JOURNAL OF RESISTANCE LITERATURE (SCOLARY RESEARCH)
Year:2019 | Volume:10 | Issue:19 |Papers Count:17

In the investigation and classification of modern Persian poetry based on the subject matter, especially from the Constitutional Period afterward, a new literary form, i. e., „ labor poetry‟ and „ labor literature‟ can be observed, the contents of which have never been specifically investigated. This paper tries to reveal the sources for the emergence of labor literature in the Constitutional Period, to depict the influence of labor ideas of the Russian Revolution on labor poetry during the Constitutional Period, and to examine and analyze their contents. Finally, it was concluded that this literary form came into existence to fulfil the rights of laborers and the oppressed, as well as to raise their awareness and help them to invite them to resist poverty and the oppression of capitalists and he ruling regime.

The Sacred Defense literature reflects pains, injuries and bravery of people in Iran during the 2-year war. Khuzistan has always been home to great poets who, influenced by war, unconsciously incorporated courageous acts of national fighters into their works to encourage people to partake in battlefields, and to reflect people’ s lifestyle during the war. The present study investigates the poetry of Parvaneh Nejati, Afsaneh Nojomi, and Roqayeh Mafakheri in terms of language, form and content with an eye to the themes of the Sacred Defense. The aim of this study is to provide insights into the poetry of these female figures by performing a form and content analysis and reflecting emotional responses to the Sacred Defense in their works. Results indicate that Parvaneh Nejati adheres vehemently to the ideology and language of the war and provides a realistic representation of its events, which makes the interpretation of her poems seem acceptable. On the other hand, linguistic stylistics, expressive rhetoric and successful imagery in the poetry of Afsaneh Nojoumi give a peculiar identity to her works. Finally, the study shows that Roghayeg Mafakheri emphasizes on resistance against foreign invasion and glorification of national independence as valuable achievements of the Sacred Defense.

Poetry and painting are aesthetic tools in the field of resistance which are a mirror of the exquisite and beautiful images formed in the artist’ s mind. Creating innovative ideas of resistance and inducing revolutionary message, Qeysar Aminpour (poet of Revolution) and kazem Chalipa (painter of Revolution) arouse patriotism and fighting against oppression in audience. These artists use the symbolic element of color – which comes from the artists’ collective unconscious-for this purpose, so it leaves a physiological effect on the audience. Understanding the psychological characteristics of colors Aminpour and Chalipa have illustrated the resistance and revolutionary atmosphere of society and have used this element for the sake of conveying the content. Although the ways in which they have used this element are different, they have common goal and the implicit connotations of the symbol of color correspond in their works. The aim of this study is to comparatively investigate the use of color in Qeysar Aminpour's resistance poetry and kazem Chalipa’ s paintings. For this purpose, a descriptive-analytical method of research was used.

Simin daneshvar has a prominent place in Persian fictional literature. The way of the Application of resistance literature in the stories and novels of this female author and their analysis based on archetypical themes can be a subject of an academic study. On the other hand, Daneshvar‟ s fictional works have never been analyzed from this perspective. after sampling, the analytical foundations of the research were based on the ideas of Carl Gustave Jung due to his position in depths psychology. Since the subject of this research is interdisciplinary (literature and psychology), before starting the discussion, her life and her works of fiction and Jung‟ s viewpoints were explained as much as necessary to help understand the concepts. The findings of the study reflected the author‟ s dedication to resistance literature with archetypical backgrounds and its special application in the novel ‘ Sovashun’ and revealed that this novel was based on resistance literature.

Parvaneh Nejati is a contemporary poet whose poems are mostly devoted to Holy Defense. She has been successful in creating a new style in her expression by using a simple and emotional language in her poetry. By analyzing these types of her poems, one can see the main features of his poetry. In this regard, this study has investigated her poetry, especially her poems of Holy Defense, in a new and structural way. Also, the three components of cohesion, defamiliarization and the structure of image, which are of important discussions in structuralism, has been the basis of this research. To find the reasons for the beauty and motivation behind her poetry through the structuralist lens, which is the main subject of this study. The results suggest that the usage of the element of emotion and the representation of facts in a way of describing and defamiliarizing have transcended literary standards which have made her poetry prominent. In fact, the simplicity of her literary language is somehow defamiliarization of literary principles and traditions which makes meaning comprehension pleasant for being tangible and emotional. Furthermore, the questions about the main ways of defamiliarization, the structure of images, and the dominant existence of image in her poems have been answered.

