LITERARY TEXT RESEARCH (PERSIAN LANGUAGE AND LITERATURE)
Year:2020 | Volume:24 | Issue:83|Papers Count:12

In this article, we speak about Nizami Ganjavi’ s adjuncts to the historical story of Bahram Goor. Haft Peykar is one of the most attractive verses in Persian poetry. The original plot of the story was narrated by Tabari in Tarikh Tabari and its Persian translation by Bal’ ami. Other history-writers like Dinvari, Nizamal Molkm, Yaghoobi, Maghdasi, Sa’ alibi and Ibn Asir wrote this story in different structures. But Nizami, as a storyteller, made some changes to the plot and added some parts to the historical plots. Nizami’ s additions are some parts like: Bahram’ s seeing the painting of seven princess in Khovarnagh Palace, fighting with dragon, going to the cave and has ascension to God. Nizami knew about alchemist, astronomy, medicine and mythology. He uses the symbolic meaning of number seven in Haft peykar in the best form.

A general overview of the fictional literature after the Islamic Revolution reflects the transformation and formation of a new discourse in the field of critique and creation of literary work. Given that this literature, as a result of the tension between the two political and intellectual discourses, it has its own discourse order. The subject of this paper is the analysis of the tension formed between the dominant political discourse and the intellectual discourse in the field of literary criticism for determining the components of the historical political literature in the period of the Islamic Revolution in the form of the story of the Islamic Revolution and the story of war / Holy Defense based on discourse analysis theory from the perspective of Laclau and Mouffe. Because the analysis of discursive antagonism can explain why and how the path of the fiction literature after the Islamic Revolution is interpreted to achieve the present form, readings of criticisms suggest that in general, the nodal point of war and the Islamic revolution in the intellectual discourse as form and literacy of literature, but in political discourse it is considered as the content and ideological burden of literature. The different articulation of the two discourses is based on the identity of the literature formed after the Islamic Revolution and the war, in the form of floating signifiers such as literary type, character, plot, idea, story time, place of occurrence, and eventually the work of the story can be checked. Also, in light of the acuteness and severity of literature related to intellectual discourse in determining the components of the fiction effect and their application to marginalization of the Holy Defense literature discourse, the literature related to political discourse also has turned to theorize the Holy Defense fiction basics and revise the existing criteria Literary criticism and the introduction of new criteria for the fiction effect.

"Dream of Tibet" like previous works of Fariba Wafi has been a successful story, but still has reiterated her earlier concerns. The success of this work at the same frequency lies on paying attention to plan, method and the new styles of author for effective writing of her contents and concerns. Due to achieving this, methods, plans and outline of the novel are to be considered due to analyzing relationships between themes and innovations of the novelist to advance the novel. Theme of the novel represents the importance of dialogue and love in life. The plot of the novel is based on dialogue. The author has studied the effects of lack of dialogue and the creation of an opportunity for dialogue, on the other hand to understand the causes of the crisis of a life without dialogue turned to dialogue, in which of this dialogue discovers the factors that make their life critical. The author also has used characterization and narrative modes of expression based on mystery to know the status of women and the factors affecting women's lives. First person point of view and female narrator coincided with tis layout and content are selected; the narrator is not involved in the main story, and she just narrates the story to uncover the secret of a woman's life crisis.

The subject of the present article is to study the images of the snake, dragon and their belongings in the Shams' Sonnets that Mowlavi introduces by these images and many complex concepts. For this purpose, first introductory material has been expressed with the titles of experience and image, the concepts and images of poetry and animal images. In the main part of the research, the relation of twenty four comparisons such as the beloved, lover, human, barrier, duality, world, sensuality, suffering and disaster, trapped, separation, language, wish, silver and gold, night, food, despair and God's attention are embodied with the limited component of the snake and dragon along with twenty five common similarities, such as destruction, fidget, sting, prevention, belongingness, duality, independency, humility and submission, life and death, strength, dignity, filth, excitement and pregnancy, movement and effort, and that it shows the maintaining deep mythological, religious and mystical patterns. Since the images of the dragon and the serpent in the Shams' sonnets, carries the dual meaning of positive and negative, rebellion and submission, grace and Fierce, hope and disappointment, suffering and happy, from the spirit and soulful experiences of excited and stressful of Mowlavi; This matter states the perfectionism, the breadth of thought, the exploitation of his contradictions and optimism. Unlike the banal experience, the reader based on Mowlana's positive view of the snake, understands the wise vision of this great poet, that all creatures are necessary in the best system of God.

