Literary Research
Year:2008 | Volume:5 | Issue:19|Papers Count:7

In phenomenology, the whole universe has an ontological process, while mankind enjoys supreme and elevated awareness and its ultimate result is the manifestation of phenomena towards each other, in addition to gaining a sensual and concrete recognition about each other. Nietzsche analyzed the mythological eras and the history of the ancient mankind, coming to this belief that the Greek ancient people held a sort of ontological recognition and realized its nature and process as it actually was, while their own life coordinated with that and found meaning through this issue. He believes that life is a tragedy and these Greeks made life tolerable by creating Gods, Goddess, and deities and attributing terrifying incidents to them, and seeking help from them. In this relation he integrated two elements; first Dionysus which as an element was attributed to Dionysus; God of disorder and chaos, dance and joy, wine and drunkenness. The other element was the Apollonius element which was attributed to Apollo; the God of order and peace, rationality and culture, poetry, music and beauty. Therefore, Nietzsche suggests that the art of tragedy, as Ancient Greeks' first artistic creation, is the outcome of two contrasting Apollonius and Dionysus elements and bases his philosophy of art and aesthetics on them. This paper studies and analyzes Hafez' sonnets on the basis of this theory; through actually Nietzsche's approach in reading, while the attempt has been made to do this considering the Iranians artistic, cultural, religious and ritual demands and circumstances. The Dionysus element is present in some of Hafez' sonnets where he points to man's relation to the world, the chaos of the time, the unreliability and lack of safety in worldly affairs, and the Apollonius element is seen where Hafez discusses man's relation with God, seeking shelter in love, mystics and trickery. The world's lack of validity and reliability calls Hafez to joy and the beloved's trust calls him toward mysticism. Therefore it creates moderation and regularity between that chaos (Dionysus; the world's unreliability) and this regularity (Apollonius; love affair).

This article means to survey the focus of attention and the focus of narration in the narrative theories within a novel entitled as "Turn of the Screw". Within the narrative approaches, there is no tendency to make discriminations between the two aspects of point of view in narration. The distinction between the two concepts of narration and focus of observation were of notice before Gerard Genette; the famous French narrative theorist. Yet Gerard Genette made a systematic study on this distinction. Genette used these two different terms for point of view, in which the first one relates to the act in which verbal transfer of story takes place by the storyteller, ( narrator in literature) while the second one refers to the focus through which the narration is observed from these aspects; setting ( place -time) , psychologically and ideologically. Genette believes that in every narrative work two distinct aspects of point of view might be manifested through one single person or be transferred simultaneously through a few narrators and observers. In a narrative work such as "Turn of the Screw" by Henry James, which is as a matter of fact a prominent work in narrative literature, one can observe different aspects of point of view, in addition to focus of attention there. Therefore this research intends to study the two distinct aspects of point of view as mentioned and further on point to their significance within the best world literary works.

Since some time ago researchers discovered that the link between the artist's art and spirit is mutual and through encoding an artistic work, one can find his way into the artist's essence and intrinsic world.This report means to show how the author's mentality leads to his insight and then describing an image in his writing. It intends to show how each selected image reveals part of a writer's mysterious and complex inner world and the question raised in here is; 'is there really a distance between the literary domain and the artist's mind?' Bijan Najdi's short stories- the contemporary writer- enjoys many beautiful pure images, and therefore they are analyzed and studied from this perspective in here. How does Najdi view the events and what inside him causes him to reflect the images as he does? The methodology is based on gathering and exploring information. The data covers the research in five basic branches; imagination and image; symbol and archetype, dark image, sympathy with objects, childlike view in the description of images, and finally the outcomes are explained and elaborated.

