COMPARATIVE LITERATURE RESEARCH
Year:2014 | Volume:2 | Issue:1 (3)|Papers Count:9

The function of traditional characters in the modern poetry Arabic and Persian has different aspects, which using the mask of characters is one of the most important of them. Nowadays, the poets use the mask as an eloquent and artistic technic to explain about their ideas. Sometimes, they apply the mask of a religious character to confabulate with the audiences by it. Shamlu and Adonis used “religious mask” in their poetic works to visualize their thought. Thus the fundamental function of religious characters can be seen in their works because they wanted to benefit the actual and potential capacity of characters. This research is based on the analysis-narration criticism, and will study the fundamental usage of religious mask in the poets of Shamlu and Adonis based on narrative structure and images of their works. For this purpose, firstly, we studied the concept and meaning of religious mask and the reasons of its function in modern poetry, then we looked for the fundamental function of religious mask in the poets of Shamlu and Adonis to gain similar and different aspects of their application.

In spite of their apparent diversity and variety, Arabic and Persian maqamas are unified, which is the result of a common narrative structure. The main purpose of this study is to uncover this common structure. To this end, 124 maqamas including those of Hamadani, Hariri and Hamidi were analyzed based on Vladimir Propp’s morphology theory. The results indicated that Arabic and Persian maqamas are similar to each other in terms of character types and functioning. Moreover, in 31 functions and seven areas, they are in line with Propp’s theory. Such an approach allowed us to investigate all of these 124 maqamas within a single model and to conclude that narrative structure of these maqamas is the result of a single and primary plan, which has been effective in creation of this genre.

This article attempts to show the similarities and differences between epideictic genre in ancient western rhetoric, and the principles of praising and blaming in Islamic rhetorical textbooks. Epideictic genre is one of the three main rhetorical genres – along with deliberative and forensic genres- and its basic features may be traced in two kinds of textbooks: 1- Official rhetorical textbooks such as Aristotle’s, Cicero’s, Quintilian’s and others, 2- Sophistical textbooks such as Progymnsmata and Menander’s “Division of Epideictic Speeches”, and the treatise falsely attributed to Dionysius of Halicarnassus, namely “On Epideictic Speeches”. The aim of this article is to show that both of these approaches have some counterparts in the Muslim world. The rhetorical Islamic textbooks are somehow the counterpart of official approach, and anthologies such as “Al-yavighit fi ba’z al-mavaghit”, “Tahsin al-ghabih va taghbih- al hasan” and many others reflect the sophistical approach to praising and blaming. Finally, the article concludes that although western and Islamic cultures differ fundamentally from each other, however, when it comes to praising/blaming, they are mostly on the same track.

Considering that there are many commonalities between MohammadReza Shafiei Kadkani and Abdul Wahhab AL-Bayyati in cultural, social and political fields, and especially in literary filed, and also the inveterate familiarity of Shafiei Kadkani with AL-Bayyati’s views and opinions, besides study and translation of his works and preoccupation regarding to AL-Bayyati, all these caused Shafiei Kadkani to model AL-Bayyaties poetries and his personality as the major sample and in some cases to he impressed by him such that, sometims, Shafiei Kadkani composes like AL-Bayyati. So the common aspects of these two literates could not be accidentally. Therefore, obvious signs of this impressiveness and commonality are discussable in the framework of comparative literature. The purpose of this article is analyzing the commonalities and impressiveness signs of this Iranian poet from the Iraqi poet.

Amphibology, also called as equivocating, Fantasy and visualization, is accounted as one of the most worthwhile arts as well as one of the most artistic literature ornaments. In amphibology, the eloquent with employing high artistic skills generates different meaning paths in his/her verbal communication and makes some meaning expansion. Amphibology is also defined as using a language with double away and close difference meaning, in which the announcer discusses the away meaning, however, the auditors identify the close denotation. There are different types of amphibology, for instance, solitary (abstract or single) amphibology, disclosed amphibology, proportionally amphibology, antagonism amphibology, complex amphibology, double inverse proliferation amphibology, and ….This paper tries to investigate the amphibology industry as well as the generation processes in the above mentioned different types. In same way we investigate the different amphibology classifications from eloquence point of view in Arabic and Persian languages.

This article first studies the process of the formation of the art of emulation by examining its development and evolution in both Arabic and Persian literature. Then the article would compare and contrast the emulated poetry in Arabic and Persian. The hypothesis is that Persian emulation, like many other poetic forms, comes from Arabic literature. Thus the fundamental question is “How to examine the nature and quality of the similar and common features and issues of Persian and Arabic emulation?” Thus the literal and literary senses of emulation are first studied, and then its representative examples in Arabic and Persian poetry and prose are listed. In this section, such subjects as echo, parody, burlesque, takhmis, and tadhmin are relevant examples that are introduced as the common devices in both literary traditions. In the manner of a conclusion, an analytical treatment of these writings is conducted, taking into consideration their positive and negative implications and effects.

The influence of one literature on the other is the consequence of cultural interaction in different nations. No literary dynamics can keep itself away from the influence of other literature. When both sides of the equation interact through the cultural and literary language of the two nations, the issue will be more serious. Since the Literature and language of Iran and Tajikistan have the same origin, then this can be a subject for a comparative study.So in this article, we will investigate similarities and differences in how to apply mythology, poetic language, its functions and its application in both quantity and quality in the poetry language of two contemporary poets from Iran and Tajikestan (Forough Farrokhzad, Golrokhsar Safi-Ava).The main question is that how is each of these poet`s attitude to myth, mythological themes and their origins, and to what extent do they have used from these mythological motifs in their poems.These motifs are: God, goddesses, gods, prophets and entrepreneurs, mythological figures, historical and epic creatures, plants and animals and mythological mythology as well as certain areas.

This study we tries to introduce Nikolai Gumiliov-Acmeism Father of Russia– and also to study how he became familiar with the East and be influenced of east works. Gumiliov created unique works by pattern of Easter elements in his poems. In this study, we try to analyze some of them to make clear their inspiration sources. The most important and interesting of his poems are “Drank Dervish”, “Imitation of Persian”, “Persian Miniature”, “Pilgrim” and verse play “The Child of God”, the influence of the East is clearly seen in all of them. Gumiliov in his friendly correspondence signed pen name of Hafiz. He always looked for ways to enrich his land culture and spiritual elements closer to East. It is because that East with poetical forms and icons has been reflected in his works and influenced his ideology, so that one can easily distinguish him from other Russian silver era writers. In this article, also we show how elements of Easter religion, Mysticism, and Islamic mysticism are reflected in his works.

Epic is the oldest type of literary that its form is similar to story, because epic, like a story, has three parts: beginning part, middle part & ending part. Epic is descended from myth. It also encompasses story and novel inside. This paper tries to achieve better understanding about a part of epical literature, which reflects on epical tents and enjoys narrative features and symbol language. Description and specification of narrative structure of pictorial and basically language epic through Mick Ball’s theory is the purpose of this writing. Rostam and Esfandiyar story is chosen because this paper tries to show features of narrative tents in literary form. Then these features are studied based on Mick Ball’s, theory to show Ferdosy’s, s tendency toward story waiting elements & structure of narrative tents. This paper shows that epical story (both pictorial and basically language) like other types of basically language stories, has story line (beginning, story progression toward Elman, problem solving and final result).