Analysis of Literary and Cinematic Genres in Bahram Sadeghi's Novel Malakout

.Since the time of Aristotle, the Greek philosopher and theorist, recurring features in literary works have been the basis for their classification, and works that had common features were named under specific literary types, and over time, the French word "genre" meaning type and type was used to denote literary types. Since the translation of literary works and films became widely distributed, the literature of consumer countries had an eye for Western narrative and dramatic works, became familiar with global literary and cinematic works and caused them to be influenced by them, whether they wanted to or not. Furthermore, the features of Western and global works that had high artistic and literary standards found their way into their works. This way, features were seen in the works of these writers that were adaptable to literary and cinematic genres. One of them is Bahram Sadeghi, a prominent Iranian writer who achieved a high position in Persian fiction literature through the collection of stories Sangar and Empty Canisters and the novel Malakoot. The thing that is evident in this novel is the multiplicity of genres used in it, but the question is, which genres are more prominent in this novel among the different genres. The aim of this article is to express the creativity of some Iranian writers such as Bahram Sadeghi who were ahead of their literary time and had a progressive view of literary and cinematic genres. The research method in this essay is descriptive-analytical and among the results of the research is that literary and cinematic genres such as drama, horror, detective, etc. are seen in this novel and Bahram Sadeghi's genius lies in the fact that he has succeeded in using these genres in a coherent manner in his work.
Introduction
Since Aristotle era, the classification of literary works has been based on their recurring features. Works that shared common characteristics were categorized under specific literary types. Over time, the French word “genre,” meaning type or kind, came to be used to denote literary categories. Genre is a French term used to describe the type, category, or literary class of a work. The major classical genres include; epic, tragedy, lyric, comedy, and satire. Although today, the novel and the short story must also be added to this list. From the Renaissance onwards up to the 18^th century, genres were clearly defined, and writers were expected to adhere to their established rules. However, beginning in the 18^th century and with the emergence of new artistic media such as cinema, new genres were added to this traditional framework.
The concept of genre has long been used to categorize literary and cinematic works. Aristotle was the first to use it under the term "literary types" in his book Poetics. Based on the recurring characteristics of Greek plays, he concluded that they primarily fell into one of four types: epic, drama, comedy, and tragedy. This theory remained the standard for several centuries until the emergence of the novel, which introduced new forms into literary classifications. "European romances" were among the new literary types added to the tradition. As the art of novel writing progressed, and with the invention of the film camera and the development of the cinema industry in the West, new literary and cinematic genres emerged. This prompted theorists to classify works based on their shared features. With the widespread translation and distribution of literary works, films, and plays in the West, audiences, creators, and literary producers in other countries also began creating works that were—willingly or not—affected by this literary influence. As a result, their works displayed features that aligned with recognized literary and cinematic genres. Among such writers is Bahram Sadeghi, a prominent Iranian author, who earned a notable place in Persian fiction through his short story collection The Trench and Empty Canteens and the novel The Heavenly Kingdom.
There are two main approaches to the concept of genre, represented respectively by Tzvetan Todorov and Northrop Frye. Todorov adopts a structuralist approach to literary genres. He believes that Frye erred by outlining literary templates based on non-literary qualities such as the hero's moral values or the nature of their environment. According to Todorov, structural patterns are more important than traditional concerns like theme and character. (Dubrow, 2016: 128). This study predominantly leans toward Todorov’s approach to genre. What stands out in The Heavenly Kingdom is the multitude of genres utilized within the novel. However, the central question is which of these genres are more prominently featured. The aim of this article is to highlight the creativity of certain Iranian authors like Bahram Sadeghi, whose vision of literary and cinematic genres was ahead of his time. The research method in this article is descriptive-analytical.
As for the findings, it can be said that the genres of drama, horror, detective, noir, and apocalyptic fiction are particularly prominent in The Heavenly Kingdom. These genres are mainly rooted in literature, though they also extend into cinema. However, noir is an exception, as it originated in cinema and later entered literary fiction. The dominant genre in The Heavenly Kingdom is drama, with its subgenres also appearing in the novel—for example, elements of philosophical drama and romantic drama are also noteworthy. Some of these genres, such as drama, noir, and apocalyptic fiction, are typically used to convey serious and weighty themes, while others like horror and detective fiction are more mainstream or popular genres. Thus, Bahram Sadeghi successfully blends both elite and popular genres. Often, works that incorporate signs of various genres run the risk of having a fragmented or inconsistent tone and atmosphere. However, Sadeghi avoids this pitfall in The Heavenly Kingdom. The intertwining of these genres in the novel is such that the various literary and cinematic genres together create a coherent work. Alongside his artistic talent, Bahram Sadeghi also demonstrates thematic intentionality in how he harmoniously integrates different elements and genres.