ADAB PAZHUHI
Year:2013 | Volume:- | Issue:25 |Papers Count:8

An attempt to discover the origin of the author’s perceptions and imaginations and their major orientations, is among the achievements of Thematic Criticism. Georges Poulet, the Belgian critic, tries to describe the setting of the stories through searching for the images, forms, movements and other elements involved in the their verbal and pictorial networks. This article adopts the same method to explain the setting of Shāzde Ehtejāb, by Golshiri. The narrator of the story, through associating the past, understands each character and event out of their general context and thus does not come to a coherent whole. Each of these isolated images is, in fact, a degenerated representation of the past in the narrator’s mind.

Autocideography or post-death self report is an unconventional way of narration which might proceed, either in parallel or in the direction of authobiography. This narration, as the one that reveals the after-death words of a narrator, benefits from the unique privilege of the simultaneous intradiegetic and extradiegictic narrating of the events. The present article, after introducing autocideography, its features and functions, makes use of this method to analyze three Persian short stories. The research concludes that, the three stories, are incapable of applying this method appropriately and thus can’t be classified as typical examples of autocideography.

Semio-Semantics is the outcome of the interrelation between Structural and Post-structural linguistics. This approach believes that formation of meaning is a very complicated process in which many semantic factors are involved: the discursive actant incessantly reviews the semantic boundaries and creates a dynamic, multifaceted system of signs which is the result of the adjusting the emotions, perception and cognition. This article examines the sensual-perceptual process, and the aesthetic mechanism of the poem “Rain” by Golchin Gilāni and concludes that “rain”, as a mediator sign, through the formation an sensual-perceptive relation, creates a process that isolates the poet from his “I”, integrates it with transcendental “I” and thus attains the “secret of immortality” and “ideal being”.

The general pattern of narrative structure in Mathnavi’s tales is simple. To understand the falling and rising of the stories and also their stasis and duration, it is enough to distinguish the narrating from denarrating lines. Besides, realization of the frame-stories leads the reader to a deeper understanding of the distinction between narration and denarration. This article, while explaining the narrative pattern in Mathnavi, studies its two features of artificiality and recurrence. Artificiality denotes that the characters and actions strongly depend on the prescriptive conventions of author or omniscient narrator. The research concludes that the tales of Mathnavi show an interest to various intertexts and thus make the existence of recurrence tangible and natural.

Mantegh-o-tteyr ( Philosophy of Birds) is a term based on the Quranic knowledge which has been interpreted both esoterically and exoterically. The former has been the source of many texts on the voyage of Birds, of which the most well-known is Mantegh-o-tteyr by Attār that is the story of detachment from material life and starting a journey in search of spiritual life. Mowlavi, among others, has recurrently referred to this expression by contrasting Mantegh-o-tteyr of Khāghāni and Mantegh-o-tteyr of Soleymāni. The first denomination is said to have an ironic connotation to a qaside by Khāghāni, but this interpretation is rejected in the present article based on the reasoning that Mantegh-o-tteyr of Soleymāni is associated with the language of Solomon (The Perfect Man) as the language of the Holymen, while Mantegh-o-tteyr of Khāghāni displays an exoteric understanding of this mystical language.

Being Causative/non-Causative is a kind of contrast in verbs that is reflected in the syntactic structures and changes their meanings. This article investigates the three different categories of Causative construction in Tāti and decides, based on the findings of Functional Linguistics, that being Causative/non-Causative is not a definite classification, but a continuum in which each verb finds its own place according to the agent of the event and its being intentional or unintentional.

Considering the fact that the negative form of verbs normally is made by adding a negative element, this article tries to find out whether this element is the only sign of negating the sentences, and if any affirmative sentence has necessarily a negative correspondent. In this research, through adopting a descriptive-analytical method and based on the ideas of the two functionalists named Givon and Miestamo, the negative forms of some affirmative sentences will be studied. Since the affirmative and negative sentences have different presuppositions, contexts, and discourses, it is not always enough to make negatives just by adding a negative element, and also the act of making the sentence negative might cause some other changes to the sentence. Moreover, it can be said that in Farsi, it is not always possible for an affirmative sentence to have a negative form.