ADAB PAZHUHI
Year:2014 | Volume:- | Issue:26 |Papers Count:7

Eye-flirting in Ghazaliāt of Sa’di has always been a matter of research because, compared to other Persian literary texts, Ghazaliāt is more prolific concerning the concept of eye-flirting. Nevertheless, most of these researches have been content-based and mystical. The present article, by adopting a narrative point of view, does its best to show how Ghazaliāt, through breaking the taboos, creates a suspense in which the reader finds the occasion to pose new questions that pave the way for the narrator to attain his goals. This is a method of narration in which the narrator at the three levels of line , Ghazal and Ghazaliāt, shapes different degrees of suspense that move towards different forms of taboo-breaking, but the tensions coming out of these suspenses, will decrease due to their interrelations, and consequently eliminates the perception of breaking taboos. The reader, in this way, will be finally directed towards one and the same philosophical or mystical meaning.

To measure the narrative tempo, Gerard Genette, the outstanding theoretician who focused on the role of Time in narratives, divided the number of the pages in a novel by the chronological time represented in the text. In Shāzde Ehtejāb of Hooshang Golshiri, movement of time is very slow chronologically but so fast in the minds of the characters. In the outer levels, where the chronological time is more at work, the movement slows down which is in accord with Genette’s suggested patterns. Whether we take the whole life, or just the last night of prince’s living as the narrative focal point, there will be no change in the existence of the factors that accelerate or decelerate time, but the narrative tempo will change, and in fact it will increase in the former and decrease in the latter.

Cognitive metaphor theory is an effective approach that studies the linguistic concepts by following the mappings which include source and target spheres. This article tries to examine the concept of “Love” in Savāneh-al Oshagh by Ghazzaāli. It starts with focusing on lexical elements that are characterized by their emotional sense, in order to discover their metaphorical networks and canonical metaphors, and recognize, finally, the viewpoint of the writer about the concept of love. The article concludes that Ghazzāli follows more the outlook of a devotee and ascetic than that of a lover.

Feminism, in its socio-political and literary aspects, emerged because of the degradation of women in patriarchal societies. Attempts of the women in search of their civil rights and emancipation since 1960’s deeply influenced many literary works which tried to display the feminine experience and emotions. Shahrnoosh Pārsipoor, in her The Dog and the Long winter, depicts the various aspects of women struggle with the dominant patriarchal culture in Iran. This struggle and its different manifestations in the novel will be discussed in this article.

A deep study of mythology, legends and psychology proves that how interwoven are the elements used in these three areas. Symbolic birth is a recurrent theme in Hero archetype, in which cosmic elements support the child born symbolically. The essential task of the archetype is to support the hero to take all steps necessary to accomplish his work. Symbolic birth can be seen in all cultures, and Rostam, Zāl, Sām, Jesus, Buddha, are just some examples. This article, through adopting a descriptive and analytical method, shows that the different ways of symbolic birth manifest the heroic faith of the protagonists.

Different languages take benefit of different referential ways to trace out the narrative actants. These ways include deletion of reference, implicit reference of verb inflexion, using unbounded pronouns such as personal pronouns and demonstratives, and complete noun phrases. The choice of each, reflects the intention of the writer in displaying the position of actants and emphasizing the function of some events. The present article follows Levinson’s model to determine various ways of actants’ reference, methods of introducing the major and minor references, and the manner of emphasis on actants in a story of Ferdowsi’s Shāhnāme (Book of Kings) entitled “The Seven Adventures of Rostam”. The findings of the article prove that verb inflexion and noun phrase play more important roles in displaying respectively the frequency of major and minor actants of reference. In addition, bounded pronouns have been remarkably used for referencing both major and minor actants.