Journal of Comparative Literature
Year:2024 | Volume:14 | Issue:3 (پیاپی 55)|Papers Count:7

Analyzing the emotional process of discourse in Bahar's Damavandiyeh and Fi Al-Bada. and Uras Trilogy by Ezzedin Meihoubi Semiotics, which is a semiotics derived from the school of Paris and the opinions of Grimes and Fontaine, is the transformation of Saussure's semiotics into a method of text analysis in which meaning is a fluid element that is formed in a discourse process. Diversed dimensions of the discourse system play a role in the formation of this discourse process, and one of these dimensions is highlighted in each text. In order to read the semiotic-semantic text, it is necessary to determine the pominent discourse dimension in the text first. In the current research, Authors have analyzed two poems by Ezzeddin Meihoubi and Damavandieh Bahar in terms of the formation of emotional process of discourse in a descriptive-analytical way. The reason for this choice was the similarities in the emotional scene and the common extra-linguistic texture of these two poems, which have automatically created a common tone and emotion. The results have indicated that in Bahar and Mihoubi's poem Fei Al-bada the emotional rush stage is expressed in an identical way. Furthermore, in both poems, anger is the central emotion of the emotional process of discourse. Also, effective verbs, emotional scene, narratee, and instigator have similar meanings in the poetry of both poets. Finally, the observation of the same emotional evaluation is another outcome of this research.  Introduction: Semiotics, which is derived from the school of Paris and the opinions of Grimes and Fontaine, is the transformation of Saussure's semiotics into a method of text analysis in which meaning is a fluid element and is taken shape in a discursive and dynamic process. Different dimensions of the discourse system play a role in the formation of this discourse process, and one of these dimensions is highlighted in each text. In the current article, researchers have analyzed two poems by Ezzeddin Meihoubi and Damavandieh Bahar in terms of the emotional dimension of the discourse and the formation of the emotional process. The reason for this choice was the similarities in the emotional scene and the common extra-linguistic texture of these two poems, which has automatically created a common tone and emotion.  In semiotics, meaning is created through meaning-making processes that are formed with the participation of the narrator and the narratee. This is due to the fact that "language has a gap and it is the narratee that fills this gap through an interactive activity". Method: Since emotion acts as a process in any text where the emotional dimension prevails, it is necessary to know its elements in order to analyze the mechanisms of this process. The following elements play a role in the emotional process of discourse: 1. Effective verbs. 2. Song and performance. 3. Object - perception. 4. Emotional scenes. 5. Vision or prospecting. These elements have been involved in the emotional process of discourse form stages in the production of meaning, which are: Emotional awakening: Emotional stimulation is the first stage of the emotional process of discourse in which the emotional awakener experiences a special feeling and an emotional presence is formed in him in terms of scope and cognition. Emotional readiness or ability: At this stage, Instigator is in a state of tension during which he finds the necessary preparation to acquire an emotional identity. Identity and emotional turmoil: The change of the rioter happens in this stage and the rioter reveals a certain emotional identity in this stage. Emotional excitement: In the stage of emotional excitement, it is the physical expression of emotion that is clearly seen in the emotional scene. Emotional evaluation: At this stage, we are no longer faced with Instigator who has a potential emotional identity. At this stage, Instigator's emotional identity has been actualized and displayed, and now it must be evaluated and judged. Results and Discussion: Both in Bahar and Meihoubi's poetry, effective verbs are originated from pre-discourse elements that make up the extra-linguistic texture of the poem. In Bahar's poem and Meihoubi's first poem, the emotional scene is very similar. The dialogue of both poets is encountering nature, which has a symbolic aspect. The emotional rioter in both poems is the poet himself as the narrator of the scene. In both poems, the narratee or the audience of Instigators is the moutntain, which in Meihobi's poem is a symbol of steadfastness, and in Bahar's poem, it is a symbol of the pent-up anger of long years of oppression. In addition to this, Instigator's audience is placed second, where the main purpose of both poets indicates the same implied meaning, are the people of the society. In Bahar's Damavandiyeh and Meihobi's poem Fei Al-bada..., the emotional phase of Shush is expressed in a completely identical way, and we can consider the two poems to be the result of a common discourse. In both addressed poems, the emotional element of anger is expressed with the effective verb of demanding. In the stage of emotional evaluation of the two poems, a number of similarities are pinpointed, the most important of which is that the final evaluation of the emotional action of Instigators is positive and Instigators observe the society and those with him. In the evaluation phase, the effective verb of standing and certainty has been reached. The active verb in both poems is associated with the emotional element of anger and endurance. By comparing Bahar's Damavandiyeh with Oras Meihobi's triads, differences in terms of emotional and discursive similarities can be observed. The stage of emotional stimulation in both poems begins with the effective verb of “demanding” and with the letter “e”. However, in addition to anger and expectation, which have a tangible presence in both poems, other emotional elements are also added up to Meihobi's poem. These elements indicate the long wait in Meihobi's poetry to achieve the desire and reaching the ideal.