The book 'Those 84 Persons’ contains the memoirs of Yusefzadeh during his captivity in Iraq. He is one of those 84 Basiji youths who was imprisoned in Iraqi imposed war against Iran. The significance of the book relies on the depiction of historical events and the torture of youths in Iraq prisons, expressed in a childish and simple language with colloquial phrases and local accent. In this study, the inductive function and role of lexicons in this book in depicting the atmosphere described by the author was examined and analyzed through the classification of words related to war and captivity. The aim is finding access to lexical features of war prisoner's memoirs in Persian language and presenting a framework for their analysis. The range and frequency of lexicons used by the author incurs enough data for the analysis of the way in which reality was depicted in these texts and the function of lexicons in the expression of the atmosphere preferred by the author. The study shows that the special lexicons of war prisoners' memoirs mostly include military terms, words related to captivity, places, and persons with whom the author has lived or those he remembers, words related to war literature or the places in which the author has stayed during his captivity. The findings of this research present a framework for the analysis of lexicon of this literary type, which puts the words into a 01-part classification based on subject. The recognition of the lexicons of this literary genre/form by comparing them with those of other literary texts and the determination of the frequency of each group of words would reveal the themes prevalent in the prisoners’ minds and the amount of their significance for them.

Freedom as a normative category has been a discussable subject in different comprehensive aspects in Persian poetry and literature from the past to the present. The more we approach to the present time, the more clearly and extremely fruitful freedom can be seen. Modern Persian poetry and literature of Afghanistan has dealt with the bitter experiences of the USSR colonization of Afghanistan and the devastating civil wars alongside social, cultural, economic and governmental changes. Freedom has been thus considered as a key element in the poetry of Qahar Assi, the famous contemporary Afghan poet, in the field of resistance literature which consists comprehensive aspects of social, political, intellectual, national freedom and women’ s freedom. The aim of this paper is thus to discuss and examine the expansion of freedom motifs in Qahar Assi’ s poems and to find out other factors involved in his poetry.

In social and cultural studies, jihadist identity is considered a new concept and in the field of international and regional conflicts, it is one of the most used concepts. This identity has found place in literary matters, especially in novels, to the extent that in the last decades, it has been the theme of most Holy Defense novels. The important question is what achievements the culture of jihadist identity has transferred to the audience in this genre. Jihadist identity is one of the most essential needs of an independent society that if realized, attacking that country would be a fruitless effort. Using Ernesto Laclau’ s discourse method, the present study seeks to achieve a content analysis of the characteristics of jihadist identity in the two novels ‘ The Beheaded Palms’ , and ‘ The Burned Earth’ . In this method, the reader is shown a solid link between components such as courage, resistance, sacrifice, and the spirit of martyrdom, which has been inspired by religious beliefs. Such a study, in addition to reflecting the non-wise beliefs of negative characters, can make the audience more familiar with the lifestyle and jihadist culture of the fighters. The findings of this research show that the achievements of the novels have been resistance against the Ba'ath party as our enemy, regaining occupied cities, and the establishment of security and independence of the country, considering the charisma and positive spirit of the character in the story that is against invasion. Therefore, such an identity has prepared the mind of the audience to defend the borders of Islamic Iran.

