LITERARY TEXT RESEARCH (PERSIAN LANGUAGE AND LITERATURE)
Year:2021 | Volume:24 | Issue:86|Papers Count:12

The effects of the western literature on the Contemporary fictionists of Iran are undeniable. The Theater of the Absurd is one of the pioneered and recognized literary traditions in theater that was initiated in the 1950s with its widespread effects on English as well as other countries’ fictions. Bahram Sadeghi is among the Iranian writers influenced by that. The present article tries to answer the question that: “ Do elements of absurdity exist in Malakut” ? and based on that, “ Could it be considered as an absurd story? ” First, the social, political, and literary contexts of the Theater of the Absurd in Europe and then its historical accounts and the early practitioners are introduced in the present article. Second, based on the earlier credible studies of the Theater of the Absurd, is the appreciation and implication of absurdity in literature. And third, different examples of the selected elements are chosen from the text of the story, each of which followed by an explanation. The writer has used most of the important elements of absurdity in his work, and has been successful in creating an absurd world and situations that are intricately interwoven with the innermost temperaments and predisposition of the characters. Therefore, Malakut can be considered a prominent example of the Persian Absurd fiction.

Among the Persian literary texts, there are seven prose romances that relate to different historical periods. The time difference in the narrative of each romance, the large volume and the geographic extent of these texts, has diversified their structure; this diversity and difference in the way the narratives of the romance have been closely related to the intellectual and cultural developments in the Iranian society; Nevertheless, a fixed pattern is preserved in the mythical structure of the romance. In this article, based on the model of Levi Strauss structuralism, we extracted the minima of the narrative of Persian prose romances and studied their structure. The findings of the research show that the main structure of these texts is based on the initiation ceremony or recognition of the heroism. The hero with a motive, which is generally sought after by a beloved, goes away from home and runs a long journey with enduring hardship; difficult tests and ultimately return home with victory over enemies and obtaining desires. By comparative study of stories, it is possible to rebuild their deep structure, a desire for immortality and perfection.

This paper has probed the novel “ I Will Turn off the Lights” from critical stylistics point of view. The hidden ideology of this story in addition to the tools which assist to discover them has been sought by the researcher. Regarding the above-mentioned points, the researcher is trying to reveal the patriarchal atmosphere of the story and the fact that the discourse of power belongs to the male. Women’ s enlightenment and improvement of their social condition is the aim of this paper and the purpose of this study is applying critical stylistics as a new method in stylistic studies in Persian-language literature. A close reading and literary analysis will be specific methods of data analysis in this article. This study has been done based on layer method which firstly probed external textual layers then analyzed internal ones included micro layers like focalizer, focalized character, focalization continuity, frequency, duration, space, order, contrast, polarity, modality, physical codes and symbols, Figures of speech and Labeled words. The analysis of micro layers discovers the hidden ideology of this novel. Applying various contextual layers helped the researcher to determine the dominant ideology of this work. The extracted result from the analysis of the text confirms the researcher`s assumption that, there is a patriarchal atmosphere and violence against women that lead them to passivity and silence and emphasises finding a job and cooperation in social activities for women as the first step to confront this patriarchy.

One of the fundamental characteristics of narrative is time which proceeds in a narrative line. Genette, is one of the theorists who studies narrative in terms of time elements emphasizing on the importance of time. Since based on time visualization in narrative we can find out the quality of time structure and its importance in fictional narratives (according to the concepts of order, duration and frequency) we decided to study the novel "The Zero Degree Orbit" by Ahmad-Mahmoud to achieve the purpose. The method of this research is analytical-inferential and based on according of the components of the Genette narrative model. This paper, besides descriptive analysis of the time in "The Zero Degree Orbit", which has been narrated limitedly from the omniscient point of view, comes to the conclusion that in first four chapters of the novel, instances of anachronism, of kind analepsis and prolepsis can be seen that each has its own functions. The duration in the story last approximately seven years and with regards to acceleration criteria, the story in some cases shows fast rhythm and sometimes slow. Dialogues have dedicated a large amount of the text and the author has drawn important events by eliminating a lot of calendar times and events with dramatic scenes. there is also the function of various frequencies in this novel.

