Persian literature
Year:2022 | Volume:12 | Issue:1 (29)|Papers Count:11

Although praise, as an awkward patch in the Diwan of the Unseen Language, is expensive for the eyes and character of Hafez Dostan, and it is also true that the nature of praise is in conflict with Hafez's idealism and liberalism, but whether you like it or not, it must be accepted that Madh's foot is open to Hafez Rand's Diwan as well. and exposed it to all kinds of critics' judgments. The main issue of this research has been a re-reading of Madhi Hafez's sonnets without prejudice with a critical stylistic approach with the aim of discovering the hidden discourse mechanism in the quadruple stylistic layers of language, syntax, rhetoric and discourse of these sonnets. In order to carry out this research, a combined method (descriptive, analytical, statistical) was used to examine 54 selected ghazals of Divan Hafez, and these results were obtained: in the linguistic layer, the predominance of two-faced Randy codes and the less use of personal indicators, emotional words and special words. which is necessary for praise poetry, the color and flavor of praise in Hafez's praise poems has been reduced to a great extent,In the syntactic layer, the emotional aspect and desire, which is more suitable for praise, has very little frequency,In the rhetorical layer, there is not much initiative and effort to invent rhetorical tools in order to confirm and emphasize the discourse of praise,In the discursive layer, priority is given to explicit and persuasive actions, which also serve to promote Hafez's (and not praised’, s) discursive values,Therefore, it can be said that there is no significant difference in any of the stylistic and discursive layers of Hafez's lyrical lyrics and his other lyrical lyrics, and all of these factors have caused the praise and praise characteristics in Hafez's poetry to fade.

Some parts of Kourosh Safavi’, s views in his works, especially in the book Â, shnâ, yi bâ,Nazariye Adabi, are related to the application of literary theories in literary criticism. Reviewing various theories and categorizing them based upon the six elements of Jacobson’, s communication theory, he has emphasized their inefficiencies in literary criticism and accordingly, he has proposed an efficiency theory for criticism. Some of his most important criteria for the efficiency of a critical theory are: scientificity, comprehensivity (covering all components of Jacobson’, s communication theory), applicability in criticism of various texts, etc. In this article, I have examined these issues to criticize the methodology of Kourosh Safavi’, s views about the efficiency of literary theory in criticism. It can be said that the most important defect of his view is the reductionism in the perception of the application of theory. This reductionism has different aspects and consequences: selective perception and introduction of literary theories, ignoring the role of the critic in literary criticism, focusing on interpreting texts and ignoring other types of literary criticism, ignoring text selection, emphasis on patterns abstracted from literary theories and ignoring their other various aspects of them, assuming the homogeneity of theories and having close view about the combination of theories.

Modir-e madreseh by Jalal Al Ahmad is one of the famous contemporary novels In which the author of the story is not only dead, but more alive than any other real work, he continuously pays attention to explaining and promoting his ideology, contrary to what Barthes said. The Marxist review of this novel, in which the author goes through definitions such as "class society", "substructure/superstructure", "class consciousness" and finally "revolution", convinces the reader that he is facing a manifesto of Marxist intellectuals, which forces him to line up his position more precisely with regard to this ideological text. In this article with using the perspective of related theorists, we have tried to present an analysis of this story by showing the general thought of Al-e Ahmed. Also, the Lasting literary beauty of this work, its party and discursive aspects are becoming more and more clear to the audience of contemporary fiction literature. The findings of our research show that the narrator of the modir-e madreseh initially experiences a failure at the level of his ideological view. Then at the level of "revolutionary act" he suffers from it. In fact, the modir-e madreseh is a realist narrative of an emotional and passionate intellectual between two revolutions, who signs the failure of his Marxist position with his resignation letter at the end of the story.

Sometimes ordinary words are unable to describe great sorrows, and some people do not find the usual sentences and phrases enough to express their heart-wrenching pain and sorrow…, ! Perhaps it is for this reason that "Zaydri Nesavi", the secretary of Sultan Jalaluddin Khwarazmshah, also did not find the commonly used expressions in the common language to express his excruciating pains, and the preferred to use this horrible and terrifying prose that trembles the reader’, s body and soul sometimes to describe his condition! The resulting prose is a relatively small book called Nafsat al-Masdur, which is very famous and well-known among people of culture and literature, especially professors and students of Persian language and literature, and of course it is equally difficult to read. The author believes that regardless of the verbal complexity and ambiguity in the sentences and combinations of this book, which have made it difficult to learn and read, there are other important reasons that prevent this valuable work from reaching to scientific and literary societies which are non-academic. One of the most important reasons is the author’, s ambiguity in introducing the characters of Nafsat al-Masdur. In this article, we intend to help identify the influential personalities in this literary-historical work by using reliable historical sources.

