Bu-Ali Sina University , ghahreman.shiri@gmail.com
Abstract: (40 Views)
The most fundamental element of satire is the rule of non-normativity, which is also the basis of literature. However, non-normativity in literature has the aspect of transcending form and language, and in satire, the aspect of destroying behavioral customs and degrading conventional verbal routines. In addition, familiarity with de-familiarity in satire includes physical, behavioral, intellectual, and verbal movements, meaning it encompasses all actions of living beings, especially humans, while de-familiarity in poetry and literature often has a linguistic and sometimes mental aspect; meaning either unconventional forms of imagination are presented or the behavior with language finds a different procedure than communicative action. Although satire and humor have been one of the civil tools for criticizing and taking revenge on tyranny and oppression, which has been present as a central element in Persian fiction and poetry since the Constitutional period, the nature and extent of this Presence has been closely related to the political and cultural behaviors of governments. During the Reza Shah era, political repression also took over the cultural and satirical arena, causing a weak flow of non-political and artistic humor to continue. However, in the decade before the coup, with the establishment of a relatively free space, Persian humor once again became political, explicit, and mature. In the years after the coup, humor disappeared from the scope of official culture for a while, and when it appeared in the fifth decade of the fourteenth century with a cautious and half-hearted move, hidden, deep, and visual humor. And reflection replaced political and linguistic humor.
Type of Study: Research |
Subject:
ادبیات داستانی
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