Rabelais and His World.

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A Glossary Of Literary Terms

Sustainablility poses profound challenges to society – and to the architecture and design disciplines. Design has conventionally been applied to expand the market for things that (over)consume material and natural resources. For those that consume design – that is, for all of us – environmental sustainability requires us to question what we produce and consume as a society, and how we impact others and future generations. For those of us that are designers – and often seen as part of the problem within discussions of sustainable development – we need to query what and how we design. This was the question at stake nearly half a century ago for a number of movements within design. Various names for such movements, such as ‘Anti-Design’, ‘Non-Plan’ and ‘Radical Design’ indicate a critique of design, planning and architecture. Radical designers mounted a critique of their own design discipline and of a societal status quo. However, rather than debate articles or academic analyses, their critique took the form of design. 

The contemporary challenges of sustainable development require just such criticality. Mainstream approaches, predominately based on cleaning up production processes and incentivizing ‘green’ consumption, help to mitigate the negative environmental effects of behaviors entrenched in industrialized Western societies. However, besides incremental improvements to our lives in these societies – and looking ahead to the next 50 years – we need to be able to relate to others, alternatives and futures that may be radically different than us, here and now. Today, a multitude of socially and politically-engaged designers are taking on such issues, rapidly growing beyond a minority within architectural and design disciplines – and the questions raised are relevant to the 99% of society. As in Radical Design, criticality does not have to end in polemics, in utopias or dystopias, but in giving form to critical questions: Which – or who’s – interests should be represented in design and society? Who benefits – and who profits? What might be alternatives and futures? Who designs these futures, for whom?

A Critical Practice

Utopia/Dystopia is an impressive collection of essays derived from a seminar at the Helby Cullom Davis Center for Historical Studies at Princeton. It is an attempt to think of the terms utopia and ...

Utopia/Dystopia: Conditions of Historical Possibility

The Anatomy of Satire

By the advent of twentieth century, Iranian society began to come out of its traditional shell and tried to be congruent with the new changes that had already been taken place in the world. Such a metamorphosis was based on external and internal forces that drove the society out its entrenched tradition. The internal factor was the establishment of Constitutional revolution between 1905 and 1911which shook the foundation of a monarchy that had been continuing for a long time. As a result, it led to the formation of the first Iranian parliament. The external factor was that the Iranian society experienced \"a century of exposure to new ideas from the outside world—from colonized India, China, and Japan, from the emancipated peasantry in Russia, and from the European age of Enlightenment\" (Dabashi, 2001, 17). However, in the reign of Reza Shah (1878 –1944), modernism in Iranian context strayed from its destined path from 1925andbarely expanded to be a mere imitation of the West: \"Modernism in this context meant dressing, behaving and even speaking like Europeans (Sadr, 2006, 16)\". While Reza Shah's modernism only embraced superficial changes, Iranian writers systematically fostered new perspectives through their works. As such, authors started producing literary works that affirmed the traces of Western modernist doctrines. In this respect, the Iranian writers vigorously noted the tendency of society toward modernism by deliberately shunning the traditional forms and producing genuine art in both short story and poetry.

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Condemnation of Religious Concepts: An Examination of Chubak's "An Afternoon in Late Autumn" through Bakhtin's Theory of Grotesque Realism

Muhammad Hussein Oroskhan Department of English Literature, Faculty of Humanities, Shiraz University, Shiraz, Fars, Iran ABSTRACT The eruption of two world wars marked a period of transition in which the intellectual and artistic environment underwent a drastic change. Such a gloomy era provided the inevitable situation for the fiction-writer to switch to new and bold fictional modes. Under such circumstances, the adoption of fantasy became one of the most interesting, satisfying and effective forms for projecting the modern novelist's vision. Fantasy can work as the most suitable board on which the fictional writer can apply his satirical vision and negate the value of our sense experiences. Indeed, Fantasy seems to be the exact mode through which writers of the genre can proceed effectively along their chosen path. As such, William Golding in his monumental work, Lord of the Flies, has tried to show a fantastic representation of Modern man's nature which leads him inevitably to savagery. Golding has created a dystopia by diminishing the adults to children to show that the modern man who denies the spiritual values is doomed to failure. Hence, in this paper tries to apply the technique of diminution, an oftrepeated technique in satirical writing, to prove that the animal side in man is the sole cause of his degradation and degeneration and if this animal side is not kept under control, the society will face injustice, repression, slavery and hatred.

