero or the Death of the Audience’ A Study of Siavash Kasraei’s Arash the Archer.” Ketab-e Māh-e Adabiyāt, No. 10, pp. 68–75. Sheikh, Mohammad, Reza Rezaei, & Tayebeh Farhadi (2016) “A Comparative Study of the Concept of the Savior in the Poetry of Forough Farrokhzad and Nizar Qabbani.” Comparative Literature Research Quarterly, 6(22), pp. 71–88. Salehi, Mostafa, Seyyed Alireza Abtahi, & Feyzollah Bushasab Gusheh (2025) “A Reflection on the Concept of Messianism.” Cultural Sociology Studies, 16(1), pp. 31–68. Farrokhzad, Forough (1998) Let Us Believe in the Beginning of the Cold Season. 12th ed. Tehran: Morvarid. Ghazi-Moradi, Hassan (1981) “With the Amen Bird.” Arash Magazine, 5(5), pp. 107–113. Kafi, Gholamreza, & Neda Hatami (2022) “A Study of Eschatological Thought in Contemporary Iranian Poetry (With Emphasis on the Poems of Ahmad Shamlou, Mehdi Akhavan-Sales, Forough Farrokhzad, and Sohrab Sepehri).” Research Journal of Literary Schools, 6(17), pp. 134–164. DOI: 10.22080/RJLS.2022.23329.1287 Kasraei, Siavash (1999) Az Khun-e Siavash (Selected Poems from Thirteen Collections). Tehran: Sokhan. Oliyaei-Moghadam, Mehdi (1403/2024) “ Az Gharib-e Man” [From My Stranger] (Volume III of Nima Yooshij’s unpublished poems, accompanied by anecdotes written by him in the style of Sa’di’s *Golestan)”. Tehran: Academy of Persian Language and Literature. Mohammadi-Arani, Maryam (2007) “Messianism in Religions (Zoroastrianism, Judaism, and Christianity).” Tolou, 6(22), pp. 35–52. Mehregan, Heydar (1981) “Meeting Arash: A Discussion on the Dialectics of the Epic Poem 'Arash Kamangir' by Siavash Kasrai ”, Tehran, Tudeh Party of Iran. Nima Yushij (2018) The Complete Collection of Nima Yushij’s Poems. Compiled by Siros Tahbaz. 16th ed. Tehran: Negah.           <a href="#_ftnref1" name="_ftn1">*</a> Professor, Department of Persian Language and Literature, Faculty of Humanities, Tarbiat Modares University, Tehran, Iran. bozorghs@modares.ac.ir https://orcid.org/0000-0001-9633-7019 <a href="#_ftnref2" name="_ftn2">**</a> Corresponding Author: Ph.D. Student in Persian Language and Literature, Faculty of Humanities, Ilam University, Ilam, Iran. sarahoseini1403av@gmail.com https://orcid.org/0000-0002-1351-7530در تاریخ بشر، دلزدگی از وضعیت فعلی و میل رسیدن به وضعیت مطلوب، سبب نیازمندی انسان به حضور نجات&zwnj;بخش بوده است. در ادیان و مذاهب مختلف، منجیانی در نام&zwnj;های گوناگون و به اشکال مختلف و در مقاطع متنوع تاریخی ظهور خواهند کرد و برای رهایی بشر از رنج ناملایمات تلاش نموده، او را به &zwnj;سوی وضعیتی آرمانی سوق خواهند داد. در آثار ادبی نیز به تبع نگاه انسان به ظهور منجی در زندگی واقعی، تصاویری از منجی در اشکال مختلف پدید آمده است. در شعر معاصر فارسی و در میانۀ سال&zwnj;های دهۀ چهل تا آغاز دهۀ پنجاه، سه شعر با عنوان&zwnj;های «آرش کمانگیر» از سیاوش کسرایی، «مرغ آمین» از نیما&zwnj;یوشیج و «کسی که مثل هیچ&zwnj;کس نیست» از فروغ فرخزاد سروده و منتشر شده&zwnj;اند. در پژوهش حاضر، سه اثر یادشده به شیوۀ توصیفی&zwnj;- تحلیلی، از ده وجه بررسی شدهاند و وجوه اشتراک و افتراق آنها بررسی و تحلیل شده است. این پژوهش در پی پاسخ دادن به این پرسش اساسی است که میدان ادبی سه شعر پیش&zwnj;&zwnj;گفته تحت &zwnj;تأثیر کدام&zwnj;یک از میدان&zwnj;های سیاسی، اجتماعی، فرهنگی و اقتصادی قرار دارد و شاعر چه ویژگی&zwnj;هایی برای منجی در شعر خود برگزیده است. نتایج حاصل از پژوهش نیز نشان می&zwnj;دهد که این سه شعر، با وجود تفاوت&zwnj;هایی که در دیدگاه شاعران آنها وجود دارد، در اغلب موارد، تصویری همسو و همسان از منجی ارائه داده&zwnj;اند.

http://literature.ihss.ac.ir/ar/Article/Download/51981

مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103023792026923An Inquiry into the Possibility of an Existentialist Interpretation of the Novels Jazireh-ye Sargardani and Sarban-e Sargardanپرسش از امکان تفسیر اگزیستانسیالیستیِ رمان‌هاي «جزيرۀ سرگرداني» و «ساربان سرگردان»5985faمحیا ساداتاصغریدانش‌آموخته کارشناسی ارشد زبان و ادبیات فارسی، دانشگاه علامه طباطبایی، تهران، ایرانhttps://orcid.org/0009-0009-5487-1905 2026419An Inquiry into the Possibility of an Existentialist Interpretation of the Novels Jazireh-ye Sargardani and Sarban-e Sargardan   Mahya Sadat Asghari <a href="#_ftn1" name="_ftnref1">*</a>   Simin Daneshvar’s two novels, Jazireh-ye Sargardani and Sarban-e Sargardan, have so far attracted the attention of literary critics from various perspectives. However, these two novels have not been analyzed from the perspective of existentialist criticism. Attention to the individual and existential concerns of human life, as well as the primacy of life and its meaning over ideological and idealistic social objectives; emphasis on freedom, agency, and responsible decision-making as opposed to being immersed in the everyday flow and common conventions of society; are elements that bring a literary work close to existentialist philosophical works. In the history of modern literature, the works of writers such as Dostoevsky, Camus, and Sartre fall within this category. Here, Daneshvar’s two aforementioned works are analyzed from this perspective. The existential concerns of the main character of these two novels, namely Hasti, in contrast to the idealistic issues and social and ideological concerns of the characters around her, have an existential resonance. Hasti’s anguish and wandering in Daneshvar’s novels are of the kind of anguish and anxiety that existentialist thinkers regard as inevitable consequences of the particular mode of human existence. Here, an existentialist interpretation of these two novels is defended both by emphasizing the character of Hasti and her concerns and by taking into consideration the historical-social context in which the story is narrated.   Keywords: Jazireh-ye Sargardani, Sarban-e Sargardan, existentialism, Simin Daneshvar, anxiety, novel.   <ol style="text-align: left;"> <li> Introduction</li> </ol> Simin Daneshvar is a prominent figure in contemporary Iranian fiction. Her literary works have a profound connection with the social, political, and cultural transformations of contemporary Iran, and she has consequently acquired a unique position in the contemporary Iranian novel. The two novels Jazireh-ye Sargardani (1372 [1993]) and Sarban-e Sargardan (1380 [2001]), whose narratives are interconnected, are among her most important works. In these two novels, Daneshvar, alongside the course of the narrative, depicts the political, social, and intellectual climate of Iran during the decades of the 1950s and 1960s. Compared with a work such as Savushun, these two works have a more modern and, in some respects, more complex structure and contain themes such as the crisis of meaning, identity, wandering, and so on, all of which evoke the text’s engagement with anthropological themes in contemporary philosophy. The story of the main character of the two novels wandering among conflicting traditional, modern, and ideological intellectual-social currents is, in a sense, a reflection of the crisis of the Iranian intelligentsia in a society in transition. In this article, terms that are central to existentialist literature in the Persian language, including “wandering” and “anxiety,” are considered and analyzed in relation to the content of the two novels Jazireh-ye Sargardani and Sarban-e Sargardan, and on this basis these two works are read as existentialist literary works. Such a reading is based on an encounter with the text of these two works and therefore the article certainly does not claim that the author of the two aforementioned novels was familiar with, for example, Heidegger’s ideas and was fully conversant with the thought of existentialist thinkers. What is stated in this article is the result of a direct encounter with these two novels and an examination and analysis of these works, independent of an investigation into the author’s circumstances and beliefs.   <ol style="text-align: left;" start="2"> <li> Discussion</li> </ol> In response to an interpretation of the Persian novel whose story is dependent on the historical-social conditions of Iran, based on a Western theory or philosophy, it may be objected that this theory is dependent on the socio-historical conditions of the West and that interpreting such a novel on the basis of that philosophy results from overlooking the differences between these two contexts and their historical-social conditions. This objection is not without merit and is valid and worthy of consideration with regard to the interpretation of some Persian literary works on the basis of Western theories or philosophies. For the reasons mentioned here, it seems that such an objection does not apply to an existentialist interpretation of the contemporary Persian novel. First, although existentialist philosophical discussions emerged under particular historical-social conditions, especially with the peak of these discussions after the World War and the crisis of meaning resulting from the devastation and crimes of war and, consequently, the crisis of meaning, the profound and fundamental issues raised by existentialist philosophers issues such as freedom, choice, responsibility, anxiety, the meaning of life, solitude, and the Other are issues concerning human existence and are not limited to particular socio-historical conditions. This characteristic of existentialism makes it possible to study even the condition of historical human beings including certain prophets, writers, or artists from an existentialist perspective. Likewise, the existentialist engagement of thinkers such as Gabriel Marcel with medieval religious texts, the existential interpretation of works of art such as Vincent van Gogh’s paintings, and so forth, all attest to the claim that, from the perspective of the philosophers who have developed this tradition, existentialism is a theory concerning the existential condition of human beings and that its concerns are not exclusively limited to the socio-historical context of contemporary Western humanity. Although there is in itself no problem with interpreting the contemporary Persian novel from an existentialist perspective, it is nevertheless better, in presenting such an interpretation, to take into consideration the socio-historical conditions and context of the novel’s story, as well as the social conditions out of which the author created the novel, and, by taking these socio-historical conditions into account, to provide evidence in support of an existentialist interpretation of the work. Therefore, in the existentialist interpretation of the novels Jazireh-ye Sargardani and Sarban-e Sargardan, we take into consideration the condition of the character named Hasti in these two novels and the particular historical-social context of contemporary Iran. It seems that both intratextual evidence (concerning the historical context of the story) and extratextual evidence (concerning the historical-social context in which the author is situated and out of which she creates the work) support the adoption of an existentialist perspective in interpreting these two novels. Extratextual evidence includes the author’s own life, her social engagement in the historical circumstances before and after the 1979 Revolution, and her familiarity with Western philosophical thought. Intratextual evidence includes the following: the references in these two novels to important political events of the periods before and after the Revolution; the presence of characters who played roles or participated in these events; Hasti’s position between competing ideological ideas and metanarratives supported by the secondary characters; and so on. The historical context of the story of the novels Jazireh-ye Sargardani (1372 [1993]) and Sarban-e Sargardan (1380 [2001]) is Iran in the 1350s [1970s]. Iranian society in the 1340s and 1350s [1960s and 1970s] was a society in transition from tradition to modernity and therefore experienced the crises associated with this transition. The disillusionment of intellectuals, migration, war, the idea of struggle, and the subsequent failure of collective ideological ideals are characteristics that share numerous similarities with the Western society that provided the context for the emergence of existentialist philosophies. Among the characteristics of existentialist thought is the priority and centrality of individual and personal life in thinking. Our personal experiences of life should guide our reflections. Life should always be the starting point within the context of which all other ideas, values, or ideals are discussed. In directing an individual’s life, the existentialist thinker gives priority to the individual’s own personal life over any doctrine or metanarrative. Essentially, one of the functions of metanarratives is to prevent the individual from having an authentic encounter with life and its problems. Kierkegaard’s question is not what is truth? Rather, his question is, “What is truth for me?” In opposition to the traditional conception of truth, which consists of objective and universal essences, Kierkegaard puts forward truth as subjectivity. For Kierkegaard, the learning of truth is, first and foremost, self-education. Therefore, from Kierkegaard’s existentialist perspective, the answers to the fundamental problems of human beings should be sought not in grand worldviews and great ideologies, but within oneself and in the context of life. In the two novels Jazireh-ye Sargardani and Sarban-e Sargardan, we encounter both the existential crisis of meaning and the discovery of the meaning of life through engagement with art. Hasti, the main character of the story, is an artist; she is a poet and painter. She knows well the epistemological and ideological systems that claim to give meaning to life, but these systems do not possess their claimed validity for Hasti, just as they do not for Roquentin in Sartre’s novel. She is therefore afflicted with wandering and is in search of an essence that gives meaning to human life. She realizes that this wandering and this search for the meaning-giving essence must be pursued through her own creativity, that is, through artistic creation. She herself must create this meaning-giving essence: “[Hasti says,] ‘I discovered myself and became whole. I must devote myself to poetry and painting.’”   <ol style="text-align: left;" start="3"> <li> Conclusion</li> </ol> Considering the features and elements contained in Simin Daneshvar’s two fictional works, namely the novels Jazireh-ye Sargardani and Sarban-e Sargardan, these two novels contain certain elements of the philosophical thought of existentialism. Here, we have interpreted the predominance of elements such as freedom, choice, anxiety and wandering, preoccupation with life and death, in these two novels through the perspectives of contemporary thinkers and philosophers such as Kierkegaard, Dostoevsky, Heidegger, Sartre, and Camus. As stated in the text of the article, this interpretation is based on Gadamer’s text-centered hermeneutics and is the result of an encounter with the text of the two novels, independent of an investigation into or claim concerning the author’s intention. In terms of the dominant element, we find Jazireh-ye Sargardani to be the site of the main character’s doubts, which ultimately lead to her existential wandering and her attention to existentialist issues. Hasti is an epistemically wandering character. In Sarban-e Sargardan, Hasti’s condition within the historical-social context of Iran in the 1950s and 1960s is that of a contemporary Iranian who has gone through the ideological conditions, saturated with certainty, of the period of struggle and, after the rejection of the ruling monarchical conditions, is confronted with conflicting epistemological and ideological systems, each of which, despite their conflict with one another, draws the Iranian human being toward itself through certainty and claims of happiness. The condition of this human being among these alternative and conflicting epistemological systems is an epistemic wandering that, in practice, leads to an existential and ontological bewilderment. Hasti’s state of existential bewilderment is an existential wandering among metanarratives that, owing to the existing social conditions and context, fail to provide this character with certainty and a firm epistemological foundation. Ultimately, the main character of these two novels realizes that there is no haven of tranquility for this existential bewilderment and wandering except a return to life itself and the creation of the meaning of life through the creation of a work of art. On this basis, while taking into account the socio-historical context of the narratives of the two novels under discussion, this article offers an existentialist reading of them.   