Asset Details
Do you wish to reserve the book?
\We neither are of the past nor of the future\1: Analyzing the Two Opposing Aspects of a Female Character Through Four Modern Works of Persian Fiction
Hey, we have placed the reservation for you!
By the way, why not check out events that you can attend while you pick your title.
Oops! Something went wrong.
Looks like we were not able to place the reservation. Kindly try again later.
Are you sure you want to remove the book from the shelf?
\We neither are of the past nor of the future\1: Analyzing the Two Opposing Aspects of a Female Character Through Four Modern Works of Persian Fiction
Do you wish to request the book?
\We neither are of the past nor of the future\1: Analyzing the Two Opposing Aspects of a Female Character Through Four Modern Works of Persian Fiction
Please be aware that the book you have requested cannot be checked out. If you would like to checkout this book, you can reserve another copy
We have requested the book for you!
Your request is successful and it will be processed during the Library working hours. Please check the status of your request in My Requests.
Oops! Something went wrong.
Looks like we were not able to place your request. Kindly try again later.
Journal Article
\We neither are of the past nor of the future\1: Analyzing the Two Opposing Aspects of a Female Character Through Four Modern Works of Persian Fiction
2019
Overview
Under Iran's growing contact with the West from 1925 until 1979, which caused cultural changes, modern writers were stuck between two realities: the vanishing culture of the past with its unified view of women and the modern Western-oriented culture of the present with its doubting, ironic, and fast-changing view of women. Both labels, the 'ethereal' (or inaccessible paragon) and the 'whore' (or accessible temptress) for female characters emerged in a major literary work of the 20th century in Iran, The Blind Owl (1937), by Hedayat due to these cultural changes. Furthermore, the labels appeared within some later modern Persian fictional works such as Prince Ehtejab (1969) by Golshiri, The Night of Terror (1978) by Shahdadi, and Her Eyes (1952) by Alavi. This essay aims to discuss why and how the two aspects of the ethereal and the whore appear in these four, modern works of Persian fiction. To do so, the paper displays the similarities that these female characters share with one another, the way they appear to share similarities with the male narrator's mother, and their relevance both to fine arts and with nature. Analyzing these four modern Persian fictional works in this essay is something more than just an effort to show how women were underestimated in literature even after Iran's modernization, but also to offer insights into persistent cultural assumptions, including relationships between women and men.
