In Persian literature, the word hero is mostly used in its classical sense in epic stories, and the anti-hero is used as the opposite of the main character of the story. And it is the encounter of opposing characters that shapes the narrative. Wolfgang Iser,,a German th More
In Persian literature, the word hero is mostly used in its classical sense in epic stories, and the anti-hero is used as the opposite of the main character of the story. And it is the encounter of opposing characters that shapes the narrative. Wolfgang Iser,,a German theorician who developed a theory for reading literary texts in the second half of the twentieth century, took a special look at the action of characters and intra-textual elements in the narrative. By shifting the focus of literary studies from author to reader, he turned to the methods of reading the text and believed that with a different reading of the literary work, the elements within the text would also change. In this descriptive and analytical method, we deal with the features of characters, anti-hero and heroism in the play "Death of Yazdgerd" by Bahram Beizai. Our aim in this study is to look as a perspective of the reader-centered Iser which character considers the hero and which the anti-hero. The results of this study show that the protagonist and the anti-hero paid for the ellipse do not necessarily follow the author's beliefs from the reader's point of view, and all the characters in the work can be of heroism or anti-heroism.
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Calling tradition is among clearest areas which can be found in modern dramatic literary and artistic texts. The ancient hero is quite well known and since long has found his place in literature and art of different nations especially in legends, epics More
Calling tradition is among clearest areas which can be found in modern dramatic literary and artistic texts. The ancient hero is quite well known and since long has found his place in literature and art of different nations especially in legends, epics, folk tales, oral literature and dramatic texts such that it was in a battle with other elements and defeated them. Abou Khalil Alqabbani, the first Syrian playwright and among leaders of play writing in Arab and eastern world generally wrote many plays and borrowed some of their subjects from ancient narrations including “Antar ibn Shaddad”. Although there were other dramatic texts in Arabic literature about this hero, importance of Alqabani's play is latent in this fact that this is the first work of this kind in the Arab world and is investigated in descriptive- analytical method based on hero's characteristic in original story as a literary text and modern play as a dramatic art .The results of his study shows that although Alqabbani does not emphasize the story of Antar as a historical event, he calls story of the hero to describe situation in which he lives and social condition of his own society because his society needs to remind a brave hero with good ethic and chivalric features whom Antar represents.
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Romance is a literary genre that seems to be tied with European literature. Western scientists first have representedits definitions, types and features. In this paper, we study three romantic poems"VeisvaRamin" (Veis and ramin),"GolvaNorouz"(“Gol and Norouz&rdquo More
Romance is a literary genre that seems to be tied with European literature. Western scientists first have representedits definitions, types and features. In this paper, we study three romantic poems"VeisvaRamin" (Veis and ramin),"GolvaNorouz"(“Gol and Norouz”)and “JamshidvaKhorshid” ("JamshidandKhorshid") from different poets to clarify similarities and differences infeatures of this literary genre with what western scientistshave presented for European romance. According to the fact that romance includes different types from primitive and pastor to adventure and police films and postmodernliterature. Surely, comparing Persian literatures from different centuries, some changes in dominance of some motifs are certainly recognized in some works. These motivesexpress general direction and differences of romance in Persian literature. As we can obtain from this limited project, epic and miracle features are more faded in Veis and Ramin; two other poems i.e. “Gol and Norouz” and “Jamshid and Khorshid” are more adventurous; “Veis and Ramin” is more romantic. Chivalry and hero sanctification faces that are feudalistic features can be observable in “Gol and Norouz” and in none of these works, searching for treasure and killing dragon has been considered as main purpose.
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