Ashura incident can be discussed in various aspects. One of these aspects is the war cries (rajazes) recited by Imam Hussein‟ s (as) companions on the battlefield. that the supporters of Imam Hussein (AS) during the battle spoke. War cry is a poem recited on the battlefield to show off one‟ s abilities and humiliate the enemy. The question under discussion in this study is what are the themes of resistance and stability in the war cries recited by Imam Hussein‟ s (as) supporters on the day of Ashura? Investigations show that the components of resistance and stability, such as patience and endurance, courage, fulfillment of obligations, accepting guardianship (Wilayat), and honor to lineage has been reflected in the war cries of the loyal companions of Imam Hussein (as) on the day of Ashura, such as Amr ibn Khalid al-Azadi, Jinadat ibn Hares ansari, Nafi‟ bin Hilal, Qasim ibn al-Hassan (AS), Ali ibn al-Hussein (as), Abbas ibn al-Ali (as), etc. Considering that the uprising of Imam Hussein (as) and his faithful companions is considered to be the most important uprising against the oppressive government over the course of history, addressing the various dimensions of this uprising and, in particular, identifying the themes of stability and resistance in the heart of this uprising, seems essential. This study tries to draw the theme of resistance and stability from the epopees and war cries of Imam Hussein‟ s (as) companions on the day of Ashura by adopting a descriptive-analytical method.

Imam Ali (as) was a virtuous statesman, who had a great deal of effort for the renewal of Islam from some innovations entering it. Given that the battles he took part in against the enemies of Islam were regarded as decisive battles in Islamic history, identifying the reflections of resistance in the fight of Ali (as) against the enemies is an indispensable issue. This study seeks to illustrate the reflections of resistance in Alavi epopees and war cries (rajazes) by adopting a descriptive-analytical method. the results reveal that the components of resistance, such as death and martyrdom in the way of God, patience and stability, courage and chivalry, honor to the lineage, as well as the intimidation and threatening of enemies have been reflected in Alavi war cries. Imam Ali (as) by the influence of the Holy Qur‟ an has illustrated the most beautiful and eloquent war cries in fighting against the enemies in a poetic and literary expression.

In early 4rd century B. C., when a foreign government ruled over the country after the fall of the Achaemenid Empire, an Iranian ethnic group from Eastern Iran was rose to power and established an Iranian government. Some of the characteristics of The Arcasids or the Parthian Government was the art of warfare and protecting the borders, which caused the advent of a heroic and epic era in Iranian history. Thus, with this in mind, the main question of this study is what viewpoint did the Parthians, as inheritors of the Achaemenid and Iranian Empire, had about territory and border and what measures they took to protect the country borders and what consequences their performance had in the national (mythological) history of Iran. For this purpose, through studying historical sources and national narratives and based on the description and analysis of the existing documents, one of the findings of this study is that in some state divisions and some government titles, the Parthians acted in the manner of the Achaemenids and made use of some of their techniques in protecting their territory. So, in addition to the settlement of warrior tribes on the borders as marzbā nā n (border guards), and their performance in protecting the territory could be the reason we see some of Parthian kings in the role of heroes in the mythological history of Iran; Heroes who became famous for protecting the borders and whose biggest role is considered to be marzbā n, a title and position given by the Parthians for the first time.

The phenomenon of war is one of the most despicable and murderous phenomena in the entire history of mankind, but escape from it is one of the most difficult humanitarian ideals. War has no achievement except destruction, destruction, displacement, poverty, etc., and it affects all the social, economic, cultural and artistic structures of the country involved in war. In contemporary Iran, the Islamic Revolution and immediately thereafter, the war had an definitive and significant impact on art. One of the most important and, at the same time, the weakest forms of art that took a new form under the influenced of the Revolution and the imposed war was drama or theater, which later became known as „ Sacred Defense theater‟ . Sacred Defense dramatic literature is a type of documentary dramatic literature that derives its identity from memories, memos, reports, biographies, stories and official histories of events that brings about the confrontation between the two forces and the two fronts, depicting issues such as defending values, protecting the country, sacrificing, etc. Sacred Defense theater has its own special form due to the specific nature of the Iran-Iraq war, which is fundamentally different from other theaters in the world. This study, which has been done using an analytical and descriptive method, aims at expressing the status and importance of theater during the imposed war, and examining Sacred Defense theater and its history while distinguishing it from war theater and resistance theater, and mentioning the damage to this type of theater.