when we speak about protest, Immediately the mind becomes attention of the poets such as Akhavan-Sales, Shamlou, Kasrai, Mosadegh, Shafiei Kadkani, and poets like them. perhaps the idea of protest by Sohrab Sepehri (1928-1980 AD) to the sociopolitical system of the community of his own age, for many It is difficult to accept, because he has chosen a different way from others in this context called deviation. Because of a different approach he had to this category, he has faced difficulty getting many of his objections. The present study seeks out two of his poems, "Ab" and "Poshte daryaha", and he tried recognizing his personality and globalization by presenting Sohrab Sepehri's protesting methods, which has been neglected so far. The research method is descriptive-analytic and the results are analyzed using a content analysis method. The results show that Sepehri tries to show his protest against the status quo by drawing his utopia and by opposing the status quo to the ideal one (utopia).

This article examines the structure of popular and innovative meters in classical and contemporary Persian poetry, and a new category of all types of meters. Furthermore, formulating subcategories and the varieties of meters have been studied. Previously, meters were divided into two or three types, and in the most recent division divided into five types “ Muttahid-al-arkan” (Unified foots), “ Muttafuq-al-arkan” (Allied foots), “ Mutanaveb-al-arkan” (Alternating foots), “ Mutashabih-al-arkan” (Similar foots), “ Mukhtalif-al-arkan” (Different foots), nevertheless there are new meters that are not included into any of these categories, for instance, the meter "‒ / U ‒ ‒ ‖ ‒ / ‒ U ‒ / U ‒ ‒ / U ‒ ‒ " in Simin Behbahani's poem. The author has called these meters as the sixth categories of Persian poetry, the "Mustazad-al-arkan". The first part of the current article answers the question that what techniques have been used by creative poets from the past to the present. This study demonstrates that new meters of each era of Persian poetry history is based on the same well-known meters and has been formed into eight methods: 1. Reduction 2. Increase 3. Repetition 4. Transition 5. Change 6. Integration 7. Innovation 8. Combination. In the second phase of this study, according to the results of the first part and accuracy in the structure of common and innovative meters the six types of Persian poetry meters with the letters X, x, Y, y, Ẍ , Ȳ , Z, z, M are formulated.

There is an underlying connection between classical Persian poetry and religion. Although religion can be considered as one of the main origins of the poetry, it seems that in the contemporary poetry this connection has become partly weak. Here, we aim to study the religious signs of Forough Farrokhzad’ s poetry, one of the Iranian modern poets. To do so, we initially introduce and discuss Peirce's Theory of Signs. Then, according to this theory, we start to analyze her poems. This aspect of her poetry has not been discussed that much until now. There are plenty of religious signs in Forough Farrokhzad’ s poetry. She uses both Islamic and Christian elements, but the way she chooses the signs and the way she uses them, both are completely different in line with each religion. At the beginning phases of her poetry, the religious signs, which are mainly Islamic, enter into her poems through the classical literary works and therefore they are mostly abstract. But as her poetry grows more mature, she changes the way she applies them. In this phase, the frequency of Christian signs, picked up from Gospel, increases in her poetry. On the other hand, at the same time, the Islamic signs of Forough’ s poetry are picked up from the environment in which she lives, instead of the foresaid classic works. So, as a result, these signs are objective, tangible and related to the folk religion.

