JOURNAL OF LITERARY THOUGHTS
Year:2010 | Volume:2 | Issue:3|Papers Count:10

The narrative focus in the analysis of the capacity and skills of a storyteller to tell his or her own stories is of a great importance. Any change in the focus of narration leads to distinction or the main stream of the story or even its main subject. More over, we never deal with raw events in a story; we see some events which are represented in a special way and are of specific focal importance. Different view points and different relations with the focus and profile in Shahname and Mathnavi on the part of the narrator occurs so consciously and attractively that its analysis can vividly demonstrate some angles of Ferdowsi and Mowlana’s talents in the creation of literary works beyond any time and any location.This article which tries to analyse and compare two great works is mainly concerned with studying different types of narrative focus in Shahname while laying stress on the story of Rostam and Esfandiyar and Mathnavi while focusing on daghughi story.

The elements in the lyrics by khaghani indicates that he has had a look at sanai’s lyris while composing his own lyrics, in other words, in the analysis of the lyrics of khaghani, we will see some meters, words, concepts, rhymes and interpretations tracing back to Sana’i’s. This imitation from the perspective of Structure and concept can be studies and analyzed. What follows hereunder shows khaghani’s similarity to Hakim Sana’i in lyrics.

To Prepare a Picturesque dictionary of Persian language depicting the starting point of figures of speech and the frequency of their uses in the next periods, and showing existing ups and downs in the prevalence of these figures, specially those appearing in the critiques or different collections of Persian poems is of primary importance, since the existing sources and researches are suffering from the lackof such a lexicon. It is self evident that to attain such a goal, studying different collections of Persian poems as primary sources is a must. This article is a response to this dire need in which the collection of lyrics of Nazzari is studied regarding the use of figures of speech there in the writer has carefully studied the frequency of these figures in his lyrics and has classified them together with the results.

Noor-al-din abd-al-rahman Jami (898-817 A. H.) the poet and author in 9th century of Hejrh, possesses a high rank that he has titled the last and the highest poets. This great author has written much works such as Haft Ourang that consists of the Mathnavi of selselatolzahb, Salaman and Absal, Kherad namehe Eskandari and the prose work such as Nafahat-al-ons, Lavayeh, Lavameh, Naqd-al-Nosos, shawahed-al-nobovah, Ashaehe al-lamaat and Baharestan.He was interested in mystiscism and Sufism and the Ibin Arabi’s works especially in Fosos-Al-Hekam and Fotuhate Makkieh.Jami’s Salaman and Abahresal is a Famous Mathnavi which is composed in Bahre (rhyme) Raml and it consist, of the moral and systi information along with attractive tales and allegories. The total concept of this Mathnavi is: Salaman is a prince who is nourished by a woman named Absal.Absal falls in love with Salaman and they escape, they get into difficulties in lonely life and they put out to sea. Absal is died and Salaman is alived. A philosopher cures him and with the friendship of zohre remedies him to forget Absal.Salam and Absal is secret tale. On its basis, Jami, Khajeh Nasir, Honai-ebne-Eshaq and Avicenna created some work in his name. Ebne Tofeil of Morocco in his works named Hay-ebne-Yaghzan, mentions the characters salaman and Absal. Mohammad- bne - Ottoman has a versified story titled Salaman and Absal in Turkish. David - the prophet - Has children named Salaman and Absalen.The aim of this study’s author is to recognize the source of Salama and absal tale through historical sayings and a brief research of its secrets on different viewpoints such as Avicenna, khajeh Nasir, Jami, and et. al. The comparison of other inavailable Salaman and Absal and contrastive with the tales of Shah and kanizak in Mathnavi Roomi is the another aim of this study.

Narratology is an art where by the narrator depicts a story from different angles and voices Beihaghi, a historian and annalist, narrates a story artistically and meticulously through incorporation of different voices and different attitudes of narrators through the time. He creates the peak of this approach in the story of Hasanak vazir through in corporating the questions of Zhent on who tells and who sees. This article is concerned with the analysis of focusing and narration in naratology of Hasank vazir story. It comes to this conclusion that Beihaghi, in the story of Hasanak vazir, has been able to increase his own knowledge and his own narratological and historical report. Narratologically speaking Hasanak vazir indicates polyphonious aspect of the story and the voices of different narrators on hanging. Hasanak vazir are heard in the story.

