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Showing 2 results for Ghafouri
Reza Ghafouri,
Volume 25, Issue 83 (3-2018)
Abstract
One of the popular stories in Shahnamehis Rustam’squestto Mazandaran in order to rescue Kavoos and his soldiers, which led him into killingDivSepid (the white demon), rescuingKavoos from captivity, and also entrusting Mazandaran to his children. This story, which is known as Haft-khan Rustam, has influenced a number of heroic poems, manuscripts of rhapsodies and oral/public narrativesof Shahnameh. The influence that these works have from the narratives of Rustam’s battle with the demons of Mazandaran can be classified into two categories: first, in many of these texts, are various narratives about or references to Rustam’sjourney to Mazandaran and his battle with DivSepid. Second, in some Iranian epic texts, be it poetry or prose, a number of demons or descendants ofDivSepid are present that each try to take revenge on Rustam or one of the members of his family. But, in all of these stories, they either have failed or were killed by the hero. Although these types of narratives have briefly been expressed in most of Iranian public prose literature, they have been expressed in more details in a number of texts including ShabrangNameh, ShahriyarNameh, and TheNew BorzoNameh. In this paper, first, these types of narratives in some heroic pieces of poetry are addressed. Then, common grounds or differences of these stories with the narrative of Shahnameh are analyzed.
Ebrahim Mohammadi, Effat Ghafouri Hassanabad, Seyyed Mahdi Rahimi, Hamed Norouzi,
Volume 30, Issue 93 (1-2023)
Abstract
Ahou Khanom (Madam Ahou’s Husband) novel, written by Ali Mohammad Afghani and its movie adaptation directed by Davood Mollapour. The noteworthy point in both works is the existence of different sense-maker layers and components in the novel and movie threshold that reveals the quality of the relationship between husband and wife in the traditional and pseudo-modern discourse. By highlighting the dispute between traditional and modern discourse, the writer and the director, invisibly and intangibly, try to present the audience the image of an oppressed and alienated woman around whom the patriarchal discourse has always formed a chain to subjugate her due to the natural differences between men and women, and has regarded her as the other and inferior and has marginalised her. So, in the present research based on a comparative-interdisciplinary approach and Laclau and Mouffe’s critical discourse analysis the structures of the thresholds of the two media were investigated. First, the micro-texts of thresholds in the novel and movie were identified, and then with the analysis of the existing point in their structure, the connection among thresholds, the nodal text and its outside world, and ways of creating meaning in different layers of micro-text were examined. Two points were revealed by studying threshold structures in Showhar-e Ahou Khanom’s novel and movie: 1. All the points found in the thresholds of both works were formed based on a macro-clash between men and women. 2. The existing points reveal patriarchally created discourse which always equates men with the nodal point, as superior, active, independent, and free, while introducing women with concepts such as marginal, inferior, passive, dependent and limited, and using the rational of the difference between men and women it excludes and rejects this rival.
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