One of the attributes of Sa’ di is his exact recognition of the Persian language and its efficiencies and the maximum use of the capacities of this language; but this exploitation is so artistic that the reader is enchanted fluidity and eloquence of speech and does not understand its artistic arrangement. One of these performances is the use of conflicting verbs in sonnets, a point that has not been thoroughly analyzed yet and enjoying the beauty of Sa'di's words doubles. This article examines the current contradiction in all Sa’ di’ s sonnets, and, in addition to identifying and categorizing its types and subcategories, Sa’ di's subtle delights in using this array, such as bringing the opposite of a verb from several verbs that are semantically related, are used to synonymize verb, and. . . along with the frequency of all the pseudo-couples that are used interchangeably in Sa'di's lyrics, along with their frequencies.

Satire, which is among the most important kinds of literature, has a long history in the world literature. The child and adolescent literature has always been a proper place to create satire because of the specific characteristics its target audience. A great number of critics and researchers have studied the satire and its different development methods. One of these theoirists was Ivan Fonagy. His views on satire, especially in child and adolescent stories, are not well-known in Iran, but they are among the best theories of satire. Based on Ivan Fonagy's theory and by focusing on one of the most important components of his satire, "guess destruction", the present paper investigated some Iranian child stories which were written by the most famous writers of the contemporary era including Farhad Hassanzadeh, Shahram Shafiei, Ahmad Arablou, Sousan Taghdis and Saeid Hashemi. Ivan Fonagy's theory provided a specific definition of "guess destruction" and analyzed some children stories on that ground.

The purpose of this research is to reach the dimensions of the meaning and theme of the first verse of Bustan, which, in understanding it, should receive the relation of the text to the social and cultural context in which it was produced. The method of this study is a critical analysis of discourse. In this approach, one of the points emphasized is that context is a social action reflecting the social inequalities in language. In this case, the legitimation or delegitimation methods are considered by Theo van Leeuwen, a discourse critical analysis theorist. In this pattern, critic tries to show how a context on study can represent a discourse legitimate or illegitimate by language satisfactory power. The main four methods of discourse legitimation are: 1-authorization; 2-moral evaluation, 3-rationalization, and 4-mythopoesis. Each method has various forms, and this research analyzes the first chapter of Bustan directly related to the governmental discourse in terms of legitimation methods. The final result of research is that, in the first chapter of Bustan, Sa’ di's method for legitimation or delegimation of an issue in governmental discourse is rationalization, as it is natural according to the context audience, mainly including courtiers. The example of phrases Sa’ di confirms the legitimation in governmental discourse in his lingual and literal processing is as follows: paying attention to the farmers, the passengers and businessmen for further development, confidentiality in governance affairs, accompaniment with scientists and clever, and such alike. But the world mortality and paying attention to the farmers are more frequent. Cruelty to the farmer has been more emphasized among the phrases delegitimated.

Present research is an attempt to take a semantic look at the concept “ love” in the writings of two great Persian poets; Sa’ di and Hafez within the framework of conceptual literary critics. Authors have been trying to find answers for these questions: What is/are difference(s) of Sa’ di and Hafez’ s look at the concept “ love” , and what is the justification for this(these) difference(s) in the framework of literary critics? To find answers for these questions, authors have examined conceptual metaphors and similes in the investigated lyrics of these two poets. Authors have also tried to find answers for these questions: which poet’ s lyrics contain more fancy? And what is/are the difference(s) of mappings which each poet has used in his lyrics due to diversity of conceptual metaphors and similes and their emotional meaning? To find answers for these questions, one percent of Sa’ di’ s and one percent of Hafez’ s lyrics have been gathered accidentally in order to investigate conceptual metaphors and similes used in them and in order for the authors to be able to investigate the lyrics from a structuralist point of view in the first step. Investigations have shown Sa’ di’ s lyrics contain more fancy and he has had a positive look at “ love” compared with Hafez who has had a negative look at this concept. These findings have been justified in the article.

