ADAB PAZHUHI
Year:2010 | Volume:3 | Issue:10|Papers Count:11

The present article, through studying the content and theme of Abharolasheghin by Roozbahan Baghli, firstly examines the imagery and image structures of this work, and secondly tries to see how the imagery and other rhetorical devices manifest the ideas of this writer. The findings of the research show that the metaphorical pole is dominant in this work, which is in fact a reflection of the mentality of Roozbahan. This pole that is the process of formation of associations according to “similarity axis”, appears in conceptual, aesthetic and even personal polysemic symbols. The specific outlook of Roozbahan which is founded on the principle of “secrecy” (eltebas) and recalls a kind of mystic worldview, shadows on his work and language. Believing in a visual perception, Roozbahan prefers visual metaphors to auditory metaphors.

The elucidation and ambiguity in art has always been a matter of dispute in a way that, in cases, a work of art could be credited only for being hard to obtain. Nevertheless, the honesty and sincerity of the artist has always been important, and due to this, many writers or poets have taken the risk of being very ambiguous. It must be said that interests for deviating the meaning goes beyond the works of Dadaists and Surrealists, and Persian classical writers particularly the mystics, were so much concerned with this device, that some critics in criticizing these futile efforts, invented a parody named Tazrigh.The present article, through a historical analysis, tries to prove that this device is too embracing to be called a fancy in the field of literature.

The present article, following an archetypical criticism, studies the symbolic aspect of the four elements-Fire, Water, Earth, Air- and their manifestations in Ferdowsi’s Shahnameh. The embodiment of the essential opposition and the ultimate unification of the opposing elements is the result of the environmental subjects trying to overcome the nature. In this process, the emotional elements find their universal functions as manifested in all mythological works including Shahnameh.In mythology, “Earth” is the substance for material life which at the same time is the essence of man’s physical life that leads to his worldly life and decay. “Wind”, on the other side, is a symbol for Nature’s revolt whose typical representation can be seen in the Myths of Flood and Spook.

“Intertextuality” says that the texts of the same field in different periods are so closely related to one another that each text affects the others and in turn is affected by them. This paper intends to search for the intertexts of Shafi’ee Kadkani’s poems. The incentive for such a study is the words of some critics who believe Shafi’ee is more an adroit poem-maker than an original poet, since his poetry is replete with the collocations, words and poetic images of the classical poets. The findings of this research, on the contrary, proves that, although Shafi’ee is deeply impressed by poets like Hafiz, Mowlavi, Sa’di and Roodaki, as well as some contemporary poets such as Akhavan and Shamloo, this impression has enriched his creativity and has made him a truly original poet.

Literary works play an essential role in sociological studies. It happens that a specific form of literature, oriented by socio-cultural circumstances, can reflect the virtues and defects of a society. In recent years, the growing interest of Iranian readers to popular novels is a strong incentive for studying their characteristics.In this article some best-sellers of Persian popular novels have been studied contextually, structurally (20 novels) and semiologically (200 novels).

A group of critics believe that “Stray Dog” is among the stories of Hed ā yat which is written under the influence of Sartre’s Existentialism. This story, following an existentialist outlook, depicts human pain and helplessness. “Pat”, the stray dog, is a symbol of nostalgia which ruins our life.This paper tries to trace out the representation of the Existentialism and Sartre’s interpretation of nostalgia in the “Stray Dog” of Hedayat.

Humor is an unusual domain of reversed realities which simultaneously deals with the real and unreal. Therefore one must be attentive to various forms and types of humor in the texts studied in this regards. Humor might take the forms of satire, lampoon and irony, and can be seen in wits, anecdotes and tales.In this article, after introducing definitions for various forms and types of humor, examples of the humorous tales in “The Thousand and One Nights” are mentioned, classified in three categories, and studied according to the typical characters. In the final step the comic techniques of these tales such as reversal, heterogeneity, contradiction, exaggeration, conflict, and surprise ending are examined.

James Turber is one of the greatest contemporary American writers who has a worldwide reputation. He is known to be the second great satirist in America after Mark twain. In this article one of Turber’s famous stories, entitled “The Secret Life of Walter Mitty” is studied based on the Horney’s point of view. It is impossible to understand the hidden layers of the story without some kind of psychological criticism, and Horney’s approach demonstrates that Walter Mitty, the main character of the story, mirrors James Turber himself, who in the real life was so awkward, poor, and incapable; he attempts, thus, to compensate in the light of imagination, his misfortunes and inferiorities.

Mimetic theory, since the time of ancient Greek philosophers, has been the concern of thinkers, artists, poets and literary critics. Introduced by Democritus, the theory found a philosophical character in the works of Socrates. Aristotle and Plato, in their turns, presented different interpretations of mimesis, and Plotinus gave his own synthesis of it. In the Middle Ages, this topic became stagnant in the West, but Muslim thinkers such as Farabi, Khaje Nasir, Ibn Roshd and Ibn Sina, revived the idea of mimesis, enriching it with the achievements of Islamic culture. Since Rennaissance, thanks to the translations of the Muslim philosophers, the Western critics got interested once more in this theory. Mimesis theory, because of its very evolution, has been a matter of different studies in the area of philosophy and literature.