Journal of Persian Language and Literature (University of Tabriz)
Year:2017 | Volume:70 | Issue:235 |Papers Count:10

Bijan Najdi is an innovative writer who has introduced a unique and different literary style through publishing his three short story collections. In narrating his story Najdi has employed a certain poetic prose which is quite new and unusual. Through blending the poetic narration and elements of story together, Najdi has presented a style which includes both the narrative characteristics and poetic potentialities. This blending has played an important role in developing Najdi’s general works giving a certain structure and cohesion to the elements of his stories. Najdi is an innovative and experimentalist writer who is very much interested in new-story trying to make use of new techniques and an unusual language in narration. The present paper has explored Najdi’s norm-deviation behaviour and his deconstructional approach towards language trying to reveal the effect of this language on developing a few of the elements of his stories. To this end, the paper has studied elements such as “description”, “scene”, “theme”, “approach”, “narration” and “context”. The role of poetic devices and linguistic tricks such as “linguistic foregrounding”, “defamiliarisation” and other linguistic devises in shaping the story elements have all been investigated too.

Realistic story writing in Persian literature was common among the writers since the beginning of story writing in the new style until present and most of the great contemporary writers have employed these realistic elements in their works. Jamalzadeh was one of the first Iranian writers who combined the old traditions of story writing with European story writing techniques and wrote the first Persian short story. His first collection of short stories, “Once Upon a Time” marks the beginning of the Iranian realistic literature. On the other hand, the fictions of Jalal Al-e Ahmad demonstrate the traditional life and religious environment of some part of the society which have been exposed to civility and modernity. Al-e Ahmad has tried to represent social life realities by expressing his critical view in his stories and he never victimized reality and truth for the sake of artistic visualization. In his opinion, the mission of story writing is critical reflection of reality in the first place. Therefore, this article aims to investigate the realism components in the fiction of Jamalzadeh and Al-e Ahmad as prominent writers of Iranian fiction, and compare their realism components as an aid to the analysis of their personal style and a tool for explaining the Iranian fiction. Both writers have employed the story writing realistic components and principles including characterization, description, language, and realistic theme for narration of the stories.

The question this article is to answer is on the basis of what criteria a narrative text could be classified as lyric literature. Trying to give an answer to this question, the author has used a descriptive-analytic methodology to indicate which properties, in prominent love story, lessen the importance of narrative factors versus lyric ones. Such factors as description of emotional tensions, poetic and lyric facets, using lyric language, and the presence of the narrator’s ego in the text are among the main components the extension of which in the text decreases the prominence of narrative and leads to the significance of lyric. Accordingly, in lyric love stories, a reader may encounter some scenes the source of which are mainly the emotions and feelings of the story character or narrator. In such texts, the poetic and emotional function is more dominant than the referential one.

Hafez makes new allegories with new meanings, with replacing two concepts in to lines of a verse, based on virtual relationships among them. Such that allegory on second line, with a virtual relationship, substitute truth back in first line. Substituting allegory with truth, cause equality of them. In addition figurative sense, allegory has the main and independent implication that cause two-sidedness and extent of the means. Means of this method, is from the virtual relationship, dual significance of allegory and equality authority and truth in relation to succession. The sum of these relations and the presence of both authorized and truth, creates capabilities in language of Hafez that help him in the creation of amazing meanings and images. At least 365 allegory with dual implications (authorized and truth) by succession, has been used in ghazals of Hafez. This number that lacking allegories with likened the relationship (metaphor), includes about nine percent of his verses. From its artistic functions, can be mentioned the following: succinct word, redundant in meaning, paradox, exaggeration, clarify and describe the details of an image with keeping brevity, opacity, the symbol, create allusion and irony.

In this paper, in an analytical and coherent method, we focus on the nature of thought and the approach of Mawlana into it. We first have defined the concept of thought and then we have scrutinized it as terms of the origin, function, and the literal meaning and meaning of the Mathnavi. We are talking very carefully about the stretches of thought, telepathy, and the power of formulation of thought. And in the following, we remind some of the subtle psychological points of view from Rumi's point of view. It should be said that what has been discussed and endorsed in the world of Rumi's thought is mystical thought. In the thought of Mawlana, thinking is not only the most important part of human existence, but also the essence of the meaning and the face. The thoughtful and conscious man uses the real thought and its different approaches to create in different courses of life (artistic, behavioral, spiritual and psychological). Thoughts (inappreciable benign) are the cause of good and evil in the universe and constantly are engaged in absorbing, rejection, devouring and formulation. Mawlana means thought as one of the least devourer, and believe that this power causes to become the soul fat or lank. He has been reminisced differently, sometimes animistic approach or blameful approach. Paradoxical view of Mawlana is considerable. He has used to concordant by philosophers and mystic power of thought in all kinds of functions. He accredits practical functions of thought and includes an aspect of theory of thought vehicle for this function.

