Fundamentalism in Critique or Fundamentalist Criticism

Document Type : Research Article

Author

University of Guilan

Abstract

Extended Abstract

Introduction

Different perspectives on literary criticism have not been in the right place because of lack of approach. Eventually, these perspectives have been classified with other collections.  The idea of fundamentalism came from religious movement of Protestantism. It formed different theories such as reader based critique, the subjective reader criticism, sociological literary criticism, and feminist criticism. In Iran, fundamentalism exists effectively and relies on the value of the literary work. In this cross-sectional study we want to view and critique fundamentalism in Europe. We discuss the perspectives of Arnold and Elliot in Europe and Ahmad Kasravi, Ehsan Tabari and Fatemhe Sayyah in Iran. The results of this study indicate that critical fundamentalism is a form of criticism. The methods of this critique are collapse or debunk of literary texts so that we can change them into political or religious ideological contents. This method can be shown in different genres.

Theoretical Framework

The first words about fundamentalism have emerged in the field of religious thought. The term became popular among the religious tradition of the Church and the Protestant faith. Religious scholars have taken note of the new interpretations of the Bible's originality and the obvious truth of the Bible. Protestant fundamentalists adhered to specific theological foundations by faith in God and the eternity and the infallibility of the Bible text. Protestant fundamentalists adhered to specific theological foundations by faith in God and the eternity and the infallibility of the Bible text and they demanded a careful distinction of the prosperous from the non-prosperous and the chosen from non-chosen (Heywood, 2001). In the field of art, the teachings of church, with a value-and-originality approach to the perception of beauty, have been prevalent for centuries as the prevailing tradition in Western art and literature. In the same period, understanding beauty has been a difficult issue. Some in the category of deterministic system sought to lay the groundwork for overcoming the common beliefs of the church. The emphasis on binding through literary work and reading on the basis of the critiques provided is a long-running debate that continues to this day. Therefore, such a reading of literary works can be thought of as having a Greek origin, and in particular, Plato's view, that is influenced by understanding the literary work based on the valuable principles of the faithful or a particular approach. But have these relationships as a comprehensive or thought-provoking method in the field of literary criticism been able to explain the question of value and adherence to particular professional principles? How serious is the widespread presence of such a method in the field of literary criticism that emphasizes on moral, social, religious, political foundations? Will the discussion of a fundamental values critique be the study of different cultural systems for the development of particular network components?

Method

In the present study the background of fundamentalism as a quasi-moralist approach has been studied in a descriptive-analytic way. This approach seeks to subvert or reduce the literary text to the ideological, religious, or political content that is critical to understanding literary value. In the second part of the paper, the reflection of fundamentalism in Iran is examined by excerpts from the works of three Iranian critics. The purpose of this study is to give a brief look at one of the literary criticisms that lacks classification and terminology and to examine the literary critics' approach to the fundamentalist approach and its system of construction in the West and to discover its reduced or expanded area in Iran. The assumption of this study is that the fundamentalist critique of art and literary work is in the instrumental position and it becomes an ideological use, in a way that, through direct reading, the intellectual world and even the social class of the artist (writer, poet) serves the meanings and values that the critic seeks in his interpretation.

Results and Discussion

He identified a purposeful critique during critiques of the accepted framework and coherent theory, the default of which is to construct rules and critique discourse and monopoly. In such circumstances, the critic sometimes seeks it out in all texts, regardless of the conditions of discourse formation resulting from the objective and subjective experiences of particular societies. Placing a coherent framework for criticism that includes fundamentalist aspects as with many definitions, creates methodological deficiencies. Fundamentalist criticism empowers the author to facilitate reading in order to read the text. This assumed continuity helps the reader overcome the nature and flow of the author's dominant voice over the world of text and transcend it credibly.

Conclusion

Fundamentalism in literary criticism, like some theories and discourses that have directly examined literature, has not treated literary works as a subject. This approach first appeared in the field of religion and then in the field of politics. Paying attention to the evaluation of literary work and its ideological infrastructures is one of the features that has been evident even in the study of literary works. In critique of ideology-based criticism, it seeks to explore the cultural fabrication of the existing capacities of the text, so the critic's concern goes beyond structure and language and into the concrete and discursive relationships of particular groups of people, religion, or ideology that shape the structure of power. Critics' attention to the discovery of power infrastructures goes beyond contemporary texts and to the discovery of power networks in ancient works. This method was also considered in radical styles. Although radical stylistics is about language, it reflects specific ideologies in language, so that radical stylists are interested in examining the reflection of ideological tendencies in language.
 

