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Tennessee Williams, Iranian Cinema, and Bakhtinian Dialogism

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Tennessee Williams, Iranian Cinema, and Bakhtinian Dialogism Archive of SID Language Horizons, Alzahra University — 225 Volume 3, Issue 1, Spring-Summer 2019 (Biannual – Serial No. 5) — 225 Manfra, M. M., & ammond, T. C. (2008). Teachers’ instructional choices with student- created digital documentaries Case studies. Journal of Research on Technoloy in Education 41(2), 223-2.‏ Manny-Ikan, E., agan, O., Tikochinski, T., & Zorman, . (2011). sing the interactive whiteboard in teaching and learning–an evaluation of the SMART CLASSROOM pilot proect. Interdisciplinary ournal of E-Learnin and earnin bects 7(1), 2-23. Mathews-Adinli, ., & Elaziz, F. (2010). Turkish students and teachers attitudes toward the use of interactive whiteboards in EFL classrooms. Computer ssisted an uae earnin 23(3), 23-22. Miller, ., Brown, ., & obinson, L. (2002). idgets on the eb using computer-based learning tools. Teachin Exceptional hildren 35(2), 24-2. Orr, M. (2008). Learner perceptions of interactive whiteboards in EFL classrooms. CALL- Tennessee Williams, Iranian EJ nline 9(2), -2. Proctor, M. ., & Marks, Y. (2013). surve of exemplar teachers perceptions, use, and access of computer-based games and technolog for classroom instruction. Com Cinema, and Bakhtinian Dialo- puters ducation 62, 11-10. Rohaan, E. ., Taconis, ., & ochems, . M. (2010). eviewing the relations between gism: A Comparative Study of teachers’ knowledge and pupils’ attitude in the field of primary technology edu- cation. International Journal of Technoloy and Desin ducation 20(1), 15-26. A Streetcar Named Desire and Shams, N., & abaghi, A. (2014). Iranian EFL learners L2 reading comprehension: The 1 Effect of online annotations via interactive whiteboards. ournal of nlish Lan Biganeh guae Teaching and Learning, 6(1), 3-6. Solano, L., Cabrera, ., Ulehlova, E., & Espinoza, . (2017). Eploring the use of educa tional technolog in EFL teaching case study of primar education in the south 2 region of Ecuador. Teachin nlish with Technoloy 17(2), 7-6. Afsaneh Asghari Astaneh Souhila, B., & Khadida, M. M. (2013). e need change The Interactive whiteboard in the Behzad Pourgharib*3 EFL context. cademic Journal of Interdisciplinary tudies 2(3), 3-3. 4 Stepp-rean, . (2002). Student perceptions on language learning in a technological Abdolbaghi Rezaei Talar Poshti environment Implications for the new millennium. Lanuae Learning Tech noloy (1), 16-10. Tertemiz, N. I., Sahin, ., Can, B., & uzgun, S. (2015). Views of primar school teachers Received: 2019-06-22 | Revised: 2019-10-19 | Accepted: 2019-11-09 and students about the interactive whiteboard. Procedia - ocial and Behavioral Sciences, 86, 12-12. Timucin, M. (2009). iffusion of technological innovation in a foreign languages unit in Turkey: a focus on risk‐aversive teachers. Technoloy Pedaoy and Education 18(1), 5-6. Abstract Vandewaetere, M., & esmet, P. (2009). Introducing pschometrical validation of ues The history of literary adaptation is as long as the history of cinema itself. tionnaires in CALL research The case of measuring attitude towards CALL. om Given the undeniable fact that literary classics guaranteed a large number puter ssisted anuae earnin 22(), 3-30. of viewers, it is no surprise that the first filmmakers turned to literature eerasinghe, S., & indagolla, M. C. B. (2018). Technolog acceptance model and social to gain their materials for the screen. Since the development of the field network sites (SNS) selected review of literature. lobal nowlede Memory called adaptation studies, the relation between cinema and literature has and ommunication 67(3), 12-13. been analyzed through numerous approaches. One of the most recent iebe, ., & Kabata, K. (2010). Students and instructors attitudes toward the use of theories which can shed light on the unstudied interaction between the CALL in foreign language teaching and learning. Computer ssisted anuae two sides from new perspective is dialogism as developed by the Russian Learnin 23(3), 221-23. right, M. ., asher, B. A., atkins, L., & Scott, . (2008). ave we made progress Stakeholder perceptions of technolog education in public secondar education 1 DOI: 10.22051/lghor.2019.26846.1145 in the nited States. Journal of Technoloy Education 20(1), 8-3. 2 M.A in English Language and Literature, Department of English Language and Literature, Faculty Yang, . Y., & Teng, Y. (2014). erceptions of elementar school teachers and students of Humanities and Social Sciences, Golestan University, Gorgan, Iran; [email protected] using interactive whiteboards in English teaching and learning. Journal of Inter 3 Assistant Professor, Department of English Language and Literature- Golestan University – Iran, active earning esearch, 25(1), 12-1. (Corresponding author); [email protected] 4 Assistant professor of English language and literature, Golestan University; [email protected] www.SID.ir Archive of SID 226 — Tennessee Williams, Iranian Cinema, and Bakhtinian Dialo-gism: A Comparative Study of A Streetcar ... crit Mikha Bakhtin. he prese