RESEARCHES IN MYSTICAL LITERATURE GAWHAR-I GUYA)
Year:2011 | Volume:5 | Issue:1 (SEQUENTIAL 17)|Papers Count:15

The speakers of any language, according to their constant need, coin some novel words in order to convey meaning, express ideas, thoughts, and their desires. In this process, they take advantage of their overt or covert linguistic competence. For instance, the derivative feature of Arabic language has contributed a lot to speakers of that language to create so many words with multiple meanings, all formed on the same stem. Likewise, English speakers make use of the derivative features, compounding, blending, and multiple processes of their language to create words. Similarly, in Persian language, the speakers make new words based on specific features of that language. There are five common processes applied in Persian language to form new words, among which blending, compounding, derivation, repetition or reduplication, clipping and acronyms are frequently used and the other techniques or processes have been neglected. Word repetition is one of the word formation processes and many words are made through this process. This study is an attempt to delve into the morphological processes of word repetition in Persian contemporary language according to the texts of three books, “Imaginary Perspectives in Persian Poetry”, “Let’s Listen to the Speech” and “with Holleh Convoy”. In addition, it strives to find a proper solution to the question of the Persian word formation processes in creating new words through repetition.

Beihaghi’s history is so significant in Persian history and literature which has had an outstanding effect on its subsequent works and even poems. The fictional techniques used in this work have stimulated many researchers to look at its fictional elements. Studying the researches on Beihaghi in Iran shows that »Hasanak Vazir «and» Afshin and Boudlof «have been investigated more than others. The first adventure happened in Beihaghis era and the latter before him. What has not been regarded so far is the quality of Beihaghis uses of fictional techniques and rewriting of those stories that he got from previous sources. We can be familiar with Beihaghi’s view about addressees by comparing Biihaghi’s narration with the one in older prose. This paper tries to study the quality of Beihaghi’s uses of fictional techniques in Afshin and Boudlof adventure and the changes in this adventure and using of conscious ways that the author utilizes to make the reader involved in this narrative. For comparison, some techniques such as structure, plot, suspense, description, dialogue, characterization and atmosphere will be studied in the two narrations. The conclusion shows that Beihaghi did not change the general plot but he added some elements to the manner of exposition. Some techniques like suspense, dialogue, description and the way of exposure have been very important in this process.

Literary criticism is the intelligent study and description of literary works. One who reviews a literary work is known as a critic or literary critic. A literary critic bases his work on a known procedure or alternatively presents his own classification in such a way to convince his potential audience or other critics.Comparison is one of the most common methods in literary criticism. It goes without saying that a comparison is only accepted when the two works under consideration have some common features. These features are of different types; however, in the realm of literary criticism, universe of work’s message and universe of literary form are among the most general classifications available for comparison.In this article, the poems of Kalim Kashani and Mohtasham Kashani are compared in terms of rhetorics. These two poets are contemporaries. In the process of comparison some points, which are considered as more general in their poems, were carefully selected and then examined closely.In the end, it is concluded that in presentation of literary ornaments, Kalim Kashani has been more successful than Mohtasham. In this connection, it is argued that Kalim Kashani's poems are more precise and artistic than those of his contemporary.

Shah-ibn-e Shoja’e Kermani (d. 288 A.H.) followed Abu Hafs-e Haddad (d. 264 A.H.) in Sufism.Shah’s work, Mer'at-ol-Hokama, was lost but we can find his words in other books.In this research, using reliable and creditable references, Shah’s words have been collected, classified and analyzed in order to clarify his view points.

