Journal of Poetry Studies (Boostan Adab)
Year:2011 | Volume:2 | Issue:4 (6)|Papers Count:9

Man, who is the ultimate goal of creation in mystical heritage, has been extensively studied from the perspective of God’s spirit. In Islamic Theosophy, recognition of human has many dimensions' including self-awareness and affection. That is because in the Quran, God attributes the creation of man to Himself and, according to sufists, man is created in the same way as God and the affection and the insight in man originate from God; hence, man should try, through self-training, free himself from anything other than God in order to achieve real recognition of God and to be characterized by divine morals. The aim of the present study is to investigate the views of some prominent mystics of the 3rdto the 7thcentury A.H., especially Nadjm-i Razi, based on mystical prose texts. Embracing the idea of God’s manifestation in man’s heart, we can recognize that God’s relation to man is based on bonds of love for and recognition of God.

Magic realism and Story of circumstance are two manners or streams in contemporary story writing. In comparison with Magic realism, Story of circumstance is a new and unknown stream in Iran.Because of common characters and infrastructures, these two streams can be investigated and analyzed in a single story. A plant in quarantine by Bizhan Najdi is a short story that lends itself well to analysis through Magic realism and Story of circumstance approaches both at the same time.The present study first introduces the main principles of these two streams, i.e. characterization, mysticism, objectivity of phenomenon, structure and material of circumstance, through presenting parts of the famous works of prominent figures of these two literary streams, Marques and Borges in Magic realism and Kafka in story of circumstance; the article, then, analyzes Najdi’s story, A Plant in Quarantine, based on these principles. The article, in addition, drawing upon the outcomes of modernity, i.e., ruling of reason, imposed technology, etc. shows a human being devoid of creativity metaphysics beliefs, native customs, personal identity, etc; a desperate human unable to change his environment.

The Purpose of this study was to investigate the morphology of the tales of "Kalilah-O-Demnah" written by Nasrollah Monshi, on the basis of the model proposed by Vladimir Propp' s (1895-1970 B.C). Among the main aims of the present study, the following can be enumerated: determining the structure of tales of "Kalilah-O-Demnah"; a better understanding of the structure of Indian tales; a better understanding of the structure of "Kalilah-O-Demnah"; and distinguishing between the structure of Indian tales and their Iranian counterparts. The reason for choosing "Kalilah-O-Demnah" for the present study is its role in the emergence and the trend of the technical prose, numerous imitations of this masterpiece, and the like.The study adopted a descriptive design, and the results have been analyzed using content analysis technique, library and document analysis method, and Propp's method. The results of the study indicate that fifty seven tales of this book have thirty four functions and one hundred moves; the simplicity or complexity of the tales depend on the combination of moves. Moreover, the findings are indicative of the fact that the structure of the two main tales in the chapters "Bazjosteh kar Demnah" and "Zahed-O-Mehman oo" is different from that of the other tales. In fact, since these tales are not existent in "Panchetantarah" and because of their structural differences, it seems that these tales have been created in Iran and added to the book translation, later.

A text is a manifestation of cultures, thoughts, and beliefs, which have their roots in other texts and cultures.Literary works are inherited from the earlier texts, so it can be said that texts of any kind influence each other both in the deep and in the surface structure. In fact, what we infer from a text is a clue to the linguistic, semantic and visual network of the contemporary and the earlier texts.Sa’di’s sonnets, which are a priceless and comprehensive treasury of purest feelings, emotions, and thoughts of human, have always been used by Iranians to express their feelings; if fact, these sonnets are their language of emotions. The influence of Sa’adi’s words on Persian language is so great that reading any text, one feels a strong relationship between the text and the idea expressed in it and Sa’adi’s works. In some cases, however, this bond is so strong that the text can be considered an imitation of Sa’adi. Such texts are, in fact, a semantic recreation and reconstruction of what has already been expressed in Sa’di’s poems.Emad Faqih Kermani’s sonnets are an example of such texts, which have a basic relationship with Sa’di’s sonnets and are influenced by them. This article aims at studying the relationship between Sa’di’s and Emad Faqih’s sonnets in a descriptive-comparative approach.

Nowadays, critics have various opinions about the role of "voice"in the narration of stories. These opinions have been based on Bakhtin's defenitions of the dialogic structure of language in which the speaker and the listener form a relationship according to the context.Language, it is said, creates our individual identity. Dialouges that define this identity are the outcome of the variations of voice. That is, the voice enables us to know ourselves and it can change our character.Drawing upon Bakhtin's theories about "voice, " this paper intends to analyze Shahriar Mandanipoor' s stories. The paper deals with thirty two stories published from 1371 to 1382. In order to have a systematic analysis, the features of "dialouge" and "proposition" are first discussed and then excerpts of the stories are provided to present monologic and dialogic stories.The first hypothesis of the study is that Mandanipour has not always achieved the medley of voices in his stories. The purpose, therefore, is to find the causes of such quality.A close study of his stories reveals that the choice of "point of view" has led some of the stories towards dialogue, while some others are basically monologues.

There is a plethora of studies about Hafez and equivoque (Iham e tabadoor) in his poems. Equivoque in the lyric poems (gazal) of Hafez is quite evident. It is a rhetorical embellishment in which a word reminds the reader of another word that has a similar form or is homophonous with it. There are many terms used as synonyms of Equivoque in Persian literature.This article classifies Equivoque in Hafez’s verse into three levels: word level, component level, and verse level.

Hojviri’s kashf Almahjoub is one of the mystic educational works belonging to the first period of Persian prose. The unique feature of the book is that it is replete with information about mysticism and its related subjects. Each section of the book is characterized by a different style of writing, relevant to the topic being discussed. In spite of the diversity of the subjects and the writing style, this book is characterized by a cohesive and coherent structure. The present research intends to explore the overall structure of kashf Almahjoub and the specific method of its author in delineating and developing the central contents and ideas.

This paper is an attempt to address the problem attributed to Kherad-Name, that is, stylistic discrepancy, created in the sixth century by an unknown author. In so doing, the researcher draws upon stylistic deductions, as well as presentation of the time and situation of the characters cited in the book. To identify the characters, the last parts of Kherad-Name, as well as the authentic history works written in the same time, have been employed.

Metal, fire, and water have always been the symbols of holiness and purity in Iranian beliefs and mythology. The mysteriousness of these three essences in the eyes of the ancestors has led to the creation of numerous mythological halos. Different characteristics and functions have been attributed to these halos, but this variation is just superficial. In the present study, attempt has been made to reveal the characteristics, functions, and uses of metal, fire, and water as well as their links with eternity and other concepts by removing the unstable variation of the functions of the mythological halos attributed to them and going beyond their superficial aspects.