References Aho, K. (2023) Existentialism. In Stanford Encyclopedia of Philosophy. https://plato.stanford.edu/archives/sum2023/entries/existentialism/ Aloni, N. (1999) Education. In H. Gordon (Ed.), Dictionary of existentialism. Greenwood Press. https://doi.org/10.4324/9781315062716 Camus, A. (1946) The stranger (A. A. Khabarehzadeh & J. Al-e Ahmad, Trans.; Persian translation). Kanoon-e Ma'refat. (Original work published 1942) Camus, A. (1997) The fall (S. Farrokh, Trans.; Persian translation). Niloufar Publications. (Original work published 1956) Charme, S. (1999) Life. In H. Gordon (Ed.), Dictionary of existentialism. Greenwood Press. https://doi.org/10.4324/9781315062716 Daneshvar, S. (1977, October) Issues in contemporary art [Speech transcript, in Persian]. In Goethe Poetry Nights. Goethe Institute, Tehran, Iran. https://bonyadhomayoun.com/?p=7300 Daneshvar, S. (1993) Jazireh-ye Sargardani [Island of wandering] (in Persian). Kharazmi Publications. Daneshvar, S. (2001) Sarban-e Sargardan [Wandering caravan leader] (in Persian). Kharazmi Publications. Hannay, A. (2012) Kierkegaard’s single individual and the point of indirect communication. In S. Crowell (Ed.), The Cambridge companion to existentialism (pp. 73–95). Cambridge University Press. https://doi.org/10.1017/ccol9780521513340.005 Hatab, L. J. (1999) Freedom. In H. Gordon (Ed.), Dictionary of existentialism. Greenwood Press. https://doi.org/10.4324/9781315062716 Heidegger, M. (2008) Being and time (S. Jamadi, Trans.; Persian translation). Ghoghnoos Publications. (Original work published 1927) Kierkegaard, S. (2001) Fear and trembling (A. Rashidian, Trans.; Persian translation). Ney Publishing. (Original work published 1843) Macquarrie, J. (1997) Martin Heidegger (M. S. Hanaie Kashani, Trans.; Persian translation). Groos Publications. Malpas, J. (2012) Existentialism as literature. In S. Crowell (Ed.), The Cambridge companion to existentialism (pp. 291–322). Cambridge University Press. https://doi.org/10.1017/ccol9780521513340.015 McBride, W. (2012) Existentialism as a cultural movement. In S. Crowell (Ed.), The Cambridge companion to existentialism (pp. 50–72). Cambridge University Press. https://doi.org/10.1017/ccol9780521513340.004 Palmer, R. E. (1998) Hermeneutics: Interpretation theory in Schleiermacher, Dilthey, Heidegger, and Gadamer (S. Hanaie Kashani, Trans.; Persian translation). Hermes Publications. Sartre, J.-P. (1986) Nausea (A. J. A’lam, Trans.; Persian translation). Niloufar Publications. (Original work published 1938) Sartre, J.-P. (2001) Existentialism and humanism (M. Rahimi, Trans.; Persian translation). Niloufar Publications. (Original work published 1946) Schalow, F., & Denker, A. (2010) Historical dictionary of Heidegger’s philosophy. Scarecrow Press. https://doi.org/10.5771/9780810874930-313 Wolff, J., & Leopold, D. (2025) Karl Marx. In Stanford Encyclopedia of Philosophy. https://plato.stanford.edu/entries/marx/           <a href="#_ftnref1" name="_ftn1">*</a> M.A. in Persian Language and Literature, Allameh Tabataba'i University, Tehran, Iran. <a href="mailto:mahya2asghari@chmail.ir">mahya2asghari@chmail.ir</a> <a href="https://orcid.org/0009-0009-5487-1905">https://orcid.org/0009-0009-5487-1905</a>  دو رمان «جزیره سرگردانی» و «ساربان سرگردان» اثر سیمین دانشور تاکنون از منظرهای مختلف مورد توجه ناقدان ادبی قرار گرفته است. اما این دو رمان از منظر نقد اگزیستانسیال تحلیل نشده است. توجه به دغدغههای فردی و وجودی زندگی بشر و نیز تقدم زندگی و معنای آن بر اهداف اجتماعی ایدئولوژیک و آرمانگرایانه، تأکید بر عنصر آزادی و اختیار و تصمیمگیری مسئولانه در برابر غرق شدن در جریان روزمره و عُرف عام اجتماع، عناصری است که یک اثری ادبی را به آثار فلسفی اگزیستانسیالیستی نزدیک میکند. در تاریخ ادبیات معاصر، آثار ادیبانی همچون داستایفسکی، کامو و سارتر در این گروه میگنجد. در اینجا دو اثرِ یادشده از دانشور از این منظر تحلیل میشود. دغدغههای وجودی شخصیت اصلی این دو رمان یعنی هستي در مقابل مسائل آرمانخواهانه و دغدغههای اجتماعی و ایدئولوژیک شخصیتهای اطراف او، طنینی اگزیستانسیال دارد. دلهره و سرگرداني هستي رمانهاي دانشور از نوع دلهره و اضطرابي است که متفکران اگزیستانس آن را از نحوة خاص وجود آدمي اجتناب&zwnj;ناپذير ميدانند. در اینجا هم با تأکید بر شخصیت هستی و دغدغههای او و هم با توجه به زمینة تاریخی- اجتماعیای که داستان درون آن روایت میشود، از تفسیر اگزیستانسیالیستی این دو رمان دفاع میشود.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103023792026923Investigating the Narrative System of the Stories of Twelve-Grade Persian Books Based on Nikolayeva's Point of Viewبررسی نظام روایی داستان‌های کتاب‌های فارسی دوازده پایه بر اساس دیدگاه نیکولایوا87120faفاطمهجعفری کمانگردانشیار گروه آموزش زبان و ادبیات فارسی، دانشگاه فرهنگیان، تهران، ایرانhttps: //orcid.org/0000-0002-0719-1415سید محدثههاشمیدانش‌آموخته کارشناسی ارشد، گروه آموزش زبان و ادبیات فارسی،‌ دانشگاه فرهنگیان، آموزش و پرورش استان مازندران، بابل، ایران https://orcid.org/0009-0001-7739-52962023825Investigating the Narrative System of the Stories of Twelve-Grade Persian Books Based on Nikolayeva's Point of View   Fatemeh Jafari Kamangar<a href="#_ftn1" name="_ftnref1">*</a> Seyyedeh Mohaddeseh Hashemi<a href="#_ftn2" name="_ftnref2">**</a>   Literary critics have diverse perspectives on the context of children's and adolescent literature, and Maria Nikolayeva, also a prominent critic in this field, has considered various components of the stories in the three periods of pre-lapsarian (primary), carnivalesque (first secondary), and post-lapsarian (second secondary). The objective of this research is to investigate the extent of adaptation of the narrative discipline of the stories in the 12-grade school’s Persian books based on Nikolayeva's theory. The statistical population includes all of the 12-grade Persian books, and the stories of those books are considered a statistical sample. In this research, content analysis was used in both quantitative and qualitative ways with the analogical coding method. The unit of this research is the story. In order to achieve reliability, a number of stories were coded by two coders, and validity was performed with the pluralistic method and the researcher's long-term engagement with the research environment. For statistical analysis, SPSS, Excel, online analysis tests, and G-Test were used. The results of this research proved that the narrative discipline of the stories in the 12-grade Persian books did not have the necessary compatibility with the components proposed by Nikolayeva's point of view. Among the three stages of school, the stories in the Persian books of the elementary school had the most adaptation, and the stories in the Persian books of the first and second high school, respectively, had the least adaptation with the components of Nikolayeva's view.   Keywords: Narrative system, story, Persian book, Nikolayeva's point of view.   Introduction Among the various genres of language and literature, stories and narrative literature occupy a distinctive and significant position, particularly within the field of children's and young adult literature. Narrative literature constitutes a major branch of literary studies, encompassing all forms of fictional and imaginative storytelling. Stories provide children with opportunities to interpret and express their unconscious desires, emotions, and inner experiences while simultaneously helping them understand the world around them. This function aligns closely with the fundamental objectives of modern education, which emphasize holistic cognitive, emotional, and social development. Unlike the rigid, formal, and often artificial language commonly found in school textbooks, stories present knowledge in a natural, engaging, and accessible manner. Consequently, they facilitate children's comprehension, stimulate their imagination, foster critical thinking and creativity, and promote meaningful, long-lasting learning experiences. In general, the proper and accurate selection of a story has a greater influence on a child’s behavior than other educational tools. Narrativity is considered the most fundamental characteristic of any narrative text. A story is the narration of a series of events by a narrator, arranged according to causal relationships and the logic of the story, and recounted with a clear beginning and end. A portion of these narratives is intended for children and is therefore classified as children’s literature. Children's literature encompasses literary works specifically produced for a distinct audience of young readers. Such texts embody both aesthetic and pedagogical dimensions, aiming not only to provide literary enjoyment but also to foster children's awareness of life, society, and human values while contributing to their cognitive, emotional, and moral development. As an integral component of both formal and