pape set t perform parative analysis of Tennessee Williams’ A Streetcar Named Desire and emat- daptation, Biganeh (Stranger), irected Bahram avakoli. he e- search takes Bakhtin’s notions of unfinalizabilit and ronotope s t ke constituents ialogism investigate anges he rania irect has ade versio of he la The tud found hat itera wor ope anges he dapte seeks challenge in innovative wa t in th unfinalized, ialogi process hat meani are e- ated. Thus, Tavakoli’s film proves that a classic play is both worthy and capable bein adapted mode audiences if he ilmmake goes beyond mon ersimplificatio and presents nresolved ensions which ie neath he nee of he lay. Keywords: Dialogism, daptatio studies A Streetcar Named Desire Biganeh, Unfinalizabilit hronotope Introduction Adaptation n its relate reas translation n tertextual continue have entral ace in literar studies s the connec literature other areas tudy While producin inematic adaptations literar works an ceptable ndeavor toda the relation etween inema an iterature has n always een iendl one As arl as ate th cen an arl 20th cen when adaptations from Shakespeare’s plays marked the first cinematic adaptations de man literar figures cludin ginia ool condemne the n scribe as etra literature In her essay, “The Cinema”, “she laments how Anna Karenina translate screen barel recognizable Indeed film’s attempt ‘re-create’ literature, according to Woolf, not only is a disservice to literature but also to film” (Cartmell, 2) For Wool itera- ture is cinema’s prey: “The cinema fell upon its prey with immense rapacity, an this momen largel ubsists the unfortunate B the esults re disastrous both” (as ite in artmell p. 2) Woolf’s remarks on negative ac cinema literar works eflec a number the con- cerns r contemporar fellows ab fil daptations grea ovel n plays This nti-cinema entimen began weaken course the 20th centu- r wi more n more ovels n plays ein dapte for creen The ise in the umber s ll s ual literar adaptations le develop- men adaptation tudies fiel academic quir whic was firs re- stricte comparative tudies concerne th the production’s el the source te has ow e in a de-rangin an terdisciplinar endeavor M recen daptation tudies have approache adaptation as n utonomous production establishes discursive relation the arlier Howev- er, few studies ve viewe this elation fr the rspective the or dial whic s develope b ikhail Bakhtin Informe b suc paucity cademic information his esearc sough appl in l analys Bakhtin’s concepts of unfinalizability and chronotope to a comparative study of www.SID.ir Archive of SID Language Horizons, Alzahra University — 227 crit Mikha Bakhtin. he prese pape set t perform parative Tennessee William’s A Streetcar Named Desire (1947) and its Iranian adapta analysis of Tennessee Williams’ A Streetcar Named Desire and emat- tion, Biganeh (Stranger) (2014). daptation, Biganeh (Stranger), irected Bahram avakoli. he e- search takes Bakhtin’s notions of unfinalizabilit and ronotope s t It is noteworthy to mention that Stranger and Here Without Me (2011), ke constituents ialogism investigate anges he rania irect which is an adaptation of Tennessee Williams’ The Glass Menagerie (1944) by has ade versio of he la The tud found hat itera wor Tavakoli, have been investigated by a number of Iranian academics. Two stud- ope anges he dapte seeks challenge in innovative ies, in particular, have focused on Tavakoli’s adapted movies in terms of their wa t in th unfinalized, ialogi process hat meani are e- uniue approaches to Williams’ plays. zra Ghandeharioun and Alireza Anoosh- ated. Thus, Tavakoli’s film proves that a classic play is both worthy and irvani (2013) have described Tavakoli’s Here Without Me as a new cultural capable bein adapted mode audiences if he ilmmake goes beyond mon ersimplificatio and presents nresolved ensions product which in enriched by the ideological mechanisms and socio-cultural which ie neath he nee of he lay. discourses of the Iranian society. Moreover, Zahra azemi, ossein liakbari arehdasht, and bdolmohammad Movahhed (2018) have studied the repre Keywords: Dialogism, daptatio studies A Streetcar Named Desire sentation of women’s gender roles in The Stranger. The authors argue that the Biganeh, Unfinalizabilit hronotope director has domesticized the role of women in his movie to create “a new iden tity for the female characters” (p. 563). Introduction Adaptation n its relate reas translation n tertextual continue Bakhtin and Unfinalizability have entral ace in literar studies s the connec literature other ne of the key concepts in the contet of dialogic thought is the idea of unfinali areas tudy While producin inematic adaptations literar works zability. As orson and Emerson (1990) maintain, “the term appears freuent an ceptable ndeavor toda the relation etween inema an iterature has ly in his works and in many different contets. It designates a comple of values th th n always een iendl one As arl as ate cen an arl 20 central to his thinking: innovation, ‘surprisingness’, the genuinely new, open cen when adaptations from Shakespeare’s plays marked the first cinematic ness, potentiality, freedom, creativity” (p.
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