JOURNAL OF THE FACULTY OF LITERATURE AND HUMANITIES (KHARAZMI UNIVERSITY)
Year:2004 | Volume:12 | Issue:45-46|Papers Count:9

Mirror is a well- known symbol with deep roots in the world of literature. In Socrates art, mirror reflects the real world. This distinctive feature of mirror has prevailed through history. This article attempts to trace and scrutinize the symbolic presence of mirror up to Rumis age. Our discussion incorporatates a subsection on chang, the famous musical instrument, and closes with a hint on the equal and associating role of mirror and chang in Rumis language.

,Lexical cohesion, and ,semantic density, are genrally considered as assets of good poetry in various stages of Persian poetey.this  article addresses Zolf in Hafez`s lyric along with its different realizations. Furthermore, the wide range of images and collocational exprssions artistically utilized by the great poet in reference to that keyword and its counterparts are presented. The author argues that the poet`s skillful selection of collocations in this semantic field reveals his miraculous command of poetry as well as lexicology.

‘Ta‘vil, (Hermeneutics) has long been one of the widely-debated terminologies particularly in the field  of Quranic research. Drawing upon  the earliest lexicographical documents,  the author argues that the term was originally used to mean, changing from potentiality to practice. Sinc this sens of ‘ta‘vil, goes and collocates with ‘Beginning’ ‘End, "Ultimate goal",  and‘ inward nature, the term has gradually acguired these meanings as well. Then, attempts are made to show how the frequent applications of ta’vil, in the Holy Quran (17 times) go with the original sense of the key word. Towards the end of the paper, the hermeneutics of Quran is discussed vis ―a― vis its being sent down ; the latter has a descending dirction whereas the former has got an ascending movement. Hence, hermeneutics facilitates mans journey from the explicit structural meaning of the Quran to its inward and superior word. For economy reasons , the author has deliberately skipped the other scholars’ views on this issue.

This paper presents a detailed analysis of the development of mystic poetry through dividing its evolution into three eras. To this end, initially, the first era signifying the age of creation and growth of this trend is briefly examined . The paper, than, proceeds to discuss the second era with particular emphasis on the three prominent poets of that interval, Shah Nematollah Valli, Mohammad Shirin Maghrebi, and Shah Qasem Anvar. More specifically, the stimulus behind this section of the paper is to pursue why this trend in mystic poetry faded away, despite its heydays when those poets lived. Finally, to be more objective, a corpus including ten lyric verses from each of the abovementioned poets is analyzed at linguistic, rhythmic, and rhrtorical levels.

Sociological criticism is one of the modern and efficient methods of the study of literary texts, and today it has a wide application in the analysis of modern literary geners, especially the contemporary Persian novel.                                 This article aims at the analysis and appreciation of the contemporary Persian novel and explores the historical, political, and sociological structure of the Iranian society reflected in some of these novels. The findings of this research show that: 1.Novel is the most complete genre that might respond positively to   modern sociological studies 2.The Persian novel can explain the structures of the Iranian society very well. 3.The more distance we take from the simple structure of the Iranian society in the constitutional age (i.e. , early nineteenth century), the age of the emergence of the first Persian novels, and move towards the more complicated and intricate contemporary society ,the structure of the Persian  novel becomes more complicated and the social themes become more varied and more complex. 4.The themes and subjects treated by the writers of the Persian novels shift from broad generalizations to specific details. This point, on one hand, shows the individualization of the Iranian contemporary man, who has a proper in the modern novel ,and the change of the structures of the society from the ancient simple ,primitive and heroic state to complicated and modern structures  on the other.