informal education, children's and young adult literature occupies a significant place within educational systems and constitutes a substantial proportion of Persian language textbooks and instructional materials. Listening to and reading instructional texts constitute meaningful cognitive processes only when they are accompanied by reflection and active engagement on the part of learners. Such internal learning occurs when the instructional material is appropriately aligned with learners' developmental characteristics, cognitive needs, and prior knowledge, thereby facilitating a meaningful interaction between the learner and the text. Consequently, textbooks are systematically designed and organized in accordance with educational objectives, curricular content, and the characteristics of their intended audience. Within centralized educational systems, in particular, textbook content plays a pivotal role in the realization of educational goals and curriculum objectives. For this reason, the systematic analysis and evaluation of textbook content are of critical importance for curriculum planning, textbook development, educational policy reform, and the continuous revision and modernization of the educational system. By examining the structure, meaning, and artistic qualities of literary works, literary criticism seeks to provide a deeper and more systematic interpretation of literary texts. Among the major approaches to literary criticism, Structuralism occupies a prominent position, focusing on the underlying structure of narratives, the constituent elements of a literary work, and the relationships among these elements. Structuralism is fundamentally grounded in the concept of narrative, maintaining that a literary text is amenable to structural analysis insofar as it possesses narrativity. From a structuralist perspective, narratology is concerned with the systematic study of the form, structure, and functions of narrative, with the ultimate aim of explaining how narratives generate meaning and how readers interpret and understand narrative texts. According to Ferdinand de Saussure's linguistic theory, meaning is determined by structure, and language is conceived as a system of arbitrary signs devoid of any inherent or fixed essence. Saussure argues that form consists of the network of relationships and oppositions governing language. Although individual sentences and utterances differ from one another, they all operate within a single underlying system and are generated according to shared principles and rules. This underlying system is what is referred to as structure. From the perspective of structuralist criticism, the critic is not primarily concerned with determining how a literary work expresses the author's inner emotions or reflects an external reality. Rather, the principal objective is to explain how the formal structures and literary devices of the text function to produce meaning. Structuralism differs fundamentally from traditional approaches to literary criticism in that it regards the literary work as an autonomous and objective structure whose system of signs and conventions exists independently of the author, the reader, and external reality. Within the structuralist tradition, one of the leading narratologists and prominent scholars of children's and young adult literature is Maria Nikolajeva. In her theoretical framework, the developmental journey from childhood to adulthood is divided into three distinct phases: the prelapsarian, carnivalesque, and postlapsarian stages. For each of these developmental stages, Nikolajeva identifies a distinct set of literary characteristics corresponding to the cognitive and interpretive abilities of the intended readership. According to her, narratives belonging to the prelapsarian stage, which generally correspond to the primary school years, exhibit a number of defining features. These include a well-defined plot with a clear beginning, middle, and end; a limited cast of characters; a chronological sequence of events; a setting that is spatially isolated from the rest of the world; an emphasis on the home particularly the rural home as a secure and meaningful space; the absence of negative or disturbing elements; the exclusion of themes such as death and sexuality; the systematic repetition of events throughout the narrative; the presence of a collective rather than an individual hero; an omniscient narrator; and a happy ending, among other characteristics. Narratives belonging to the carnivalesque stage, which corresponds broadly to the lower secondary school years, are characterized by a distinctive set of structural and thematic features. These include a circular–linear–circular temporal pattern; the interplay between the real world and the dream or fantasy world; a collective protagonist who, through magical means or the power of imagination, journeys to a supernatural or mythical realm before ultimately returning to reality; reversible death; movement across temporal boundaries; a happy ending; and the protagonists' moral and psychological transformation toward adulthood. In addition, these narratives are typically presented through a first-person narrator and incorporate implicit romantic allusions while excluding explicit representations of sexuality, among other defining characteristics. Narratives belonging to the postlapsarian stage, which broadly corresponds to the upper secondary school years, are distinguished by a considerably greater degree of structural and thematic complexity. Their defining characteristics include the avoidance of repeated events; multiple or open-ended conclusions; polyphony (multiple narrative voices); an unreliable narrator; intersubjectivity; open settings, predominantly urban environments; an individual rather than a collective protagonist; an awareness of the inevitability and finality of death; the presence of disorder and chaos; the exploration of social, ethical, political, and sexual issues; disruption of chronological order through complex temporal structures; and the frequent use of recursive and embedded flashbacks, among other narrative features. Attention to each of these components in stories designed for different age groups can, in addition to defamiliarizing the repetitive structures of conventional narratives and implicitly familiarizing students with diverse narrative styles, enrich their reading experiences and enhance their understanding of educational, cognitive, and psychological issues. The present study employed a qualitative research approach to analyze the stories included in the Persian language textbooks of all twelve grades based on Nikolajeva's theoretical framework. Following a comparative analysis, the characteristics of the stories across the twelve grade levels were matched against Nikolajeva's proposed criteria for different age groups, and the degree of correspondence was determined.   Research Methodology  Subsequently, the qualitative findings were subjected to statistical analysis using SPSS, while another set of data, involving functional modeling, was analyzed using Microsoft Excel. The comparison of proportions between independent groups was conducted using an online statistical analysis tool. Descriptive statistics were reported as percentages, while inferential analyses comparing grade levels and educational stages were performed using the G-test.   