William Golding's Lord of the Flies: A Satirical Analysis of Fantasized Dystopia

The beginning of twentieth century was accompanied with the prevailing current of technology in different aspects of human life. At first, it incited a positive stimulus which could build a utopian world on the advancement of technology. However, the bloody World Wars averted this view and the technological utopia was replaced by Orwellian dystopia. Orwell's Nineteen Eighty-Four is a satirical work which moves against Wells' utopian toward the reflection of a distorted technological society. Undoubtedly, satire is the best literary mode for dystopic depiction of the world specifically the one portrayed in Nineteen Eighty-Four . Winston Smith, the central character of this novel, is lower from his society in terms of intelligence and power of action. Therefore, he is put under rigid controls and brainwashing. And at last, he awfully rejects his love in favor the principles of the Party. Thus, in this study, we try to investigate Winston's romantic life in a satiric manner with respect to Northrop Frye's theme of romance which includes the three phase of agon, pathos and anagnorisis.

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Orwell's Satirical View of Romantic Love in the Terrorized World of Nineteen Eighty-Four

By the 1930s, the Iranian society was driven toward modernization. Consisted with the concept of modernization, feminism ushered a whole new era in Iranian history. Besides, the outbreak of World War II and the consequent abdication of Reza Khan afforded women a golden opportunity to fight for their rights and emancipations. This movement was also supported by the famous male writers of the time among whom Jalal Al-e-Ahmad marked a prominent place. He was keen enough to properly explore women's situation in his works and notice the drastic effect of modernization upon women's situation. Hence, in this study, we try to investigate Al-e-Ahmad's short story entitled “Pink Nail Polish” 1948 with respect to Bakhtin's Carnivalesque's theory. Furthermore, it is shown how Bakhtin's new literary mode can create the excellent chance of studying Iranian women's situation properly. Finally, we explain that due to the drastic change of Iranian women's situation towards modernity, they may lead a double life if their rights are not respected. This can lead to a disproportionate relationship between the husband and the wife as the marital infidelity becomes rampant.

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Conflict of Culture and Religion: Jalal Al-e-Ahmad's “Pink Nail Polish” from a Bakhtin's Carnivalistic Point of View

Jacques Derrida revolutionized Western Philosophy by reconsidering the previous ideas from a new perspective. In his view, human subjectivity is explained within the system of language and the meaning is conveyed through the concept of differance. As such, he imparts the notion that nothing ever exists outside the text, yet the text is filled with innumerable meanings, not a specific one. The net of his deconstructive thinking cast vast enough to devote close critical attention to any previously regarded metaphysical idea like love. Transcendental or metaphysical love is a shorn of meaning in the Derridean notion of deconstruction. For Derrida, love as a communicable sign is confined to the rules of iterability which proves the free flow of signifiers. In this regard, Fitzgerald's The Great Gatsby as one of the most critically studied works in America is recruited to examine the Derridean deconstructive notion of love. Gatsby is exclusively focused on seeking Daisy's transcendental love even at the expense of repeating the past. Nonetheless, the evanescent fluidity of the notion of love totally ruins Gatsby's chance of ever achieving Daisy's love. Accordingly, Gatsby's ultimate failure is expected for the reason that an "absolute moment" is never devoid of any trace of past or future time. Thus, The Great Gatsby attends to why the notion of love defies any metaphysical or transcendental status and instead it has differential and deferral meaning.

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Sayed Mohammad Anoosheh

Papers

Condemnation of Religious Concepts: An Examination of Chubak's "An Afternoon in Late Autumn" through Bakhtin's Theory of Grotesque Realism

William Golding's Lord of the Flies: A Satirical Analysis of Fantasized Dystopia

Orwell's Satirical View of Romantic Love in the Terrorized World of Nineteen Eighty-Four

Conflict of Culture and Religion: Jalal Al-e-Ahmad's “Pink Nail Polish” from a Bakhtin's Carnivalistic Point of View

Metaphysical or differential: fitzgerald's the great gatsby under derridean concept of love