Literary Research
Year:2011 | Volume:8 | Issue:31-32|Papers Count:11

So far, researches conducted on Obaid Zakani and his works, have focused on his linguistic peculiarities as well as his techniques of art of criticism or they highlight his critical dimension and aspects. As such, exact analysis of these topics is still lacking. After a short description about sociology of literature and an outlook on social, political and cultural conditions during Obaid, this paper tries to show frequency of topics, classifications, personalities for criticism and what subjects possessed more inclination and priority by him. By this way, it can be distinguished that caught what kind of problems and abnormalities. This can also illustrate the concepts of frequent criticism of Zakani as well as part of his work dealing thought process.

From the perspective of Carl Gustav Jung (1875-1961 AD), the collective unconscious, is the source of historical experiences and these experiences are manifested through ancient patterns. Mask, shadow, anima, animos and self/mandala, are the most ancient patterns which are also manifested in literary works. Jung believes that the ancient patterns very effective in the formation and evolution of personality. According to this theory, contrasts and conflicts of personality types and social classes in the poems of Hafez are compatible to mask and shadow of Jung and dictums such as spoiled and distinctness are responsible to define the opposition of shadow mask are responsible. The most important masks of Khawaja Shams al-Din Muhammad are: guardian and, pious. In these shadows, Khawaja shows himself less than what it is, so that there is no or less than what will happen. It has been an attempt to achieve balance, follow through to perfection. In this way, he constructs “I”, “mask” and “shadow” bring the unity of the personality of “knavish”.

In this paper, an attempt has been made to study rhetorical questions in the poetry of Mahdi Ikhwan Sali based on the implicit meaning of those questions as well as his poetic space based on common definitions in Arabic, Persian and English rhetorical resources. The acquired result shows that most of the poetic questions of Ikhwan Salis implicitly express frustration and disappointment. Also, often some implicit meanings are acquired from one rhetorical question in his poetry where some of those questions are not adjusted to official definitions of Islamic-Iranian rhetorical resources hence, they possess new meanings.

Shirin is the main character in Hakim Nezam Ganjavis’s collection “Khosrow and Shirin” where she is a symbol of beauty, chaste and patience. In the remaining historical narratives and especially in the Shah Namah of Ferdousi, it has yet another color and is a minor character with different and complex features.The fact that why Nezami, a creative and powerful poet, touched upon this repeated theme is related to his refinement from this historical reality and transforming it to a legend that we would focus in detail in this paper.

This paper tries to review the most important story of Kalileh and Demneh i.e. lion and cow in order to achieve a new reading from the anecdote based on symbols of inner text. With this perspective, in the process of review and analysis, audience encounters to this basic question as: whether this text can be trusted and that can be read and accepted based on the desire of the author? ” The trend that was prevalent in literary researches so far has emphasized exactly in the author’s reading. Author believes that there is abundance of symbols/signs in this story that make the audience unfaithful towards the text.This story has four main characters whose share in the advancement of the story is not the same. Most fictional dialogue and interaction occur between lion and Kalileh and Demneh. Shenzbeh plays the role les than others and is almost a passive character. It seems that a different interpretation of text can be achieved through a careful insight on the dialogues between the characters and their actions.In this new reading, new and diverse images emerge from the characters and utmost from the narrative. This could be a model from cardiac function and various instances in traditional system as well as help review other texts.

Although in the past rhetorical books and modern works, a little emphasis was made on the theme “abandoning religious tradition” with evidence and inconclusive evidences, an independent discussion about “sharia and image” in the works of poets especially Khaghani was not taken into account. “Image” and “sharia” and coordination of these two dictums and the manner of their application and procedure in the work of Khaghani are the main axes of the current paper. Showing the pace of “sharia” in “images” of the poems of Khaghani, the rate of attention and perspective of the poet towards religious personalities, almighty god, prophet Mohammad and, rest of prophets and imams, sacred household and women in the imagination of Khaghani, religious and impersonal elements, places of holy Quran and Hadith in the images of Khaghani and their analysis and applications are some of the important aspects and ambiguities that this paper tries to answer.

To reach to an analysis that distinguishes narrative condition of modern poetry in Iran, the current paper has used linguistic theories. Here, it is attempted to show that modern Iranian poetry has used different narratives in order to reach to coherence and consistency. Narrative story telling that is related to early decades of modern poetry and narrative as story telling in recent years that are more rely on interaction between narrative practices. The study about role of symptoms, definition, the manner of creating semantic capacities through indirect symptoms and the manner of effect of this evolution on texts of modern poetry have been discussed in this paper.

Sunni Sufis and mystics have taken into account the issue of velayat or spiritual rank from 3rd century hijri onwards and each of the two groups of Shia and Sunni mystics in their works and words have talked about the aspects such as complete human being, velayat, relations between velayat and prophethood, necessity of godly men, their axis and reasoning among people in every period emphasizing on the continuity of life, end of velayat as well as chain and guilds of mystics.In this paper, in order to explain the topics of velayat and discussion related to it, the author takes into account similarities and differences in outlook of the aforementioned two groups through extracting reliable resources to show the ratio of their influence upon each other.

Hasht Behesht (Eight Paradise) is a collection of fables in the Persian literature that was written by Amir Khosro Dehlavi, a 7th century poet. Like Nezami, he has employed seven legends in this work. Fifth legend is about a journey of a curious son of a trader to a phenomenal bath and knowing about its secret is one of these fables that are impressible mystically. In this paper, an effort is being made to study the stages of the journey of the hero of this fable who has been identified here as Salik in the imaginary bath that could be an imagination of Salik himself and hence; open the secrecy. The outcome of this research is that the character in the form of Salik, through his mystical journey come across various and impressible world and utmost acquires a secret that he is unable to expose. As such, he keeps silence and intact his lips from exposing the secret he could get into his hands.