COMPARATIVE LITERATURE RESEARCH
Year:2015 | Volume:2 | Issue:2 (4)|Papers Count:10

While comparative literature knowledge expanded beyond the European borders toward the Arabian lands, it found many for and against among the Arab critics. Some appreciated comparative literature in order to enrich the national literature and culture (including conversation, friendship, recognizing and understanding others), and some were doubtful about it; they believed that it is a European-based approach in comparative literature as well as the western naturalism aiming to westernize Islamic-Arabian thoughts, and is the threshold of novice (cultural) colonialism. Drawing on a descriptive-analytic approach, this theoretical research tries to do a deep and accurate analysis of the second critical group. The main findings comment on the group of critics on the damages of comparative literature in identity and culture, who believe that comparative literature suffers from Europeanism, and cultural racism.

Nostalgia or submit for the past is a mental state that appears in a person unconsciously and then becomes a thought. In the literature, this state occurs for a poet or writer, who, because of individual motivation or surrounding social, political situation, feels cut from the present time and raises the idea of returning to the past and its sweet memories.Abd -Al Wahhab Baiati and Mohammad Reza Shafie Kadkani, as two famous contemporary Arabic and Persian literature poets and gonfaloniers of the school of literary romanticism, refresh their memoirs according to their personal and social conditions; and their poem takes the color of pain, sorrow and yearning for the past and induces an atmosphere of submit and nostalgia to the audience. Therefore, in this research, the authors, using Hermeneutics approach and content analysis method, review and match the appearance manner of this poetic thought in these two poets' lyrics. The results showed that these two poets have subscription in nostalgic themes, staying away from land, childhood, lover, loss of values and myths.

Throughout the history, women writers, regardless of geographical, historical and cultural variations, have always been faced with the same concerns and challenges. Women's literature depicts a world based on the masculine priorities and logic concerns. So, due to disturbing laws written by men, women writers have tried to use “feminine aesthetic” and find a proper language to express their concerns and aspirations. In this way, they were capable to represent a clear picture of the woman as it should be.In Iranian and Italian contemporary literature, many women authors have created works based on women's issues. Among these works, we can mention the works of Zoya Pirzad and Alba Deses Pedes who narrate, in a specific manner, the same story about women's challenges and concerns.This paper applies “Theory of the Gynesis in Women Writing” to these two novels formed in two different geographical and cultural origins, and aims to answer the question of how the common characteristics of feminine writing engender fundamental similarities in plot, narrative and characterization? What we can say with certainty is that the characteristics and common factors in both text and meta-text of these two feminine writings engender a realistic and measured image of “women situation” in these two societies.

Sohrab Sepehri and Abbas Kiarostami are artists who could express their thought in the form of another language using the myths and symbols. The most important considerations in their works are neutral symbols. In this paper, the authors tried to review the symbolic nature using comparative approach and Gaston Bachelard's theory. We analyzed Hasht Keteb and Kiarostami's movies, and found that the mythical structure and contents briefly express differences and commonalities in their works. The most applicant natural symbols widely used in these works consist water, air, soil and plants. The results of our study showed that Water and soil, in various forms, involve a dual role in poetry and cinema: both as a symbol of death and resurrection, and creation. Wind is the symbol of divine origin and evolution. Also it indicates the death and destruction. Plant is the symbol of cosmic tree. Symbolic imagery and mythical nature, in Kiarostami's films and Sepehri's poems, can affect the poetic spirit of two artists, which is result of thier familiarity with Eastern mysticism and also for being influenced by painting and photography skills.

Part of what we know as the heritage of Iran and India has originated from the Indo-Iranian culture, and this heritage belongs to the East and the common life of Indo –Iranians in the past. We can consider the similarities between Arash-e Kamangir in Iranian mythology and Vishnu in Indian mythology as an original example in this case. In this research, we try to show the characters of Arash-e Kamangir, in the ancient, middle and Islamic periods, according to the comparative method in the French School and the method of content analysis. The results of the research show that Arash and Vishnu are two myths that have a common origin, and consequently, they have vast and widespread common aspects; and in making of mythological character, the subject of the attack between Good and Evil has a special place in the two cultures. Being warrior god of rain in creating the myths like Arash and Vishnu; being bodily and their connection with natural elements and heavenly realms are the other results obtained in this study.