One of the most important and challenging stories of Marzbannameh is Div-e Gavpai and the religious sage, which covers the fourth chapter of this book and is viewed from different angles. One of the reasons for various speculations about this story is the association of meanings and its connection with a range of religious, historical, mythological narratives and narrative themes in the Iranian mythology and Saami stories that each one has some thematic similarities with the story of Div-e Gavpai and the religious sage. It is likely that Varavini intended to intentionally include some signs and evidence in the text to guide the wise reader to those narrations. Accordingly, while expanding the intentions and dimensions of the story and connecting the audience's mind with similar narrations, he establishes coherence and coordination between the phrases of the fourth chapter of Marzbannameh. Research on this subject has explored this story more from the perspective of mythological critique and related narrative patterns and religions of ancient Iran while its relationship with Saami stories such as the story of Prophet Moses (pbuh) and Prophet Muhammad (pbuh) in religious and historical texts has been neglected. In this paper, with a descriptive-analytical method and based on intra-and extra-textual evidences and presenting structural, verbal and content documents, the similarities and relations of this story with the mentioned narrations are explained. It is also shown that how Varavini, with the help of his own art and the use of storytelling techniques, has created a multi-layered narrative discourse from which different voices can be heard.

Ibn Hassam Khosfi’, s Khavaran-Nameh is a verse in the form of religious epic, with the theme of fictional tales and wars of Ali (AS) with kings of idolatry such as Tahmasshah, Salasul Shah, and embraces ancient concepts. Patterns of hero and travel, due to its nature is one of the most used motifs. This study, through descriptive-analytic method, seeks to review Joseph Campbell's proposal for the heroic journey and also its amount of appliance in the Middle East. Campbell considers life as a journey that the hero must take on this journey, while awaring of his strengths and In addition, by identifying his inner desires and secrets and his strengths and weaknesses, he should conduct individua’, s ethical issues. The three main themes of the hero's travel theory are: departure, approach, and return. This theory is in harmony with the epic hero's life. Because the hero of each epic should encounter somke delimas, he should face the most terrible paths, the most awesome creatures and the most dangerous enemies,however, with all his courage, he can go through all the difficult passages and achieve his goal. The is a religious one. The results of the study indicated that in Khavaran-Nameh Ali (AS) began a long journey to save human beings from evil forces. In this journey, How fought with the Dragon and the Wizardand ultimately he eliminated them. Ali (AS), with his inner voice, addresses the Prophet’, s worry, he could obviatethe obstacles and problems that each hero goes through to complete their achievement and excellence. after the unity and godliness, the victorious and glorious man returns to Medina and delievers Solomon’, s souvenior to the Prophet. The results of the study also indicated that the internal stages, transcendental help, crossing the threshold, whale abdomen, test path, woman in the role of tempter, blessings and free and free stage in Khavarannameh conforms to the stages of Campbell's journey and heroism, and the omission of some stages is due to the religious nature of this epic effect.

In the Persian language, there is a special syntactic structure in which the proposition of the sentence, which is a complete sentence itself, together with the subject, forms another sentence. Abdul Rasul Khyampoor, the traditional grammarian, has mentioned such structure as a large and small sentence. The linguists also consider such a structure to be the result of the topicalization process, in which the proposition is basically an element within the sentence that then by the process of topicalization has separated from its grammatical position and moved to the beginning of the sentence and in place of that element, a co-referential pronoun has been placed. Of course, topicalization as a process in moving the components of speech to the beginning of the sentence has a wide structural scope and in this paper, only a special type of it is considered which causes doubled clitic in the sentence and produces a distinctive syntactic structure. The grammarian and linguists have studied this structure as a grammatical phenomenon. They have tried to describe and explain the way of this syntactic construction and to determine appropriate names and titles for its components. In this paper we study this structure with approach of rhetoric. We want to show that the main cause of forming this structure has been the rhetorical aims, such as “, centeredness of the subject”, , “, observing the principle of speech”,and “, emphasis”, .

