Persian Novel

The present study seeks to critically investigate Bozorg Alavi's celebrated Persian novel, Čašmhāyaš (Her Eyes), in terms of Louis Althusser's concepts of ideology, interpellation and, most significantly, the subject/Subject model. Althusser developed the notion of 'interpellation,' that is the procedure through which individuals become subjects by what he called Ideological State Apparatuses. Accordingly, there exist 'subjects' and 'the Subject' at work precisely in the way 'ideologies' and 'Ideology' are present in the process of subjectivization. The subject is the individual who turns into being interpellated whereas the Subject is required by ideology. Bozorg Alavi's Her Eyes, considered as chef-d'oeuvre in the realm of modern Persian realist fiction, portrays a protagonist who is wholeheartedly attached to his ideological Cause, a character who dedicated his whole life to socialist ideals. Alavi's masterful depiction of the protagonist, Master Makan, and other major characters including Farangis in particular, demonstrates the way individuals are both consciously and unconsciously recruited by ideology, a process through which the subjects attempt to impersonate the Subject. Structurally, the ideological devotion in the protagonist, here to the communist Tudeh Party, entangles the subjects with a closed domain in a destructive manner that leads to their downfall.

The present study seeks to critically investigate Bozorg Alavi's celebrated Persian novel, Čašmhāyaš (Her Eyes), in terms of Louis Althusser's concepts of ideology, interpellation and, most significantly, the subject/Subject model. Althusser developed the notion of 'interpellation,' that is the procedure through which individuals become subjects by what he called Ideological State Apparatuses. Accordingly, there exist 'subjects' and 'the Subject' at work precisely in the way 'ideologies' and 'Ideology' are present in the process of subjectivization. The subject is the individual who turns into being interpellated whereas the Subject is required by ideology. Bozorg Alavi's Her Eyes, considered as chef-d'oeuvre in the realm of modern Persian realist fiction, portrays a protagonist who is wholeheartedly attached to his ideological Cause, a character who dedicated his whole life to socialist ideals. Alavi's masterful depiction ...

The city has fascinated the street wanderer as the contemplation of modern life. Walter Benjamin's conception of 'flâneur,' originally borrowed from Charles Baudelaire, could be taken as the true legacy of such fascination. There is always a sense of nostalgia being revealed through the flânerie of the city stroller passing through the metropolis, its shopping centers, and boulevards nourishing the mind of the bohemic storyteller with tales of post-aural experience and memory. Adapting Walter Benjamin's concept of 'flânerie' in the streets of Paris to those of Tehran, the present paper attempts to explore Sina Dadkhah's Yousef Abad, Street 33 in order to demonstrate the post-aural stories of the flaneurs in an Iranian milieu. This article focuses on the modern aspect of the Iranian contemporary society and explores the immediate consequences of modernity on the individual subjectivity of the characters represented in the novel. Considering Dadkhah's novel as a product of the urban literature of a generation dealing with modernity of the arcades and other lures of the megapolis on the one hand and feeling of nostalgia for their past spirit on the other, the paper simultaneously reveals the close affinity between the subjectivity of the characters and Benjaminian tenets of flânerie and modern storytellers. The flaneurs represented in the novel, by rambling through and about the city of Tehran, are turning to be the storytellers who narrate their 'post-aural' experiences. In Yousef Abad, Street 33 the central characters are, as fully manifested in the paper, deeply engaged in the experiences of a modern sense of living while wandering to console their wistful longings despite the everyday challenges.

This article is to study how mass media role and function in interpreting or changing surrounding world is reflected in Iranian contemporary fiction. The purpose is determining that mass media which leads every other phenomenon to being reflected, how is dragged to the scene of reflection itself. This is also proposed to give a picture of explanation and acknowledgement of media epidemic presence in real society in order to analyze the relation between power and prevalence of mass media in Persian novel and its social role and function in real world. Therefore 12 Persian realistic novels whose authors live in Iran and also are published in I. R. IRAN are chosen by targeted sampling method for qualitative research. All phrases about traditional mass media as radio, TV, newspaper and magazine are derived from these texts and are analyzed on basis of theories of media power, reflection, literary Criticism and sociology of literature, in accordance with cultural studies requirements for understanding media.Findings revealed that mass media is reflected as “power and trigger tool”, “awareness tool”, “negligence tool”, “routine thing”, “informative tool”, “Hobby tool”, “Contradictive phenomenon/tool”, “secondhand thing”, “Criticism tool” and “presenter phenomenon” in the world of Persian novel. Obvious difference between written media and visual and audio media in social role finding (oral culture), TV and radio roleplaying as the most main gate of being informed, in contrary with picked role of newspapers in everyday life and weaker than them, not-daily print magazines (inactive choice), lack of specified and strong place for news media among public (media weakness), printed media consume as a factor of the elite lifestyle (neglecting public audience), and lack of understood identity of activities and characteristics of media people (threat in meaning of media job), are categories that finding of this research are explained within.