The togetherness of literature and society is one of the subjects of interest in literary research. In this respect, social novels, more than any other literary work, can reflect the events and realities of society. The association between tradition and modernity is also reflected in these works as a social issue and the sociology of literature attmepts to explain this relationship. Alongside the arrival of modernity in Iran and the Arab countries, there was an obvious confrontation between it and the existing traditions in the society, and, accordingly, the authors portrayed this confrontation with special delicacy in their works. Since common infrastructures and cultural similarities are the factors for matching the two literary works, this study examines the two novels Ana Ahia by Leila Balabaki and Adat Mikonim by Zoya Pirzad. The authors of these two novels embark on Anthony's theory. Giddens represents a new look in the four areas of culture, society, economics, and politics as a theorist whose views on Eastern societies and women's issues are groundbreaking and reflect on the interaction and interaction of tradition and modernity between the Iranian and Arab societies. Examining the common themes of these two novels reveals the conflict between traditional and modern beliefs about women. Furthermore, traditional, cultural, and social features are being observed more than modern elements in these two novels. The efforts of the main female characters of the novels that reflect the confrontation between their modernist beliefs and the traditions that govern the family and society are in vain.  Introduction: Dynamisms of the society, thoughts, and social customs are a number of issues that are reflected in the language and literature of societies. The relationship between tradition and modernity is also one of these issues. Zoya Pirzad is a contemporary Iranian novelist who pays much attention to social realities in her works. Adat Mikonim is one of his most prominent works, in which he also talks about the contrast between tradition and modernity. Leila Balabaki is also one of the great Arabic-language novelists who pays attention to social realism in her works and, in her most important work Ana Ahya, she has depicted social realities. It is the challenges that are faced by the contemporary man in the movement of developing societies from tradition to modernity. Since the authors of the novels Ana Ahya and Adat Mikonim are almost contemporary and their societies have gone through the same cultural changes, it is crucial to conduct a comparative research considering the cultural infrastructure of the two Iranian and Arabic Societies. Therefore, the current research tries to investigate tradition and modernity as social phenomena, relying on Giddens' theories and implying a descriptive-analytical method. In this article, the elements of tradition and modernity are categorized into four parts; culture, society, economy, and politics, and some of the examples mentioned in both novels are analyzed according to the mentioned indicators. Method: The current research is an attempt to investigate tradition and modernity as the two social phenomena in these two novels, relying on Giddens' theories and using a descriptive-analytical method. Common infrastructures and cultural similarities can be counted as a reason for comparing the two literary works. Besides, since these two authors have given great importance to society in all their works, their novels can be a suitable platform for studying society. Among the different schools of comparative literature, the current research is based on the Eastern European School. Results and Discussion: The novels Adat Mikonim and Ana Ahya are both written by women writers whose main concern is women and their related issues, and they have selected the main characters of the novel among the women. Attempt has been made to reflect their efforts for independence, freedom, and gender equality. Due to the many cultural commonalities between the Iranian and Lebanese societies, the traditions governing these societies were examined in the four domains of culture, society, economy, and politics. In the cultural field, the selfishness of some characters in the form of consumerism and luxuries to cover up old thoughts is one of the issues that can be targeted in both novels. In the social arena, the writers are welcoming modernity by rejecting patriarchal culture, women's freedom, equal rights with men, women's managerial role in society, etc. In the economic field, the employment of female characters is a manifestation of their independence. In the political field, it can be declared that the presence of women in politics is one of the signs of modern societies. Conclusion: Examining the common themes of these two novels reflects the conflict between traditional and modern beliefs about women, and traditional cultural and social indicators are seen more than modern elements in these two novels. The efforts of the main female characters in the novel that reflect the confrontation between their modernist beliefs and the ruling traditions of the family and society remain fruitless. Furthermore, based on Giddens' theory of social structure, tradition continues to exist even in the most modern societies. Dodhed, holds the idea that it is these traditions that determine their path, and the authors impose the social reality of their time on the main characters of the novel, despite their tendency towards modernity.

