ADAB PAZHUHI
Year:2008 | Volume:1 | Issue:5|Papers Count:7

This Article recognizes tree voices and styles in the works of contemporary Persian poet, Qeysar Aminpour's (d. 2007). His tree voices are active, passive and reflexive. This classification has based on language (lexical and syntax), imagination (images and figures) and idea. Tree different periods of the poet's life have been presented in tree colors. Red is dominant color in his epic period (active); gray in his sadly romanticism (pasive) and finally the style of his fatalism (reflexive) period is colorless. The article concludes that Aminpour is a true poet because he represents his real feelings of the world and social, and his poems show obviously the sprite of time and His true relations with the ideological changes in Iran.

In the evolutionary trend of poetry in the present age alongside the special application of prosodic meters and relative cohesiveness in the stanzas, poets while focusing upon modern rhetoric potentialities, have also utilized writing capabilities to strengthen a specific form and to reach at an artistic structure. For example, they concentrate upon the writing style and lexical capacity through dissection while creating the desired atmosphere. One of the possibilities having been used by the contemporary modernist poets to enrich the form and the linguistic-artistic construction, as well as to exactly represent the poems is using punctuation. These signs, besides their special application for describing numerous kinds of sentences and correct reading of phrases and words, in the modern poetry and especially in the works done by the followers of Nima’s style have attained semiotic aspects and particular signification as a part of artistic-poetical structure, Their analysis can indicate the diversified viewpoints of contemporary poets about different phenomena. This research is an attempt to indicate the importance of the signs of writing in the modern poetry with a view to open the new phase in a vast perspective which requires more attention and exactness.

Literature, throughout its history, has revealed its outlook on "Man and the world he lives in", by means ,i.e. the three major genres of poetry, drama and fiction, but it has preserved its most profound, comprehensive, and critical view on man for "Novel", as a form of fiction which came into existence to satisfy the needs of an all-embracing study of human beings. Novel, as such, has been of the highest capacity for identifying the characteristics of a the society it depicts and its people. Based on such a presumption, this article suggests that "Novel" is fully justified for tracing the identity of a society in its various aspects. The article, puts forward then, a methodology that by going beyond the mere literary character of the novel, tries to scrutinize its dynamic entity as a cultural phenomenon. Finally, as the practical part, the paper presents the achievements of this methodology through applying a model based upon it, on a Persin novel.

The terms ‘language’, ‘dialect’, ‘accent’, and ‘variety’ are among the basic notions in linguistics. These notions are particularly important in the context of Iranian linguistics. In this article, I will show that there is a lot of disagreement on the use of them among the Iranian scholars. This discussion, I hope, will contribute to the clarification and specification of the terms and can lead to the creation of standardization and consensus in their use.

Every wide-scope and progressive phenomenon is naturally provided with a simple narrative structure in which the components move from A to B, and from B to C, as if a seed grows to be a tree. In fact the narrative structure takes form trough transformations applied to the corpus by the author/narrator in order to be analyzed in their temporal sequences. This article, through analyzing the temporal dimensions of narrative, lays emphasis on the time of narration as well as the time-span in which the story is narrated. As to the former, the article deals with the linear time, sensual time and time of narration; concerning the latter, the paper pays attention to the opsis, story development, précis, ellipsis, and historie ethique. Finally all the topics discussed are supported with the examples of modern novels, and at the end of each section the related anecdotes of mathnavi are presented and analyzed.

Righter in this article attempts with notice to Mewlana importance in the mysticism world and Kierkegaard in the Christian world; Analyses type of looking both of them and displays unity of reading both of them. The most important of participation Mewlana and Kierkegaard in this ground is escape from story form and arriving to story truth namely sacrifice of son that display value of this accident in the thought Mewlana and Kierkegaard with observation to religious world and ground. Mewlana and Kierkegaard –in spite of details difference– attend to accident principle and its conclusion to pass story form and know duty of believer human in the religious space namely submission versus god. Submission and faith that is sensational belonging and dependence to god. With this point, Kierkegaard presented four narration about sacrifice of son that Mewlana point of view is nearby to second narration and that Abraham to have faith that will be survive his sun. on this base Abraham is symbol of sincerely and generosity and Submission that we will allude in the article.

“The king in black” is the most beautiful story in Nizami’s “haft peikar”. Because of the characteristics of this story, the basis is prepared for rereading of it based on contemporary literary theories which structuralism is one them. Structuralism in literature pursuing a paradigm as a external reference of works which investigates, uses system of literature and because of this reason has a precious place in literary studies. This paper investigates the story “the king in black” by drawing upon Barthes’s idea of cods. The codes are “proairetic code”, “connotative code”, “cultural code”, “hermeneutic code”, “Symbolic code”, and “credit code”. In the discussion on proairetic code we have made use of the theories of Gramas. This article tries to offer tangible example in the story based on three theories for instance on the level of the connotative code human greed has been depicted, but from the metaphorical aspect the forbidden fruit or the idea of ascension etc. have been discussed. “The king in black” is the most wonderful story in Nizami’s “haft gunbad”, and it has the potentials for new literary readings more than any others. And among the Iranian classical stories this story is matchless or, at least, rare.