LITERARY ARTS
Year:2014 | Volume:6 | Issue:1 (10)|Papers Count:13

Phenomenology movement, which is a methodological idealism is in quest of exploring an abstract category called transcendental consciousness. This movement has not taken any position as regards the wise from the beginning and goes beyond the level of the sensory experience. In phenomenological critique which has a considerable potential for contemplating the literary works, the context is reduced to an embodiment of pure consciousness of the reader and with its all stylistic and semantic aspects becomes a unit organism in which the mind of the writer functions as its unifying essence.

Stylistics is a knowledge that has been particularly considered by writers and speakers. Literary style of every writer shows the way of indicating speaker’s thought and it is his opening key of speech’s style in conveying meaning to the addressee’ s mind. Type of words, structures, sentences, and the way of interpreting meaning are factors in literary style elements. The effect of Khaje Abd ol-Lah Ansari’s word on Sufi didactic literature is known among literary scholars. Deeply mystical concepts’ integration with eloquent style in song has made the works of Khaje eternal; so stylistic research about his works can show good points in literary aesthetics of his works. So besides Al-Sufi categories, his five epistles are the most preferred among his works that are described in this study.

Mathnavi (Couplet) has been used constantly by poets to express detailed subjects including narratives and stories whereas Ghazal (Ode) has been used to express general and internal emotions briefly. But many poets has used Ghazal (Ode) and qasideh for telling tales and narratives at the beginning of Persian literature formation. Attar Neishaboori is the first poet that has used Ghazal (Ode) for telling tales effectively. These tales are actually the reflection of his mental states and his spiritual observations. Attar is Roomi’s predecessor in storytelling.

The literary legacy for a nation provides guarantee for its identity and personality; literary tradition appears the basis of modernity in any realm especially literary modernity, for if otherwise, the literary modernity would be transitory and unsustainable. Modernity proves the presence of tradition in our contemporaneity. Though literary tradition looks forlorn in history during the deep and penetrating developments in the society, it, indeed, keeps on its presence in the contemporaneity whether directly or indirectly however it seems occasionally absent. Tradition, as an absent existence however omnipresent is what we require firmly although some may neglect it.

One of the admirable methods to compose stories in Persian verse and prose, is the present Tense verbs in the meaning of past tense. This grammatical point has been hidden in the grammarian and stylist’s point of view although it has been repeatedly mentioned in the texts and this point has been not mentioned in the grammatical books but some of the investigators and literati have pointed out it in their correction works. We mention their sayings: firstly, Allame Qazvini, doubtfully, mentions the interferential times of the verbs and inconsistencies of the Tenses in the correction of texts of Jahangoshaye – Joveini Book. He writes in the second footnote 2-3, that the verb Mikonam (I do) is in the form of present Tense but its meaning is in the simple past Tense.

Ayyar that named with some other titles like Feta, Javanmard and Akhi is one of the most important and impressive motives of Iran’s history. Maybe the forming time of Ayyar goes back to Sassanid age or before this era. The word of Ayyar likes the other resembling its samples has two different meanings (good and bad). In awful, means thief, pitiless and…, in good meaning is a generous, kind and brave person who helps people in problems.

“Plagiarism” has been one of the important subjects in the field of literary criticism and argued in the press and meetings from past till now. Today, there isn’ t any day and month that will go by without seeing a case in this field being presented or claimed in books, journals or newspapers. However, thanks to the expanse of operation and wide scope of the Judiciary, mentioned claims are studied in Judicial courts as well (you can just search “Plagiarism” in Google search engine, and then you will encounter with hundred different pages on this subject). In countries that they have copyright rule, this subject is taken into account seriously and if someone adapts a subject or extracts some text from another one’ s, without mentioning its reference, he will be punished firmly in accordance with rules and regulations.

Mir Mohammad Mom’en with Arshi pseudonym and name of Nader ol-Asr was mystic and calligrapher of 16th century AD in India SubContinent. His father Mir Abd ol-Lah Meshkin Ghalam with Vasfi Pseudonym was poet and Calligrapher of Kerman who was son of Shah Ne’ mat ol-Lah. Shah Ne’mat ol-Lah immigrated to India during Jalal ed-Din Akbar Gurkani. Jalal ed-Din named Shah Ne’mat ol-Lah as Meshkin Ghalam. In addition to Complete Poetical Works consisting of ghazals, refrains, stanzas, quatrains and singles, there are many works of Arshi in verse and prose. He is versifier of a Mathnavi in imitation of Mathnavi Ma’navi in 3000 stichos which is composed in 1069 AH and remained unknown up to now.

With Highlighted presence of video media in society, its impact on other branches of art and poetry is seen more than before. At the beginning of being familiar with movie in Iran’s traditional society, the subject was somehow a taboo and there was no trace of its influence on literature. Due to their poets’ worldview, Nimaian poetry and subsequently blank verse reconciled with cinema earlier than classical poetry, but after Iran revolution and deep transformations resulting from war, Ghazal considered cinema and methods of narrative in cinema with a new look. This process is clearly evident in the lyric poets of the post- revolution.

In following article, surveys and researches about Persian style were categorized in two branches of historical and formalistic styles; Mohammad Taghi Bahar founded stylistics as an autonomous knowledge by publishing his book, History of the evolution of Persian prose (1331), for teaching in University of Tehran. This book which has been influenced by verbal instructions of qajar dynasty’s scholars made the way generally has been followed by researchers in Persian stylistics up to now.However, researchers and critics have introduced various theories and approaches during last four decades.