Conclusion The findings revealed that the stories included in the primary school Persian textbooks corresponded to 71% of Nikolajeva's proposed narrative characteristics. Among these, the least frequently observed features were open endings (16.7%) and defamiliarization through characterization (18.8%), whereas the most frequently observed feature was the limited number of characters, which demonstrated 100% correspondence. The stories in the lower secondary school textbooks showed only 37% correspondence with Nikolajeva's framework, representing less than half of the expected characteristics. The least frequently identified features were reversible death and implicit romantic references without sexual content, both occurring at 0%, while the most prevalent feature was the happy ending, with a correspondence rate of 91.7%. The stories in the upper secondary school Persian textbooks demonstrated a 43.1% correspondence with Nikolajeva's criteria, which was also below the halfway point. The lowest level of correspondence was found for polyphony (multiple narrative voices), with 0%, whereas the highest level of correspondence was observed for the feature addressing social, moral, political, and sexual issues, with 94.7%. Educational stages primary, lower secondary, and upper secondary demonstrated an overall 50.36% correspondence with Nikolajeva's theoretical framework. In other words, only about half of Nikolajeva's proposed narrative characteristics were reflected in the stories contained in the Persian textbooks across all twelve grade levels. Among the three educational stages, the primary school textbooks exhibited the highest level of correspondence, at 71%, whereas the lower secondary and upper secondary textbooks showed considerably lower levels of correspondence, at 37% and 43.1%, respectively. The latter two stages differed only slightly from one another and represented the lowest degree of alignment with Nikolajeva's framework. The findings of the analysis of the Persian language textbooks indicate that the textbook authors did not select stories in accordance with students' cognitive and intellectual development. Instead, the basic narrative structure that is appropriate for primary school students has largely been retained throughout the subsequent educational stages. Although the selection of stories is influenced by numerous educational and ideological criteria, such considerations do not justify neglecting literary structures and narrative development. Stories intended for older age groups should not merely aim to convey moral or educational messages more seriously; rather, by incorporating age-appropriate narrative structures and employing techniques of defamiliarization in plot and storytelling, they should challenge readers' thinking, broaden their interpretive abilities, and prevent them from becoming confined to conventional literary patterns. Such narratives foster deeper engagement with literature while promoting higher-order cognitive and aesthetic appreciation. Given the central role of school textbooks in Iran's educational system, they occupy a particularly significant position. Consequently, beyond their explicit instructional objectives, textbooks are expected to incorporate beneficial implicit content that contributes to the development of students' cognitive, interpretive, and critical thinking skills. The repeated use of similar narrative structures not only diminishes their educational effectiveness but also weakens their aesthetic value, ultimately reducing students' interest and engagement with literary texts. Accordingly, the findings underscore the need for a comprehensive revision of the stories included in the Persian language textbooks across all twelve grade levels, with particular emphasis on the lower secondary and upper secondary stages, where the mismatch between narrative characteristics and students' developmental needs is most evident.   References Alam, A., & Ensafi, M. (2018) Recognizing the transition from structuralism to poststructuralism. Journal of the Faculty of Law and Political Science (Politics Quarterly), 48(1), 59–76. <a href="https://doi.org/10.22059/JPQ.2018.230498.1007036">https://doi.org/10.22059/JPQ.2018.230498.1007036</a> Ali, A., Alinejad, H., & Nematollahi, H. (2018) A research synthesis of interdisciplinary studies in children's literature from the audience-oriented perspective. Literary Criticism, 11(24), 117–142. Davoudi-Moghaddam, F., & Malekzadeh, Z. (2013) A narratological critique of adolescent stories about Imam Reza (AS), with emphasis on My Lonely Moon and Guest of Toos. Khorasan Cultural and Social Studies, (30), 7–34. <a href="https://doi.org/10.22034/FAKH.2014.154410">https://doi.org/10.22034/FAKH.2014.154410</a> Ghasemzadeh, S. A., Khodadadi, F., & Shamelouei, A. (2021) The three-stage narrative process in children's and young adult literature based on Nikolajeva's theory. Journal of Children's Literature Studies (Shiraz University), 12(1), 141–166. <a href="https://doi.org/10.22099/JCLS.2020.35110.1743">https://doi.org/10.22099/JCLS.2020.35110.1743</a> Goudarzi Dehrizi, M. (2009) Iranian children's and young adult literature. Tehran: Ghoo Publications. Hessampour, S., & Arameshfard, S. (2012) A study of narrativity in Ahmad Akbarpour's Three Magic Whistles based on Nikolajeva's theory. Journal of Children's Literature Studies, 3(1), 19–46. <a href="https://doi.org/10.22099/JCLS.2012.422">https://doi.org/10.22099/JCLS.2012.422</a> Larijani, A., Momeni, F., Torkamani, V., & Shadmohammadi, M. (2021) A comparative study of plot in original and translated stories for age groups B and C based on Nikolajeva's perspective. Razi University Journal of Fiction Literature Studies, 10(3), 61–81. <a href="https://doi.org/10.22126/RP.2021.6315.1322">https://doi.org/10.22126/RP.2021.6315.1322</a> Mahmoudi, S. (2013) Adabestan: Encyclopedia of children's and young adult literature. Tehran: Farhang-e Nashr-e No. Moeini, F. (2019) Narrative and decentralizing capacities of Chapter Seven of Kalila and Dimna for rewriting. Journal of Children's Literature Studies, (20), 103–128. <a href="https://doi.org/10.22099/JCLS.2017.22919.1450">https://doi.org/10.22099/JCLS.2017.22919.1450</a> Nikolajeva, M. (2019) An introduction to aesthetic approaches to children's literature (M. Hajvani & F. Zamani, Trans.). Tehran: Institute for the Intellectual Development of Children and Young Adults. Nikolajeva, M. (2021a) Growing up at the crossroads in children's literature (G. Bozorgmehr, Trans.). In M. Khosronejad (Ed.), Inevitable rereadings (pp. 409–449). Tehran: Institute for the Intellectual Development of Children and Young Adults. Nikolajeva, M. (2021b) Beyond story grammar: How children's literature criticism benefits from narrative theory (G. Bozorgmehr, Trans.). In M. Khosronejad (Ed.), Inevitable rereadings (pp. 451–484). Tehran: Institute for the Intellectual Development of Children and Young Adults. Payandeh, H. (2018) Literary theory and criticism (Vol. 2). Tehran: Samt. Payandeh, H. (2020) Literary theory and criticism. Tehran: Samt. Rahnama, H. (2018) An introduction to the narratology of Roland Barthes, Tzvetan Todorov, and Gerald Prince. Tehran: Hermes. Shabani, A. (2017) De-childification in Iranian elementary school textbooks. Iranian Association for Cultural Studies and Communication, (46), 37–69. Taheri Abdehvand, E. (2020) A comparison of the tale of good and evil in Haft Peykar and its rewriting in the Bakhtiari dialect from the perspective of narrativity. Journal of Children's Literature Studies, (21), 129–189. <a href="https://doi.org/10.22099/JCLS.2019.29843.1613">https://doi.org/10.22099/JCLS.2019.29843.1613</a> Yan, M. (2018) Narratology: An introduction to the theory of narrative (M. Ragheb, Trans.). Tehran: Qoqnoos.Bottom of Form   <a href="#_ftnref1" name="_ftn1">*</a> Corresponding Author: Associate Professor, Department of Persian Language and Literature Education, Farhangian University, Tehran, Iran, f.jafari@cfu.ac.ir https://orcid.org/0000-0002-0719-1415 <a href="#_ftnref2" name="_ftn2">**</a> MA, Department of Persian Language and Literature Education, Farhangian University; Mazandaran Province Department of Education, Babol, Iran. seyedmohadesehashemi@gmail.com https://orcid.org/0009-0001-7739-5296منتقدان ادبی، دیدگاه های مختلفی در حوزۀ ادبیات کودک و نوجوان دارند و ماریا نیکولایوا نیز به عنوان یک منتقد ادبیات کودک و نوجوان، مولفه هایی برای داستان های کودک و نوجوان در سه دورۀ پیشاهبوطی (ابتدایی)، کارناوالی (متوسطۀ اول) و پساهبوطی (متوسطۀ دوم) در نظر گرفته است. هدف پژوهش حاضر بررسی میزان تطبیق نظام روایی داستان های موجود در کتاب های فارسی دوازده پایه براساس دیدگاه نیکولایوا است. جامعۀ آماری آن شامل تمامی کتاب های فارسی دوازده پایه است که داستان های موجود در کتاب های فارسی دوازده پایه به عنوان نمونۀ آماری در نظر گرفته شد. در این پژوهش از تحلیل محتوا به دو صورت کمی و کیفی با روش کدگذاری قیاسی استفاده شده و واحد تحلیل آن داستان است. برای رسیدن به پایایی، تعدادی از داستان ها توسط دو کدگذار، کدگذاری شد و روایی هم با روش کثرت گرایی و درگیری طولانی مدت پژوهشگر با فضای پژوهشی انجام پذیرفت. برای تحلیل آماری نیز از نرم افزارهای spss، excel و آزمـون های آنالیز آنلاین و G-Test استفاده شد. نتایـج این پژوهـش نشان داد که نظام روایی داستان های موجود در کتاب های فارسی دوازده پایه تطبیق لازم را با مولفه های دیدگاه نیکولایوا نداشتند. در بین سه دورۀ تحصیلی نیز داستان های موجود در کتاب های فارسی دورۀ ابتدایی بیش ترین تطبیق و داستان های موجود در کتاب های فارسی متوسطه اول و دوم به ترتیب کم ترین میزان تطبیق را با مولفه های دیدگاه نیکولایوا داشتند.

