Volume 13, Issue 54 (2017)
LIRE 2017, 13(54): 113-141 |
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Recognition of Persian Paintings’ Theoritical Principles in “Blind Owl “by Sadegh Hedayat
Hessam Keshavarz. PH.D, Ali Asghar Fahimi Far. PH.D. LIRE 2017; 13 (54) :113-141
URL: http://lire.modares.ac.ir/article-41-1025-en.html
URL: http://lire.modares.ac.ir/article-41-1025-en.html
Abstract: (8043 Views)
This study aims at investigating theoretical principles of Persian paintings’ in “Blind Owl “in order to highlight the function of this element besides other internal and external origins as the main sources of inspiration of this novel. Research methodology is descriptive –analytic by using and compiling library data .The results showed that the writer who is familiar with painting characteristics’ founds to great extent the basis of his modernist expression on this these principles. As the main characteristics of Persian painting, it should mention psychoanalytic elements, dereism, poly narrative, typical characterization and disclosure of time and space. We can easily pursue the traces of these features in this novel as its foundations. The main scene of this novel, to say the story of old and fairy –faced is a prevalent phenomenon in the history of painting whose elements such as nymphaea, water, cypress etc. establish a kind of symbolic correlation between this novel and Persian painting.
Subject:
Child literature
Received: 2015/12/5 | Accepted: 2016/02/1 | Published: 2017/02/19
Received: 2015/12/5 | Accepted: 2016/02/1 | Published: 2017/02/19
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