Asrar-al-Tawhid book was composed on the basis of mystical behavior instruction and in the form of storytelling. Mohammad Monavvar made mystic instructions of Sheikh Abou Saeed attractive and digestible for his audience by expressing them in the form of effective and enjoyable tales. The morphology is defined as tale description based upon its components and interrelation of these particles between each other and the whole narrative work. The most important case study in morphology is to find fixed functions in fiction. Asrar-Al-Tawhid by Mohammad Monavvar is one of the fundamental Sufi biographic books which due to its numerous allegories can be studied in structural-morphological method. In this thesis, based on Propp’ s morphological pattern, we have proceeded a morphological explanation of allegories in this book; and we have attempted (with a structural point of view, and by means of morphology in Asrar-Al-Tawhid stories) to study the Mohammad Monavvar’ s technique in storytelling and measure his allegories’ success in having influence on readers. By analyzing its functions, we have reached a substantiated generalizations. The morphological analysis of Asrar-Al-Tawhid by highlighting the functions around Mohammad Monavvar’ s instructions, looks at didactic literature through a structural point of view. It shows that how the functions of denial, munificence, evolution and repentance actuate the narration to author’ s purposeThe denial of Abou Saeed’ s opponents brings complication into existence, Abou Saeed’ s generosity is the climax, and the dissenters’ evolution is its denouement. .

Stylistics of a work to recognize the individual and distinct style of a writer or poet is called personal/individual stylistics. This kind of stylistics is very important, but unfortunately, in Iran has been less scientifically addressed. One of the stylistic approaches stemming from structural linguistics is a layer stylistics which analyzes different layers such as phonetic, lexical, syntactic, rhetorical and ideological ones in an artwork. This type of stylistics can be considered the most complete and accurate method of this science. In this research, the poems of Kamal-al-Din Ismail and Athir Umani (6-7 Hijri century) have been surveyed in layer stylistics. Because of all layers of their poems do not fit in this article, only phonetic layer of poems has been analyzed and style of two poets in this layer has been compared. This study demonstrates that these two poets in this layer have a special style, and they have attended particularly to smooth weights, row processing, using a variety of verbal innovative and sometimes special rhyme array.

According to the theory of the Carol S. Pearson and Hugh K. Marr there are twelve archetypes as solution of awakening the hero within that including the innocent, orphans, protectors, warrior, explorer, devastating, lover, creator, ruling, sorcerer, wise, clown. In this study to analyze the representative of the characteristics of these archetypes that there are in the characters in the fiction of contemporary hero that in the path of achieving human identity. We conclude that Ravanypoor narrates and proceeds the novel in the postmodern style, the character of "Ayene" in this novel is the manifestation of the innocent and orphans archetype that with an aid of protectors, explorer, lover and creator passed the variant stages of his life and evolution. These archetypes manifest as the stage of the travel, and also the leader in the life and back her to the creator and painter wise with the independent identity to her family.

One of the ignored topics in Persian rhetoric is “ Eshfagh” which is accounted a part of “ Tarajji” . Eshfagh is a considerable topic in Arabic syntax and rhetoric with specific means and functions, and it deserves to find its position in Persian rhetoric that is based on Arabic rhetoric. This article wants to describe the topic of Eshfagh in Persian language and rhetoric, and define its position in Persian semantics using language of Hafez. Hence, after explanation of some generalities about Tarajji and Eshfagh in philology, syntax and Arabic rhetoric studies its position in Persian rhetoric and investigates the means and functions of Tarajji and Eshfagh in one sonnet of Hafez using the descriptive-analytic method. Additionally, offers noticeable issues in the realm of Persian semantics, introducing new remarks entitled “ The function of verb want in transforming information to composition” and “ The possibility of separation of Tamanni and Tarajji in Persian rhetoric” .