Document Type : Research Paper
Authors
1 PhD Student in Mystical Literature, Faculty of Literature and Humanities, Lorestan University, Khorramabad, Iran
2 Prof of Persian Language and Literature, Faculty of Literature and Humanities, Lorestan University, Khorramabad, Iran,
3 Associate Prof of Department of Persian Language and Literature, Lorestan University, Khorram Abad, Iran.
Abstract
In the 1960s, the American psychologist Stephen Karpman introduced the three fundamental roles that every individual may assume in society: Persecutor, Victim, and Rescuer. This theory, later applied in psychoanalytic criticism and literary narrative analysis, became known as the Karpman Drama Triangle. The presence of these three roles within narrative structures and across myths, tales, and stories contributes significantly to their appeal. According to Karpman, the “Victim” is the central axis of the narrative, while individuals shift among the three roles, which are not necessarily restricted to human agents.In relation to the poetry and life of Forough Farrokhzad, one of the most prominent contemporary Iranian poets, numerous critical discussions have arisen. Since traces of Karpman’s Drama Triangle appear in her narrative poems, the problem under study is to examine the ways these roles are represented and to provide a psychological interpretation of their function. The findings reveal that the role of the “Victim” dominates her narrative poetry more than the other two roles. Furthermore, despite her apparent tendency to resist the victim role, Forough seems ultimately reconciled with it. This acceptance may be rooted in the prominence of her feminine identity and the social milieu in which she lived. As Karpman’s Drama Triangle is fundamentally psychological, this research adopts a descriptive-analytical method based on library resources to explore its functions in Forough Farrokhzad’s narrative poetry.
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