Journal of Literary Studies
Year:2021 | Volume:54 | Issue:3 (214)|Papers Count:7

The novel Her Eyes, the famous work of Bozorg Alavi, is one of the most important Persian novels that deals with the romantic relations between "Makan" and "Farangis" and their political activity in the era of Reza Shah. In this novel, Farangis, despite being a bourgeois, is a revolutionary and devoted woman who saves Master Makan from certain death with her great self-sacrifice. This reading, since its publication, has led left-wing critics to criticize the novel and later to praise it. This article tries to give a new reading of this novel by relying on the principle of "meaning uncertainty" and "the possibility of new interpretations of literary texts" in literary theories such as "hermeneutics" and "poststructuralism" and achieve a new reading of it. A reading that contrasts with the official reading of this novel and introduces Farangis as a shaky revolutionary who, in the most difficult moments of the revolution, betrays Master Makan and the movement and joins the ranks of the enemies of the revolution. The result of the research shows that the novel of Her Eyes, contrary to its apparent meaning, which has led to severe criticism from leftist critics, is inherently faithful to the theory of revolution in the school of Marxism. In our opinion, there are many in-text cues in this novel, on the basis of which a new reading of it can be offered, which is in line with Marxism's theory of revolution.

Para text is an inner background to text and the first scene that a reader opposed to an Oeuvre. The materials like the writer name, the author of opus, the topic of opus, the book of opus, Press, introduction, and. . ., In the inter of every text it makes the addressee look in opus cognition limited to specific subjects. One of the Pare text criterions in the opus, is topic of opus. Notice to the application of topic in transfer comprehension and make opus total frame, is effected that the Poets and writers have specific sensibility for choosing topic. Shafiee Kadkani is a contemporary Poet of Iran. He tried to choose his poem topics with a specific way in the present research. The style characters of his Poem (Hezareh Devom ahoye Kohi) is studied as analysis quality content. The Pragmatics of this research in relation topic with text and also aesthetics choosing topics is mention in the Poem contents. These results his Poem is caused the Poem topics have irrefrangible link with the poem text, and in the cases of topics can analysis the poet's Poem and idea. According to style, choosing topic in his poem is biased on the Lingual, literary and content. The survey relation topic with text in his Poem characters (Hezareh Dovom ahoye Kohi) open a new window of writer's cosmography and letter context on the address which maybe isn't feasible without notice to topic.

One of the most important literary works written in the subcontinent in the nineteenth century AD is the "Sharh-e-Se Nathr-e-Zuhuri" written by Imam Bakhsh Sahbaiie, which has the characteristics of linguistic, rhetorical and literary criticism that study and analyze these elements to help the audience to understand the manifestations of linguistics and newly formed literary criticism of this period. This article tries to examine the role of these new rhetorical elements in the evolution of rhetorical and literary criticism of this period. For this purpose, the rhetorical techniques that are less common in Persian rhetoric books have been studied; Because the Saj-e-Moradaf (Lop-Sided), Metonymy in Metonymy, Disagreement in Allusion, have a new glance at the Trope Par Metonymy and Spiritual Paradox. Some of these rhetorical tricks are the result of Sahbaiie's study of the rhetoric of rhetorical books, such as "Mokhtsar al-Ma'ani" and "Motaval" Taftazani, which he uses many times in his arguments. In Sahbaiie’ s belief, the criterion for accepting metaphor is the "individuals", that is, the literary elite who use it. Sahbaiie believes that virtual language is inherently destructive; Because first, by changing the form of expression, it suggests a different meaning, and in the second stage, it rejects the possibility of certainty of the proposed meaning and denies that definite meaning. In this study, with an analytical and descriptive approach, we intend to examine Sahbaiie’ s views based on rhetorical criteria, relying on the dissertation "Sharh-e-Se Nathr-e-Zuhuri" to a large extent.

been considered always in a level lower than men who are allegory of reason, and said that a mystical discourse therein misogyny is equivalent to anti-egoism and unworldliness, is more misogynist than other discourses in Persian literature. This paper firstly with a Millet-inspired approach that pursues applying sexual politics in three areas of position, role, and character, studies on the position, role and character of women of upper class (women attributed to the court) and mutually the women of lower class (maids) in the anecdotes of the three prominent poets of the mystical literature, namely Sanaei, Attar and Molavi. Then, investigates the role of women in the mystical texture of reviewed anecdotes and finally in consideration of the women’ s role in both textures, assesses the approach of three writers to the woman. The most important achievement of this article is revealing the precise position of educational mystical discourse in the reproduction or non-reproduction of sexual stereotypes that are directly impacted by social classification, and examines the mechanism and manner of patriarchal practice.

communicative sense is based on the "I-you" interaction. Due to this type of interaction in the construction of the identity-status of the subjects, in other words, their placement in the interaction of the agents of the context of romantic mysticism is different from other classical literary genres And this leads to the formation of a distinct aspect of perceptual-aesthetic ambiguity. Ghazaliyat Shams is one of the texts in which the interaction of the subjects within its text and consequently the epistemological-artistic ambiguity that has been formed on the basis of the me-you interaction has been formed, ignoring it will cause a purely tasteful interpretation of it. Accordingly, in this article, the action of constructing the "I-you" interaction of the narrators-textual agents of the narrator-lover and the beloved in Shams's sonnets with the intention of reading in line with the epistemology governing the text has been identified and explained. To denote this interaction, some concepts and terms of thinkers in the field such as Buber, Levinas, Bakhtin, Sartre, Gabriel Marcel, Landowski and Byung-Chul Han have been cited. The result shows that the logic of "I-you" in the sonnets of Shams can be divided under four headings: a) expression of silence and lack of precise coding b) disregard for hierarchy and passing through confrontations c) incompleteness Invisibility d) Postponement of the "self" formulated, all of which symbolically represent the passage of the common order of symptoms and the experience of the world of unity.

Quatrain is the most popular and practical form of Persian folk poetry, commonly used by people of all ages on different occasions, such as celebrations, funerals, or even during work or break times. Features of Quatrain distinguish it from other forms of Persian folk poetry; it incorporates a casual style, focusing on daily routines, habits, and especially feelings of romantic love and the pain of separation. Generally, Quatrain is a language of emotion felt for others. Additionally, the exclusive structural features of Quatrain raise the question of whether Quatrain can be considered as an autonomous literary genre. In other words, can a poetic form be considered as a basis for a unique literary genre. In this paper, one thousand five hundred Quatrains are selected from different regions in Iran and examined to identify the external and internal features of Quatrain. The results show that Persian Quatrain has fairly similar generic features, establishing the basis that Quatrain can be considered as both a separate genre and form.

Immutability or slight immutability is one of the characteristics mentioned in researchers' definitions of parables. This feature has been expressed by researchers in two ways. Some do not allow any change in proverbs And some have set limits to change proverbs. This article intends to study the category of changing proverbs by examining the proverbs of selected prose texts up to the eighth century AH. In this research, 27 Persian prose texts have been studied in order to extract proverbs. Then, similar proverbs have been studied verbatim and content to examine the patterns of change in the historical course of the texts. The results of this study show that proverbs in the historical course of texts have undergone changes, contrary to the definitions of scholars. Among the proverbs extracted from the studied texts, 74 proverbs have more or less changed. The methods of change in these proverbs in order of frequency are: Changes in grammatical construction, rhetorical changes, changes in words, increase or decrease of words and syntactic shifts.