Keywords


آرین پور، یحیی . (1374). از نیما تا روزگار ما. تهران: زوار.
احمدی، بابک . (1370). ساختار وتأویل متن. تهران: نشر مرکز.
اخوت، احمد . (1371). نشانه‌شناسی مطایبه. اصفهان: نشر فردا.
الیوت، تی.اس . (1375). برگزیده آثار و قلمرو نقد ادبی. ترجمه سید محمد دامادی. تهران: علمی.
امن‌خانی، عیسی . (1398). نقد ادبی ایدئولوژیک. تهران: انتشارات خاموش.
انوشه، مزدک . (1381). مقاله «محاکات». فرهنگنامه ادبی. به سرپرستی حسن انوشه تهران: سازمان انتشارات وزارت ارشاد.
ایبرامز، ام، اچ، جفری گالت هرفم . (1387). فرهنگ توصیفی اصطلاحات ادبی. ترجمه سعید سبزیان. تهران: انتشارات رهنما.
ایگلتون، تری . (1386). پیش درآمدی بر نظریة ادبی. ترجمه عباس مخبر. تهران: نشر مرکز.
بشردوست، مجتبی . (1390). موج و مرجان، رویکردهای نقد ادبی در جهان جدید و سرگذشت نقد ادبی در ایران. تهران: سروش.
برتنس، یوهانس . (1387). مبانی نظریة ادبی. ترجمه محمدرضا ابوالقاسمی. تهران: نشر ماهی.
برتنز، یوهانس ویلم . (1382). نظریه ادبی. برگردان فرزان سجودی. تهران: آهنگ فردا.
برسلر، چارلز . (1386). درآمدی بر نظریه‌ها و روش نقد ادبی. ترجمه مصطفی عابدینی فرد. تهران: نیلوفر.
بشیریه، حسین . (1382). آموزش دانش سیاسی، مبانی علم سیاست نظری و تأسیسی. تهران: نگاه معاصر.
بنت، ا ندرو، رویل، نیکلاس . (1388). مقدمه‌ای بر ادبیات و نقد و نظریه. ترجمه احمد تمیم‌داری. تهران: معاونت فرهنگی اجتماعی وزارت علوم.
پارسی نژاد، ایرج . (1388). احسان طبری و نقد ادبی. تهران: علمی.
تایسن، لیس . (1387). نظریه‌های نقد ادبی معاصر. ترجمه مازیار حسین زاده، فاطمه حسینی. تهران: نگاه امروز، حکایت قلم نوین.
حق‌شناس، علی‌محمد و دیگران . (1384). فرهنگ ‌معاصر هزاره. تهران: انتشارات فرهنگ معاصر.
خرمی، محمدمهدی . (1382). نقد و استقلال ادبی. تهران: ویستار.
داد، سیما . (1387). فرهنگ اصطلاحات ادبی. تهران: انتشارات مروارید.
داناگان، آلن . (1385). «جبر در تاریخ» در مجموعه مقالات فرهنگ تاریخ اندیشه‌ها. ویراستار فیلیپ پی واینز. ترجمه گروه مترجمان. تهران: انتشارات سعاد.
دیچز، دیوید . (1379). شیوه‌های نقد ادبی. ترجمه محمدتقی صدقیانی، غلامحسین یوسفی. تهران: علمی
ریما مکاریک، ایرنا . (1385). دانشنامه نظریه‌های ادبی معاصر. ترجمه محمد نبوی؛ مهران مهاجر. تهران: آگه.
سیاح، فاطمه . (1383). نقد و سیاحت. به کوشش محمد گلبن. تهران: قطره.
سید حسینی، رضا . (1387). مکتب‌های ادبی. تهران: نگاه.
شمیسا، سیروس . (1383). نقد ادبی. تهران: فردوس.
فالک، جولیا اس . (1377). زبان‌شناسی و زبان. ترجمه خسرو غلامعلی زاده. مشهد: آستان قدس رضوی.
-فتوحی رودمعجنی، محمود . (1390). سبک‌شناسی، نظریه‌ها، رویکردهاوروش‌ها. تهران: سخن.
فکوهی، ناصر . (1392). انسان شناسی هنر، زیبایی، قدرت، اساطیر. تهران: ثالث.
قره‌باغی، علی‌اصغر . (1388). هنر نقد هنری. تهران: سوره مهر.
کلیگز، مری . (1388). درسنامه نظریه ادبی. ترجمه جلال سخنوری، الهه دهنوی، سعید سبزیان. تهران: اختران.
گلدمن، لوسین . (1376). جامعه‌شناسی ادبیات (دفاع از جامعه‌شناسی رمان). ترجمه محمد جعفر پوینده. تهران: نشر چشمه.
مقدادی، بهرام . (1378). فرهنگ اصطلاحات نقد ادبی، از افلاطون تا عصرحاضر. تهران: فکر روز.
میرصادقی، (ذوالقدر) میمنت . (1376). واژه‌نامه هنر شاعری. تهران: مهناز.
نامورمطلق، بهمن . (1393). اسطوره واسطوره شناسی نزد نورتروپ فرای از کالبد شناسی ‌نقد تا رمز کل. تبریز: موغام.
هدایت، صادق . (1342). زنده‌به‌گور. تهران: بی‌نا.
هنفلینگ، اسوالد . (1392). چیستی هنر. ترجمه علی رامین. تهران: هرمس.
هی‌وود، اندرو . (1379). درآمدی بر ایدئولوژی سیاسی. ترجمه محمد رفیعی مهرآبادی. تهران: وزارت امور خارجه.
Axel Stähler. (2009). Writing Fundamentalism,Cambridge Scholars Publis -hing,
Borgatta,Edgar (Editor-in Chief). (2009). Encyclopedia Sociology, Macmillan Reference USA an imprint of The Gale Group, 1633 Broadway.
Pesso-Miquel, C, Stierstorfer, K. (2007). Fundamentalism and Literature, Palgrave Macmillan, New York.
Hassan, Ihab. (2008). "Fundamentalism and Literature." The Georgia Review 62, no. 1: 16-29.
http://www.jstor.org/stable/41402956.
CAPTCHA Image