Esfar-e-Kateban (The Script of the Scribes) won Mehregan Prize in 2000 for its author, Abu-Torab Khosravi. This work which consists of various narrative layers, in its first layer attempts to tell the story of Said and Eklima’s acquaintance. In the other narrative layers, it rereads the old texts such as Masadig-al-Asar of Sheykh Yaha Kondori or Mozaffari History and the life of Saint Shedrek. This characteristic which is seen in postmodern fiction, is called mise-en-abyme. Esfar-e-Kateban which includes the description of the greatness of Khawjas and saints has the features of a magical realist fiction. Magical Realism is an oxymoron that consists of magical+real elements. Many writers, have used this genre for studying the clashes between colonial, postcolonial, and imperialist powers with their society. And sometimes they have revisioned the harsh realities of history using Magical realism. The present study after examining mise-en-abyme in Esfar-e-Kateban and mentioning the characteristics of magical realist fictions such as the irreducible element, the phenomenal world, unsettling doubts, merging realms, disruptions of time, space, and identity according to Faris’ classification, finds the mentioned novel a magical realist one and then it expresses the revisionary nostalgia of the writer in order to rewrite the historical narratives of the lives of Shah Mansour Mozaffari and Saint Shedrek.

From the very beginning, mystical journey for various reasons have been made through various methods and techniques that are known as ways or dynasties, The Sufis believe that every Sufi must be able to prove its dynasty; to extend its dynasty without interruption to the Imams, because they claim that the Qotbiat is the continuation of the Imamate or, at least, the specific viceroy. Sheikh Yusuf Ali ibn Hossein Behbahani of the Sufi elites of the twelfth century AH, according to the author of Rashhat al-Ghaybiyeh Fi Tahhqiqh Tariq al-Sufiyeh, while writing the book was alive. The book of Rashhat al-Ghaybiyeh Fi Tahhqiqh Tariq al-Sufiyeh by the Sheikh Yusuf Ali Behbahani, which is in the form of a manuscript, contains a series of Sufi contents in an introduction and 15 chapters and an a conclusion. One of the most important chapters of this book is the “expression of the order of the rituals and tribal dynasties”, in which, along with the arrangement of the dynasties of the Sufis elders, the route of their reference and immediate assign to Hazrat Amir Al-Mo’nenin (pbuh), or one of Taherine Imams (pbuh), his sons and from them to Prophet Muhammad (pbuh). In this research, while expressing the view of the author of the book of Rashhat al-Ghaybiyeh about Sufis dynasties, some evidence of the Sufi texts about the dynasties revealed, and the viewpoint of the Rashhat al-Ghaybiyeh’s author about the relationship between the speak and cuff and attribution of the Sufis dynasties, including the famous and the non-famous are expressed. And the name of some dynasties, which is mentioned without name and as another dynasty, by adapting the arrangements of its persons with other texts of Sufism, is also expressed.

Post-modernism is a rebellion against the beliefs of one-dimensional and mono sound.That does not include any mind and a certain boundary and at any time and in any place emerges and language for the collapse of beliefs that take on the right form in society. Although the term postmodern in this article are borrowed from Western literature and theory and suggests thinking of another culture and language but the aim of this school and its functions is universal. The adaptation is one of the postmodern components that Hafez has used to combat the singularity of the great narratives and has led the society's mentality to pluralism in the realities and its acceptance. He combines the styles, ideas and literary types of the past, such as the philosophical thinking of Khayyam, parody, praise and mystical literature using the element of satire, along with the shaking of the dominant philosophical elements of society, which is condemned to be inferior and presided over And self-made constructs of reality in the form of a pseudo-independent society on paper. And using the double confrontation of the Kharabat against the Khaneghah, Pir-e Khanqah is placed against Pir-e Moghan and.... He does not seek to sit his own theory in this direction, but also opposes the voices of the opposition. In this article we have tried to match the postmodern philosophical school in the ghazels of Hafez measure and as much as possible we show the space and transcendental poets and classical world literature. In addition to the adaptation, postmodern components of uncertainty, carnival, decay of narratives, and short stories have survived in the nuns.

The struggle between tradition and modernism as a social problem is reflected in the contemporary literary works one of which is "Ahl-e Gharg Novel of Monirou Ravanipour' s" written in magical realism and repeating the counteraction of these two phenomena. So in this research we have considered them to express the relationships and components of tradition and modernism the reflection of the author’s view which is the chief objective of this research. The results from the research show that contrary to kids view the writher portrays a society in which modernism causes the decline of tradition. In spite of her satisfaction from emerging some new phenomena's she is fully against modernism. She believes that by developing modernism traditional world is dim shining. By considering this novel one can understand that the process of influence and tradition from tradition to the modernism is happening mostly in the economical fields by way of new instrumental and industrial products. Modernism the new phenomena in "Ahl-e Gharg" mostly is described by way of industrial technologies or some scientific achievements and political movements accompanying its negative effects whose gradual or sometimes fast presence eventually will diminish the foundations of the traditions.

After believing in the unity of Allah, the issue of “Saint and Sanctity” was one the most important and complex controversies in Mysticism and Islamic Sufism. From the beginning of its development, this school of thought tried to explain and address this topic through citing words of revelation from Quran, the Sunnah and hadiths from the Prophet (peace be upon him) and his family.In this article, the views of Sultan Wald regarding saint and sanctity were inspected. The result points to the fact that Sultan Walad, the true meaning of sanctity is seeing Allah and so he believed that only those who reached this stage deserve being a saint. In his thought, saints are considered as heirs of prophets and so it becomes necessary for followers of Allah to seek refuge to them in order to protect themselves from tricks of self-carnality and dangers in the way of reaching Allah. Although following the saints in order to reach Allah is a very important issue, knowing them is even harder than knowing Allah. Moreover, he divided the saints to several groups such as “arrogant and humble” and “eminent and concealed”. He believed that even though the saints are nearest to Allah, they have different degrees and grades. Further, Sultan Walad, considered the Pole as the king of saints and the ultimate purpose of the creation.