JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2021 | Volume:14 | Issue:4 (62)|Papers Count:13

BACKGROUND AND OBJECTIVES: Every revolution and social change affects all relations of human life. Major events such as revolution and war not only change the political and social dimensions, but also change the realm of art, and literature as one of the sub-branches of art undergoes a transformation and a new concept called sustainability literature is formed. This literature is divided into different branches, one of which is captive literature. Prisoner literature is the result of the living experience of prisoners of war in the camps, which is expressed in the form of letters or memoirs. It is necessary to address this literature in the sense that it has not yet been adequately analyzed and explained, and that the experience of prisoners of war in Iraqi camps has not been adequately reflected. Of the approximately 40, 000 Iranian prisoners in Iraqi camps, about 10 million letters have been sent to their families that need to be analyzed to examine the dimensions of the prison literature. This study seeks to answer the question: What did the prisoners think and what thoughts did they have in the difficult conditions of war? In this article, an attempt has been made to analyze and explain five hundred letters from the letters of captivity. These letters have already been selected by the Iranian Red Crescent Society and published in two volumes. METHODOLOGY: The research method is a combination of quantitative and qualitative and content analysis using works created in the field of prison literature. FINDINGS: Prisoners of war in special circumstances of their lives thought of concepts such as God, guardianship, patience and appealing to the Imams, resistance, patience and the call to patience and endurance. CONCLUSION: The letters of captivity established the culture of endurance and stability on the land of Iran and in the hearts of Iranians. In the most difficult of circumstances, they instructed families on religious and divine teachings, and they themselves learned theoretical and practical mysticism, and thus the literature governing the programs created a new kind of captive culture and literature that is unique in its kind.

BACKGROUND AND OBJECTIVES: The purpose of this article and its main question is to study the stylistic features of the poem "Merat Al-Mahboob" or Yousef and Zulaikha Fakheri Fasaei. Considering the poet's influence on theological teachings and the use of interpretations and religious aspects of the work, this work can be considered first influenced by the Qur'an and then the narrations, Torah and followers of the previous poems of Yusuf and Zulaikha such as Ferdowsi, Jami, Khavari Shirazi, and Azar Bigdeli. In this article, the stylistic features of the work in linguistic aspects, including the three levels of "lexical, phonetic and syntactic" as well as the literary and intellectual level are examined and its proximity to the style of the return period and the intermediate period (constitutionalism) is examined. . Also, the stylistic features of the poet, which are specific to him, are considered and the local language of the poet is also mentioned. METHODOLOGY: This research has been done with library studies, filing and using analytical-descriptive method. FINDINGS: Fakheri's style of expression in his poems is influenced by the period of return and his language has an acceptable stability. His order is not devoid of the simplicity of the language of the constitutional period (intermediate), and colloquial words are also seen in it. CONCLUSION: Fakheri has a personal style, the poet is very interested in some words and repeats them regularly. Has created him among these poets. In general, Fakheri style is a combination of the style of the period of literary return and the period of constitutionalism (intermediate) and his language has the antiquity of Khorasani style and at the same time simplicity and mentality and slang words.

BACKGROUND AND OBJECTIVES: Tabat al-Qulub is the work of Sheikh Aladdin Naqshbandi, the last old Naqshbandi of Kurdistan and one of the most famous contemporary writers in the fourteenth century AH. It is a treatise written in 1341 AH. It is written in Arabic and shortly after writing, it was translated and explained in Persian by Sheikh Fakhreddin Mazhar, nicknamed Mazhar al-Islam, which is the basis for studying this study. So far, a manuscript of this book has been introduced. In this article, an attempt has been made to study the stylistic features of Mazhar al-Islam in the translation and description of Tabat al-Qulub in terms of language (morphology and syntax), literature, thought and content. METHODOLOGY: This research has been done by descriptive-analytical method with the help of library resources. FINDINGS: The prose of the book, except in the introduction, which is mixed with literary arrays and is accompanied by Arabic phrases-is a relatively simple prose in which the author does not intend to be artistic; But throughout the book, both in the introduction and in the text, the use of Beaufort Arabic words, phrases and combinations is seen. CONCLUSION: The prose of the book is mature and solid and far from difficult and complex, for this reason and due to the proximity of this work to our time, it does not have special and distinguished stylistic features and since this prose work is accompanied by verses from other poets, It has some features of style. The Arabic compositions and expressions in the book are such that the author's Arabic's blue is evident in the first pages of the book. Testimony to verses and hadiths, numerous poetic and prose evidences, is abundant in it. I see novel industries such as puns, obedience, and derivation in Beaufort's book. So with a comprehensive look, we can look at this manuscript from a linguistic and structural point of view. With the studies done in phonetic, lexical, syntactic and rhetorical systems, we come to the conclusion that Mazhar-ul-Islam has been more interested in expressing the theme than engaging in the art of writing.

