Journal of Literary Studies
Year:2019 | Volume:52 | Issue:3 (206)|Papers Count:6

1. Introduction: Biographers' reports on the life and art of their contemporaries constitute and reconstruct the main part of our literary historical knowledge. However, the reality is that the reports of contemporaries about the personality of co-author and artworks are not coherent and that there are many conflicts and contradictions in those reports. There are also many conflicts and contradictions in those reports even from that time on, and it has been constantly changed and transformed. The diversity of opinions among critics can be a worrying issue for a literary historian, which makes it difficult for him to work. Another problem is that this multiplicity of opinions about Mohtasham vanishes in one or two centuries after the death of the poet, and a unified narrative about his character and his poetry governs Persian biographies (Tadhkiras). In fact, the historian faces two major problems: first, the fluidity of opinions and contradictions in the poet's contemporary reports; secondly, the certainty of the literary historians' opinions about Mohtasham. But what makes Mohtasham famous? Does it contain all aspects of his personality and art? Or is it a historical and discursive selection of his works? . . .

1. Introduction: With the transformation of modernity from a cultural and intellectual stream into a socio-political system along with the constructive results and the enormous achievements of this trend, contemporary human has more than ever realized the impossibility of his emancipation. The failure of the clarity and transparency promised by modern reason, and the scope and extent of ambiguity, turbulence, dispersion, contradiction and loneliness indicate the captivity of man to the industry structures and consequences, power, technology, and reason sovereignty (Thorn, 2001; Nozari, 2001). Foucauldian power and Kafkaesque situation are two of the consequences of the modern world, two trends that, in their contexts of the philosophical, literary, sociological and political aspects, analyze the mechanisms of modern power, the hegemony of modern consequences, and the state of human captivity in the complex maze of this world. They also respond to this process, and strive to find a way into human emancipation. This essay, first deals with Foucault's intellectual foundations and Kafka's view of the concept of power, its mechanisms, and the human situations formed in modern power, then, explains the relationship between these two views and areas, and finally analyzes the story of Shahr-Bandan i by Javad Mojabi simultaneously from the abovementioned perspectives. . . .

1. Introduction: A Myth is the narrator of the saint history and the story which states the saint destiny of primates. Myths, are the crystallization of collective reason, the reflection of the human unconsciousness and the symbolic manifestations of ethnic and collective fears and hopes and aspirations. In the old texts of criticism and rhetoric, there is no mentioning of the place of myth in poetry; the only topic that can be incorporated into the subject of myth is the allusion. In this research, two basic questions are considered. First, what are the attitudes and approaches of Behbahani, Neyestani, Bahmani, and Monzavi especially in the allusions contained in their newsonnets to the myths? And what are the most important types and styles of Modification of Myth in their new-sonnets? . . .

1. Introduction: Different perspectives on literary criticism have not been in the right place because of lack of approach. Eventually, these perspectives have been classified with other collections. The idea of fundamentalism came from religious movement of Protestantism. It formed different theories such as reader based critique, the subjective reader criticism, sociological literary criticism, and feminist criticism. In Iran, fundamentalism exists effectively and relies on the value of the literary work. In this cross-sectional study we want to view and critique fundamentalism in Europe. We discuss the perspectives of Arnold and Elliot in Europe and Ahmad Kasravi, Ehsan Tabari and Fatemhe Sayyah in Iran. The results of this study indicate that critical fundamentalism is a form of criticism. The methods of this critique are collapse or debunk of literary texts so that we can change them into political or religious ideological contents. This method can be shown in different genres. . . .

1. Introduction: Text interpretation depends on different text production elements such as language, rhetoric, literary structure, theme, and genre, and varies from text to text, and every text requires a unique interpretation method. Interpretive or non-interpretive simplicity or complexity, and consequently significance of a text is determined based on different factors and features, such that when approaching a text, a verdict cannot be easily passed on the simplicity or complexity of the text. The interpretive position of a text takes shape and gains significance where the interpretive complications of the text manifest. By considering the text production elements, the type of such interpretive complications and their place of occurrence will determine the degrees of explicitness and implicitness, or simplicity and complexity of the text. At times, the interpretive complications of a text occur due to its structural ambiguity. Familiarity with different iltifā t (Apostrophe) aspects and positions of a text and discovering the aesthetic role and function of each type of apostrophe is an important method in interpreting and understanding a text. Masnavi Manavi is a text whose most significant interpretive complication belongs to its apostrophe aspects, such that through understanding these apostrophic positions and explaining their semio-semantic function in the structure of a text, a reasonable interpretation of the text can be arrived at. The present research focuses on discovering different types of apostrophe in Masnavi and explaining the roles and functions of this rhetoric technique in the process of interpreting the text. . . .

1. Introduction: Ghurids was a local dynasty in Eastern Afghanistan which played a significant role in the political-military incidents of Khorasan and India during the 6th century A. H. The dynasty has been overlooked in cultural terms to date as a result of the lack of references. The only remaining valuable reference on this period is the book titled, Tabaqaat by Naseri Jowzjaani; amidst various political incidents, he points out a number of conventions and beliefs, the roots of which should be explored in the pre-Islam Persian culture. Given Jowzjaani’ s familiarity of Ferdowsi as well as the present evidence in the Ghurid’ s culture, it appears that they have been culturally influenced by Ferdowsi’ s Shahnameh. The purpose of this study is to identify the mentalcultural origins of the Ghurids and examine traditions, beliefs, and thoughts which are deeply rooted in the Persian culture and particularly, Ferdowsi’ s Shahnameh. To this aim, it is attempted to provide answers to the following questions: To what extent the Ghurids were familiar with the Persian mythology? What are the cultural components reflected from Ferdowsi’ s Shahnameh in the Ghurid’ s culture? . . .