The Tragic Concept of Love and Madness in the Dramatic Literature of Farhad Nazerzadeh Kermani

Abstract

The purpose of this article is to investigate the symbolic and symbolic aspects of the play "Window on the Wind “written by Professor Farhad Nazerzadeh Kermani with an interpretive anthropological approach. In the statement of interpretive anthropology, Clifford Geertz considers two important processes of emic-etic research as the fundamental elements of the interpretation of works of art. A Window on the Winds has been able to put the anthropological context of the drama in a link between culture, man, and nature, and by creating tribal music, it has also mixed the archetypes of the people of Kerman. In the play "Window on the Winds", from the title to the ending, the mixing of the culture of the two characters of Sanobar (female) and Mozaffar (man) in the imaginary self-made nature of Badabad, forms an interpretive anthropological triangle based on Geertz's theory on the interrelationships of "human", "culture" and "nature" and to place it in the category of semantic dramas of ecology. After eight months away, Mozaffar returned to his hometown of Badabad, Kerman, and under the influence of the false reports of monkey play, he became pessimistic towards his pregnant wife Sanobar. Therefore, to protect his reputation, he decides to punish Sanobar and takes her to the top of a hill in the desert at night with a rope in one hand and a lantern in the other hand, and ties her to a stone shaped like a donkey's head Kharsang), A big stone on a hill in the shape of a donkey's head is the punishment. He slowly walks away with the hyena-like sound of bad friends, with the assumption that if the fir tree is innocent, it will be saved by the nocturnal singers, and if it is guilty, it will become the prey of wild animals. Signs and meanings in this play express two important aspects of cultural and interpretive anthropology. The findings show that the author was able to create new symbols suitable for the culture and nature of the people of the region. There are about twenty-seven native, tribal, mental, religious, and imaginary symbols in this play, which places it in the ranks of notable ethnographic symbolist plays this research was prepared based on the method of descriptive-analytical and library-documentary studies and it was also analyzed using the qualitative content analysis method.