Papers by Zahra Nazemi
Anuario de Estudios Filológicos, 2022
The purpose of the present paper is to offer a new perspective towards the literary topoi, both i... more The purpose of the present paper is to offer a new perspective towards the literary topoi, both in theory and practice, by elaborating on the definition of topos, as well as its similarities and differences from other literary concepts, such as motif, leitmotiv, or theme. By focusing on the topos of 'madness for guilt and remorse', we intend to apply our theoretical proposal to a close reading of literary texts. The evolution of this topos from classical tradition to modern American drama will also be traced. The following texts will be examined: Euripides's Orestes (408 BC), Vergil's Aeneid (29-19 BC), Shakespeare's Macbeth (1606), Nathaniel Hawthorne's «Roger Malvin's Burial» (1832) and Eugene O'Neill's Mourning Becomes Electra (1931). It is argued that the presence of this topos in the aforementioned works follows in the footsteps of Euripides's retelling of the myth of Orestes. The results of the study testify to the creative recurrence of this topos in Western literature.
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Revista de Estudios Norteamericanos, 2020
The aim of the present paper is to introduce a literary topos called the scheme of Potiphar’s wif... more The aim of the present paper is to introduce a literary topos called the scheme of Potiphar’s wife, its development in literary history and its recreation in Eugene O’Neill’s Desire Under the Elms (1924). Taking into consideration the three factors established by Laguna Mariscal for a literary topos (content, literary form, and historical development), the evolution of this topos in The Egyptian Tale of Two Brothers, the biblical Book of Genesis, Homer’s Iliad, Ovid’s Metamorphoses, Euripides’s Hippolytus, Seneca’s Phaedra and O’Neill’s Desire Under the Elms is surveyed. It is argued that the story of Potiphar’s wife is part of a long-standing topos that has been developed through the literary history. The recreation of this topos in O’Neill’s play, as one permutation of this topos, while evoking several Classical sources, especially the Hippolytus by Euripides, is at the same time a creative adaptation, aimed to match the historical context of twentieth century America.
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Estudios de Literatura Comparada, 2020
In the present study, the aim is to examine comparatively the representations of motherhood as on... more In the present study, the aim is to examine comparatively the representations of motherhood as one of the roles of women in transcultural literary adaptations. The role of mothers is an important issue that has different definitions and manifestations in Western and Oriental societies and adaptations as discourses can define and represent those definitions. In this study, I find it crucial to examine the manifestations of motherhood in the Ibsen’s Norwegian play, Ghosts (1882), and its Iranian film adaptation Apparition (2014) directed by Dariush Mehrjui as an example to show how transcultural adaptations can contribute to the reconstruction of the definition and representation of the roles of women. Thus, this research will analytically compare and contrast the social, cultural and religious aspects of motherhood in the light of Linda Hutcheon’s A Theory of Adaptation (2013) to finally show how adaptations influenced by social discourses can define the meaning of gender.
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Littera Aperta, 2018
Elia Kazan is among the first directors who adapted Tennessee Williams’s A Streetcar Named Desire... more Elia Kazan is among the first directors who adapted Tennessee Williams’s A Streetcar Named Desire (1951) for the cinema. Kazan’s film adaptation was almost faithful to the original manuscript by sticking to Williams’s words and sentences. However, even if one ignores the cultural and historical contexts, the alterations that take place in the process of trans-mediation cannot be disregarded, since the telling mode in the text changes to the showing mode in the media. With this hypothetical basis, the present study aims to detect the possible alterations in the adaptation of the play to examine gender roles in both texts. Using the ideas of Linda Hutcheon in A Theory of Adaptation (2013), the authors have studied the verbal signs in the play together with the verbal and visual codes in the movie to assess how the film adaptation has incorporated the ideas of femininity, which are the main concerns of the play, too. The results of the study suggest that the alterations from the literary text to film have contributed to the development of female identity.