In the Islamic rhetorical discourse, metaphor counts as a significant literary figure of speech, which is also quite controversial. Today, we need to re-read the Islamic rhetoric due to some reasons and especially study the process of the theory discussing the completion of metaphor. However we face some problems in this path such as; the synthetic and combinative nature of the concept of metaphor, the diversity of definitions given on metaphor in the history of rhetoric, lack of a clear border in the definition of metaphor on one hand and its relation with some other figures of speech within the theory of 'completion of metaphor' in history, on the other hand. This essay intends to offer a new scheme for the theory of completion of metaphor with having all the mentioned obstacles in mind, finding theoretical principles for writing about the history of metaphor. In the suggested scheme, the combined concept of metaphor is separated into three' Arabic', 'Greek' and AI-Jurjani' perceptions and each of them is surveyed within an independent narration from a historical perspective. In the final report, the completion of the' Islamic Metaphor' which results from the synthesis and interaction of the three mentioned perceptions is conveyed. This paper hopes to be a theoretical plot for writing the history of metaphor in Islamic rhetoric.

"Nafsat-ol-Masdoor" was written by "Shahab-Eddin Mohammad Khorandezi Nasavi" after the Mongols attacked Iran, killing "Jalal- Eddin Kharazm Shah". He wrote it in e poetical prose style, describing all his own pains, sufferings and wanderings. This book bears three separate styles; plain, technical and literary and full of complex and integrated literary multi-layered poetical ornaments. The ornaments and devices used for creating poetry in this book are divided into three groups on the basis of their function and frequency.a) Verbal rhetoric; phoneme ornament, puns, versification and parallelismb) Spiritual rhetoric: equivocalness, paradox, allusion, proverb, etc.c) Expression; imagery, simile, metaphor, irony This article in brief offers examples for each of these literary figures of speech.

The relation existing among the sentences of any text has a vital role in its final perception. Due to this reason a number of linguistics have devoted a large share of their theoretical discussion to the analysis of this relation. One of these theories is Holiday's 'Role Tendency', in which he has made cohesion among the conceptual, verbal, syntactic and the rational sentences of any individual text. Through this attitude, coherence has factors such as; 1. reference. 2. subordination and omission. 3. vocabulary cohesion and 4. Connection. Since this discussion covers a wide domain, the writers of this essay chose to survey one of these factors; which is reference By reference, as a relation, the interpretation of one of the partners of reference, in other words the presupposing element, does not actually take place based on its conceptual characteristics. Instead, for doing this process, it is referred to the 'p other party of this relation; in other words the referent. Reference has three kinds; personal, allusive, and comparative. This research only discusses the personal and allusive ones. The personal reference is concerned about the person, while the allusive one point to the place and the extent of its distance whether far or close. In the Persian language personal reference is comprised of personal pronouns and reflexive pronouns, while the allusive reference includes demonstrative pronoun and demonstrative adverbs.

The Iranian and French nations found their intimacies towards each other since the seventieth century. The reaction of both the writers and the critics towards the attraction they felt for Iran, was peculiar and multi-dimensioned. At first they praised the old heroes such as Cyrus.L ater on they became familiar with the "A Thousand and One Nights" story and also Saa'di's Golestan through the religious promoters, tourists and other travelers. They used the Iranian works as a guideline for social, political, religious and self criticism. They were interested in Zoroastrian as the "oldest religion". Once they got familiar with the other works of the Iranian poets, the French authors were inspired by them in creating new literary works. In addition to these, they praised Iran as the country of justice, truth and innocence; whereas they considered a group of the Iranian poets as the holders of mere morality. Some of the French were quite keen on the Iranian mysticism. Victor Hugo is the first French author to use such concepts regarding the Iranian mysticism in writing his epical masterpiece; "La Legende des Siecles". In this work man's destiny is combined and intermingled with the destiny of the stones, the Gods and stars. "La Legende des Siecles" is the expression of man's condition. This work covers many different writing forms simultaneously; history, story, philosophy, religion and science. The poetry published based on Hugo's handwritings (Book 2 & 3),imply that Hugo was consciously, or unconsciously, influenced by his past studies; and therefore inspired by Attar's book; "Manteqo--Teir. This essay intends to compare these two works.