Surrealism has had a great influence on the modern poetry in Iran. Spacementalism (Hajm-geraii) was influenced more than any other poem by surrealism. This style of poetry in Iran was founded by Yadu'llah Royaee. The purpose of this paper̦ is to study Spacementalism (She’re Hajm) according to the Surrealism School. This article tried to prove that the poem (Hajm) is a form of Persian surrealism. Picture, language, music and thought in Shere Hajm have been studied. At the beginning of this article, we briefly discuss the surrealism movement. Then, the history and the statement of Spacementalism are death with. Common characteristics of surrealism and poetry are also considered in this paper. In Hajm Poem, we see paradoxical images, ambiguous language and defamiliarization; the same features are observable in surrealism. These issues are documented in this article.

Haft-Owrang is one of the poems of the Ninth-Century poet, Abdol-Rahman Jami. An important illustrated version of Haft Owrang is called Sultan Ibrahim Mirza’s Version that is a master piece of Miniature, which has been illustrated by the artists of Mashhad school. The story of “Saint Josef's Survival from the Well” is one of the Haft-Owrang’s subjects illustrated by artists at the time.This paper is going to compare Jami's poems with the paintings of “Saint Josef’s survival from the well”, attributed to Mozafar-Ali by descriptive-comparative method. It studies whether the literary style and figures of speech of Jami have affected the illustration of this painting, and measures the percentage of this influence through quantitative scales. It concludes that 22% of paintings are in line with the poems, while 78% of them are not. This shows the freedom of illustrators in their act of illustrating, their independency towards the poems, and their use of imagination, environment, and visage in creation of these works.

The title of the story is the threshold to the mysterious world of the text. Thus it must be selected artistically to show the quality of the text, despite its quantity and restrictions. Sometimes, the title sheds light on the world of the text and lights the text’s whole material, but sometimes, it hides the text and the reader does not resieve any sign of it. It makes a tension in the mind of the reader to draw him/her to the text, and makes him/her to arrange his/her disturbed mind by reading the text and finding the meaning of it. This research is aims to investing ate the most important textual and extra textual factors, which are efficient in choosing the title of Sadeq Hedayat and Zakaria Tamer’s works, and study the structure and context of the titles and their relation with intra-textual and extra-textual factors that are used to hide the meaning of the text. have several res sons. Attracting the reader and closed political conditions (extra-textual factors) are the main reasons. These titles show the familiarity of the two writers with rhetorical devices. Also they are the reflection of the difficulties and hard conditions of the people’s life and the writer’s current cultures.

Hakim Omar Khayyam, the famous Persian poet, is always regarded by many scholars and poets. Khayam has always been preoccupied with issues such as complex secret of existence, life, death, predetermination, and authority, and these issues have wandered him. Sometimes, these issues have drawn him to skeptisism and pessimism, and sometimes, have invited him to gain the opportunity. Mahmud Sami Albarudi, the Egyptian politician and poet, has been inspired by Khayam in such issues as skeptisism to the time, invitation to gain opportunity and enjoyment, and has discussed them. The difference between his philosophy is much narrower than that of Khayam so that he cannot be known as master of a philosophy school. The present study aimed to investigate the roots and signs of Albarudi's influence in a comparative view with Khayam.

An important subject in the field of linguistics is the impact of one thought system on the community of lingual symbols. The relationship between mind and language conventions has long been of interest to linguists. The importance of this relationship becomes more prominent in comparative approaches where, through comparative study and analysis of the main schemas of the ideas of several thinkers or artists, the researcher traces the consistent and common use of linguistic symbols.In the hermeneutic analysis of the works of Mowlana Jalal ad-Din Mohammad Rumi, the interpretation of symbols, analogy and codes governing his mind and language is a major research interest. One of the most important branches among these researches concerns the kinship of Mowlana’s language codes with other thinkers and artists.On the other hand, Nietzsche, as a transcendental thinker, tries to use a symbolic language in explaining his thinking system. Due to his familiarity with the culture and literature of the East and the essential sameness of some of his principles with Mowlana’s transcendental approaches about the existence, morality, art, etc., Nietzsche achieves a set of symbols common with Rumi, which forms a shared language between the two thinkers.