بررسی مؤلفه‌های روایت زنانه در دو رمان همخونه و خانه لهستانی‌ها

When talking about the gender components of a narrative, two categories of narrative type and also the temperamental and intrinsic characteristics of that genre should be considered. Because the first is superstructure and reflected in the context of the narrative and language, and the second is related to the intrinsic and temperamental characteristics of that genre. The aim of the present study is to discover and analyze the components of female narrative in the works of Marjan Shirmohammadi and Maryam Riahi, and the author has analyzed the components of female narrators in the works of these two authors in two narrative and temperamental areas. The results of the study show that the narrative area of ​​female narrative-linguistic signs includes: textures, allusions, frequency of use of colors, secondary meanings of words, customs and traditions, etc., while the temperamental part includes elements in the temperamental area of ​​female behaviors such as: self-talk, love, affection, detailed descriptions, etc.
Introduction
One platform for the emergence and expression of signs is fiction—such as short stories and novels—which has a long-standing history in Persian literature. Although fictional in nature, it maintains a meaningful connection with the real world and can reflect thoughts and beliefs, emotions and feelings, customs and traditions, as well as prevailing societal conditions. Contemporary Iranian writers, familiar with Western culture and literature, are gradually moving away from traditional writing styles and adopting simplified language and new narrative forms. Following the short story, the novel—characterized by a longer structure—is now regarded as the most comprehensive literary genre of our time. The use of signs in contemporary Iranian fiction encompasses a broad scope, with many writers employing both textual and meta-textual signs to convey the hidden layers of the narrative, social conditions, and their intended messages.
Feminine writing features are present to varying degrees in the works of all writers, both male and female, although they are more prominent in the works of women. A male writer who has distanced himself from the gender role assigned by the dominant culture and, by challenging discriminatory customs and restrictive norms, may exhibit elements of feminine writing. The opposite of this statement is also true. Perhaps a female writer has patriarchal gender stereotypes so deeply embedded in her mind that, influenced by this mentality, she writes her work in a masculine linguistic and written style. Comparing the writing styles of female and male authors in various narratives, such as novels, reveals their capabilities, concerns, mentalities, tastes, talents, perspectives, and stylistic choices. What distinguishes a feminine style from a masculine one is the presence of certain gender-based elements within the narrative structure. For example, components such as love, self-address or self-talk, emotional expression, a multiplicity of colors, avoidance of taboos, and affectionate language are among the prominent feminine features in a feminine narrative text.
Method
The research was conducted using a descriptive-analytical method and with the help of library resources. The researcher first took notes by studying theoretical sources, then used the notes to compile the theoretical part of the research, and then studied stories by two authors, examining and analyzing their signs and classifying them.
Conclusion
Feminist theorists argue that an author's gender influences their writing and that certain explicit or implicit features within a text can reveal the author's gender. These features are highlighted in the categories of narrative, language, and style, with the author consciously or unconsciously exhibiting sexism in both style and narrative. "Feminine style means gendering literature based on the experiences and perspective of the female gaze. This style emphasizes creating a distinctly feminine form, voice, and content that differ from the male perspective. Feminine writing involves addressing the specific issues, challenges, and emotions experienced by women to convey the consciousness and sensitivities unique to the female experience.
Women's specific issues refer to situations and experiences that are spiritually and physiologically unique to women. Men do not share these experiences and therefore cannot fully understand or replicate them, particularly in the context of writing about such lived experiences. These details are accompanied by a unique female curiosity. Men tend to be less interested in describing seemingly trivial aspects, especially those related to family life. However, a woman, with her careful and attentive nature, can quickly notice things that a man might overlook. Women writers often focus on detailed descriptions, leaving nothing beyond the scope of their careful observation. "Because the female spirit is romantic and concerned with emotions rather than complex philosophical, theological, or scientific issues, women do not rely on arguments and reasoning. Instead, they aim to persuade the reader by repeating a point or elaborating on its details. To achieve this, they use a series of short, descriptive sentences. The importance and role of gender in shaping the style of discourse in literary works have led us to observe the manifestation of stylistic and linguistic features, as well as reflections of the female gender, in the narrative texts produced by these authors.
These indicators have contributed to the development of female discourse in fictional literature at both linguistic and syntactic levels. Characteristics such as the frequency of words specific to women, the dominance of emotional expression in the narrative, the use of female characters, detailed scene descriptions, short sentences, the absence of taboos, and adherence to customs and traditions are among the defining features of female gender in female narrative discourses. Accordingly, the present study aims to explain gender symbols in the works of two contemporary writers: Maryam Riahi and Marjan Shirmohammadi. The author, while reading one work by each writer—"The Roommate" by Maryam Riahi and "The Polish House" by Marjan Shirmohammadi—not only interprets gender symbols but also classifies, analyzes, and relates these symbols to the narrative style. We believe that the nature of male writing is shaped in contrast to female writing. To explain the gender symbols in the aforementioned works, it is essential to analyze the symbols within the narrative text. The study of the works by the two authors reveals that the fictional characters are predominantly housewives who express their concerns and ideals and defend their position in society.
Results
The study of the underlying levels of narratives shows that there is a strong connection between gender and text. Each gender of writers, whether male or female, has different approaches to different situations and reacts differently in different contexts, which are reflected in the texts created by the writer from their physiology and beliefs. The reflection of masculine/feminine characteristics is reflected in both textual and meta-textual elements in a narrative, where meta-textual elements mostly include the tools, social behaviors, the way of dealing with taboos, norms and different situations, the vocabulary of the writer's daily frequency in relation to his interests and tastes, while textual (intra-textual) characteristics mostly include language, emotions, colors, etc. In two novels: Roommate and Polish House, Maryam Riahi and Marjan Shirmohammadi have created female narratives that reflect signs of female narrative in the two domains of text and meta-text. The author's study in this study shows that the elements of female narrative in the writing of these two authors can be classified into two domains: intra-textual and extra-textual.