The prominent aim of the current research is to investigate the dominant social theme-centered cognitive metaphors which are used in "Ayenehaye Dardar" by Houshang Golshiri and "Al- Less Wal-Kelab" by Najib Mahfouz, who are two realist authors who have reflected social conditions in their works. The theoretical foundation of the addressed study is the theory of conceptual metaphor in cognitive semantics, which has elevated metaphor from a merely aesthetic means to an approach for cognition and contemplating. This study, adopting qualitative and quantitative analysis method with a comparative eastern European school, strives to answer this question that how and how frequent common social themes used by Houshang Golshiri and Najib Mahfouz in their two novels are conceptualized. The findings of the study imply that dealing with social matters, especially love, women, humanism, tendency to the past, social environment of the two authors, and subjectivism are among similarities between the two authors which are conceptualized in the form of conceptual metaphor. In these two novels, the ontological and structural metaphors have a high frequency, but the directional one is fewer seen.  Introduction: The social contexts of the literature formation are one of the most important and fundamental topics of East European comparative literature school. Hoshang Golshiri (1379-1316) and Najib Mahfouz (1911-2006 AD) are the two Iranian and Egyptian realist writers. Political and social conditions are embedded in their works as deep layers, in such a way that their fictional works reflect social issues of Iranian and Egyptian societies. Considering the category of transferring thoughts and concepts through language in everyday context, the important role played by conceptual metaphor and the metaphorical language is undeniable. They are used abundantly in our everyday language with the aim of defining social thoughts and intellectual concerns of two great Iranian and Egyptian storywriters, namely Hoshang Golshiri and Najib Mahfouz. This study investigates and analyzes conceptual metaphors in two realist works by the two mentioned writers: Ayenehaye Dardar and Al- Less Wal-Kelab. The comparative study of social themes in the form of conceptual metaphor is conducted with the aim of achieving common points which reveal the intellectual and socio-cultural convergence of two societies in a certain period of time. Having that in mind, this research seeks to answer the two following questions: How do Houshang Golshiri and Najib Mahfouz conceptualize their social thoughts in the form of conceptual metaphors in their novels? Which of the conceptual metaphors with a social theme is more frequent in the novels of these two authors? Method: This research benefits from a mixed-method content analysis of conceptual metaphors, which, consequently, address the social concerns of two authors carrying on a comparative approach. The data used in this research is Ayenehaye Dardar and Al- Less Wal-Kelab which are the two novels that follow a critical approach to social issues. To that aim, the sentences related to the social theme in the form of conceptual metaphor were, prior to anything, selected and categorized based on common topics. The research method is to examine the areas of source domains in conceptualization of social issues, after which, the common topics of analysis and all types of its metaphors are extracted. Furthermore, the type of mapping and their source and target are presented in the form of tables and graphs. Results and Discussion: In the current study, the six major topics of social matters, love, woman, nostalgia, subjectivism, and humanism are covered and their conceptual metaphors are explained. Both authors hold a negative view of the world in their novels, and this is originated in the suffocating societies where they lived. They also hold a negative view of human in the form of a conceptual metaphor. In "Al- Less Wal-Kelab", the hero of the novel, Saeed Mehran, who is a deep justice seeker, is a thief and a murderer of two innocents. This signifies the author's negative and humiliated view of human beings. Throughout the story, a type of despair reigns over the people of Saeed Mehran's community. Among the other themes found in the works of the two authors is the emphasis on subjectivism, which is the main foundation of conceptual metaphors. Due to the predominant suffocation and oppression all over the society, they are not allowed to mention the events of their societies clearly and openly, and , as the result, Najib Mahfouz and Golshiri pay attention to their inner world. One of the other conceptual metaphors alongside a social theme, which appears in these two novels, is love. Conclusion: The analysis of the qualitative content of conceptual metaphors in two novels show that the authors' views on these social issues are influenced by their personal experiences in society; in such a way that Najib Mahfouz has a positive approach to love. Furthermore, he has conceptualized this mental concept with objective issues such as clean land, tent, tree, hairdresser, etc. Mahfouz reactes to some of the females’ issues in the Egyptian society resulting in prostitution and debauchery carrying concepts such as pain, torment, and a beach constantly exposed to violent waves. Furthermore, he conceptualizes women using a conceptual metaphor and, this way, he shows his own social criticism towards the chaotic society. Unlike Najib Mahfouz, Hoshang Golshiri has a positive view of woman and considers woman as a tree with high volume of roots that can carry the heavy burden of life challenges. Both authors carry a negative perspectivvec toward human in the form of a conceptual metaphor and have embodied this prespective through the objective concepts such as predatory man, a worthless object, a killer, etc. This is due to illustrating the futility and despair in the society after the crises of the world war. Among other conceptual social metaphors in the novels of two authors is the social environment, which both authors have in common in this field and have conceptualized it with "enemy". This negative view of the world originates from the suffocating societies in which the two authors live. Categories such as the contradiction between authentic traditional values and modern material values, and between tradition and modernity in all its fields have been the focus of writers. The effects of abandoning tradition and turning to modernity have mainly expressed by both writers in their works. On the other hand, according to the belief of the two authors in their thoughts, they have significantly represented the mind and thought with positive concepts such as plant, machine, rope and strong building, covering the ugliness, etc. The quantitative content analyses of two novels also show that ontological and structural metaphors have a higher frequency than directional ones. The frequency of social themes in the form of conceptual metaphors in two novels shows that paying attention to the world and human being have the highest frequency, whereas returning to the past and feeling of nostalgia have the lowest frequency. This attention to the present world and not sinking into the past and previous feelings imply the pain of the two authors and also placing themselves in the center of social life issues at that time and not leaving themselves in the past.

