| چکیده انگلیسی مقاله |
The purpose of this essay is to explain and analyze the function of Bakhtin’s concept of the animal as “the Other” in Sadegh Chubak’s fiction. By proposing the theory of polyphony and advocating for marginalized voices, Mikhail Bakhtin aimed to bring the weak and silenced “Other” to the center, thereby decentralizing power and challenging self-centered authoritarian discourses. Like Bakhtin, Chubak opposed the single-voiced and egocentric discourse of his time by promoting dialogue and recognizing the voice and thought of the Other. A defining feature of Chubak’s work is his literary naturalism, which led him to use animal characters in his narratives as thinking beings representing the Other. Using Bakhtin’s perspective, this article analyzes the role of animals in Chubak’s short stories, focusing on their manifestation as the Other in a descriptive-analytical manner. The study shows that by choosing animals :as char:acters and granting them narrative space, Chubak reminds readers of forgotten virtues and takes a step toward freeing them from self-centered authoritarian discourses. In Chubak’s stories, animals attain a status equal to humans, thereby portraying the paternalistic complex of 20th-century man, overwhelmed by industry and technology.
Introduction
By choosing animals as the protagonists of his stories, Chubak marginalized the power of the center and challenged the monotone, single-minded discourse of his time, much like Bakhtin sought to amplify the voices silenced by such uniformity. Moreover, Chubak uses the oppression of animals as a means to critique 20th-century human self-centeredness, portraying humans as beings equal to others rather than superior.
Literature Review
Given Sadegh Chubak’s prominent position in modern Iranian fiction, numerous studies have examined his short stories. Among the most relevant to this study are Asghar Babasalar (2006), who analyzed the strengths and weaknesses of Chubak’s works; Abdullah Hassanzadeh Mirali and Maesoumeh Jomea (2013), who explored naturalism and fable in Chubak’s stories, concluding that animals, like humans, are subject to fate; Zeinab Nurouzi and Tahereh Gholami (2019), who studied polyphony in Chubak’s novel Sang Sabur as a dialogic work; Mohammad Reza Rahbari Ahmadian and Yahya Kardgar (2017), who examined ethical attitudes toward animals in the works of Chubak and Sadegh Hedayat; Zahra Parsapour (2016), who considered environmental ethics in the stories of both authors; and Mohammad Reza Rahbarian (2017), who focused on Chubak’s portrayal of animal love in On the Ashes of the Phoenix. However, none of these studies address the role of animals in Chubak’s stories as “the Other” aiming to decentralize human-centered power, challenge human exceptionalism, and promote an ethical view of the ecosystem. The present study seeks to analyze and explore this dimension of animal subjectivity in Chubak’s work.
Methodology
In the upcoming research, we will use a descriptive-analytical method to first examine the position of animals in Chubak’s short stories, and then portray them as “the Other” capable of challenging and moderating power. To achieve this, Bakhtin’s concept of “the Other” and its role in decentralizing power will be explored, demonstrating that Chubak, like Bakhtin, seeks to achieve freedom through animal subjectivity in his stories.
Discussion
Since ancient times, poets and writers have often chosen animals as the protagonists of their stories to express their ideas indirectly. Among them, mystics and Sufis have been especially attentive to the voices of animals and nature, feeling deeply moved by the whispers of the natural world. In their worldview, nature possesses intelligence and awareness, which fosters a continuous spiritual connection between the mystic and the natural elements. Mystics and Sufis regard nature as a teacher that imparts lessons in humanity and morality, thereby valuing the voice of the “Other.” However, in the modern era, the expansion of industry and the rise of humanism led to a narrow focus on human superiority, overshadowing other dimensions of life. Bakhtin argues that the dominance of monotony in recent centuries stems from humanism, Christianity, and formal logic (Namvarmotlaq, 2015:82). As human-centered views gained prominence, competition and rivalry intensified, sometimes erupting into hostile conflicts and the suppression of opposing voices. This led to attempts by dominant groups to silence and eliminate the “Other.” Mikhaeil Bakhtin was among the first to resist this elimination by amplifying marginalized voices. Similarly, Iran was not immune to this ideology of a single dominant voice, and with modernization, opposing voices were often suppressed. Sadegh Chubak, unlike many of his contemporaries, did not confront the dominant discourse head-on; instead, he used animals as intermediaries to express his dissent against the authoritative center. As Makaryk (2006:112) notes, “The self/other opposition is based on the assumption that at the heart of personal experience there is a subjective self that alienates everything as other from itself,” often expressed as center/margin or dominant/repressed. This article therefore asks: What is the purpose and motivation behind Chubak’s use of animal subjectivity?
Conclusion
Sadegh Chubak lived and wrote during the reigns of Reza Khan and Mohammad Reza Pahlavi, much like Bakhtin did during the Stalin era. By choosing animals as the “Other,” Chubak challenged the authoritarian and monotonous discourse of his time, making animals the protagonists of his short stories to resist all forms of egocentrism. He portrays animals as living, sentient beings rather than neutral or passive figures. Through depicting their pure and innocent behaviors, Chubak seeks to remind humans of noble qualities. Although some animals in his stories are traditionally seen as symbols of ignorance and foolishness in Eastern culture, Chubak uses their apparent simplicity to convey lessons of non-violence, honesty, truth, and freedom. Moreover, the focus on oppressed animals reflects Chubak’s free-thinking spirit and his opposition to the single, dominating voice that attempts to silence marginalized perspectives. By incorporating carnival concepts into his stories, Chubak also confronts the fear that prevailed in his era, mocking the class system and social hierarchies. |