چکیده:
AbstractThe main issue of the present article is to study the left discourse of Marxist in Behazin's stories from his first collection of short stories Scattered (1944) to the revolution of 1979, which ends with the play Kaveh (1977). The authors intend to show how Behazin, as a writer who joined the Tudeh party whereas is against the government's accepted discourse, takes a stand against the government's discourse by writing real or symbolic stories and tries to reflect his own accepted discourse. In addition, this historical review will show the author's transition from the beginning of his membership in the party to their defeat in the mirror of his works. Laclau and mouffe’s discourse analysis method is used to analyze the discourse of mentioned stories, with an emphasis on the central and floating signifiers in each story. This research concluded that Behazin, as a writer committed to party and generally leftist ideals, from the beginning of his fiction writing, when he had just become a member of the Tudeh Party until 1979, tries to reflect the left discourse and hegemony against the discourse of western imperialism. Her belief in committed art has prevented her from fully following the principles of fiction writing, and most of her stories in this context have been written in the service of reflecting Leftist ideology.
خلاصه ماشینی:
On the other hand, language is part of discourse, and the leftist storyteller, with the help of language, specifies their stance in naming and character traits (characterization), the central theme of class struggle and its climax and conflict, point of view, and also the ending of the story, which contains an ideological message of unity and resistance against exploitation and tyranny, thereby highlighting the correctness and legitimacy of the leftist discourse.
The masses are seeking seats in parliament with the goal that the rights of workers and peasants will be addressed; a floating signifier that the opposing discourse also had in its program, but the author portrays Ali Gabi's character in such a way for the reader to say that these people are only pursuing their own interests and have no concern for the peasant and the worker, because they lack true authenticity and identity, but instead, they have enough money to cover the sins of seven generations behind them (Etemadzadeh, 1944: 74).
As we observed, in his first experience of novel writing, Be-Azin seems to have been pursuing two goals: first, showing his own position and that of the mass Left regarding the Jangali movement and their leader Mirza Kuchak Khan, and in a way, reminding us of this historical movement; second, the class conflict prevailing in the lives of peasants and landowners, whose cause was the Qajar government and the interference of Europeans, especially the English, in the country's affairs, hence we do not have dynamic and heroic characters, and all are typical examples of their own class.
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