"Imageology", as an approach in literary and historical texts, and criticism, applies an interdisciplinary method to understand the culture, identity, and real image of a nation from the point of view of another. Al-Masalik Wa'l-Mamalik by Istakhri, a geographer and travelogue writer of the Persian region, is one of the important historical texts of the 3rd and 4th centuries AH. In his work, Istakhri introduces different regions and tribes of Iran and Islamic countries, one of which is Sistan and Sistanians. This research is an attempt to answer the following questions: what are the types of images of Sistan in Al-Masalik Wa'l-Mamalik, how did Istakhri judge and narrate these images, and what are the reasons for that? To that aim, all the images related to Sistan in Istakhri's book are extracted and classified into cultural, religious, political, historical, economic, architectural, and geographical indicators based on imagology. Also, Istakhrī's attitude in evaluation and to some extent his reasons for that were analyzed. The overall estimation of the images related to Sistan in Al-Masālik wa'l-Mamālik shows Istakhrī's positive view of this people and factors such as influence from previous books, ecology, national-religious tendencies and the structure of the society of his era was influential in presenting these images.  Introduction: Istakhri, a prominent geographer and cartographer of the 3rd and 4th centuries AH, is widely recognized as the leading Arab geographer and the first person to write a book in Arabic on geography after the rise of Islam. Istakhri distinguishes his approach to writing from other geographers of his time who categorized the world into seven regions. Instead, he divides the Islamic world into twenty regions and provides detailed descriptions of their routes, geography, culture, religion, and other characteristics. Additionally, there exists an ancient Persian translation of Istakhri's book from the 6th and 7th centuries AH, which enriches the Persian literary prose texts. In the field of literary and historical criticism of ancient texts, the approach "imageology" is applicable. This interdisciplinary method aims to understand the culture, identity, and image of a nation from various cultural, social, religious, and political viewpoints, from the perspective of "the other". This discipline reconstructs the intellectual and cultural context in which a text is produced by analyzing literary works and images. Sistan is one of the main regions that Istakhri introduces and describes in his work. In this study, our objective is to analyze and categorize the image of Sistan and its inhabitants during Istakhri's time from seven different perspectives comprising cultural, religious, political, historical, economic, architectural, and geographical. We will examine the positive, negative, and neutral images presented in Istakhri's work through the use of tables and diagrams. Method: The research methodology employed in this study is as follows: First, a comprehensive collection of images related to Sistan from Istakhri's book is extracted and, then, categorized and classified due to its statements and topics. Followed by that, the linguistic context of each statement and identify Istakhri's qualitative and statistical assessments of positive, negative, and neutral attitudes based on adjectives, adverbs, and linguistic context. Furthermore, the researchers have examined the reasons behind Istakhri's evaluative attitude towards different images of Sistan by referring to intertextual and intratextual documents. Results and Discussion: Images of Sistan in Istakhri’s Masālik al-Mamālik [Book of Roads and Kingdoms] 1.1. Cultural Images: Istakhri portrays 14 cultural images of the people of Sistan, among which 8 images are positive and 6 images are neutral. Interestingly, no negative images are presented, indicating Istakhri's positive perspective on the cultural characteristics of the people of Sistan. 1.2. Religious Images: Istakhri includes 3 religious images of the people of Sistan, in which 2 images are positive and 1 image is neutral. The scarcity of diverse religious images in Masālik al-Mamālik suggests that religious images were not a primary focus for Istakhri. 1.3. Political Images: There are five political images extracted from Istakhri's work, four of which are related to the Saffarid era. Although it is expected that Istakhri's book includes political images of Sistan, it appears that this aspect was not among his priorities. 1.4. Historical Images: Istakhri provides 19 historical images, of which 8 are positive and 11 are neutral. Except for one case, all these images are associated with the Saffarid era. The relatively high number of historical images compared to other categories highlights the significance of Sistan in the 4th century, primarily due to the influence of the Saffarid dynasty. The eleven neutral images reflect Istakhri's descriptive approach, seeking to minimize evaluative views in describing historical events. 1.5. Economic Images: All 26 economic images presented by Istakhri describes the economic situation in Sistan positively. The absence of negative or neutral images suggests the prosperous economic conditions of the region in the fourth century, likely attributed to the centralization of power in Sistan and the efficacy of the Saffarid dynasty in the area. 1.6. Architectural Images: Istakhri describes 11 positive images of the architectural landscape in Sistan, reflecting his positive attitude towards the region's architectural features. 