PERSIAN LANGUAGE AND LITERATURE (JOURNAL OF THE FACULTY OF LITERATURE AND HUMANITIES)
Year:2015 | Volume:23 | Issue:78 |Papers Count:8

Rabe’e bent-e Ka’b-e Ghozdari, as available documents indicate, is the first female Persian-speaking poet. Scholars have mainly studied her life rather than her poetry. In this research her poetry is analyzed from a linguistic perspective, that is, it is analyzed semantically. Semantic-field theory is one of the theories derived from structural semantics, which is considered as one of the fields of structural linguistics. The analysis of the semantic fields of Rabe’e’s poetry is a step to the stylistic study of its semantic layers. In this study the semantic fields of her poetry that can be considered as stylistic features are recognized, such as whether her language is feminine or masculine, her poetry is mystical or not, and if her description of love is different from that of her contemporaries.

The "falling into a jar" motif along with its other changed forms is rooted in the rituals of death and rebirth festivals in the ancient Iran. Although this ceremony has vanished, its images exist in Persian poetry and folktales. In this paper the researchers have explored a number of stories, proverbs and figures of speech that contain this ceremony. The result of this research shows that literature preserves these customs and festivals. In addition, there is a strong connection between this ceremony and literary images, and sometimes the structure or themes have been changed by the poet’s feelings or social conditions.

Hakim Sanayi Qaznavi (d.532 AH) who is one of the most influential thinkers and poets of didactic Sufi poetry has always been followed by other poets and mystics of Iran. This paper aims at making a comprehensive study of his Hadiqah and Divan and also intends to explain his opinions about the questions of transcendence or immanence, eternality and contingency, and whether divine Names and attributes are fixed or not and God's intention of creating the universe. The researchers have attempted to compare these opinions with those of other famous theological sects. Therefore, at first the views of the leaders of the Ash' arites, Mu' tazilites, Matoridites, Karramits, and 12-Imam Shiites were presented on these issues and then Sanayi's opinion was analyzed and classified accordingly. This study shows that Sanayi has used Islamic texts and rational teachings of his era to prove his claims. He has adopted a transcendent and even a negative approach in theology and his positions, contrary to the current views, have been different from those of the Ash' arites, Karamits, and adherents of hadith, and have been in harmony with those of the Mu' tazilites, Matoridites, and Shiites.

Diction as a primary means of writing poetry is the poet’s medium to express his ideas. Analyzing the title of the poems as a part of diction can be a way to appreciating the aesthetic features of poetry. On the other hand, titles are usually the most important chosen words of the poet and, therefore, by studying the poet's titles one can understand the poet's thoughts. This research is a statistical analysis of the titles of The Mirror for Sounds by Mohammad Reza Shafiy Kadkany (M. Sereshk). It attempts to analyze the titles from different perspectives, namely lexically, linguistically and semantically. To this purpose, the seven chapters of this book were analyzed statistically and the relationship between the titles and the poet’s thoughts was investigated. In addition, in a diagram the significance of the role of the titles in different periods of the poet’s life was indicated. No doubt M. Sereshk had a wide repertoire of Persian words that he employed properly in his titles and, therefore, he has used his titles in their full literary and lexical capacity.

Most traditional grammarians in describing conjunctive make use of metaphoric genitive construction. However, one can see that there is a great difference between the two genitive constructions. The most important difference is the analogical structure which exists in the metaphoric genitive construction but it does not exist in conjunctive. Unlike grammarians who consider that the adjunct in this genitive construction is the main goal in conjunctive, what is considered here is the combination of the adjunct and the governed word and not just either of them alone. In most of the sentences in which there is a conjunctive, if we omit the adjunct or the governed word, the sentence will have a figurative meaning, a meaning which derives from the genitive construction. The strategy that traditional grammarians have suggested for identifying the characteristics of conjunctive is incorrect. Grammarians who have studied the subject from a linguistic perspective also did not explain this properly and they have only paid attention to the appearance of the compound and have neglected the meaning differences. This study concludes that in explaining the conjunctive we should not make a comparison between conjunctive and metaphoric genitive construction. The only resemblance of these two genitive constructions is in the structure “core+e+dependent.”If in examining genitive constructions only the structure is considered, all of the genitive constructions will be put in one group. But paying attention only to the form of the compound does not complete the grammatical concepts. In grammatical investigations, it is better to consider the structure and meaning at the same time. Having said that the purpose of conjunctive is the figurative meaning of this kind of genitive construction and is not the adjunct or the governed word alone.

The story of “Rostam and Sohrab” is one of the most beautiful stories of Ferdowsi’s Shahnameh which has been studied on the basis of different approaches. Sohrab’s character in this story as the quester/victim hero is the core of actions in the story. His unsuccessful quest to find his father which is compatible with the pattern of growth to achieve the self/ individuation in Jung’s opinion has high capacity for being analyzed psychologically. In this article, based on an analytical approach, we survey the pattern of searching for individuation in this story according to the “Process Of Individuation” theory which is one of the most important theories of the great psychologist of the twentieth century, Carl Gustav Jung (1875-1963). We also discuss the quality of the process of individuation by Sohrab and the causes of his failure in this process as the main question of this research by analyzing the actions of Sohrab and other characters of this story in the light of Jung’s archetypes: persona, shadow, anima, the old wise man and the self. The results of this research show that Sohrab’s story and his journey to Iran in order to find Rostam is compatible with the “Process of Individuation” of Jung. Moreover, the analysis of the quality of this compatibility shows that Sohrab encounters with the archetypes of persona, shadow, anima, the old wise man and the self in his path but because of the dominance of persona, shadow, and negative anima and not understanding the massages of positive anima and the old wise man, he cannot complete the process of individuation and achieve his father/self/wholeness.

Hindi style was adopted as a new method to escape the repetition and imitation which had been widespread in Persian poetry for a long time. However, it went ahead with this new manner so far that later on this style was considered decadent and did not enjoy a high status among literary community despite its merits and beauty. Fazel Nazari is a young poet whose poems in recent years have been well-received by the audience. He has excellently identified the capacities of Hindi style poetry and applied them to his own poems. In this paper, the researchers demonstrate and investigate the characteristics of Hindi style in Nazari’s poems, features such as depth and complexity, themes, lack of vertical axis in Ghazal, allegory, using simple and everyday language, using daily issues, objects and environments in poetry, and personification. Moreover, a number of points regarding the artistic value and the aesthetic qualities of the mentioned characteristics have been discussed.

Brecht is a theoretician of theater who considers his theater as non-Aristotelian and introduces his theater as epic theater. His purpose is not to arouse the sympathy of the audiences, but he wants to prevent audiences from satisfactorily accepting the world. He uses some techniques for achieving this goal, one of the most important of which is distancing. By creating strange characters, he prevents his audience from sympathizing with the actor. Saedi was also a dramatist and Choob be dasthay-e varzil, Aye ba kolah, aye bi kolah, and Parvar bandan were among his dramas. He was familiar with the techniques of the theater and we can see the effect of drama on his works, too. The authors seek to examine the technique of distancing in the events, the strange characters and social problems of Khanehay-e Shahre Rey by Gholam Hossein Saedi. The results of this study show that the writer tries to make the audience think and change by showing the thought patterns of this city (Rey), the social formation, values, customs, and the psychological and moral construction of the montage-like characters of a grotesque story.