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All Journal SIASAT Journal Budapest International Research and Critics in Linguistics and Education Journal (Birle Journal) Budapest International Research and Critics Institute-Journal (BIRCI-Journal): Humanities and Social Sciences
Shiva Zaheri Birgani
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Religion Arts Humanities Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Social Sciences Other

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 1 
A Gramscian Study of Ideology and Hegemony in Amiri Baraka play: The Dutchman Shiva Zaheri Birgani; Maryam Jafari
Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences Vol 3, No 2 (2020): Budapest International Research and Critics Institute May
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birci.v3i2.884

Abstract

This paper attempts to investigate significations of the tropes of whiteness and blackness in white American culture in Baraka`s play, The Dutchman. . Gramsci is concerned with how one views man in history. His point is that men determine history rather than the reverse and this history is determined by the way in which men produce their means of subsistence. Man therefore is a social and “material” entity since. By producing their means of subsistence men are indirectly producing their actual material life.   Man’s ability to produce, the means of production, and the product produced, therefore, are central to man’s ability to be self-determined, to be real rather than an abstraction, a concept. It is in man’s reality, a reification brought about by the conscious act of production that he establishes his humanity. Marx’s humanism, therefore, is social in that man produces for more than himself; it is material in the “mode of production.” By material is not meant “psychic motivation” towards material goods. Based on the Gramsci hegemony, the black man has no history, he must create it; more importantly, since, according to Baraka, “Negro Literature” can never emerge from black consciousness unless it separates itself from the pre-established conditions, the literature must create and define itself in the process of becoming.
The Image of Women in Eastern and Western Epic literature: Shahnameh and Odyssey Fatemeh Sadat Basirizadeh; Narges Raoufzadeh; Shiva Zaheri Birgani
Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences Vol 3, No 2 (2020): Budapest International Research and Critics Institute May
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birci.v3i2.889

Abstract

The   research   examines two epics, one from the East and one from the West with regards to the question of woman and her images in early epic literature. The epics were selected from the literature. The epics were selected from the literature of two cultures, both of which, in different historical periods produced the most advanced civilizations of their time. The Persian epic, The Shahnameh (the book of Kings) was tooted in the ancient Indo-Iranian pagan as well as Zoroastrian traditions, an epic of approximately 60,000 couplets rewritten in the tenth century A. D. in the final, completed from which has reached us today. The Greek exemplar was the odyssey of Homer, epic with which Greek literature begins and widely influences not only the later periods of Greek literature but also the entire Western literature; this epic is also widely known in the East. Central to our study of The Shahnameh and Homeric epics were the themes of dynamism, the individuality of characters and their struggles in the epic world, the resourcefulness of the human mind ascribed to them, the subject of human crises, and irony, all of which are deep-seated components marking the central literary qualities of these epics. Women are indispensable in the early epics of both traditions and more often than not highly regarded by epic heroes in general and the narrators of the stories in particular. In both Eastern and Western example the structure split the female image in two opposite directions: one force is represented by exalted, praiseworthy, and positive images which also endow the women of The Shahnameh and the Homeric poems with powerful characteristics.
Co-Authors Fatemeh Sadat Basirizadeh Maryam Jafari Maryam Jafari Mehrnaz Khoshgam Narges Raoufzadeh