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Persian Literary Studies Journal, 2017
Critics have affirmed the existence of dual, double, or sometimes triple
implied audiences for ... more Critics have affirmed the existence of dual, double, or sometimes triple
implied audiences for a single work. Therefore, the study of the implied
audience in the media and literature becomes quite essential, especially if
the media is to be broadcast for very young people. Shekarestān, the
Iranian animated television series, broadcast on national TV channels for
children and teenagers, has envisioned varied audiences within its
different parts the study of which reveals the multiplex nature of its
narrative as well as the narration itself. The authors have attempted to
reveal how the narrative multiplicity assumes mainly double implied
audiences by deploying Aidan Chambers’ theory of the implied reader as
the main approach as well as that of Barbara Wall, utilizing the findings
of other theoreticians of the field, too. It is hoped that the results will be
useful to those who are interested in children's literature and media.
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Littera Aperta, 2016
Movie adaptations of dramatic works have always been very popular. Tennessee Williams’s A Streetc... more Movie adaptations of dramatic works have always been very popular. Tennessee Williams’s A Streetcar Named Desire (1947) has been adapted several times and in different ways. Feminist and gender studies have examined the important role of Otherness in the construction of female identity. Using their findings, we compare the ways in which the theme of Otherness has been employed in representing female gender identity in Tennessee Williams’s A Streetcar Named Desire and in its Iranian film adaptation, The Stranger (Bigāneh) (2014). The results of the study show that while in both works the female characters' traditional female roles have been highlighted, in the Iranian movie the main female character economically enjoys a relatively higher independence and can have a voice of her own to act against the patriarchal traditions. Besides, whereas in the source text women’s identity is solely associated with their being the Other of men, women in The Stranger stand on a par with their male companions, if not higher than them. The study also reveals that a main reason for these differences originates in the sociopolitical, cultural and historical discrepancies between the contexts in which the film and the play were created.
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مطالعات ادبیات کودک دانشگاه شیراز, 2015
In their article ‘Historical Evolution of the Illustrations of “Khālih Sūskih”’ Massih Zekavat an... more In their article ‘Historical Evolution of the Illustrations of “Khālih Sūskih”’ Massih Zekavat and Zahra Nazemi contend that the notion of implied viewer is not neutral and that pictures in illustrated and picture books interpellate their reader/viewers through creating preordained subject positions for them. The illustrations of different adapted and recreated versions of Khālih Sūskih, a Persian folktale, are analyzed within the framework of implied viewer as proposed by Perry Nodelman by administering content analysis. Nodelman’s concept of implied viewer, founded on Wolfgang Iser’s notion of implied reader, posits that pictures imply specific social subjects and their response as viewers. Yet, a diachronical investigation of various illustrations of the folktale conveys that the relationship between the real and implied reader/viewer of these books is reciprocal and the child viewer cannot be considered merely as an agent who takes pleasure in consuming their pictures. To put it in other words, the child viewers are not pre-constructed stable subjects before their encounter with pictures, and illustrations contribute to children’s interpellation as social subjects and partly modify their subjectivity through their definition of subject positions and their ideological impositions. Keywords: implied reader/viewer, subjectivity, illustration, Persian folktale, Khālih Sūskih. این مقاله به بررسی سیر تحوّل تاریخی تصویرگری بازنویسیها و بازآفرینیهای داستان خاله سوسکه میپردازد. در این پژوهش، تمام نسخههای مصور در دسترس خاله سوسکه از چاپهای سنگی سدهی پیشین تا نسخههای اخیر بررسی میشوند. این پژوهش کیفی از شیوهی تحلیل محتوا بهره میگیرد، و در آن قاب تصویر به عنوان واحد تحلیل برگزیده میشود. در تحلیل تصویرگری کتابها، از مفهوم «بینندهی نهفته» تصاویر که خود اقتباسی است از مفهوم «خوانندهی نهفته» بهره گرفته میشود. پس از تحلیل محتوا و بیان ویژگیهای تصاویر هر کتاب، بییندهی نهفته آن مشخص میشود. نتیجه روشن میکند که رابطهی بین بینندهی نهفته و بینندهی واقعی رابطهای ثابت و یکسویه نیست. به دیگر بیان، هر چند بینندهی نهفته، سوژهی نهفتهای است که تصاویرْ پیشفرض قرار میدهند، اما این بدین معنا نیست که چنین سوژهای پیش ساخته، کامل و تثبیت شده است. بر عکس، این خودِ تصاویر هستند که با القای ایدئولوژی، موقعیت سوژهای ویژهای را به بیننده تحمیل میکنند. به دیگر بیان، تصاویر نیز به نوبهی خود سوژهی بیننده را فراخوانده و میسازند. کلیدواژگان خواننده/بینندهی نهفته؛ تصویرگری؛ خاله سوسکه
