COMPARATIVE LITERATURE RESEARCH
Year:2020 | Volume:7 | Issue:4 (22)|Papers Count:8

Modern architecture is generally tied to the concept of abstraction. This means that, contrary to the metaphorical spirit of architecture in the earlier ages, it is less possible to find meaning and signification in modern forms. This is while the architectural form has been historically met by expressing the metaphorical notions of symbolic systems such as culture, nature, history, and so on. However, since metaphor is mixed with language and thinking in its general sense, one can ask the question: "Can the works of the pioneers of modern architecture identify the forms of metaphor? " In order to answer this question, first, the definition of metaphor and its functions in the fields of literature, philosophy and art have been discussed. Then, by categorizing a variety of metaphors in architecture into tangible and intangible forms, the comparative study of a number of outstanding nineteenth-century architectural works as well as the works of modern architecture of the twenty-first century is based on the tangible or intangible metaphor of the metaphor. In this way, the result of this study shows that, although within a century, modern architecture has turned its back on abstraction with its separation of history, this abstraction has focused on the elimination of metaphorical manifestations, and the footprint of intangible metaphors can be found in the the pioneers of modern architecture in the twentieth century.

Tragedy, in its original Greek format, was in the form of a play to be performed on the stage. Aristotle was among the first people to argue about tragedy in a precise and technical way in the book called “ poetry technique” and considered it as a type of poetry so that it is an imitation of people’ s conduct and represents them better than the way they are. Moreover, Aristotle gave an adequate explanation for tragedy performance style, scene features, and actors. Some tragedies were created in Ancient Rome with a purpose rather than play on the stage. Therefore, in Medieval and the Renaissance, the element of being dramatic, was not considered as the main factor regarding the study of tragic artwork. Moreover, in contemporary era, the features of tragedy is searchable in novels and poetry. Shahname, written by Ferdowsi, an epic poetry, consists of some tales that can be taken into account as tragedy. A heroic story which ends in catastrophe, engages the human mind with philosophical subjects, brings leniency to the heart and purifies the soul. The authors intend to search for the key elements of Greek tragedy in two tragic stories, Shahname by Ferdowsi, Siyavash and Foroud. The results of the study indicates that these two stories are not fine examples of Greek tragedy and the main factor for differentiation is the narrative style of Shahname which does not match Greek tragedy.

The word "Rend" has been used in Persian language from long times ago and it has many positive and negative meanings in old literature. Hafez, contradictory to most of his antecedent poets, does not have a shallow and negative assessment of "Rend” and in contrary, he announces them as anti-hypocrite, perplexed, rebellious and truth-seekers who generated several individual and social revolutions in a hard unsociable way. Many Hafez researchers see this concept as his most important intellectual achievement. Based onthe result of these features, we can indicate activism of "Rend" as a theatrical character. Bahram Beyzaei (a play writer whose attention to ancient literature can't be denied) is a fitting choice for following this concept, as it maybe the heroic and revolutionist morale of his work in association to myth and ancient patterns confirms enigmatic, rebellious and frenzy nature of his characters. In this article, in addition to indicating aspects of "Rend" and "Rend-goonegy" in "Ghazaliat of Hafez" and discovering the essence of this concept, it will be analyzed in “ Three Puppet Plays” of Bahram Beyzai.

Social psychology examines the social behavior of individuals against individuals and groups. Social psychology are discussed issues such as social relationships, conflict, and negotiation. The study and analysis of the story of Lohrasb and Goshtasb in Ferdowsi's Shahnam and the story of Achilles and Agamemnon in Iliad Homer provide a better understanding of these two stories in terms of social psychology. We have tried to compare the two stories descriptive analysis method, with a focus on behavior of Achilles and Goshtasb in coping with Agamemnon and Lohrasb, and study the causes of hostility, the similar behaviors and the consequences of hostility. Finally, we achieved the responses: Causes of enemity have been egoism of conflict sides, breaking pride of Achilles and Goshtasb and ignoring their needs in both stories. Goshtasb and Achilles have frustration for their opposite disrespect. They have tried to compensate their frustration by aggression, adaptive behavior, proving of themselves and negotiation leave. Enemy outcomes have been also very bad for Goshtasb and Achilles. So that Goshtasb accepted commander of the Roman army-enemy of Iran-to fight Iran and Achilles began the war with the Trojans through his mother, and he did not participate in it, so that the Achaemenians would fail.

This paper is a comparative study of two allegorical stories. The Pilgrim's Progress by John Bunyan and Hosn-o-Del (Beauty and Heart) by Sibak Neishaboori are the Western and the Eastern stories in which characterization is done on the basis of human characteristics andsome parts of the human body. Based on a morphological characterization, the characters are divided into two groups of helpers and opponents. In Bunyan's book, Patience, Sagacity, Charity, Hopeful, Prudence, and Faithful and in Neishaboori's book Sight, Imagination, Patience, and Faithful are examples of the helpers. Opponents in The Pilgrim's Progress include Obstinate, Sloth, Formalist, Hypocrise, Mistrust and Pagan. In Hosn-o-Del lthey include Zargh, Raghib, Ghamzeh Jadoo, Naz and zolf. There are also helper and opponent places in these two books.

Workers are the basis of every society because that is their efforts which push every society forward. This social class, which makes up a large proportion of the population in every country, has always been faced with a lot of livelihood, legal and social problems. In every periods of the history, we are witnessing the protest of a number of workers against their hard conditions. The most important workers movement around the world is the one occurred in French Revolution of 1848 which leads to the Formation of the First Government of the Labor Commune in 1871 in Paris, then another revolution of the same manner in 1917 in Russia. Such revolutions realized in the literature of the countries. Realistic writers who were interested in workers' problems have tried to reflect such events. Emil Zola was the greatest writer who reacted effectively in his Germinal work and affected the literature of other countries. In Iran, Ali Ashraf Darvishan reacted on workers movements by creating Salhaye Abri. In the present paper, the researcher is trying to investigate The genre of labor literature as a component of the whole literature in order to put light on the effect of such workers movements on literature. Additionally, in this paper, it is revealed what aspects of such movements have been attended in Iran and French's great writers, namely Emil Zola and Ali Ashraf Darvishian.

The aim of this paper is to compare the concept of freedom from the point of view of Mowlana and the school of humanism. Both Mowlana and the theorists of the humanism school have a special vision about human freedom, but with different intellectual and social origins, their definition of freedom and the path to freedom is different, and sometimes they share points. The results of this research, which have been conducted in a descriptive and analytical way, indicate that Mowlana views the issue from a religious perspective and has a mystical view of freedom, and considers the best kind of freedom to be God's bondage and freedom from the attachments of internal prisons. Of course, social dimensions have also been noted. From the point of view of the mystics, including Mowlana, to mankind, there is no external freedom, unless he achieves internal freedom. humanists, who have a human_oriented look, believe that human freedom is achieved in nature by himself, not through super powers. Humanists believe in the unconditional freedom of humans in the intellectual, political, personal and artistic scopes, and do not accept anything as a barrier to this.