چشم اندازي به رمان تاريخ گراي فارسي

An approach to the Persian history-oriented Persian Novel

Emphasizing collective memory and based on Bakhtinʹs idea of the dialogical principle and multi-voice novelistic discourse, as well as considering the idea of the perspectival truth of historical fact, the present paper deals with the capacity of the history-oriented novel genre in introducing multiple perspectives of history. Such an emphasize and description can be connected to analyzing the fiction logic of Persian history-oriented novels (in terms of closeness or distance from the capacity in question). Thus, first some subjects such as collective memory, narrative approach, and the concept of the history-oriented novel will be discussed. Then the Persian history-oriented novel, particularly its flourish era in the 1960s, will be traced. And eventually the dialogical principle of novel genre is generally emphasized. Also, the capacity of such a principle in the history-oriented novel genre is considered with more details. However, what is introduced here is more a "sketch" that needs more time to be fully described and completed.intellectuals for voicing their unfavorable views about the political system. This paper analyzes the content of several famous Iranian movies from the past decade and compares them with American cinema. The aim is to study the social characteristics of protagonists in action and political movies from a sociological perspective and analyze the way they see the society and government through issues such as: passiveness of characters, blaming the political and social structure, explosive actions, the lack of faultless characters within the system who can solve problems, and the view toward law. Finally hypotheses about the causes of this absence in Iranian cinema are presented (including the negative behavior of the government toward intellectuals and filmmakers, the opposition of intellectuals and filmmakers to the government, effects of Marxist art on Iranian intellectuals, weaknesses in the governmentʹs monitoring and protection of effective and pro-system cinema), and the social and political consequences of this problem have been discussed.