BACKGROUND AND OBJECTIVES: To achieve the intellectual level of authors, studying their works helps a lot. Immigrant writers reflect part of their perspective to the reader by reflecting the dimensions of migration in the novel. Mahmoud Golabderehi, Firoozeh Jazayeri Duma, and Goli Targhi are among the writers who have reflected their biological experience in their works. In this research, the views of Abdolali Lahsaeizadeh (Migration Theories, 1989) have been used, which has examined migration from three dimensions: socio-cultural, psychological and economic. The following research is conducted to answer the question of how the worldview and thinking of immigrant novelists are reflected in the story. The purpose of this article is to study and compare the intellectual level of immigrant writers in order to clarify the role of immigration in creating their works. METHODOLOGY: This research is a descriptive-analytical method. The data collection tool is documentary and library and the research is organized by qualitative content analysis. What can help prove the hypothesis of the present study is the evidence found in the works of three immigrant authors. Therefore, the statistical population and the sample size of the forthcoming research are: the novels "Dal" (358 pages) by Mahmoud Golabderehi, "The scent of lavender, the scent of pine" (192 pages) by Firoozeh Jazayeri Duma and "Etefaq" (302 pages) by Goli Progress. FINDINGS: In this study, the views of several theorists about migration were read and it was found that this phenomenon affects the life of immigrants from three dimensions of socio-cultural, psychological and economic. CONCLUSION: Golabdareh expresses dissatisfaction with migration in different ways in the novel "Dal", Jazayeri Duma in the novel "Lavender Fragrance, Pine Fragrance" has reached a high degree of satisfaction with migration and in the novel "Incident" lack of coordination with the destination, sadness Nostalgia and nostalgia have been the greatest intellectual concerns of progress.

BACKGROUND AND OBJECTIVES: The four elements have always played a significant role among the sciences, beliefs and myths of various nations and cultures and have been the source of the emergence of certain ideas, thoughts and works. These elements have not been neglected in the field of literature and have been widely and artistically expressed. One of the works in which the four elements are remarkable in terms of frequency, artistic effects and poetic illustration is Ferdowsi's Shahnameh. Ferdowsi had a special tendency to use the four elements to highlight his speech and artistic expression. In this paper, the frequency and how to use four elements in the illustrations of this work has been studied. The main question of the research is that in what way and how did Ferdowsi use the four elements in creating imaginary images? METHODOLOGY: The research method in this article is descriptive-analytical and the data collection method is documentary (library) FINDINGS: Ferdowsi has repeated the four elements in Shahnameh about 2688 times. Of these, 939 words are related to water (35%), 722 words are related to soil (27%), 598 words are related to wind (22%) and 429 words (16%) are related to fire. There are 12 verses in Shahnameh in which All four elements come together. Also, in 10 bits, three elements and in 51 bits, two elements are accompanied. CONCLUSION: The most frequent elements in Shahnameh are water, soil, wind and fire, respectively. Also, most of the poetic images in this field are created in metaphorical structure and the share of expression techniques is much more than novel techniques.

BACKGROUND AND OBJECTIVES: Love is an example of a common border in human nature, and writers have made a great contribution to the development of this issue and the development of this human field in the creation of literary works around the world of literature. Love stories are one of the literary genres that have attracted the attention of a large audience in Persian and world literature. Love in the world of psychology also has various schools and theories. This article explains one of these theories, proposed by Robert Steinberg, a famous American psychologist in 1987, and tries to adapt it to the love poems "Khosrow and Shirin" by Nezami and "Weiss and Ramin" by Asad Gorgani about romantic relationships. . METHODOLOGY: This research has been done by descriptive-analytical method. FINDINGS: This study shows that Nezami in "Khosrow and Shirin" and Asad Gorgani in "Weiss and Ramin" in the field of psychology of romantic relationships, have consciously written their poems. CONCLUSION: Conclusion: Of the seven possible states in romantic relationships from Steinberg's point of view, four states were in complete agreement with Weiss and Ramin Asad Gorgani and there were differences in three cases, namely in friendly love (intimacy only), hollow love (commitment only), and Compassionate love (commitment + intimacy) There was no adaptation that Asad Gorgani believes in his poem that a romantic relationship without lust or just commitment or only intimacy does not last. In Khosrow and Shirin Nezami, out of seven possible states in romantic relationships, from Ashtenberg's point of view, five states were in complete agreement with the theory, and there were differences in two cases; That is, in friendly love (intimacy only) and compassionate love (commitment + intimacy), there was no adaptation that shows that Nezami in Khosrow and Shirin does not accept romantic relationships in which only intimacy or commitment is accompanied by intimacy.