Many poets have chosen the art of debate to express their thoughts. Since the widest horizon of Persian poetry belongs to the lyrical type, a considerable number of Persian debates are also included in this type of literature. In these debates, the poet creates a dialogue or a give and take between the lover and the beloved, and each side tries to convince the other or force him/her to accept his/her opinion by showing his views as superior. Contemporary poets have also used debate extensively in their poems,but instead of boasting and competing with their opponents, they have talked, interacted, and tried to create an argumentative atmosphere. The present study through a descriptive-analytical method tries to discuss the differences between romantic debates in Iraqi-style sonnets and the romantic debates in contemporary sonnets as well as the reason for these differences. It has been concluded that contemporary sonnet, due to the political and social changes in Iran and changing views of poets, have moved towards dialogue and conversation,furthermore, it has undergone fundamental changes by altering the position of the beloved and his/ her individuality,In a way, it can be said that contemporary debate sonnets are different from Iraqi-style debate sonnets in structure, subject matter, content, gender of the lovers and the beloved.

Memoir is one of the literary genres and forms of writing in which the writer recounts the events that have taken place in his lives and has had role in them or has observed them. The author faces incidents with his perspectives, and over time, he accumulates them in mind and recreates them by relying on his ability and art of writing. These variables can transform memory from the simple narrative of an historical event to a literary, readable and lasting work. With the start of the eight-year Iraq war against Iran, many Iranian warriors began to write memories and daily notes. These memories and notes, while expressing their feelings and thoughts in the history documents of events, used to explain the realities of the war and the creation of the story. The decoding of the transformation process of memory into a story in resistance literature is a matter in which research and development, while formulating and defining the principles and rules of the transformation of memory into a story, will pave the way for writers to create such works. In this research, we have analyzed the metamorphosis of the memory to the novel by relying on Atash be Ekhtiyar novel, written by Mohammad Reza Bayrami. The results of the research show that Atash Be Ekhtiyar has characteristics like dialogue, scenery, movement in time, the fluid flow of the mind, etc…, that can transform this work from memory into litrary work and give it a litrary-historical nature.

There are several wedding songs in Luri culture and Hivela is one of them. This wedding song includes various narrations in different areas of Lur inhabitants. There is a Hivela with 32 verses customized in Azna, Lorestan province which ranges from courtship ritual to a day after the wedding ceremony. The Masnavi has syllabic rhythm and the poet is anonymous. Features, performance method, form, rhythm, rhyme, and aesthetic aspects of the song are investigated in this inquiry and its main narration is arranged and analyzed in 15 forms of discrete ceremonies. This research aims at a complete introduction of this wedding song and distinguishing it with other Luri wedding songs like Kelzanoon, Sit Biarem and etc., Since They are usually mistaken to be synonym of each other. Folk poems are similar to each other because of integration of their roots and it is hard to classify them but lack of a structured research about Luri wedding song revealed this gap more. Investigation of each wedding song discretely leads to better judgment about all wedding songs of Luri culture. The research is done based on descriptive-analytic method,Its main data is achieved based on field research in various Luri inhabitants’,provinces,Meanwhile written researches and works of other researchers were considered.

Due to the dominance of cyber space on the world, it is obvious that people’, s daily lives, especially young adults’, , have been affected so much by this space. The same is true about art and literature as true mirrors to life. Therefore, this article focuses on the notion of ‘, technorealism’,in This Weblog will be Transferred (2012), the acclaimed work of contemporary Iranian writer, Farhad Hasanzade, through a posthumanist perspective. Using ideas of Falnagan and others, the writer tries to elaborate on notions of technorealism which has recently become popular in young adult literature. To this end, the notions of “, physical self”,and “, digital self”,are discussed while it foregrounds the fluidity of identity as a major feature of posthuman literature. It is argued that technorealist literature makes attempt to imitate cyber space and realize its features in printed books. Adopting a polyphonic multi-perspectivism while introducing linguistic innovations, this new genre tries to provide a positive perspective towards the cyber space, despite its all possible threats. It also tries to replace the grand narratives of liberal humanism –, such as individualism and essential identity—, with ‘, collectivism’,and fluid identity which can be deployed as great guards against binaryorient system of liberal humanism.