LITERARY ARTS
Year:2017 | Volume:9 | Issue:3 (20)|Papers Count:10

Allusion is one of the most commonly used rhetorical techniques in Persian literature and especially Persian poetry. This research reviews the allusion figure of speech in Persian rhetorical sources comparatively. Research questions are: 1) What is allusion? 2) What is the position of allusion in Persian rhetorical resources? 3) Why and how has allusion been commingled with other figures of speech? 4) How does the role of allusion aesthetics in poetry become apparent? For answering these questions, relevant information to allusion from forty different Farsi and Arabic rhetorical references was collected based on inductive method. Obtained data was investigated based on descriptive-analytical approach. Results of the research indicate that Farsi rhetorical sources to comply with Arabic resources just rounded off with allusion definition and by categorizing it in a subset of plagiarism does not clarify its position as an independent rhetorical figure. Because of unlimited conceptual boundaries, allusion has comingled with other figures of speech and therefore analysis of its impact and aesthetic role in Persian poetry has been ignored…

In the Constitution Era, Ghazal, as other poetic forms, faced an expression of lyricism and was tinged with national and patriotic ideals. The poets of liberalism merged ghazals with labor mottos and social issues thus to make changes in the "thematic unity" of this poetic form. For instance, Farokhi Yazdi’s ghazals have therefore disparate structures. After Nima Youshij’s "The Myth", ghazal faced certain evolutions in form and structure in the streams of "Mid Ghazlas", "Model ghazals: Imagery ghazals", and "Post-modern ghazals". Changes in written form of ghazals conducted by Manochehr Neistani and Mohammad Ali Bahmni were considered as the primary efforts for changing the formal structure of ghazals, which faced a break in the 1990s and 2000’s and continued then after. In general, the contemporary ghazal in its "internal form" has experienced some changes, deconstruction, and the lack of thematic unity, and sometimes in its "external form" it has faced changes and innovations…

One of the important fields of research and study which recently has been absorbed a lot of attention is Persian literature review, based on new theories of linguistics and literature. The theory of "deviation of norm" is one of these theories which the first time was offered by "Leech". It is also one of the main causes of emerging literary style…

Repetition is a fundamental issue in aesthetics of art and plays a very important role in literature and, in particular, in poetry. Repetitions can also exert an influence on aesthetic aspects of a literary work in case of being appropriately applied. On the other hand, from a stylistic point of view, repetition can reflect the author’s individual style. In fact, full repetition and partial repetition are two ways to create elegance in speech and also to establish music of rhyme in poetry which are considered to be of fundamental elements in poetry. Therefore, all the verbal tricks and even meter and rhyme are created based on repetition. Repetition is pleasant since repeating something reminds us of that thing again and perceiving this unity pleases us. It is obvious that Fakhr od-Din As' ad recognizes the internal and external music of poetry correctly and applies it widely.

Jung believed that all of us have a very dark side in our identity which is called the collective unconscious. After analyzing the collective unconscious, Jung applied the concept of archetypes extensively in his works. The images and dispositions resulting from the recurrent experiences of our ancestors in our unconscious mind as well as the contents of the collective unconscious common among all human being are called archetypes. Archetypes including time, mother representation, anima, animus, shadow, self, re-birth and hero are among the most important contents of the collective unconscious. In Jung psychology, time has a very deep, broad and mysterious meaning…

Mohammad Shafie Ebn Mohammad Esmaeil Shirazi known as Mirza Kochek with pseudonym of Vesal born on 1197 AH and passed away on 1262 AH in Shiraz is among prominent poets and return movement musician who had a capable hand in composing ghzal and while imitating great Ghazal composers, he has maintained main traits of the best traditional poem specimens and his ghazals enjoy a tonic and appealing tune. The aim of this study is to examine internal music of the poet ghazals using analytical research method and to show that internal music how much influences the poem tone verse and that how Vesal has inducted the poems meaning to the reader using repetition which is the main pillar of internal music…

As the cognition of the Poem belonging to each period of Persian poetry, especially when it comes to the study of its metamorphosis, would not effect on understanding other periods promptly, the judgment of contemporary poetry would not be correct without getting familiar with traditional poetry, the coordinates of thought and linguistic and aesthetic features of it. Indian style, in the traditional Persian literature, with all of its uncommon beauties, was prosperous in catching the attention of its contemporary poets and adapt some of its linguistic and aesthetic features with imported linguistic and aesthetic coordinates which were up-to-date to show off in order to revive its lost credibility during the period of literary rebirth (=Maktab-e Woqu or the realist school)...

Folklore is considered as one of the indispensible features of Payandeh's stories. Folklore in his stories included the use of popular beliefs in social, religious, superstitious and medical fields. Local dialects and lexicon are used frequently, Current proverbs among communities is one of the symbols folkloric literature which abound in the works of Payandeh. Due to the fact that Payandeh deals with different classes of people in his prose works, his stories contain literary, media and local features and rarely do others works contain all these together. The characters in his stories from intellectuals to peasants, feature their own linguistic features. The fact juxtaposes dialectic and aesthetic features with each other. His prose style alternates as the speakers change. Therefore, we expose to a realistic linguistic atmosphere when common people speak. On the other hand, when the intellectual class speaks, the language becomes pompous, formal and pretentious…