BACKGROUND AND OBJECTIVES: One of the most important approaches of Bakhtin is carnival humor. The carnival shows all the components of folk culture and is the most complete form of popular culture. Literary works are influenced by the realities of life and interact linguistically with their surroundings. The novel is the most prominent type of literature that most closely resembles real life. Carnival humor is an approach that can generate important and new research areas for re-evaluating the novel. The presence of linguistic and literary elements of carnival humor in selected novels of the 1940s and 1950s is not the same; But what matters is the carnival spirit of the carnival, which also influences other elements of the novel. In this regard, the analysis of the linguistic and literary aspects of carnival humor with selected novels is the aim of this article. The present study seeks to answer the question: what are the most important linguistic and literary components of carnival humor in selected novels of the forties and fifties? METHODOLOGY: This research has been done by descriptive-analytical method. FINDINGS: Socio-political satire in selected novels of the forties and fifties with many linguistic and literary components of carnival satire such as slang, irony and slang proverbs, simile satire, expansive satire, grotesque and all kinds of verbal, rhetorical ironies. Socrates is aligned. CONCLUSION: One of the important features of the socio-political novels of the forties and fifties is the carnival satire in which critical writers criticize and expose the unfavorable political and social events of the society in their works with the language of critical satire mixed with jokes and ridicule. Public opinion. Descriptive humor along with verbal humor that sometimes appears as mockery, ridicule and ridicule. In the works that are in line with the humor of Bakhtin Carnival, one can see the traces of Carnival politics and protest in such works. In the text of the carnival, Everything that is common in formal culture, is found.

BACKGROUND AND OBJECTIVES: With the introduction of modernist approaches to contemporary fiction, the use of narrative techniques in storytelling has become a prominent and noteworthy element and modern writers in accordance with their new ontology, have resorted to sophisticated narrative techniques and gradually from classical narrative. And the lines of the past decades have moved away. Houshang Golshiri is one of the contemporary novelists who has adopted a creative and professional attitude in most of his short and long works about the narrative industry. Based on the rhizomatic approach of the French philosopher Gilles Deleuze and its components such as de-authorization of the subject, becoming and becoming, de-territorialization and territorialization, this study examines the content and technique of the novel "Prince of Ehtejab". METHODOLOGY: This research was conducted in a descriptive-analytical manner. FINDINGS: The novel Prince of Ehtejab has the capability and capacity of rhizomatic rhyming reading due to its industrial and implicit structure. CONCLUSION: Golshiri uses innovative and combined methods of fluid flow of mind, indirect indirect speech style and internal monologue, execution of nonlinear and circular plot, collage (molecular) payment of characters, non-topological plot location and story time in non-calendar board and finally creation The fluid form and structure of the narrative has made it possible to read the rhizomatically of the novel.

BACKGROUND AND OBJECTIVES: Part of our country's sustainability literature is introductory poems describing and mentioning the personalities of the revolution and holy defense (leaders, theorists, fighters, martyrs, missing persons, freedmen, veterans and families of martyrs). In this article, the poems of 15 poets of stability have been studied from the point of view of stylistics at the linguistic, literary and intellectual level. A total of 145 poems were collected from the poets under study, who dedicated them directly to a person or persons. He is a prominent figure in the poems dedicated to Imam Khomeini. The popular martyrs of the revolution. Among the holy defense personalities are warriors, Basijis, martyrs, veterans, missing persons, and freedmen. Most of the introductory poems are in Hamid Sabzevari's poetry. METHODOLOGY: The research was conducted in a descriptive-analytical manner and in all the works of the relevant poets, the poems that were written by a person or persons related to the Islamic Revolution and the Holy Defense were selected as a statistical population. FINDINGS: The format of the sonnet is superior in describing the characters. At the linguistic level, linguistic reflections can be seen in the poetry of Moallem, Sabzevari, Mirshkak and Avesta, the most prominent of which is Ali Moallem, who has used ancient words and syntactic structure. Other poets have used simple and smooth language, gentle weights, rhymes and short lines. CONCLUSION: In inner music, attention is paid to full puns and types of repetitions, and in the use of the word, the words archaism, Arabic, lyrical and mystical are prominent. At the literary level, in the expressive industry, simile and in the rhetorical industry, allusion is the first array, as well as the arrays of symbolism, recognition, ambiguity, and context. At the intellectual level, mourning for the characters is the most numerous, followed by praise of the characters, a description of the stability and courage of the characters, and part of the poems describe the popular uprising and the victory of the Islamic Revolution.

