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Showing 3 results for Blind Owl
Asad Abshirini,
year 30, Issue 92 (5-2022)
Abstract
The narrative of The Blind Owl (Buf-e Kur) goes through scattered “writings” in which the “painter” narrator, in captivity from the burden of his “wall of the house” shoulders through the entire story and tells the “swallowing shadow” of himself. It is only in the first part of The Blind Owl that the “ethereal girl” “manifests” through the “ventilation hole” of the closet of the same “house” which is located “on the other side of the ditch”. In the present study, the psychoanalytic theories of the French Jacques Lacan, of which language-centeredness is also one of the basic premises, are effective tools that pave the way for reflection on the linguistic aspects and related symbols in The Blind Owl. What explanation Lacan’s “The Real” provides for the progress of the plot of this modern story as well as how the result of such a view sheds light on the interpretive nature of The Blind Owl and its prosaic aspects constitute the author’s concerns.
Ali Taslimi, Farida Faryad, Firooz Fazeli,
year 32, Issue 96 (4-2024)
Abstract
For Kristeva all texts are results of a textual network before themselves. So, in order for decoding a text, one must take the textual network into consideration. Authors and poets have always benefited from texts before themselves. This is sometimes done as legendism which is nothing but a kind of rewriting and recreating legends and does not help literature much. However, “legend-turning” has another approach which can be a cause for literary evolution. Legend-turning does not just refer to legends in a manner of allusion and referencing, but deconstructs the texts of the past by employing intertextuality to the point that the reader cannot easily recognize what texts and legends have been used in the formation of a piece of text. In the novel Spells, we are faced with three methods: Legend-telling, legendism, and legend-turning. In The Blind Owl, too, the writer has deconstructed the text of the past through use of multiple legends and myths. A conclusion of this study is that both novels have benefitted from legends in opposition to legends. This article examines the two novels based on legend-turning or legendary intertextuality.
M.s Marjan Heydari Tambrabadi, M.s Shiva Heydari Tambrabadi, Mr Vahid Vaziri,
year 32, Issue 97 (1-2025)
Abstract
The present research, with an interdisciplinary approach, examines the role of architectural elements in the surreal stories of the blind owl and the prince of Ihtjab. Each of the architectural elements has its own specific definition and function, which shape the physical space and, in other words, create a space limited to time and place. But the content of these elements with their implicit meaning can create spaces that are not limited to time and place. Since the purpose of this research is to investigate the effect of architectural elements in creating the atmosphere of a surreal story; First, the architectural elements in the stories have been extracted, and based on comparative studies, their meaning beyond their physical aspect has been examined with the analytical-descriptive method, and finally their role in creating the surreal atmosphere of this story. It has been revealed. The Blind Owl can be considered the most important work of Sadegh Hedayat; In this story, architectural elements, including the storyteller's house and the mentioned buildings, have played a very important role in creating the atmosphere. In the story of Shahzad Ehtjab, the narrator of the story remembers in his personal room on the last night of his life, the surreal atmosphere of the story is formed by the room and the elements in it. With a deeper investigation, it can be said that the architectural elements in the room play an essential role in expressing the narrator's personal situations, recognizing the weaknesses and fears of the narrator.
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