Kelaris, the main character of I Turn the Lights Off, is an example of a character who narrates fictional events and her everyday preoccupations. We do not see the footprint of the hidden author, the dominant ideologies, or the artificial circumstances which naturally threaten the autonomy of the characters. The narrator recognizes the world through her personal and emotional experiences and her relationship with Emil, who is Kelaris’s new neighbor who shows some shared interests with her. This experience helps Kelaris to autonomously think about her conditions, review her life, and revise something that seems wrong. The other characters in the novel are individualized, as well. Becoming is defined here: these modern characters are not fixed
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In contrast to Yarshater, who divides modern from modernist poetry, Ahmad Karimi-Hakkak talks about them together as “new poetry” and emphasizes its difference with pre-modern poetry based on its social and political concerns,
[I]t is widely believed that the new poetry relates to its social context in ways significantly different from the way the classical poetic canon does. . . . Typically, modern poetry is viewed as that which demonstrates its willingness to address important social and political issues, classical poetry is not (Karimi-Hakkak 3).
Confirming Karimi-Hakkak’s attitude, Kamran Talattof pays attention to the ideas of the proponents of modern Persian literature who “[C]laimed to understand modernity and to know their readers’ tastes and expectations for social change” (Politics of Writings 23). Ahmad Shamlu—one of the important Iranian modernist poets—states that addressing the social issues, showing masses’ requests, and empowering ordinary people are the main duties of new poetry (Ibid …show more content…
Attention to free will unavoidably led to concentration on individualistic experiences. And this, in its turn, led to changes in the style of narration. The emergence of the novel was the product of these turning points (Watt 13). In fact, individualistic experiences needed individualistic language which were limited by those experiences. It caused, at the first step, the emergence of different narrators, and at the second level, the appearance of the dialogic novel with impartial or hidden narrator. Therefore, in contrast to single-voiced narrative of pre-modern literature, one can see the diversity of narratives and the emergence of a multi-voiced world of modern literature. Although with a long delay, Iranian society also experienced the same conditions. Ironically, the dominance of a conservative and backward Islamic government in Iran after 1979 revolution led to flourish modernist Persian fiction that is built on the basis of fictional uncertainty.
Classical types of narration dominated Persian literature until the 1906 Constitutional Revolution are mostly constructed by a central myth and a third-person omniscient narrator, and both of them usually serve to express a common belief or a familiar story (Honarmand Gozareshi bar Dastan 13–14). Different kinds of stories flourished from the Constitutional Revolution
In contrast to Yarshater, who divides modern from modernist poetry, Ahmad Karimi-Hakkak talks about them together as “new poetry” and emphasizes its difference with pre-modern poetry based on its social and political concerns,
[I]t is widely believed that the new poetry relates to its social context in ways significantly different from the way the classical poetic canon does. . . . Typically, modern poetry is viewed as that which demonstrates its willingness to address important social and political issues, classical poetry is not (Karimi-Hakkak 3).
Confirming Karimi-Hakkak’s attitude, Kamran Talattof pays attention to the ideas of the proponents of modern Persian literature who “[C]laimed to understand modernity and to know their readers’ tastes and expectations for social change” (Politics of Writings 23). Ahmad Shamlu—one of the important Iranian modernist poets—states that addressing the social issues, showing masses’ requests, and empowering ordinary people are the main duties of new poetry (Ibid …show more content…
Attention to free will unavoidably led to concentration on individualistic experiences. And this, in its turn, led to changes in the style of narration. The emergence of the novel was the product of these turning points (Watt 13). In fact, individualistic experiences needed individualistic language which were limited by those experiences. It caused, at the first step, the emergence of different narrators, and at the second level, the appearance of the dialogic novel with impartial or hidden narrator. Therefore, in contrast to single-voiced narrative of pre-modern literature, one can see the diversity of narratives and the emergence of a multi-voiced world of modern literature. Although with a long delay, Iranian society also experienced the same conditions. Ironically, the dominance of a conservative and backward Islamic government in Iran after 1979 revolution led to flourish modernist Persian fiction that is built on the basis of fictional uncertainty.
Classical types of narration dominated Persian literature until the 1906 Constitutional Revolution are mostly constructed by a central myth and a third-person omniscient narrator, and both of them usually serve to express a common belief or a familiar story (Honarmand Gozareshi bar Dastan 13–14). Different kinds of stories flourished from the Constitutional Revolution