1.7. Geographical Images: Istakhri provides 73 images within the geographic index, where 34 images are positive, 6 are negative, and 33 are neutral. Most of the images in the book pertaining to Sistan are geographical in nature, which is understandable given the book's subject matter. Conclusion: In total, Istakhri presents 159 images of Sistan, distributed among various categories. Geographical images represent 46% of the total, followed by historical (17%), economic (16%), cultural (9%), architectural (7%), political (3%), and religious (2%) images. The predominance of geographical images reflects the main purpose of Masalik Al-Mamalik to describe the geography of Istakhri's time. Conversely, the scarcity of political and religious images suggests that these aspects were not of utmost importance to Istakhri. Regarding Istakhri's evaluative attitudes, it is noteworthy that out of the 159 images of Sistan, 96 (60%) are positive, 59 (37%) are neutral, and only 6 (3%) are negative. This indicates Istakhri's overwhelmingly positive attitude and description of the Sistan region. The six negative images are also related to geographic aspects and are a result of climatic and natural conditions, not human intervention. The reasons for this evaluative attitude can be found in Istakhri's historical sources, such as the works of Jayhani and Ibn Hawqal, which also present positive images of Sistan. Other factors, including the purpose of writing the book, ecology, national-religious tendencies, and the social structure of Istakhri's era, have influenced the presentation of these images.

Mikhail Bakhtin, a theorist of conversation logic, considers dialogue the result of the interaction between the speaker and the listener, which is formed in the social  context and interacts with past and future discourses; Therefor, while guiding the reader with the details and conceptual sub- layers of the text, it leads to the frequent and infinite meaning of the meaning. However, form his point of view, among the literary genres, only the novel has the characteristics of dialogue logic and polyphony poetry due to limited choices and being empty of the presence of another not worthy of attention form this perspective but the poems of contemporary Iranian and Iraqi poets have conversational features due to the wide selection , creation of spaces and situations of presence of others and the use of words, concepts and themes that poets freely and far form the common norms of poetry. In the present study, the poems of prominent contemporary poets of Iran and Iraq with a descriptive- analytical method that revolves around the cowardly assassination of resistance leader Haj Qasem Soleimani, a famous Mujahid who is a manifestation of nationnal authority and the spirit of resistance in west Asia and the world Bakhtin has been analyzed with a special approach to the theory of dialogue logic. The result of the research indicates that contemporary Arabic and persian poets are dialogue- oriented in their poems and to create a dialogue atmosphere in their poems, they have used arrangements and tricks related to dialogue logic, including the use of pronouns, rhetorical and polyphonic propositions. Narrative expression is the most prominent technique used by the poets in question to create a polyphonic atmosphere, and the explicit and bitter criticisms of the poets have brought their poems closer to the carnival speech and added to the dialogue and polyphonic nature of their poems.Introduction:In general, “dialogue and polyphony” are referred to as two of the most pivotal elements in the field of literary and artistic criticism since they were presented by Mikhail Bakhtin who is a Russian literary critic and philosopher for the second half of the 20th century. Bakhtin's life coincided with major developments in Russia comprising the 1917 revolution and, then, the emergence of Lenin and Stalin as two powers has occurred. Stalin's suffocating, despotic, and anti-joy era led to the emergence of Bakhtin's conversational logic. Therefore, during this period, the suppression of opposition of any kind (e.g. thoughts and voices) had a prominent role. Social tendencies and libertarian ideals prompted Bakhtin to turn to dialogue in protest against intimidation, dogmatism, tyranny, and monotony. In other words; the most fruitful period of Bakhtin's life and activity has coincided with the darkest period of Russia. Following the same theme, the poets of Iran and Iraq have also faced dogmatism and anti-conversational monotony during the period of absolute oppression and suffocation ruling the Iraqi society. Precisely, the crimes of the US usurping regime, the ISIS terrorist group, and the assassination of the leader of the resistance (Sardar Qassem Soleimani) were the most critical factors that led the rebellious spirit and conversational nature of the poets to write poems that call for interaction and dialogue.Inspired by methods and arrangements with very diverse dimensions in a dialogue-oriented environment, Iranian and Iraqi poets had provided the combination of multiple thoughts and have established multiple communication forms and interactions with society in a wide dimension. Moreover, with each of the phenomena, they have portrayed new windows of worldview based on conversation in front of the audience. Having established that, the current research is an attempt to explain the basic concepts and characteristics of his theory, such as conversationalism, otherness, and polyphony by analyzing and revising Bakhtin's conversational and polyphonic logic at different levels. Followed by that, by adapting his theory and integrating it to the works of Iranian and Iraqi poets, prose poetry and poetic debates, which are abundantly evident in the poets' works, conform to the Bakhtinian model and can be read and analyzed.The thing that maximizes the necessity of this research is the social and political attitude toward the Iranian and Iraqi poets and their poems. The discussed poets have dedicated their poems to explaining the political and social situation of the society. Therefore, these situations have been embodied and depicted in the eyes of the readers with a special beauty and elegance and, consequently, the