Intertextuality means that every text was affected in a period of time by previous works, and has given itself a textual identity via changes and evolutions of previous works. As the result of this ideology, every text is a result of thoughts belong to the texts before it. One of the different kinds of intertextuality is called intrinsic intertextuality. Intrinsic intertextuality is the textual relations between a work and other works of the same author or poet that has emerged in another text, but not as a repetition. Sa'adi, lord of lecturers and bilingual poet, who has used some contents and concepts in his Arabic poems and these contents have been used in his Persian poems, too. This survey has searched about Sa'adi's Arabic and Persian poems in an intrinsic intertextuality view and via content analysis and also in an aesthetic approach. Also it has shown content similarities and also lexical and conceptual delicacy of Sa'adi's words more than before. The results of the survey show that the lord of the time avoids repetition in repetitive contents artistically and via using his talent and techniques and literary devices has used a new concept which has attracted the audience by his art. The important point is that Sa'adi's speech in intrinsic intertextuality of his words, not only is far from repetition, but also led to the creation of new and supreme images, and this is the characteristic which distinguishes Sa'adi from others.

This paper tries to analyze the important term "Attraction" in the mystical and literal texts based on the theory of definition in logic and philosophy to achieve quiddity features of the attraction that old texts overlooked to define. The present paper tries to analyze the definitions and words of mystics about the mystical term "Attraction" in the main Persian and Arabic mystical texts up to the end of 8th century by using analytical descriptive approach. None of the texts has defined Attraction features comprehensively. This study is done based on the original texts and the information attributed to Attraction and related expressions are gathered and could achieve quiddity features of attraction from these texts and gave a more complete definition. This principle can be applied in the other fields of mystical expressions.

This article studies the novel "Winter 62" by Isma'il Fasih, using the genetic structuralism approach by Lucien Goldmann. According to the fundamental hypothesis " genetic structuralism", the collective nature of literary works results from the fact that the structures of these works are consistent with the mental structures of some social groups; Accordingly, this study answers the main question: What effects did the political, social and cultural structures of Iranian society in the 1980s have on the formation of the author's mental structures and the emergence of this novel, and what is the relationship between the society's structures and the novel's structure? The findings show that this novel is a purely social work and the product of the mentality and ideological thinking of an American educated and urban middle-class author who emphasizes the negative effects of war, due to his worldview and social origin. He has reflected the middle-class views on the social and political issues of that period of Iranian history, by placing the narrator on the battlefield. Winter 62 has been formed on the basis of the conflicts. Fasih has shown the structuration ruling the society of a period in Iran, by considering one of the most important social themes; namely, the war.

In this paper the conceptual metaphors with the core of Heart in Mersad-ol-Ebad are explored, in order to clarify the way Najm al-Din Razi as the author of one of the Persian proses work in the history of mystical prose in terms of the key concept. For this purpose, after the extraction of linguistic metaphors, a report is presented about the metaphors of the heart, then the discovery of conceptual metaphors is carried out, and after processing and analyzing them, it is finally concluded that the mysterious metaphors come from three main metaphors: "heart as substance", "heart as place" and "heart as human". Cognition levels and understanding of Sheikh's thought is based on conceptualizing "heart as place". The abundance of the territory of the origin of the place is due to the fact that all the people enter the heart of the seeker. The greater choice of territories that somehow interact with the court and the king expresses the court's perspective and his dependence on the courts. Also, selecting of more metaphors for visualizing of "heart" is based on his Quranic and religious insight. His intuitive Mysticism and special Sufism, meaning the combination of love and worship, has been influential in his metaphors.

all the artistic and literary creations of human are related to each other in every period. In a comparative analysis between the artistic and literary creation of man in a period, the same stylistic features can be achieved. The extraction of common stylistic features Between different types of arts needs tools that examine all kinds of artistic and literary creations. The study of the performance of the two processes of selection and composition on the syntagmatic axis and paradigmatic axis is a tool that provides a comparative study of the style of all literary and artistic texts for the Researcher. In this paper, the way of the selection and combination of the signs on the syntagmatic axis and paradigmatic axis in the poetry of "Saeb Tabrizi" along with the miniaturists of the artist Kamal al-Din Behzad, is examined to extract their common stylistic features from the perspective of Linguistics. The results of this study indicate the parallel function of two selection and composition processes in frequency close to each other that the application of these two processes together lead to complications in Behzad's miniatures and Saeb's poetry.