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Gholam Hossein Saadi

دی 20, 1398 0

Interpretation of narrative and non-narrative element in dramatic works of Gholam Hossein Saadi

Moein Mohebalian

Evaporation of meaning is captured from abstract concept of milk overflowing which seek out its nobility and struggle in a place applying love and pulp fiction together. It calls a language valid which want to publish a unity and universality among cultural elements. The culture which will be apparent much in absence of some signs like transmission, substitution, changing or system having had different meanings through periods of time. Being in a rut which soon will be converted to sour and repetitive issue, the writer has tried to propose a question.
Key words:
GholamHossein Saedi_ drama_ non-narration_ transmission_ meaning

A trip with GolamHossein Saedi , a writer with expansion of pen power. He is affected by nationalism transmission to modern use of traditions and also a dialectical space. He does not regard literature responsibility issues such as flattery and aristocracy. It is also not enough to produce valuable and esthetically technical texts in the way which is progressive. He counts the solution in critical redefinition of cultural and social status. Saedi exposes social discourse in humanistic space as a persistency of critical thought with supporting of his friends like Sadegh Hedayat and Samad Behrangi. Creation of communist nationalism during 1941 to 1953 , gathering the political party and struggles of Marxism humanities in village areas of Iran and also taking care of locality at that time was considered as a modern problem of under developing countries; however its root dates back to post incidents of second world war. His written artworks describe exaggerated parts of him in the characters willingly or unwillingly. Narrative theorists in cinema say that folklore can only insist on his behavior meaning that despite its geography and local limited language, much higher and deeper effect can be created providing that we record them visually. He gradually makes a close connection between this movement captured from surrounding environment and drama world. Cinematic talking is a little different due to following of these works with story and industry viewpoints. Semiology in cinema world proposes in a way that cinema is defined truly in the shade of storytelling. Meanwhile we can put theater and literature as main sources of variable and flexible images.in addition to what is said we should take a look at his dramatic works such as cinema and theater with compound form of text, performance, space, time and audience. A selection being related to that folkloric literature, he is the writer who knows psychology and owns Froid. He tries to take step gradually to colonialism from down to top, from specificity to generality or simply saying moving one by one. Saedi’s space making can put audience forward to an ambience of told and untold surroundings in between. Moving toward ambiguity and intertextuality is one of solutions which he consciously uses in texts narrations. This Stratagem making the text alive, active and cohesive is difficult to take care. Providing this atmosphere in three mediums of story, playwriting and scenario is not an easy task at all. Each of them can be a turning point to show twisting ways to readers and audiences. Undoubtedly he has achieved to this cruelty and self-destructives of his writings. On the other hand he steps on non-narrative world. They are explored in words, sentences and happenings not being occurred in narration, action and his characters. This concept is used for imagining the fantasy, inspirational and pure imaginative one and highly discuses failures, lost times and despairs from present time. His characters were seeking out their ways which there is no remedy for them and also no way to escape from. Unfortunately they have approved the barricades and this time if possible, no power would help them to do so. Does he use magical orderly or refer to metaphysics. How is his characters transmission from one point to another one? How does a hero and a traitor quarrel with? Is any attempt done for proving innocence? How deficiencies and inadequacies of major and minor characters will be solved? Do they keep on the story or retrieve to the same position? “the third luggage was also full of books, the younger brother opened the bottle, that was full of bitter almond and mothball, the younger brother said, may this is happiness bottle isn’t it?” non-narrative can be used as an instrument for changing characters, situations and ending of the writer. There is difference between non-narrative and something which cannot be narrated. Saaedi had understood he should pursue some parts of his presence in power relations. The power having direct correlation with knowledge and its lasting depends on sociopolitical and linguistic cognitions. He had found out that injured soul of people in developing societies has been much vulnerable consequently. As if they don’t have pain as before. His dramatic structure has kind of harmony despite its long coming and going from one point to the other in both story and narration. “Parallel warms were not destroyed anyhow, they were hit and got injured, they paused for some moments, the injury gradually was swollen and while rising they began to move again alongside of each other and they kept on the way” Saedi was stuck in a dilemma. He could not make connection between his logic and emotions. At last we can come to this conclusion that, He has said fillip to his reader that there is no painful task from abandoning gaining knowledge and the astonishing part is here that this challenge would not surprise anyone. May be he had to change his story ending. May be the heroes needed him as he was pursuing them. Minorities which must do the regulation in order not to get involve in trouble. Undoubtedly his statement creates variant frequencies in audience mind. He has truly practiced medicine and has examined it through the pen. Perhaps that is a concordant analogy. Like Anton Chekov He had to choose a single option between his first and second job and precisely that is the most vigorous action; a balance between to be or not to be.


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