current research has tried to examine the conversational subtleties of Iranian and Iraqi poets' poems carrying a Bakhtinian approach. This study follows a theoretical and descriptive-analytical procedure in terms of nature and method. Accordingly, the main theoretical framework is devised based on Bakhtin's opinions in the field of literary criticism and emphasizing the concept of "dialogue" and "polyphony".As the results of the study have indicated, in poems provided by Iranian and Iraqi poets, a specific person, nature, or society can be addressed and individuals are introduced using different pronouns, propositions (collative, interrogative, imperative) and dialogues at the level of poetry. Furthermore, every word is addressed to someone. These questions and calls are clear symptoms of dialogue at the level of order, which can be seen in the works of the poets discussed in different ways. More specifically, Iranian poets show the polyphonic and conversational nature of their poems, both at the level of meaning and by using multiple personal pronouns and interrogative sentences. They clearly state that their poems have an audience and are for others. They sing and depend on the listener and the audience in what they shout.Undoubtedly, one of the requirements of polyphony in the poems of Iranian and Iraqi poets is the presence of different people to express different views and express different opinions, and the poets' cleverness in characterizing is the most suitable way for political criticism and expressing views. It creates less heard voices in a dictatorial and monotonous atmosphere. Allusions and intertextual relationships are not limited to precise and intertextual references to the Qur'an and other religious books in the poems of contemporary Iranian poets, as well as the works of ancient poetry. However, in the poems of Iraqi poets, allusions, similes, and symbolism expressed with special literary techniques have more intertextual relationships with the works of ancient poetry and the Qur'an and have a higher appearance. Therefore, the consistency of the poems of Iranian and Iraqi poets with Bakhtin's ideas can be observed in the struggle of poets against monophonic and anti-dialogue political structure. Finally, the dialogue logic of the poems indicates that despite Bakhtin's emphasis on the novel, some of the poems can be analyzed from this point of view.  

Religion, having played a prominent role for the advancement, perfection, and happiness of man in all periods of history, has been judged in multiple humanities schools in diversed ways. According to the principle of materialism, Marxists have sought to deny or limit the role of religion in an individual’s life. Hoshang Golshiri, being reknowned as a contemporary Iraqi poet associated with the thought of Marxism and as a writer of the Isfahan school and Badr Shaker al-Siyab, have brought religion and religious discourse to the fore. The current research, relying on the descriptive-analytical method and help from the foundations of the American school of comparative literature, seeks to examine and criticize the religious discourse of the works by Hoshang Golshiri and Badr Shaker Al-Siyab from an internal point of view. As the results of this research have indicated, Golshiri has been influenced by Marxist ideas and has reduced the adherence to the common intellectual model and the opposition to religion and the functions of religion to relieving the pains and sufferings of the masses. Moreover, Al-Siyab has tried to use religion as a deterrent against identity crises, personality conflicts, and the establishment of anti-colonial movements. Introduction:As being declared by the thinkers and theoreticians of Marxism, who have an extra-religious views toward the notion of religion, the institution of religion is considered as a social one that has arisen from the heart of history to alleviate the pains and sufferings of the poor and the oppressed. Karl Marx considers religion the opium of the masses and the people. According to them, the concept of religion, like other concepts (e.g., art, literature, philosophy, etc.) is a superstructure and a symbol that has emerged under the influence of political and economic conditions and, as a result, means of production. For this reason, in his religious theory, Marx considers religion as a tool in the hands of the rulers whose teachings and doctrines prevent the masses from joining social and political movements and revolutions by alleviating the sufferings of the people. This attitude is clearly seen in the works and books of the leaders and members of socio-political groups and parties that had Marxist tendencies. With the extention of Marxist ideas in Islamic countries, including Iran and Iraq, writers entered the field of literature who tried to reflect the ideas of this party and current intellectual movement in their literary works. In Iran before the revolution, Hoshang Golshiri, addressed as the most famous writer from Isfahan, has reflected on many social issues of his stories. The institution of religion as a social institution is one of the topics and issues that has been expressed in his stories in a special way. Badr Shaker Al-Siyab, as a modernist poet was associated with Iraqi Marxism and reached the peak of fame in the midst of World War II. Furthermore, he has mentioned religion as an influential institution in the context of his songs and poems, which may exist in some of the issues holding the view of Marxists and materialisms. In this research, in order to investigate the religious discourse, its foundations, preliminaries, and assumptions have been investigated and explained at the level of the religious perspective. The current research relies on the foundations of the American comparative school and reviews the religious discourse in the works of these two writers. It is worth-mentioning