http://literature.ihss.ac.ir/ar/Article/Download/43731

مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103023792026923The Romantic nature and the function of the chronotope of the ruins and wreckage in Blind Owl." the novel “The Blind Owl.”ماهیت رمانتیک و کارکرد کرونوتوپ خرابه و ویرانه در رمان «بوف کور»121145fa ستاره مدنیکارشناسی ارشد ادبیات و علوم انسانی، دانشکده ادبیات و علوم انسانی، دانشگاه گیلان، گیلان، ایران https://orcid.org/0009-0001-9231-7667علیرضانیکوییدانشیار گروه ادبیات و علوم انسانی، دانشکده ادبیات و علوم انسانی، دانشگاه گیلان، گیلان، ایران https://orcid.org/0000-0001-8428-5389شایسته ساداتموسویاستادیار گروه ادبیات و علوم انسانی، دانشکده ادبیات و علوم انسانی، دانشگاه گیلان، گیلان، ایرانhttps: //orcid.org/0000-0003-2912-0551202567The Romantic nature and the function of the chronotope of the ruins and wreckage in Blind Owl." the novel “The Blind Owl.” Setareh Madani<a href="#_ftn1" name="_ftnref1">*</a> Alireza Nikouei<a href="#_ftn2" name="_ftnref2">**</a> Shayesteh Sadat Mousavi<a href="#_ftn3" name="_ftnref3">***</a> The concept of the chronotope (the time–space continuum), introduced by Mikhail Bakhtin, is a fundamental element in the typological and poetics-oriented analysis of literary texts. This study examines the functional role of chronotopes in Sadegh Hedayat’s The Blind Owl, with particular attention to their contribution to the construction of the work’s generic atmosphere and aesthetic structure. Emphasis is placed on a dominant chronotope that of ruins and desolation which serves as the primary spatial and symbolic framework of the narrative. The analysis demonstrates that the Romantic–Gothic quality of the text is closely aligned with this spatial configuration. Within this framework, ruins operate not merely as a setting but as a symbolic locus through which the narrative engages with memory, temporal disjunction, and the impossibility of restoring the past. Furthermore, the interrelation of narrative elements including characters, events, and subsidiary chronotopes such as cemeteries and thresholds reinforces the centrality of this spatial logic. Adopting a qualitative and interpretive approach, the study offers a multi-layered reading grounded in Bakhtinian theory.   Keywords: Chronotope, Ruins, Romanticism, Gothic, Sadegh Hedayat, The Blind Owl. Methodology The research adopts a qualitative, descriptive-analytical approach grounded in close textual analysis. Selected passages and key narrative episodes from The Blind Owl are examined through the lens of Bakhtinian concepts, particularly the chronotope, dialogism, and heteroglossia. The analysis identifies and interprets spatial and temporal markers that contribute to the formation of the “ruins and wastelands” chronotope. In addition, the study draws on interdisciplinary theoretical perspectives, including Romanticism’s emphasis on subjectivity and nostalgia, Gothic literature’s fascination with decay and the uncanny, and existentialism’s concern with alienation and meaninglessness. These frameworks are employed to decode the symbolic and thematic layers embedded in the novel’s imagery and narrative structure. The methodological procedure involves categorizing instances of spatial representation, tracing their temporal associations, and interpreting their function within the broader narrative economy.   Findings The analysis reveals that the chronotope of ruins and wastelands serves as a central organizing principle in the novel, mediating between past and present, memory and perception, and reality and hallucination. Ruined houses, abandoned rooms, obsolete objects, and desolate urban and rural landscapes are not passive settings; rather, they actively embody a lost past and an idealized temporality that contrasts sharply with the degraded and fragmented present. This contrast generates a dual temporal structure in which an imagined, harmonious past coexists with a disintegrating present marked by alienation and decay. The protagonist’s persistent longing for childhood, nature, and an unattainable purity reflects a romantic escapist impulse, while the pervasive imagery of darkness, death, shadow, and decay aligns the narrative with Gothic sensibilities. Furthermore, other chronotopic elements such as the cemetery, the threshold (often symbolized through apertures like windows or vents), encounters with the enigmatic female figure, and the road leading away from the city interact with the central chronotope to reinforce the novel’s spatial-temporal complexity. These elements function as transitional zones where boundaries between life and death, self and other, and reality and imagination become blurred. The cemetery, for instance, signifies both an end and a point of return, while the threshold represents a liminal space of transformation and uncertainty. The road motif suggests both escape and exile, emphasizing the protagonist’s inability to locate a stable sense of belonging. The study also finds that the chronotope of ruins and wastelands contributes significantly to the articulation of the novel’s existential condition. The fragmented spatiality mirrors the protagonist’s fractured identity, and the disrupted temporality reflects a crisis of meaning and continuity. The interplay between Romantic nostalgia and Gothic decay creates a tension that defines the novel’s unique aesthetic, positioning it at the intersection of multiple literary traditions.   Conclusion The chronotope of ruins and wastelands is integral to the narrative architecture and thematic depth of The Blind Owl. It functions as a dynamic matrix through which time and space are interwoven to produce a complex representation of memory, identity, and existential dislocation. By employing Bakhtin’s theory, this study demonstrates that the novel’s spatial and temporal configurations are not incidental but foundational to its meaning-making processes. The chronotope articulates the protagonist’s sense of loss, alienation, and longing, while simultaneously shaping the text’s Romantic–Gothic identity. Ultimately, the research underscores the effectiveness of the chronotopic approach in uncovering the intricate relationships between narrative form, symbolic space, and philosophical inquiry in modern Persian literature.   References Karam, Yousef (1996) The Philosophy of Kant: A نقد!!! and Examination. Translated by Mohammad Mohammadrezaei. Qom: Daftar-e Tablighat-e Eslami. Kiliskan, (2008) “Ethics and Aesthetics in Bakhtin’s Works.” Translated by Mahdieh Mofidi. Ayeneh-ye Khial Monthly, No. 8, pp. 62–64. Rousseau, Jean-Jacques (1996) Reveries of the Solitary Walker. Translated by Ahmad Samiei Gilani. Tehran: Soroush. Ajodani, Mashallah (2006) Hedayat, The Blind Owl and Nationalism. Tehran: Forugh-e Khavaran. Al-Naseri, Ali (2021) The Chronotope in Arabic and Persian Novels: A Comparative Reading of Selected Postmodern Novels. 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(2020) Bakhtin in Another Frame. Translated by Setareh Noutaj. Tehran: Talina Institute for Translation and Publication of Artistic Works. Jafari Jozheh, Masoud (1999) The Course of Romanticism in Iran. Tehran: Markaz. Kordi Mohammadi, Nader (2022) “The Continuum of Stillness in Persian Novels of the 1960s.” Sociology of Art and Literature, Vol. 14, No. 2, pp. 99–120. https://doi.org/10.22059/jsal.2023.92669 Miyahi, Elham & Alia, Masoud (2022) “An Analysis of the Chronotope of Home in I Turn Off the Lights by Zoya Pirzad.” Journal of Literary Criticism and Theory, Vol. 7, No. 13, pp. 5–27. https://doi.org/10.22124/naqd.2022.20769.2283 Miyahi, Elham (2022) An Analysis of the Chronotope of Home in the Works of Iranian Women Novelists (1991–2016). [PhD Dissertation, Art University of Tehran, Faculty of Theoretical Sciences and Advanced Art Studies]. Miyahi, Elham (2024) A World Within a World: Essays on Bakhtin’s Concept of the Chronotope. Tehran: Logos. Parisot, E. (2013) Graveyard Poetry: Religion, Aesthetics, and the Mid-Eighteenth-Century Poetic Condition. Ashgate: Ashgate Publishing Ltd. Pour Ebrahimi, Sara (2022) Heterotopia, Third Space and Chronotope in “Life & Times of Michael K” by J.M. Coetzee and “The Woman in the Dunes” by Kobo Abe: A Spatial Reading. [Master’s Thesis, University of Guilan, Faculty of Letters and Humanities]. Raphael, David (1996) Adam Smith. Translated by Abdollah Kowsari. Tehran: Tarh-e No. Rasekhi Langaroudi, Ahmad (2018) Sartre in Iran. Tehran: Akhtaran. Seyed Hosseini, Reza (2002) Literary Schools (Vol. 1). Tehran: Negah. Shamisa, Sirus (2004) The Story of a Soul. Tehran: Ferdows. Shohadaei, Seyed Keyhan & Sahabi, Jalil (2024) “A Study of the Chronotope in Three Works by Shahrnush Parsipur (Touba and the Meaning of Night, Dog and the Long Winter, Women Without Men) Based on Bakhtin’s Theory.” Sanandaj Azad University Journal of Persian Language and Literature, No. 61, pp. 66–91. Walklate, J. (2023) Time and the Museum: Literature, Phenomenology, and the Production of Radical Temporality. Routledge, Taylor & Francis Group. Zaker Esfahani, Alireza (2002) “Romantic Nationalism in the Thought and Works of Sadegh Hedayat.” Ketab-e Naqd, No. 22, pp. 43–66. Holquist, Michael (1990) Dialogism: Bakhtin and His World. Translated by Mehdi Amirkhanlou. Tehran: Niloufar.   