نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشیار گروه زبان و ادبیات فارسی دانشکده ادبیات و زبانهای خارجی دانشگاه کاشان. کاشان. ایران.
2 دانشآموختۀ دکتری زبان و ادبیات فارسی دانشکده ادبیات و زبانهای خارجی دانشگاه کاشان. کاشان.
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
Climate literature includes works that reflect the culture, beliefs, and customs of a specific ecosystem. This study examined Farhad Hassanzadeh’s (Abadan, 1962) resistance stories, Mashu in the Fog (Mashu Dar Meh), Moonlight Guest (Mehman-e Mahtab), Backyard (Hayat Khalvat), and Hasti, which were published between 1994 and 2010 for adolescents and received numerous literary awards, from the perspective of climate literature components resulting from spatial attachment and identity. This study employed a descriptive-analytical approach grounded in textual analysis to address the following questions: Which factors underlie the frequent recurrence of diverse climatic elements of Khuzestan in Hassanzadeh’s selected stories? In what ways do these climactic features affect the text, atmosphere, visualization of events, audience engagement, and the appeal of Hassanzadeh’s stories? The findings indicated that the abundant and multifaceted presence of climatic components in these stories originates from Hassanzadeh’s spatial identity and attachment to his homeland. Influenced by his attachment to Khuzestan as an integral part of his identity, and utilizing all types of spatial identity in his stories, the author conveys the shared experience of resilience and resistance in the context of the imposed war of Iraq against Iran, common to both the Khuzestan ecosystem and its inhabitants. The integration of the climatic components of the Khuzestan ecosystem into plot construction, narrative titles, character development, and story setting, along with lexical structures, similes, and linguistic metaphors, greatly enhances the strength and appeal of Hassanzadeh’s stories. Hassanzadeh’s eco-centric perspective, coupled with his profound awareness of the elements of his native ecosystems and their representation at both the deep structure and surface structure of his stories, forges a strong connection between story events and the teenage audience. This connection is reinforced through atmospheric depictions of both the constructed war ecosystem, comprising military instruments and settings, and the natural and social ecosystems of Khuzestan, where the events took place. The result is tangible, compelling, and credible stories for the teenage audience, enabling them to deeply sense and comprehend the concept of resistance in the face of internal and external oppression.
کلیدواژهها [English]
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