The stories of Holy Defense have been written mostly with realistic language and without formality in critical conditions for foregrounding humane values and enhance morale of sacrifice. But after the period of Holy Defense we can observe a transitory period from realistic fictions to composite (imaginary and realistic) fictions.So in seventieth and eightieth decades the attention of authors directed to idealism and creation of abstract sphere based on literary and artistic creations. Reza Amirhkani is a young author who has had salient effort in the arena of fiction writing and there is a structural coherence in his novels. Ermiya and Bevatan show his improvement and mental evolution and his ability to write modernist novels. Which signs are there that show structural coherence between these two novels? And which reasons are there that prove the improvement of his writing in Bevatan as compared to Ermiya? Besides searching these questions, this article tries to find the signs of New Novel and Anti-Novel. Amid describing attractive points of the two novels the defections of Bevatan, caused by signs of Anti-Novel, are pointed out.

Owing to have the capability of representing realities of life, novel has replaced epic in the age of Renaissance and industrial revolution and in the first half of the 20th century. George Lukacs has introduced realistic novel as the main form of literary genres corresponding with bourgeois society. Later on his follower, Lucien Goldman, has considered any literary work which is compatible with realism as a valuable work. Therefore, according to these two Marxist thinkers, there are a number of characters who are problematic due to their commitment to sound values and principles in realistic novels. According to Lukacs and Goldman problematic protagonist is a problematic, futureless and protesting person who inquires about noble and original human values. Considering a number of similarities and differences, the action and performance of such protagonists also exist in Iranian realistic novels. In this study as the problematic protagonist is described and explained, the novels of Modir-e Madrese (school head) by Jalal-e Al-e Ahmad and Sovashoon by Simin-e Daneshvar are analyzed with regard to this aspect. The protagonists of these two novels (the head and Yousef) are introduced as problematic characters because of their disagreement with corrupt society.

Tazkerat-ol Olyaa, the only prose work of Attar, is a collection of quotes and biographies from seventy two great mystical figures. He starts the book by narrating the biography and famous quotes of Imam Jafar Sadeq (the sixth Shiite Imam) and finishes it by the accounts of Hossein Mansoor-e Hallaj’s life. An appendix was added to Tazkerat-ol Olyaa which includes twenty biographies from Ibrahim-e Khavaas to Imam Mohammad Bagher (the fifth Shiite Imam). Some researchers believe that this appendix was added by a person or some persons after Attar and base their argument on the differences in the writing styles and lack of this appendix in the earlier hand-written versions of Tazkerat-ol Olyaa. However, to prove this claim some more proofs are essential. An intertextual comparison between Tazkerat-ol Olyaa and some other old works is a way to identify the writing style used in the first section of Tazkerat-ol Olyaa better and, by the same token, we can then declare whether or not the second section of the work was added later. Tazkerat-ol Olyaa has a deep relationship with its preceding mystical works because Attar has made it clear that he has used some different sources and has used a combinational method to author the biographies. The intertextual study of Tazkerat-ol Olyaa with its predecessors shows that Attar has had a unique and special style in narrating the life of characters in Tazkerat-ol Olyaa. This style which is carefully used in the first section of the book is not observed in the second section. This strengthens the idea that second section was added later by some other person or persons. In this paper, we study the intertextual relations between Tazkerat-ol Olyaa and its sources and provide some examples of these relations. Then, after an analysis of Attar’s method in using the earlier works, we focus on some differences between the first section and the appended section of Tazkerat-ol Olyaa from the intertextual relations’ perspective.

Bahram Choobineh, the great Sasanid military commander, has an important role in military and ‎political developments in the late period of Hormozd IV and early period of Khosrow Parviz in ‎Sassanid era and description of his adventures in the historical part of Shahnameh provides a ‎suitable ground for creating a beautiful epic. Exact surveying of the content of the story obviously indicates ‎the presence of elements of an   epic poem, like the epic section of Shahnameh. Bahram’s ‎outstanding character, despite all his shortcomings as compared with an ideal hero, has been introduced in Ferdowsi’s poem as a hero, like the world champion Rostam Dastan. This fact shows that ‎Ferdowsi, during the composition of Iran ancient history, has used the ‎historical events for writing an exciting saga, wherever it is appropriate.