A Sociological Analysis of the Novel   <a href="#_ftnref1" name="_ftn1">*</a>Corresponding Author: M.A in Literature and Humanities, Faculty of Literature and Humanities, University of Guilan, Guilan, Iran. setareh.madani75@gmail.com https://orcid.org/0009-0001-9231-7667 <a href="#_ftnref2" name="_ftn2">**</a> Associate Professor, Department of Literature and Humanities, Faculty of Literature and Humanities, University of Guilan, Guilan, Iran. nikouei@guilan.ac.ir https://orcid.org/0000-0001-8428-5389 <a href="#_ftnref3" name="_ftn3">*** </a>Assistant Professor, Department of Literature and Humanities, Faculty of Literature and Humanities, University of Guilan, Guilan, Iran. sh_mosavi@guilan.ac.ir https://orcid.org/0000-0003-2912-0551 کرونوتوپ (پیوستارِ زمان- مکان) که نظریهپرداز برجسته، میخاییل باختین مطرح میکند، یکی از مؤلفههای مهم در سنخشناسی و تحلیل بوطیقایی اثر است. در این تحقیق کوشیدهایم تا نشان دهیم که کرونوتوپها در اثر برجسته&zwnj;ای چون «بوف کور»، چه عملکردی دارند و چگونه در خدمت فضاسازی ژانری و بوطیقایی اثر عمل میکنند. بدین&zwnj; منظور ماهیت رمانتیک و گوتیک روایت «بوف کور» در تعامل با کرونوتوپها -به&zwnj;ویژه یک کرونوتوپ اصلی، یعنی خرابه و ویرانه - بررسی شده است. در این بررسی مشخص میشود که ماهیت رمانتیک- &zwnj;گوتیک این روایت، ارتباط روشنی با انتخاب این کرونوتوپ به &zwnj;عنوان مکان اصلی روایت دارد. در این روایت، کرونوتوپ خرابه و ویرانه، کارکردی نمادین دارد و نوعی بازخوانی گذشته و تلاشی ناکام برای احیای آن در امروز است. همچنین ارتباط شبکهای سایر عناصر داستان، همچون شخصیتها، رویدادها و کرونوتوپ&zwnj;های فرعی (همچون گورستان و آستانهها) با این کرونوتوپ اصلی، نتایج بهدستآمده از تحلیل حاضر را تأیید میکند. این مقاله با روشی کیفی و تبیینی به بررسی دادههای متنی میپردازد و بر اساس چارچوب نظری مزبور، تحلیلی چندوجهی از آنها ارائه میکند.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103023792026923A Sociological Analysis of the Novel «Shohare Ahoo khanom» Based on the Theory of Georg Simmel, with an Emphasis on the Representation of Individual Identity and Lifestyleتحلیل جامعه‌شناختی رمان «شوهر آهوخانم» بر پایۀ نظریۀ گئورگ زیمل با تأکید بر بازنمایی هویت فردی و سبک زندگی 147172faفرزانه میرزاییدانشجوی دکتری، گروه زبان و ادبیات فارسی، واحد ورامین- پیشوا، دانشگاه آزاد اسلامی، تهران، ایران https: //orcid.org0009-0009-9489-4108مرجانعلی اکبرزاده زهتابدانشیار گروه زبان و ادبيات فارسي، واحد ورامین- پیشوا، دانشگاه آزاد اسلامی، تهران، ایران https: //orcid.org/0000-0002-6260-7380 معصومه خدادادی مهاباداستادیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، واحد ورامین- پیشوا، دانشگاه آزاد اسلامی، تهران، ایران https://orcid.org/000-0002-0583-7403 202637A Sociological Analysis of the Novel «Shohare Ahoo khanom» Based on the Theory of Georg Simmel, with an Emphasis on the Representation of Individual Identity and Lifestyle   Farzaneh Mirzayi<a href="#_ftn1" name="_ftnref1">*</a> Marjan Ali Akbarzadeh Zehtab<a href="#_ftn2" name="_ftnref2">**</a> Masoomeh Khodadadi Mahabad<a href="#_ftn3" name="_ftnref3">***</a>   The main issue of this interdisciplinary research is the Simmelian analysis of The Husband of Ahoo Khanum in the field of identity and lifestyle, with an approach based on money, fashion, and the stranger. This study has been conducted through a descriptive-analytical method using library research. The significance of this research lies in the value of Afghani’s realistic novel, which represents Iranian identity in the 1330s (1950s), and in the importance of the theories of Georg Simmel, the philosophical sociologist who explored the concepts of modernity. The necessity of this study derives from the need to represent the concepts of modernity in contemporary fiction and to emphasize the importance of literary sociology. The main research question and hypothesis are: How are individual identity and lifestyle reflected in the social interactions of the characters in The Husband of Ahoo Khanum with regard to Simmel’s important concepts of money, fashion, and the stranger? It seems that Simmel’s views on individual identity and lifestyle, through the concepts of money, fashion, and the stranger, are manifested in various ways in the characterization and interpersonal dialogues of this novel. The main findings show that Ahoo, as a symbol of the traditional woman, lacks an independent individual identity and is absorbed in the roles of motherhood and wifehood; her lifestyle is based on stability and preserving relationships at any cost. Seyyed Miran’s identity and lifestyle, as a representative of patriarchy, demonstrate instability and confusion in the conflict between tradition and modernity. Homa’s identity and lifestyle represent modernity and the redefinition of women’s identity in urban society; she is a clear embodiment of Simmel’s concepts of the “stranger” and the “blasé individual.” Money and fashion play significant roles in transforming the lifestyles of Seyyed Miran, Homa, and Ahoo.   Keywords: The Husband of Ahoo Khanum, Ali-Mohammad Afghani, Georg Simmel, sociology of literature, individual identity and lifestyle.   Introduction and Statement of the Problem Literature develops through a reciprocal relationship with society, and literary works reflect the historical, social, and cultural conditions of their time. The sociology of literature, as an interdisciplinary approach, examines the relationship between literary texts and social structures. In this context, Georg Simmel’s sociological thought particularly his concepts of individuality, social interaction, lifestyle, money, fashion, and the stranger provides an appropriate theoretical framework for the analysis of literary texts. According to Simmel, individual identity is formed through social interaction and one's relationship with different social groups. Likewise, money and fashion are not merely economic or aesthetic phenomena; they play a significant role in shaping social relations, identity, and lifestyle. This study analyzes Ali-Mohammad Afghani’s novel The Husband of Ahou Khanom from the perspective of Simmel’s sociological theory, with particular emphasis on the concepts of money, fashion, and the stranger. Set against the social transformations of Iran in the 1950s, the novel portrays the conflict between tradition and modernity, changing gender roles, and transformations in social relationships. Its three central characters Ahou, Seyyed Miran, and Homa represent different patterns of identity and lifestyle that undergo crisis or transformation in response to these changes. The aim of this study is to examine the characters’ lifestyles and individual identities through Simmel’s concepts of money, fashion, and the stranger. Its significance lies in applying Simmel’s sociological framework to one of the most important novels of modern Persian literature. The main research question is how the characters’ lifestyles and identities are reflected through their social interactions. The study assumes that Simmelian concepts, including identity, lifestyle, money, fashion, and the stranger, are substantially embodied in the novel’s characterization and interpersonal relationships.   Research Method The research method in this study is descriptive-analytical and based on library research. Accordingly, it first examines and reviews previous studies in this field as well as related works, including books, articles, dissertations, theses, and the novel The Husband of Ahou Khanom. After collecting and organizing the required data, the novel is analyzed, and the compatibility of Simmel’s sociological ideas with the mentioned work is examined through an interdisciplinary sociological approach.   