Deep Structure
2 articles filed under this keyword.
Color in Dramatic Text
Manswr Nahman Najim
The research includes four topics. In topic one, research problem is addressed through formulating the query, how color would be employed in dramatic text. The importance of the research was demonstrated as an indication of the various aesthetic and critical readings of the dramatic texts, that grants renewed life in different understandings. One central goal was identified, exposing chromatic diversity in the texture of dramatic text. As for the objective limit, it was: Variation of color and movement in the structure of the dramatic text. Topic two has two axes: 1- Words & color symbol, in which the color schemes were addressed as an integral part of the effectiveness of the dramatic text. 2- Color and significance. The semantics of the text are unlimited, but completely open to different understandings, because they push it to formulate a new meaning, which may be completely different from its familiar meaning. In topic 3 three texts were deliberately chosen from the research community: 1- Richard III, by Shakespeare 2- When Moon Faded, by Singh2 3- Little Eylof, by Ibsen3 The sample was analyzed under the shed of descriptive analytical approach, while its tool was observation and the resulting theoretical framework. The sample is analyzed within the following axes Chromatic Characterization Chromatic contrast. 2 -Personal heroine color3 Color metaphor4 Results discussed at topic 4, such conclusions emerged 1- The dominant color in the dramatic text is in a specific color, and may be in two specific colors 2- Color forms a deep structure in dramatic text. 3-Dramatic space pairs with the psychological color of the hero. A recommendation was made and the research was concluded with a list of sources and references.
Volume 7 · Issue 2 · April 2020The structure of Asfar-e-Kateban of Abu-torab Khosravi
Arkan Abdullah Mahmood, Najmuldeen Roostam Younus
Abu-torab Khosravi has obtained a special place among the third generation of Iranian fiction writers through writing a collection of stories under the title of Havieh and Divan-e-Soomanat and two novels titled Asfar-e-Kateban and Rood-e-Ravi. Despite his precision and attempt at processing a coherence among language, narration and themes, his stories have been, to some extent, neglected due to the narrative complexities and technical nicety in his works. His novel, Asfar-e-Kateban, can be an appropriate selection for explaining the artistry and value of Abu-torab Khosravi. Thus, this novel will be analyzed in terms of structuralism. This novel consists of 12 sequences which contain another three narratives; the proposed subjects and thoughts correspond with its deep-structure, that is to say, the subversion of time.