Document Type : Research Paper
Authors
1 Assistant ProfessorDepartment of Persian Language and Literature, Faculty of Literature, Alzahra University, Tehran, Iran
2 PhD in Persian Language and Literature; Alzahra University Community Verified icon
Abstract
Abstract
This research attempts to have a critical discourse analysis of the works of the post-Islamic Revolution Period by four female satirists based on Van Leeuwen model. The study is conducted based on the poems of Robab Tamadon in "Ahangar" magazine, the book "Scrap Iron, Crispbread, Old Slippers!" by Azardokht Bahrami, "H, Like Understanding” by Roya Sadr, and "Letter to the Thief" by Nasim Arab Amiri. The main issue in this research is to find out what effect the political and social currents, powers, and ideologies of the last four decades have had on the discourse of female satire as well the degree of explicitness and implicitness of the words of female satirists. It also deals with how "male" actors are represented in these work. The works of female satirists have often been neglected in the field of research, thus this article intends to compensate this shortcoming by examining the works of female satirists. The research explains and analyzes the relationship between the representation methods of actors in satirical works and ideologies and power relations, using the components of Van Leeuwen's model. These include categorization, impersonalization, nomination, etc. The results of the study show that female satirists tend towards implicitness with conservatism in the field of political satire. In many instances of the categorization component, "Sadr" represents actors based on gender, and negative appraisement aggressive men; Bahrami criticizes the masculinity system by using the components of categorization, specification, association, and differentiation; "Arab Amiri" uses a subset of inversion to humiliate the beloved; and "Tamadon", unlike the other three satirists, pays less attention to women's concerns.
Keywords
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