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ID:
128567
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| Publication |
2013.
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| Summary/Abstract |
As an acclaimed work of twentieth-century Persian fiction, Sadeq Hedayat's The Blind Owl has stirred much scholarly contemplation. Identical characters obscure the work; the resemblance amongst them seemingly originates in some mysterious old man. The paper first demonstrates how every male character resembles this old man. Thereafter, he is argued to be non-existent; all the characters, therefore, become Baudrillardian simulacra bound together through family resemblances. A language-game is then fashioned to represent the family. The metamorphosis of the narrator is followed to manifest how this language-game haunts the characters-other language-games. The paper hopefully sheds some light on an ambiguous aspect of the work and provides a model as to how one language-game takes over another.
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| 2 |
ID:
149273
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| Summary/Abstract |
The prominent modern Iranian author Ṣādiq Hidāyat (1903‒51/1281‒1330 sh.) was arguably the most observant expositor of the contortions within the inner world of Iranian demonology during the first Pahlavī period (1921‒41/1299‒1320 sh.). Through an investigation of his many interbellum titles, such as “Zindah bih Gūr,” “S.G.L.L.,” and “‘Alavīyah Khanum,” the purpose of this paper is to flesh out Hidāyat’s role as a demonographer, meaning someone who inscribes the demonic in his works. It is argued that Hidāyat’s uniqueness was located in his ability to allow the demonic, “the world as it is before the human imagination begins to work on it,” to interact with man at his most nihilistic moment. As such, it is unsurprising that recognition of the demonic was often simultaneously the moment when the voice and visage of Nature itself became apparent.
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