It seems that the men of God and the my stics are not interested in satire, humour and feeble words.On the contrary, one can find satire, humour and feeble words in the works and poems of great Sufi scholars.What is the reason? Why do these scholars write so freely, and sometimes write poems which have to be read in privacy?What is its mystery?This research focuses on clarifying Rumis motives, as a great mystic, in writing such satiric and humorous poems.It might help the students and researchers.

Part of the writer, s Ph.D thesis is to survery the changes of “Radif” in the works of the great odes. After introducing “Radif” different aspects of “Radif” have been explained, such as those which come at the beginning of the couplet which shows the innovations and versatility of the poets in creating “Radif”; Moreover the rhethorical features of “Radif” which shows that the poets have made different figures of speech though the word “Radif” and “music of the poem” is one of the other subjects in this article. “Radif” intensifies the music of the poem. Also, the meaning and concept of “Radif” is very important in expressing the poet, s thoughts and ideas.There are some ststistics of the “radif” and its grammatical structures, and it has been cleared that the poets have fool wed a personal and special style in using the numbers of Radif and its different structures.

This study is an attempt to analyze characters’ discourse and dialogue, in Harold Pinter’s The Caretaker within Grice’s framework to show the framework can reveal the characters’ intention and anxiety. The results reveal that characters hide their inner intentions and even their identity because of some social and psychological reasons. Mostly, they suffer from lack of social security and identity, because of psychological and social status (problems) of modern man, particularly in western societies. This framework (Grice’s theory of co-operative principles) proves itself applicable to literary analysis, reading and analyzing literature, and literary criticism. Such a linguistic framework which has been focused to be useful for such purposes is Grice’s co-operative principles and conversational implicatures. Since Grice’s theory of co-operative principles focuses on conversation and dialogue and one of the important parts of drama is dialogue, it is suitable to analyze pieces of drama in the light of Grice’s model. Harold Pinter, the famous modern American playwright uses a particular style of language, showing how characters smartly hide their inner intention, behind their language. They try to communicate with others but every time they do, communication is broken down. Through analyzing the characters’ dialogues in The Caretaker from the perspective of Grice’s co-operative principles and maxims, the aim of this study is to try to penetrate within characters’ mind in order to find their inner intention and threat.

Novel as an important literary event of the recent centuries has a close relationship with the world and Society. With the advent of capitalism, the modern life sought a proper literary frame work. Novel raised up from such a society. Hegel considered novel as an epic of the modern society narrating the separation of man and society.To lucach, the main responsibility of novel is to show the oppositions existing in the capitalist society. Goldman be lived that the major function of novel is to seek the destruction of values in a spoiled society this article discusses the said points in detail.

Doris Lessing, the Persian-born, African-raised and London novelist enjoys enjoys a Writing career which has spanned more than 50 years. Critics have labeled her as Marxist, feminist, Sufist and even psycho-analyst. It is my contention to prove that latent Sufi characteristics are inherent in her works, and this premise marks a difference between my study and other research on Lessing. To prove Lessing’s early works contain Sufi characteristics, this paper looks at her early fictions which lend themselves to sufistic interpretation. The theoretical framework used in this paper proves the manifestations of Sufism in her early works which involve different Sufistic concepts. The methodology appropriated entails tracing some of these concepts in these novels which are overtly Sufistic. I Would also show how Lessing invites a Sufi reading of her novels and whether there are direct sings or changes in her choices of genre, mode, and style that suggest a new vision and a changed worldview and outlook. By revisiting her writing life to show that Sufism has always been present in her works, I depart from other critics and researchers who examine Lessing’s works in more general terms. This departure is significant because the use of a non-western perspective actually enriches our understanding of Lessing who is mainly read from Eurocentric points of view.