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Ajnabi, Or the Xenological Uncanny in Iranian Modernism
New Literary History Pub Date : 2021-04-29
Kayvan Tahmasebian, Rebecca Ruth Gould

Abstract:

Within Iran, the transformation in the Islamic legal understanding of the foreign (ajnabi) into a political concept was accelerated by the encounter with Europe during the nineteenth century. The classical Iranian understanding of otherness as a domain fully demarcated from the self was replaced by an internalized other, resulting in what we call here the xenological uncanny. This article examines Iranian modernism through the lens of trauma theory, whereby haunted subjects fail in distinguishing between self and other, and modernization is perceived as demonization. The three works we discuss—Sadeq Hedayat’s Blind Owl (1937), Bahram Sadeqi’s Heavenly Kingdom (1961), and Hushang Golshiri’s Prince Ehtejab (1968)—each delineate a different register in the xenological uncanny. Our lineage reveals how modernist Persian prose recapitulates a trajectory of possession and dispossession by the foreign and in the process brings about the traumatic recognition of a foreign voice within the self. In focusing on the divided modernist self from a Persian point of view, we identify an unrecognized trajectory for the uncanny within global literary modernism.



中文翻译:

Ajnabi,或伊朗现代主义中的异教徒

摘要:

在伊朗内部,由于19世纪与欧洲的相遇,加速了伊斯兰人对外国人(ajanabi)的法律理解的转变为政治概念。伊朗人对异性作为与自我完全划定的领域的经典理解被内在化的异性取代,这导致了我们在这里所谓的异物学怪诞。本文通过创伤理论的视角考察了伊朗的现代主义,即被困扰的主体无法区分自己和他人,而现代化则被视为妖魔化。我们讨论的三幅作品是:萨德克·赫达亚特的《盲猫头鹰》(1937年),巴赫拉姆·萨德奇的《天国》(1961年)和胡尚·高尔希里的埃赫特贾布王子(1968)-每个人在异物学中都描述了一个不同的记号。我们的血统揭示了现代主义波斯散文如何概括外国人的占有和剥夺轨迹,并在此过程中引起对自我内的外国声音的创伤性认识。从波斯的观点着眼于分裂的现代主义自我,我们确定了全球文学现代主义中不可思议的轨迹。

更新日期:2021-04-29
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