A research on the narrative structure of Fethali Akhundzadeh's plays with an emphasis on Jonathan Kaler's narrative theories - the practical part of writing the play Melancholy

Academic Dissertation in Dramatic Literature Master's Degree

Abstract

This research examines the narrative in Mirza Fethali Akhundzadeh's dramatic works based on the theories of Jonathan Kaler.

At first, to explain Kaler's theories, we discuss the process of formation of structuralism in order to examine the reasons for the existence and why of this very important movement. At the beginning of this chapter, we take a look at the existential nature of the structure. Then we take a look at the philosophical nature of this movement, in the sense that this movement was formed on the basis of what thoughts. In the following, we will get to know this movement more fully by reviewing the thoughts and opinions of experts in the field of structuralism, and at the end of this chapter, we will review the reasons for the transition from structuralism to post-structuralism.

In the next chapter, we will enter the world of narrative and examine the importance of narrative in today's world. After examining the basic forms of narration, we will first discuss the general definition of narration and then we will review the narration from the perspective of structuralist thinkers and discuss their conflicting opinions. In the following, we will review the basic elements of the narration and the characteristics of the narration, and then we will review the course of the transformation of the narration in different periods. The conclusion of this chapter is the configuration of the narrative structure, the review of various viewpoints, and the introduction of focalization in today's narrative. Next, by discussing the boutique and hermeneutics, we will gain access to what is known as Jonathan Caller's boutique. In the end, by introducing Mirza Fethali Akhundzadeh and examining and analyzing his dramatic works, we will search for Kaler's theories in it.

The result of this research defines the close relationship between narrative in Akhundzadeh's works and Jonathan Kaler's narrative theory.

Key words: structure, structuralism, narrative, text, Jonathan Kaler, Mirza Fethali Akhundzadeh

Introduction

Structuralism refers to the French thought of the sixties. Structuralism is mixed with the names of thinkers such as Claude Levi-Strauss (1), Roland Barthes (2), Michel Foucault (3), Gerard Gennet (4), Louis Althusser (5), Jacques Lacan (6). Structuralism, as a step beyond humanism and phenomenology, examines the internal relationships of phenomena that make up language and all symbolic or discursive systems. Narratology is a set of general rules about narrative genres, systems governing narration (storytelling) and background structure. The history of narratology can be divided into three periods: pre-structuralist period (until 1960), structuralist period (1960 to 1980), post-structuralist period. (which includes not only the later developments of structuralism, including deconstruction, but also the recent developments of narratology towards an interdisciplinary activity).

Jonathan Kaler(7) in the structuralist boutique (1975) tries to "remove" criticism from the role of interpretation that it has in the framework of new criticism by designing and expanding the boutique that determines the conditions of interpretation.

Kahler uses the model Structural linguistics considers literature as a "secondary" sign system that uses language to create and monitor literary meaning. Therefore, writers, texts and readers are all placed in the framework of a literary denotation system.

Mirza Fethali Akhundzadeh (8) is one of the pioneers of playwriting in Iran, and his works are considered to be the founder of a new type of literature in Iran due to dealing with the problem of the Iranian man. His plays, which have social-critical themes, have a hearty and universal humor. It often involves educational results and moral sermons. In these plays, the social life of Iranian people is depicted. (1) Claude Levi-Strauss (27 Feb 1829 - 26 Sep 1902)

(2) Roland Barthes (12 Nov 1915 - 26 Mar 1980)

(3) Michel Foucault (15 Oct 1926 - 25 June) 1984)              

(4) Gerard Genette (1930 - )

(5) Louis Althusser (16 Oct 1918 – 22 Oct 1990)

(6) Jacques Lacan (13 Apr 1901 – 9 Sep 1981)  

(7) Jonathan Culler (1944 - )

Mirza Fatali Akhundov (1812 - 1878)  (8)

The first spark to focus on Akhundzadeh's works was given by our dear teacher Mr. Farhad Mohandespour, he encouraged me to investigate in this field by saying that the work on Akhundzadeh's works has been done less. Following the guidance of the esteemed teacher Mr. Dr.. Following the guidance of the dear teacher Mr. Dr. Saeed Asadi, the desire to work on Akhundzadeh's works increased and after the final talks with Dr. Fares Bagheri, the above topic was finally chosen. It should be noted that the contents of the text inside the brackets are the opinions of the author, which are included in the text references.

During the completion of this research, my dear supervisor Dr. Fares Bagheri was more than one supervisor, my friend and helper, and I will never forget his excellent and great secretaryship. The things I learned from him made me more aware of my own lack of knowledge.

In the end, I feel it necessary to give special thanks to Mr. Farzad Mafi, who generously did not spare any help during this research.

It was impossible to imagine going through this ups and downs without the support of my family and especially my wife.

Chapter 1: Overview

1-2 Statement of issue

Mirza Fethali Akhundzadeh as the first Iranian playwright (whose plays were written in Turkish) is considered as one of the initiators of modernity and innovation in Iran, although his death happened twenty-eight years before the victory of the constitutional revolution, he considered an unparalleled role in the history of contemporary Iranian taf-jahkar.

With the emergence of Akhundzadeh, a very new form of literature - i.e. Playwriting - entered Persian language and literature. This form of literature quickly gathered many enthusiasts due to its practicality. Enthusiasts who after some time got hold of first-hand sources of this kind. By translating the plays of Moliere (1), Pushkin (2), Gogol (3) and . These kinds of works became accessible to playwrights as reliable references, and it was from this point on that dramatic literature grew and developed in its new form.

The examination of narrative in Akhundzadeh's dramatic works becomes important in several ways. First, because he is the first person to do this according to the western playwriting method. In fact, his being a pioneer as someone who dares to spread and promote a type of literature - although not very mature and complete - becomes more important than ever.

The second reason is that he introduces the Iranian man for the first time in the form of this new type and represents and presents the relationship that the Iranian man has with his own kind and on a macro level with his society.

The third point is this. Akhundzadeh, considering his self-imposed distance from Iran, still has some preoccupations about Iranian people. Feb 1837) (3) Nikolai Gogol (13 Mar 1809 – 4 Mar 1852) 1-3 The necessity and objectives of the research This research hopes to be able to reveal the narrative arrangements of the works of Makhundzadeh, the inner and outer world, and analyzed his works in order to show the Iranian man and his way of expressing his issues. The important issue is the selection of a narrative arrangement that can refer to one of the possible worlds of the theater. This possible world is considered to be the initial formulation of the narrative approach of the new Iranian drama, which can be followed to configure the beauty of the narrative swimming of the writers after him.

1-4 Hypotheses and key questions

At the beginning of the research, we faced the following questions:

Does Akhundzadeh use the same narrative devices in his works?

Can it be possible to use the theoretical method of Jonathan Keller Did he achieve a pattern in the narrative boutiques of Fath Ali Akhundzadeh?

Is there a relationship between the narrative arrangements of his works and the possible world of theater that he sets up?

Is the narrative structure of his works related to the basis of the author's thought formulation?

Is there a relationship between the narrative structure and narrative arrangements of Akhundzadeh and the literary genre he chooses?

Is there a relationship in Each work's narrative arrangements in the composition of the structure of the work have created an internal and external coherence?

What is the relation of the author's narrative arrangements with his literary aesthetics?

At the beginning of the work, the research began with the assumption of the following reasons:

Akhundzadeh in his narrative as a whole uses a single arrangement that is consistent with the theater of that time in the world.

The narrative structure of the works is very similar to the world he is looking for. has