that based on the foundations of this School, two different types of literature can be compared.Method:In the current paper, being established due to library resources and following a descriptive-analytical method anlongisde the approach of comparative literature, the similarities, differences, and statements of religious discourse in Divan Enshudah Al-Matar and other poems of Badr Shaker Al-Siyab with three stories have been examined. Followed by that, the missing shepherd, Shahdzah Ehtjab, and Jin Namah are being explored and investigated.Results and Discussion:Having established that the present research deals with the comparative study of religion and religious discourse by Hoshang Golshiri and Badr Shaker Al-Siyab, it is an attempt to analyze the contemporary literature of two countries, Iran and Iraq, with obvious cultural commonalities. Furthermore, via emphasizing the mutual understanding between the two nations, it can lead to human commonality and the provision of a deeper understanding compared to past. This, in turn, increases the significance of research. In addition, so far, the adaptation of two different types and genres of literature (poetry and fiction) in Arabic and Persian literature has not been discussed that much, and this indicates the relative novelty and importance of the research topic as well. This research, in addition to comparing and comparing religious concepts and values by Hoshang Golshiri and Badr Shaker Al-Siyab; It seeks to understand the place and role of religious concepts and values - as a social institution - in Golshiri and Al-Siyab's dealing with social issues in order to present a critique based on explaining the social context and intellectual structure of the two societies of Iran and Iraq for the readers.Conclusion:Golshiri and Al-Siyab carry two diversed views on the category of religion. Golshiri considered the category of religion and nationality as two separate and distinct concepts that are also in conflict. Under the influence of Marxist ideas, he has reduced the functions of religion to relieving the pains and sufferings of the masses. Moreover, following the common intellectual model and opposing religion, the role of secular clergy and their silence in presenting a comprehensive reading of religion has also been influential when it comes o his perceptions and thoughts. Despite that, Al-Siyab's view of religion is in conflict with the Marxist statement and he has been ahead of Golshiri on the active and complementary role of religion and Islamic models in giving identity to the individual and society. This maybe inspired by the fact tha in Arab countries, the category of religion and Islamic patterns forms their national and ethnic identity in addition to their religious identity.

Metaphor, being addressed either as a decorative element or as a cognitive process, has attracted the researchers' attention for a long time. According to the findings of cognitive linguistics, humans create and store fundamental conceptual constructions called image schemas in their minds so that when thinking about abstract matters by transferring these concrete constructions to language facilitate and complete the perception process. Saadi Yousef and Ahmad Shamlou have conceptualized many abstract concepts in their poems with the assistance provided by schemata. This research, descriptive-analytical method, while examining and analyzing the schemata in two selected poems of these two poets, to explain the way of thinking and, also, the foundations of their understanding of the world around them. As being indicated through the results, abstract concepts such as death, life, change, and immortality have been embodied in the form of these images and the three schemes of volume, movement, and force have been able to communicate in an organized, organic, and coherent manner with each other and in line with a certain goal. This may lead to the production of meaning and finally put the abstract concept of immortality and impact in the form of a visual tableau before the audience.Introduction:Schemas are considered a tool for conceptualizing and simplifying incomprehensible concepts and a tool for deeper understanding of the text and adding a new meaning to the existing meanings. One of the important functions of schemas is reaching a first-hand, different, and sometimes contradictory reading of the text with the assistance of studying its examples. The feature that caused the emergence of multiple voices from the text, frees the text from freezing and monotony, and in this way provides the possibility of producing new meanings.The poetry of Saadi Youssef and Ahmed Shamlou has become a difficult and difficult poem due to features such as the use of symbols, frequent defamiliarizations, language and social context specific to the creation of the work, and the intellectual geometry corresponding to this behavior.Since pictorial schemas are formed aligned with the framework of objective experiences and, furthermore, the origin of conceptual metaphor is human perception and conceptual system, these schemas can act as a tool to delve into the depths of the intellectual and ideological system of the creators of the text and open the problems and dilemmas of these two poets' poetry to come to the help of the audience. Iran and Iraq are two neighboring countries. This neighborhood and the cultural closeness has resulted in creating a remarkable kinship and similarity between the literatures of these two countries. Countless common themes and concepts used in the poetry of Saadi Yousef and Ahmad Shamlou clearly prove the validity of this claim. What has happened in Arab poetry in this hundred years has also happened in Persian poetry, with slight differences arising from the different conditions of the cultures and structures of these two peoples" (Shafi'i Kodkani, 1380: 15). The commonality