Theoretical Framework Sociology of literature examines the relationship between literary works and the social, cultural, and historical contexts in which they are produced. From this perspective, literary texts reflect social relations, values, and human experiences of a particular historical period. Sociological criticism analyzes characters, relationships, and themes in literary works in connection with social structures. Georg Simmel (1858–1918) considers society as the result of interactions among individuals and emphasizes the role of reciprocal relationships in the formation of identity and social structures. According to him, modern individuals experience a tension between individuality and social pressures; modernity increases personal independence while simultaneously creating new forms of identity crisis and alienation. In Simmel’s theory, lifestyle refers to the collection of choices, behaviors, and habits through which individuals express their social position and identity. Individual identity is formed through interaction between the individual and social circles, while conflicts between personal independence and social restrictions may lead to identity crises. Simmel does not view money merely as an economic phenomenon but as a social and cultural force influencing human relationships and lifestyles. Money increases individual freedom on the one hand, while making relationships more impersonal and instrumental on the other. Fashion is also considered a social phenomenon that simultaneously connects individuals to specific groups and distinguishes them from others. The concept of the stranger refers to an individual who belongs to a social group but maintains a certain cultural and identity distance from it; such a person can introduce new perspectives and contribute to social transformation.   Findings and Analysis The findings of this research indicate that the main characters of The Husband of Ahou Khanom, within Simmel’s theoretical framework, represent three different patterns of identity and lifestyle in Iran’s transitional society of the 1330s. Ahou, Seyyed Miran, and Homa experience identity crises or transformations in response to social, economic, and cultural changes. Ahou represents the traditional Iranian woman whose identity is defined through the roles of wife and mother. She lacks an independent identity, and her lifestyle is based on patience, preserving family bonds, and accepting existing conditions. Her economic dependence strengthens her inferior position. However, at the end of the novel, confronting betrayal and family abandonment transforms her from a passive woman into a protesting individual who expresses her independent voice. Seyyed Miran is a character caught between tradition and modernity. At the beginning of the story, he is a traditional, religious, and family-oriented man, but Homa’s entrance into his life changes his values and lifestyle. His acceptance of modern elements, such as changing his appearance and going to the cinema, remains mostly superficial and does not lead to a deep transformation of his identity. Money also plays a significant role in shaping his social position and lifestyle. Wealth enables him to make new choices, but when his financial resources decline, this lifestyle collapses, and he returns to the traditional pattern. In contrast to Ahou, Homa represents a woman who attempts to define her identity independently from traditional roles. Her resistance to family restrictions and patriarchy demonstrates her effort to achieve individuality. From Simmel’s perspective, Homa can be analyzed through the concept of the “stranger,” because she enters a traditional family structure with different values and lifestyles and causes changes within it. However, her modernity remains largely limited to external aspects such as consumption, fashion, and luxury, which ultimately leads to an identity crisis. The analysis of money and fashion demonstrates that these two elements play important roles in shaping the identity and lifestyle of the characters. Money functions as a source of power, dependence, and social distinction, while fashion reveals the difference between Ahou’s traditional lifestyle and Homa’s modern-oriented lifestyle. According to Simmel, fashion is simultaneously a means of social belonging and a tool for expressing individuality.   Conclusion The analysis of The Husband of Ahou Khanom based on Georg Simmel’s sociological theory shows that the identity and lifestyle of its main characters are directly connected to the social, cultural, and historical conditions of Iranian society in the 1330s. Ahou, Seyyed Miran, and Homa represent three different responses to the transition between tradition and modernity. Ahou represents the traditional woman whose identity is absorbed into the roles of wife and mother; however, through a critical experience, she moves toward recovering her individuality and expressing resistance. Seyyed Miran is a figure suspended between tradition and modernity, whose transformation remains mostly superficial and leads to an identity crisis due to his inability to reconcile old and new values. Homa represents the modern-oriented woman who seeks independence, but her superficial encounter with modernity and her dependence on consumption and fashion result in another form of identity crisis. The research also demonstrates that Simmel’s concepts of money, fashion, and the stranger provide effective tools for analyzing the relationships among the characters. Money in the novel is not merely an economic factor but a social force determining power relations, lifestyles, and identities. Fashion reveals the distinction between traditional and modern lifestyles, while the concept of the stranger is embodied in Homa as a character who enters a traditional structure and transforms it. From the perspective of the sociology of literature, The Husband of Ahou Khanom presents a representation of Iranian society during the transition from tradition to modernity and reflects issues such as patriarchy, women’s social position, polygamy, and the identity crises caused by social change. Therefore, the novel can be considered a social text that reveals transformations in identities and lifestyles through literary narration.   References Afghani, Ali-Mohammad. (2012) The Husband of Ahou Khanom. 14th ed. Tehran: Amir Kabir. Ali-Akbarzadeh Zohtab, Marjan. (2019) “A Sociological Analysis of Shamloo and Abu al-Madi’s Poetry Based on Zalamansky’s Theory.” Journal of Persian Language and Literature Research, 17(55), 95–126. Fazeli, Nematollah. (1995) “An Introduction to the Sociology of Art and Literature.” Social Sciences Quarterly, Faculty of Social Sciences, Allameh Tabataba’i University, 4(7–8), 107–133. Frisby, D. (1992) Simmel and Since: Essays on Georg Simmel’s Social Theory. London: Routledge. Gholam, Mohammad. (2004) “The Sociology of the Contemporary Persian Novel.” Journal of the Faculty of Literature and Humanities, Kharazmi University, 32(44), 129–173. Ghorbani Varkalai, Masoumeh. (2010) “A Sociological Criticism of Ali-Mohammad Afghani’s Novel The Husband of Ahou Khanom.” Master’s Thesis, University of Sistan and Baluchestan. Helle, Horst. (2015) Georg Simmel’s Social Thought. Translated by Shahnaz Mosammapour. Tehran: Gol-Azin. Simmel, G. (2004) The Philosophy of Money (3rd enl. ed.; D. Frisby, Ed.; T. Bottomore & D. Frisby, Trans.). Routledge. (Original work published 1900). Simmel, Georg. (2012) On Individuality and Social Forms. Translated by Shahnaz Mosammapour. 2nd ed. Tehran: Sales.   <a href="#_ftnref1" name="_ftn1">*</a> Ph.D. Student, Department of Persian Language and Literature, VaP.C., Islamic Azad, Varamin, Iran. <a href="mailto:farzaneh.mirzaei7093@iau.ir">farzaneh.mirzaei7093@iau.ir</a> https: //orcid.org0009-0009-9489-4108 <a href="#_ftnref2" name="_ftn2">**</a> Corresponding Author: Associate Professor, Department of Persian Language and Literature, VaP.C., Islamic Azad, Varamin, Iran. <a href="mailto:ma.akbarzade@iau.ir">ma.akbarzade@iau.ir</a> https: //orcid.org/0000-0002-6260-7380 <a href="#_ftnref3" name="_ftn3">***</a> Assistant Professor, Department of Persian Language and Literature , VaP.C., Islamic Azad, Varamin, Iran.  <a href="mailto:mkhodadi@iau.ac.ir">mkhodadi@iau.ac.ir</a> https://orcid.org/000-0002-0583-7403این مقاله به شيوۀ توصيفي- تحليلي تحلیل رمان «شوهر آهوخانم» در حوزۀ هویت و سبک زندگی می&zwnj;پردازد و برای تحلیل بازنمایی هویت ایرانی در دهۀ سی از نظریه&zwnj;های «گئورک زیمل»، جامعه&zwnj;شناس فلسفی بهره می&zwnj;گیرد. مهم&zwnj;ترین پرسش و فرضیۀ پیش &zwnj;روی این است که در تعاملات اجتماعي شخصیت&zwnj;های رمان «شوهر آهوخانم»، سبك زندگي و هويت فردی با توجه به مفاهیم پول، مُد و غریبه -كه از آراي مهم زيمل است- چگونه بازتاب يافته است؟ به &zwnj;نظر می&zwnj;رسد آرای زیمل درباره هویت فردی و سبک زندگی با مفاهیم پول، مُد و غریبه در شخصيت&zwnj;پردازي&zwnj;ها و گفت&zwnj;وگوهاي ميان&zwnj;شخصيتيِ این رمان به شيوه&zwnj;هاي گوناگون نمود يافته است. مهم&zwnj;ترین نتیجه تحقیق این است که آهو به &zwnj;عنوان نماد زن سنتی، بدون هویت فردی مستقل، مستحیل در مادری و همسری است. سبک زندگی او، ایستایی و حفظ پیوندها به هر بهایی است. هویت فردی و سبک زندگی سید میران -نمایندۀ مردسالاری- بی&zwnj;ثباتی و سرگردانی در تعارض میان سنت و مدرنیته است. هویت و سبک زندگی هما، نمایندۀ تجددخواهی، مصادیقی از مدرنیته و بازنمایی تعریف زن در جامعۀ شهری است. او مصداق بارز نظریۀ «غریبه» و «مُسرف» زیمل است. پول و مُد باعث تحول سبک زندگی سید میران شده است. مُد و پول در زندگی هما و آهو، نقش بارزی دارد.

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