BACKGROUND AND OBJECTIVES: Cultural and social criticism is one of the important topics in the constitutional period and the first Pahlavi that is reflected in the poetry of some poets of this period. This critical approach is the result of the content view of a group of constitutionalists and, in a way, the result of the challenge between tradition and modernity. In their poems, these poets criticized individuals, groups, classes, issues and themes that, under the influence of tradition, had taken a steady and unchangeable form and were considered as obstacles to the progress and renewal of society. In this article, in the form of diagrams, the frequency of application of social and cultural issues in the poetry of the poets in question is shown and analyzed. METHODOLOGY: The method of data collection in this study is a library and documents that have been analyzed and processed in the form of data graphs. FINDINGS: Although the dominant discourse on the eve of the Constitutional Revolution was political, the discourse of cultural and social criticism gradually found a suitable place in the context of the developments of Iranian society and the role of literature and especially poetry in the creation and spread of this discourse has been very significant. The first constitutional and Pahlavi period in terms of critical social and cultural approaches is more than other critical periods of Persian poetry, and the poet's poetry changes from his "I" to "us". CONCLUSION: Conclusion: The overall result of the research is based on the fact that the poets of this important historical and cultural period addressed the cultural and social pathology of Iranian society and criticized the wrong behavior, actions and ideas that have been deposited in the minds of Iranians over time. They were trying to improve their lives and human relations.

BACKGROUND AND OBJECTIVES: Many studies have been done on the socio-political components of contemporary poetry in numerous books and researches, but the evolution of key components in the three periods of the Constitution, Pahlavi and the Islamic Revolution has not been considered in research. In this article, with the aim of recognizing the important components and indicators of these periods and examining its evolution, the poems of six prominent poets have been studied. METHODOLOGY: The article was written descriptively-analytically by library method and was one of the prominent poets of three periods: Mirzadeh Eshghi, Queen of Spring Poets, Nimayoshij, Ahmad Shamloo, Houshang Ebtehaj and Qaisar Aminpour They are selected. FINDINGS: Components of constitutionalism, republic, tyranny, colonialism and related topics, freedom, homeland, woman, poverty of the lower class and oppression of the upper class, ignorance of the people in the constitutional period; The components of tyranny, colonialism, freedom, poverty in the Pahlavi period and the components of homeland, Islamic Revolution, freedom, stability and holy defense in the period of the Islamic Revolution are the main components of socio-political literature. CONCLUSION: Socio-political literature is a distinct and prominent type of literature in contemporary literature that began with the socio-political developments of society, from the constitutional period; In the Pahlavi period, it was established and in the period of the Islamic Revolution, it was connected to the literature of the Islamic Revolution and stability. The components of constitutionalism, the republic and women, are among the main components in the constitutional period and have no stylistic characteristics in the Pahlavi period and the Islamic Revolution. In the Pahlavi period, tyranny and colonialism and related topics are the main components that are associated with the spirit of resistance before the coup, but after the coup, there is despair and despair. In the 1940s, with the formation of the resistance movement, the components of stability, tyranny and anti-colonialism reached the forefront again. With the victory of the Islamic Revolution, the component of tyranny and colonialism was removed and hope and freedom were praised, but with the beginning of the imposed war, the component Patriotism, stability and sacred defense become a hallmark of style.

BACKGROUND AND OBJECTIVES: Ghazal is one of the most widely read types of Persian poetry that expresses the experiences and mood of its narrator. Approaching the poet's feelings through this statement is one of the purposes of reading such a poem. How to get acquainted with the poet's emotional world through his sonnet is the subject of this research. METHODOLOGY: The present study is a theoretical study and information collection is a library. Introducing Roman Ingarden's aesthetic method, the author examines the sonnets of Maulana Jalaluddin's Shams Divan and examines three sonnets for example. FINDINGS: Although the poet of Shams lyric poems is the same as the poet of Masnavi in the real world, his feelings, worldview and speech in these two works are completely different from the two types. In Masnavi, Rumi is a patient teacher who expresses his teachings in the most explicit language; But in the lyric poems, his speech is of a different kind. CONCLUSION: The aesthetic study of Shams's sonnets shows the harmony between the poem and the poet's feelings. Rumi is no longer a preacher in the sonnets of the sun who strives hard to guide others to make his words attractive and comprehensible to whatever art he knows. In fact, Rumi speaks only to express his worldview and description of his strange and different feelings and experiences, and he is not at all bound by the fact that his poetry is approved or even understood by others. The poet has achieved these lyric poems in such a way that he has no choice but to say them. Rumi has realized a world which, although it cannot be explained with words, has no means to express it except these words; After the word, a window is opened to his world, so that another can, even if it is a blink of an eye, look at his world.