Introducing martyrs as the most effective and concrete models by means of art, literature and through poetic lens will be an admirable and even more impressive endeavor for the enrichment and expansion of the thought and culture of society, if not exaggerated, and this helps all the people, particularly teenagers and adults, to consciously take them as their religious, epic, and national role models, and consequently, avoid adhering to non-native and counter-cultural symbols. Using a descriptive-analytical method and focusing on Haft Band Eltehab by Moshfegh Kashani (0182-8101), The present research aims at representing and explaining martyr Hassan Bagheri‟ s (0112-0124) morals, behaviors and conducts, from the poet‟ s viewpoint. The poet‟ s attention to the historical and realistic expression of the soldier‟ s life, due to the interrelationship between these two categories in discourse and also the realization of spiritual aims in the ups and downs of life have been considered. The conclusive gist of the paper shows that Moshfegh Kashani, though relying on the documentary report of the events based on linear narrative, adds a color of mysticism and spirituality to his language, thus his language remains safe from the monotonous historical narration. Moshfegh Kashani, however, tries to highlight the ethical and spiritual aspects of martyr Bagheri‟ s portrayal, so that the readers are attracted by the martyr's character selecting him as a God seeker model for managing their lives.

The emergence of epic literature like any other literary type has a direct relation with social grounds. The uprising of Sarbedaran (the Union of Iranian Communists) forms one of the most fervent and influential social upheavals in the Iranian history, so that its triumph was followed by a number of other uprisings against despots in the same era. The existence of epic narrative at the time of Sarbedaran Movement, in one hand, and factors such as heroic leaders and the peasants infuriated by the rulers‟ oppression, on the other hand, made the movement suitable for epic narrative. However, despite the presence of these elements, there is no epic narrative about it in the history of literature. In this paper, in addition to offering epic grounds and elements of Sarbedaran movement in the reasons for the lack of epic narrative about it has been investigated and analyzed. According to the investigation made in this study, internal factors, such as the disorderly structure of Sarbedaran leadership and the lack of their cultural authenticity, and some other external factors such as the emergence of extended dynasties and superior rulers, which caused this movement to lose its importance, had a role in the lack of epic narrative about this movement.

The success of the Constitutional Revolution, with ideas of nationalism and reformism, and by creating profound changes in cultural, political and social domains, has made fundamental changes in the creation of nation‟ s ideology about human, the role of religion in the administration of social affairs, and patriotism and has introduced new concepts in the dominant discourse. Also, the Islamic Revolution, with its monotheistic ideology, having the goal of conferring jurisdiction to the Islamic law and establishing a political regime based on religion, has changed the worldview of the nation and the cultural and social foundations. „ Homeland‟ is one of the common themes which has been frequently used in a new concept, different from its old meaning, in the poetry of these two revolutions. In order to reveal the important and influential elements on patriotism to the truth seekers, this study has investigated the effect of nationalistic and religious ideologies on poems about homeland written by the poets living in the two eras were studied with reference to their books of poetry and other related analytical works. The concept of „ homeland‟ in the view of poets of the Constitutional Era is influenced by western culture and civilization and nationalism, while in the view of poets of the Islamic Revolution, it is inspired by religious, Islamicpatriotist teachings, also the concept of „ Islamic Iran‟ and to some extent, the concept of nationalism has been used by the link made between national and religious culture in the Islamic Revolution.

Resistance literature has been generally regarded as a type of literature which induces a kind of resistance against intellectual, political, cultural, and military attacks. In this case, Ashura literature should be considered as the best and the most beautiful type of resistance literature. In this reserach, among many Ashura poems, two tarkib-bands (literally: composite-ties) by Mohtasham Kashani and Alireza Qazveh were chosen to be compared in terms of both form and content. The comparison of these poems reveals that Mohtasham seems to recite tragedy and lament (noha) in which the arousal of emotions and feelings are dominant by representing the events in detail, in a way that these types of poems could be considered as „ event-oriented‟ . The characteristics of his poems in terms of form, in rhyme and row, and also in terms of content, in the meanings of the words are all in a way to be capable of realizing the poet‟ s goal by denoting sorrow and sometimes by producing a sound or music relevant to it. But, Qazveh, while creating an epic and vivid poem, mostly represents the purposes and consequences of that event, speaking of the factors giving rise to it and considers it as a means of expressing freedom, the defense of the rights, and resistance against oppression. So, these group of poems could be considered as „ goaloriented‟ . In the level of form, all the rhymes, rows, and lexicons have been chosen in accordance with this purpose. The themes of his poem also report this event as a magnificent revolution.