Mahasti sehat - Independent Researcher (original) (raw)

Papers by Mahasti sehat

International Journal of English Language and Translation Studies, 2019

Frankfurt School has introduced "critical theory" as the best way to challenge capitali... more Frankfurt School has introduced "critical theory" as the best way to challenge capitalist societies, and to question the conventional standards. Art and literature, in this respect, are convenient devices through which the true face of capitalism can be revealed. Capitalism has enthralled people to accept its rules as facts and it is the mission of art and literature to wake them up. However, Frankfurt School thinkers are not optimistic and think it is almost impossible to challenge capitalist notions and change the base effectively. This existentialist attitude is what is employed in both Ahmad Mahmoud's "A Familiar Tale" (1991) and Woody Allen's "The Kugelmass Episode" (1977). Although these writers are set in societies far apart, one in Iran and the other in USA, their characters, especially their protagonists share the same feelings and problems of modern life. At first glance, it seems the authors have portrayed modern man and his challenge...

Having had its protagonist in a carnivalistic world, Aphra Behn’s Oroonoko provides a polyphonic ... more Having had its protagonist in a carnivalistic world, Aphra Behn’s Oroonoko provides a polyphonic atmosphere in which different attitudes toward colonization can be heard. Oroonoko, who used to be the prince of Coramantien, is doomed to live as a slave in Surinam; a British colony. This degradation, beside other elements of Bakhtinian carnivalesque, makes his language a unique one, belonging neither to aristocrats anymore nor to the slaves, but simultaneously representing both. The subtitle of the story, The Royal Slave, can be implied as referring to this paradox. Additionally, his relationship with the slave society lets their different beliefs and ideas be revealed to the reader despite the author’s will. Aphra Behn, the author, intends to impose her monolithic view on the readers. As a Tory proponent of her time, she defends the colonization and tries her best not to stand against. She attempts to portray her protagonist as the one who believes in social hierarchy; what defines a...

Advances in Language and Literary Studies

Asghar Farhadi, the Iranian Oscar winning writer and director, employs a bitter reality, i.e. the... more Asghar Farhadi, the Iranian Oscar winning writer and director, employs a bitter reality, i.e. the clash between tradition and modernity, as the main motif of his works up to 2016. His depicted characters always attempt to act rational, a prerequisite of modern time, but something traditional almost by an accident pushes them back, and as a result, tradition comes out as the winner. The key concern in this paper is to examine how Farhadi, apparently, tries to portray the Iranian society by exercising an objective stance to raise his fundamental question. The paper analyzes how he presents the challenge to his audiences’ judgment by letting them choose freely between modernism and tradition. However, the semiotic study of some of his movies shows his viewpoint is not completely objective and preference of one side over the other is apprehended. This paper seeks to prove that the author is inclined toward modernity in the titular three movies: The Beautiful City, Fireworks Wednesday an...

Theory and Practice in Language Studies

Employing semiology to study the academy award-winning director, Asghar Farhadi’s oeuvre up to 20... more Employing semiology to study the academy award-winning director, Asghar Farhadi’s oeuvre up to 2016, this paper wishes to scrutinize his depicted society through the lens of feminism. His female characters’ lifestyle and their way of thinking show they always feel uneasy in Farhadi’s depicted society. It defines woman the same as what other patriarchal societies do, an object in need of protection. In this undesirable condition, women are expected to back their sisters up; however, the opposite is true about nearly all female characters in Farhadi’s cinema. They usually live while denying each other as a sort of defense mechanism, and after Farhadi’s famous accidents, there is always one or more female characters putting the blame on the female victim of the accident, technically speaking, referred to as victim-blaming. This paper wants to seek a psychological answer for this unusual behavior. In this regard, seven movies have been chosen including: Dancing in the Dust (2003), Beaut...

Oroonoko: Royal or Slave; Bakhtinian Reading of Aphra Behn’s Oroonoko

Theory and practice in Language Studies, 2019

Employing semiology to study the academy award-winning director, Asghar Farhadi's oeuvre up to 20... more Employing semiology to study the academy award-winning director, Asghar Farhadi's oeuvre up to 2016, this paper wishes to scrutinize his depicted society through the lens of feminism. His female characters' lifestyle and their way of thinking show they always feel uneasy in Farhadi's depicted society. It defines woman the same as what other patriarchal societies do, an object in need of protection. In this undesirable condition, women are expected to back their sisters up; however, the opposite is true about nearly all female characters in Farhadi's cinema. They usually live while denying each other as a sort of defense mechanism, and after Farhadi's famous accidents, there is always one or more female characters putting the blame on the female victim of the accident, technically speaking, referred to as victim-blaming. This paper wants to seek a psychological answer for this unusual behavior. In this regard, seven movies have been chosen including:

International Journal of English Language and Translation Studies, 2019

Frankfurt School has introduced “critical theory” as the best way to challenge capitalist societi... more Frankfurt School has introduced “critical theory” as the best way to challenge capitalist societies, and to question the conventional standards. Art and literature, in this respect, are convenient devices through which the true face of capitalism can be revealed. Capitalism has enthralled people to accept its rules as facts and it is the mission of art and literature to wake them up. However, Frankfurt School thinkers are not optimistic and think it is almost impossible to challenge capitalist notions and change the base effectively. This existentialist attitude is what is employed in both Ahmad Mahmoud‟s “A Familiar Tale” (1991) and Woody Allen‟s “The Kugelmass Episode” (1977). Although these writers are set in societies far apart, one in Iran and the other in USA, their characters, especially their protagonists share the same feelings and problems of modern life. At first glance, it seems the authors have portrayed modern man and his challenges of life objectively; however, a closer look at the texts reveals something else. Mahmoud and Allen have employed the same techniques in their texts to criticize capitalism, the very shadow of which clouds their societies. They have portrayed the plights of modern man in the modern world and have put the blame on the capitalist system. In this respect, the parallelism drawn between these two short stories can be discussed in two ways; first, in the chosen style and second, in their depicted society and its influence on the characters.The writing techniques employed by both authors and the existing parallelism can be drawn in three respects: the choice of the medium of short story, third-limited viewpoint and open ending. These three
techniques help the selected works to make the impact of their criticism significant. The second section clarifies how the two selected writers approach their aim through content. They criticize dehumanization of people in capitalist societies and its immediate consequences such as commodification and internalization.

Asghar Farhadi, the Iranian Oscar winning writer and director, employs a bitter reality, i.e. the... more Asghar Farhadi, the Iranian Oscar winning writer and director, employs a bitter reality, i.e. the clash between tradition and modernity, as the main motif of his works up to 2016. His depicted characters always attempt to act rational, a prerequisite of modern time, but something traditional almost by an accident pushes them back, and as a result, tradition comes out as the winner. The key concern in this paper is to examine how Farhadi, apparently, tries to portray the Iranian society by exercising an objective stance to raise his fundamental question. The paper analyzes how he presents the challenge to his audiences' judgment by letting them choose freely between modernism and tradition. However, the semiotic study of some of his movies shows his viewpoint is not completely objective and preference of one side over the other is apprehended. This paper seeks to prove that the author is inclined toward modernity in the titular three movies: The Beautiful City, Fireworks Wednesday and The Salesman, which the viewers might miss out on their first seeing of the movies.

This paper, by employing comparative study, seeks to highlight the adoption of defense mechanism ... more This paper, by employing comparative study, seeks to highlight the adoption of defense mechanism by analyzing the possible similarities and differences in the behaviors, and the strategies of the characters and the respective impact of the political contexts of The Tempest, the last play written by Shakespeare and Room, the movie nominated for the best picture academy award of 2015. It begins with a discussion about displacement as the most dominant form of defense mechanism employed by the protagonists of the two selected works belonging to different eras, cultures and genres. Both protagonists displace their oppressive puissant onto their children. In The Tempest, Prospero displaces his brother by his daughter, while in Room; Joy " s son displaces her rapist captor. The discussion then turns to the fact that although Prospero and Joy show almost the same behavior, only Joy, Room " s protagonist, is condemned. The Tempest is written in a patriarchal society governed by a monarch, while Room " s happenings are depicted in a liberal society. The deep correlation between political atmosphere and individuals " behavior pushes the study to examine the reasons for the resultant contrast between the two selected texts by focusing on the political context in the production of each. Monarchy needs obedient subjects whereas democracy is meant to respect individuals. Consequently, people, in these societies, think and behave differently. The findings of the research show how political orders result in disorders in the behavior of characters, e.g. patriarchal orders are not only justified by Monarchy " s nature but are also produced by it, while democracy, as shown in the modern setting of Room, harshly condemns violation of individualism and pushes Joy, the protagonist, to a suicide attempt.

International Journal of English Language and Translation Studies, 2019

Advances in Language and Literary Studies

Theory and Practice in Language Studies

Oroonoko: Royal or Slave; Bakhtinian Reading of Aphra Behn’s Oroonoko

Theory and practice in Language Studies, 2019

International Journal of English Language and Translation Studies, 2019

Asghar Farhadi, the Iranian Oscar winning writer and director, employs a bitter reality, i.e. the... more Asghar Farhadi, the Iranian Oscar winning writer and director, employs a bitter reality, i.e. the clash between tradition and modernity, as the main motif of his works up to 2016. His depicted characters always attempt to act rational, a prerequisite of modern time, but something traditional almost by an accident pushes them back, and as a result, tradition comes out as the winner. The key concern in this paper is to examine how Farhadi, apparently, tries to portray the Iranian society by exercising an objective stance to raise his fundamental question. The paper analyzes how he presents the challenge to his audiences' judgment by letting them choose freely between modernism and tradition. However, the semiotic study of some of his movies shows his viewpoint is not completely objective and preference of one side over the other is apprehended. This paper seeks to prove that the author is inclined toward modernity in the titular three movies: The Beautiful City, Fireworks Wednesday and The Salesman, which the viewers might miss out on their first seeing of the movies.