ADAB PAZHUHI
Year:2015 | Volume:9 | Issue:32|Papers Count:7

Literature as a medium possesses an indirect hegemonic power whose effect might be different from one genre to another. Theological debates in their anti-philosophical forms of Persian poetry have been among the influential areas, both on the readers of the texts and the intellectual processes of all Iranians. One of Kh`aq`ani’s odes with this opening line چشم بر پرده امل منهید/ جرم بر کرده ازل منهید has an outstanding place in this regards. This article, after introducing the discursive order of this ode, will study its hegemony at two levels of “semantic signification” and “artistic effect” in order to reveal the poem’s ways of applying the hegemonic power. The determination of discursive order and its hegemony is based on the critical discourse analysis of Laclau and mouffe, while the base for studying the hegemonic character of the poem is related to the ideas of J. B. Thompson

The result of arboreal discourse in literary creation is to draw an unaccomplished diagram of the established concepts in the past, present and future, as well as to constitute a structured cognition. This is a center-oriented and terristorial approach. Rhizomatic approach on the other hand, disrupts the hierarchical discipline and connects the ideas and concepts in the horizontal level, in a way that text-reading will be more a process of discovering the connections and functions rather than searching for a single meaning and signification. This article, based on the ideas of J. Deleuze and others who have introduced the philosophical and epistemological principles of rhizomatic perspective, intends to show the capacities of this perspective in reading texts.

One of the most common forms of popular literature and poetic couplet is Bvmysrvdhay different parts of Persia and Persian language countries. Couplet with respect to the pre-Islamic Iranian literature and history in brief and talent of expression and reflection of people' 's lives has always been known and popular format. In this paper, based on a research project about the author of the popular poetic literature, poetry and Amhsrvd of 302 species, 100 species with different names and functions Have been written in the form of couplets. The purpose of this article is to show the range and geographical distribution couplet in Persian and Persian-speaking countries. The results show that the use of couplets with the Masnavi, both of which are Iranian, equally 67% of all species of poetic literature community constitutes 33 percent in the couplet, and names like bit-Bayati, couplet, Dvbytv, Chharbytv, songs, Trunk, Fhlvyat, Klhfryad, parting, four, Sytk, Chhardanh, Chhargany, Dstvn, Bydgany and recognized.

The greatest mystics are those who believe that “silence” is the only way of speaking of God. Mowlānā justifies this approach as the capacity for creating multi-sided meanings. He symbolically asserts that Meaning is an Ocean, one can never be drowned into it but through “silence”. That is why a true fish in this ocean is “A Talking Dumb”. Gadamer, in his own turn, through demystifying St. Augustin’s “inner word” (equal to Mowlānā’s “ocean of meaning”), takes the narrative universe of hermeneutics as made up of two contrasting Words: Inner Word which is all content lacking any true idea; Outer Word which can never coincide with inner intention. There remains, thus, no ways but a constant search for “The word of Thinking” in order to express the innermost intentions manifested as images and symbols in mysterious and unshaped mystical sayings.

The versified story Arash-e Kamāngir is among the typical examples of modern Persian narrative poems which can be analyzed from different narratological perspectives. In this article, apart from the story’s plot, time, characterization, and focalization, its mythological nature has also been studied. The results reveal that the poet has benefited from a variety of narrators to direct the narrative; he has also dramatized the social circumstance through explaining the incessant actions of the focalized and focalizers who play their role in the formation of heroic and mythical characters. This aspect of the work accompanied by its epic context, lyrical descriptions and mythological spirit has turned the poem to a memorable work of literature.

Genitive constructions, in terms of different criteria such as the possibility of displacing their nominal and attributive dependents, can be divided into attributive genitives (which can both precede and follow adjectives) and nominal genitives (which do not precede adjectives except for the cases that results in a meaning shift or ungrammaticality of noun phrase). In this article, genitive constructions have firstly been explored and classified from such a perspective, and they have then been divided into two general classes namely predicative genitive constructions and non-predicative genitive constructions. It has also been explained that although the intonation pattern of ‘Head+attributive genitive’ is to some extent similar to that of compound nouns, this genitive is in fact regarded as one of the premodifiers of nouns that mainly functions as a specific adjunct for nouns in non-predicative genitive constructions

This article through studying the adverbial clauses order in Persian intends to show its relation with semantics, discourse, weight and iconicity. To do this, 1343 complex sentences including six semantic subtypes, i.e. temporal, conditional, causal, purposive, resultive and manner clauses, were selected. Statistical analysis based on corpus data from spoken and written Persian proved that the adverbial clauses exhibit a mixed pattern of pre- and postposing, although they often tend to precede the main clause. It was also shown that three of the four above-mentioned factors, namely semantics, discourse and iconicity influence the position of adverbial clauses. Semantics is the most important of competing forces, to be followed by iconicity which is especially effective on initial clauses. Weight, on the other hand, proved to be of no significance in the sequence of adverbial clauses.