3. Applied Literature
Sanam Shahedali; Lale Massiha
Abstract
The main objective of this paper is to incorporate the three Lacanian orders in Søren Brier’s cybersemiotic theory in the context Lewis Carroll’s Alice texts. As an interdisciplinary framework that emphasizes the role of the observer and its symbolically-generated hieroglyph-like universe ...
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The main objective of this paper is to incorporate the three Lacanian orders in Søren Brier’s cybersemiotic theory in the context Lewis Carroll’s Alice texts. As an interdisciplinary framework that emphasizes the role of the observer and its symbolically-generated hieroglyph-like universe of “signification sphere” in which any attempt at accessing the objective world of information seems nonsensical, cybersemiotic is an invaluable tool for re-visiting the three orders by which, according to Lacan, we develop our sense of self and the world. Certain elements such as dream-like states, impossible word plays, paradoxes, and nonsense in the Alice books, which follow the titular character into the fantastic realms of Wonderland and the Looking Glass World, can allow for registering the Real by disclosing the self-referential nature of language and debunking the seemingly integrated façade of an imaginary and metaphoric reality founded upon the Symbolic and the Imaginary. For an in-depth analysis of how a creatively self-reflexive handling of language can evoke a space where the three Lacanian orders emerge simultaneously as one collapses onto the other, a cybersemiotic formulation of nonsense in the Alice books is introduced as the linguistic moment in which signifier-in-isolation (the Real) and signifier-in-relation paradoxically appear on the same cognitive horizon, revealing the underlying dynamics of the signification process which involves an arbitrary development of differentiated signs rendered meaningful due to a tacit consensus agreed upon over the temporal axis.
3. Applied Literature
Amin Khanbazian; Hossein Sabouri
Abstract
As one of the outstanding works written in the late twentieth century, Paul Auster’sMoon Palace is the extension of the prominent discussion existing in his works,which concerns the issue of identity formation and the characters’ involvement in the expedition toward self-acknowledgment. Looking ...
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As one of the outstanding works written in the late twentieth century, Paul Auster’sMoon Palace is the extension of the prominent discussion existing in his works,which concerns the issue of identity formation and the characters’ involvement in the expedition toward self-acknowledgment. Looking through the life of Marco Fogg as the main character of the novel, it has been desired to outline the existential points of view laid in the novel. Unlike the previously conducted studies, this paper is diverting the central focus of its analysis from the psychosocial perspectives introduced by James Marcia to the existential outlook by providing the notions of critical existential philosophers such as Heidegger and Sartre. Accordingly, the famous theory of identity formation that Marcia established has close parallels with the concepts that Heidegger and Sartre have discussed concerning the human beings who are considered beings-in-the-world, or, as it is called, “dasein.” Throughout this procedure, the main protagonist’s various identity formation phases have been investigated through existential concepts like “thrownness,” “nothingness,” and “bad faith.” And in the end, the outcome of such an analysis is tracking down the latent sides of existential concepts existing in the novel, which have not been the center of focus in previous studies.
3. Applied Literature
Javad Khorsandi
Abstract
Ahmed Saadawi’s third and last novel Frankenstein in Baghdad was originally published in Arabic in 2013 and has since been translated into several languages, including an English translation by Jonathan Wright in 2018. The novel, which won the 2014 International Prize for Arabic Fiction, is a heart-rending ...
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Ahmed Saadawi’s third and last novel Frankenstein in Baghdad was originally published in Arabic in 2013 and has since been translated into several languages, including an English translation by Jonathan Wright in 2018. The novel, which won the 2014 International Prize for Arabic Fiction, is a heart-rending story of a country blighted by an unending cycle of war, violence, and misery. Saadawi’s novel captures the mood of post-war Iraq and provides the readers with one of the most vivid descriptions of mayhem and terror in Middle Eastern literature. The title of the novel is more misleading than clarifying. Apart from a couple of passing references and a superficial similarity in creating a patchwork monster inflicting terror and violence, Saadawi’s novel has almost nothing to do with Mary Shelley’s Frankenstein; or, The Modern Prometheus (1818).