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Conference Presentations by Zahra Nazemi
XXIII Simposio de la SELGYC SELGyC , 2021
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IALIC XIX Conference: Translating Cultures, Cultures in Translation, 2019
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XXII Simposio de la SELGyC, 2019
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16th International TELLSI Conference, 2018
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World Congress for Middle Eastern Studies, 2018
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Investigación y Género. Reflexiones desde la Investigación para Avanzar en Igualdad. Actas de VII Congreso Universitario Internacional "Investigación y Género 2018", 2018
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The International Conference on Current Issues of Languages, Dialects and Linguistics , 2017
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1st National English Language Conference: New Directions in ELT & Literature, 2016
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چهارمین همایش ملی ادبیات کودک و نوجوان, 2013
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Translations by Zahra Nazemi
Yadban, 2014
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Magazine Reviews and Interviews by Zahra Nazemi
سخن اهل دل: ویژه نامه چهارمین همایش ملی ادبیات کودک و نوجوان, 2013
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Littera Aperta 6 (2018) by Zahra Nazemi
Littera Aperta 6 (2018), 63-77, 2018
is among the first directors who adapted Tennessee Williams's A Streetcar Named Desire (1951) for... more is among the first directors who adapted Tennessee Williams's A Streetcar Named Desire (1951) for the cinema. Kazan's film adaptation was almost faithful to the original manuscript by sticking to Williams's words and sentences. However, even if one ignores the cultural and historical contexts, the alterations that take place in the process of trans-mediation cannot be disregarded, since the telling mode in the text changes to the showing mode in the media. With this hypothetical basis, the present study aims to detect the possible alterations in the adaptation of the play to examine gender roles in both texts. Using the ideas of Linda Hutcheon in A Theory of Adaptation (2013), the authors have studied the verbal signs in the play together with the verbal and visual codes in the movie to assess how the film adaptation has incorporated the ideas of femininity, which are the main concerns of the play, too. The results of the study suggest that the alterations from the literary text to film have contributed to the development of female identity.
Bookmarks Related papers MentionsView impact
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Papers by Zahra Nazemi
implied audiences for a single work. Therefore, the study of the implied
audience in the media and literature becomes quite essential, especially if
the media is to be broadcast for very young people. Shekarestān, the
Iranian animated television series, broadcast on national TV channels for
children and teenagers, has envisioned varied audiences within its
different parts the study of which reveals the multiplex nature of its
narrative as well as the narration itself. The authors have attempted to
reveal how the narrative multiplicity assumes mainly double implied
audiences by deploying Aidan Chambers’ theory of the implied reader as
the main approach as well as that of Barbara Wall, utilizing the findings
of other theoreticians of the field, too. It is hoped that the results will be
useful to those who are interested in children's literature and media.
Conference Presentations by Zahra Nazemi
Translations by Zahra Nazemi
Magazine Reviews and Interviews by Zahra Nazemi
Littera Aperta 6 (2018) by Zahra Nazemi
implied audiences for a single work. Therefore, the study of the implied
audience in the media and literature becomes quite essential, especially if
the media is to be broadcast for very young people. Shekarestān, the
Iranian animated television series, broadcast on national TV channels for
children and teenagers, has envisioned varied audiences within its
different parts the study of which reveals the multiplex nature of its
narrative as well as the narration itself. The authors have attempted to
reveal how the narrative multiplicity assumes mainly double implied
audiences by deploying Aidan Chambers’ theory of the implied reader as
the main approach as well as that of Barbara Wall, utilizing the findings
of other theoreticians of the field, too. It is hoped that the results will be
useful to those who are interested in children's literature and media.