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2020 | OriginalPaper | Buchkapitel

6. Textual Strategies

verfasst von : Omid Azadibougar

Erschienen in: World Literature and Hedayat’s Poetics of Modernity

Verlag: Springer Singapore

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Abstract

This chapter engages textual strategies in Hedayat’s writing: humorous works, translations, and adaptations. His humorous works falsify the predominant idea of him as a dark and depressed writer, and deliver social, cultural, and political critique in a very secular spirit because they are merciless in targeting dominant ideologies of the time—both religious and secular. Since most of this kind of writing is parodic and adapts previous narratives for its own purposes, adaptations and translations are also discussed in the present chapter. His views on adaptation are significant to understanding the way his creativity was nurtured and informed by diverse literary traditions. Similarly, even though in most studies only his translations from European literatures are mentioned, it is important to know that he also translated texts from Pahlavi literature into Persian, and the introductions he added to these texts explain his motivations for selecting them, and the role he conceived for the act of translation in a literary tradition.

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Fußnoten
1
Hedayat’s sense of humor is best visible in his letters. He would consider the addressee in determining the tone. The postcards he sent to his father and his older brother, Issa, are formal and rarely humorous; but his correspondences with his other brother, Mahmud, and close friends are dispersed with jokes and puns.
 
2
And from a wide variety of angles. The word used to signify humor in Persian is tanz but there are other similar concepts, hajv or hazl, which slightly differ in both meaning and purpose of the expression. The differences between the concepts and their manifestations in Hedayat’s work are marginal to the present argument. I use humor, satire, and parody regardless of their differences to discuss the subject and highlight its importance in this context.
 
3
I have used the version published in 2004 for referencing.
 
4
I have used the version published in 1977 for referencing.
 
5
The pieces in the latter book are longer, predominantly in prose, and much less referential.
 
6
The status of translation in Iran must be understood in the context of a culture that has relied on the act for decades to import modern concepts: “the status and prestige of translation in Iran is not only due to its connection with the modernization discourse, but to the internationally peripheral position of the Persian language” (Azadibougar and Haddadian-Moghaddam 2019, 156).
 
7
The Academy of Persian Language and Literature is still in function and publishes an annual list of newly coined words.
 
8
In this case, Hedayat mentions Roger Lescot, the French translator of The Blind Owl, with a fake identity as an American occidentalist.
 
9
The note continues and claims that the book was published in a journal entitled Yggdrasill.
 
10
He had a habit of annotating all the texts he read; these would have been important clues to understanding his reading of and relationship with diverse secular and religious discourses.
 
11
Vercors’ real name was Jean Marcel Bruller but he wrote under the pseudonym to protect himself from Nazi persecution (Wikipedia).
 
12
Titled in English as Adventures in Bokhara, it was based on a novel by Leonid Solovyov, directed by Yakov Protazanov in 1943 (IMDb).
 
13
Originally published in a literary magazine in 1945, parts of it have been reproduced in the cited version.
 
14
I have used the version published in 1977 for referencing.
 
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Metadaten
Titel
Textual Strategies
verfasst von
Omid Azadibougar
Copyright-Jahr
2020
Verlag
Springer Singapore
DOI
https://doi.org/10.1007/978-981-15-1691-7_6