of concepts and themes, as well as how they are presented in the poetry of these two poets is due to their benefiting from common ideological sources and the proximity of these two geographies to each other. The commonality of concepts and themes in Yousef and Shamlou's poems is to a great extent that it is possible to show a similarity in Shamlou's poetry in terms of the concepts and themes compared to Yousef's poetry correspondingly and one by one. There are undeniable similarities between the two odes "Al-Qatli Yasirun Lila" and "Song of Ibrahim in the Fire", since it is a praise of the freedom and freedom of the fighters who made their lives the support of their immortality, in terms of structure and content. This provides the basis for comparing these two poems.In the upcoming research, an attempt has been made to examine and analyze the schemas in the two odes in the interactive space that are formed between these schemas, in a descriptive-analytical approach and a library study manner.  In what follows, the given research questions are being addressed.What are the most important conceptual metaphors used in the ode "Al-Qatli Yasiron Lila" by Saadi Yousef and "Song of Ibrahim in the Fire" by Ahmad Shamlou?How are the provided metaphors in the two poems related to each other?How have these metaphors led to the production of meaning?Method:This research is based on the descriptive-analytical method, while examining and analyzing the schemata in two selected poems of these two poets, and followed by that, explains the way of thinking and the foundations of their understanding of the world around them.Results and Discussion:The victims of Yousef and Shamlou's poems are multi-layered and multi-meaning characters, and the image schemas used in these two poems generalize the coordinates of these characters to all the "awakened" and "non-awakened" people in history. The three schemes of volume, movement, and force have been able to produce meaning in an organized, organic, and coherent relationship with each other and in line with a certain goal. This means, the volume and movement design provide the ground for the presence of free people in the dimensions of space and time. Followed by that, the design reflects the power of intransigence and non-compromise with the status quo to ultimately lead to the embodiment of the abstract concept of immortality.Saadi Yousef personifies the martyrs in the form of voices that have not been silenced to show that their physical removal has not been able to have an effect on silencing their voices. This way, the abstract concept of "immortality" and the concept of "effect" are firstly made. The presence of the dead in the dimension of space (night is a place) and in the dimension of time (night is a path) reinforces the presence of the metaphor "meaningful death is life". It goes without saying that the march in all the authoritarian nights is an expression of the constant and historical presence of the martyrs.Yousef and Shamlou do not find a word to describe their hero and they inevitably start a composite creation with the help of schemas to make the understanding of the dimensions of the quasi-abstract hero's personality objective and comprehensible. With the help of the metaphor "these dead are sound" and "sound is a compound being", Yousef personifies the dead in his poem as a group of voices that have not been silenced. In Shamlu's poem, an objective aspect is found beyond imagination with the help of the metaphor "a different kind of man is a complex being". A man who has inherited courage from a lion, stubbornness from iron, steadfastness and permanence from a mountain, and the sum of these qualities makes him a different, immortal, and transhistorical personality.In Yousef's poem, the general and simple concept of change is understood through the concrete concept of awakening; the path that begins with sleep and ends with waking. Also, considering the movement that is moving during the night, the metaphor of "these dead are walking" can be extracted. This is not a night stay because the verb "Yiseron" refers to movement. By directing intangible and aimless concepts such as death and its types in the language of poetry, Shamlou tries to make these concepts tangible by means of up-down directions. After giving up his life, a common person goes beyond the sky and joins the immortals.In Yousef's poem, in addition to the resonance of the "voice" of the awakener and the current time of the martyr, his "blood" is also an obstacle. The blood mentioned in the final stanza will remove sleep, which is an obstacle on the way to awakening and, consequently, the realization of consciousness. The eyes of the dead are open forever. Their voices flow in time and space and no obstacle, even a shroud, can cover or erase their bodies. All the above characteristics are the coordinates of "immortals". In Shamlu's poem, fire is an obstacle that stands in the way of Abraham and finally produces the third form of the metaphor of power that is, crossing the obstacle. In the following, by using the adjective "other species" for his praised hero, the poet reminds us of his non-surrender to the existing obstacles. The metaphor of power in these two poems can have a motivational role. It means to show the audience the way to overcome the obstacles in a society disillusioned with social changes. This scheme expresses the hope of human will to change his destiny.Conclusion:The findings of the research indicate that abstract concepts such as death, life, change and immortality have been embodied in the form of these images and the three schemes of volume, motion and force have been able to lead to a certain goal in an organized, organic and coherent relationship with each other produce meaning and finally put the abstract concept of immortality and effect in the form of a visual tableau before the audience.