Literary Research
Year:2012 | Volume:9 | Issue:36-37|Papers Count:10

This article tries to study and assess the manner of the formation of emotional discourse process in the poetry and lyrics "for sunflowers” by Shafiei Kadkani in order to show as how emotional process creates new discourse condition, what are these conditions and what meanings they produce. Actually, the paper intends to show as how sunflower reaches to the stage of rationalistic “self” through emotional, sentimental, and phenomenological relations in its hiatus, then rationalist goes beyond the boundaries of “self” and with the attachment to exalted “self” transforms into a distinguished one.The semio-semantic as one of the modern literary criticism method was propounded in different forms and dimensions, where the emotional dimension is one. The basis of discussion and the study of each emotional discourse are formed by expressive (symbol) and content (tenor) forms i.e. it is the coordination between symbol and tenor that leads to form the system of emotional discourse and the possibilities of logical studies. The study of emotional discourse means the study of condition of formation and emergence of emotional system as well as the manner of semantic creation. In reality, this paper aims to investigate the function of emotional discourse and its transformation into a new and distinguished process.

Texture or context is a lingual, environmental, temporal and spatial background where a text is created, understood and interpreted. A text without context is incomplete. Word or phrase of one context has different meaning in others. Likewise, a number of metaphors, allegories, ironies due to the lack of actual context remain undetected or are not received by writers correctly. The context in traditional rhetoric has been introduced with names such as “sayagh kalaam” (context of the words), “moghtaza-e-haal” (appropriate presence), “shan-e- nazul” (descent like) and in linguistics, during discussions on the discourse analysis, these go consistently with the language debate.In this study, an attempt is made to answer the questions as: what is the context? why is the study of context necessary in the text? what is the texture classification.The texture is both linguistic and nonverbal. The linguistic context is a space in which the sentence is placed and it is understood with respect to before and after. The nonverbal context is a cultural and situational and it incorporates all outer lingual factors with which the text is understood. In each section of the paper, an attempt has been made to point the role of texture species in the textual analysis as well as the literary criticism.

Interest and attention to literary theories such as structuralism, modern hermeneutic, genealogy etc is to the extent these days that a large number of contemporary literary articles and researches take into account one of these theories. These can be traced even in articles and works of traditional teachers (not only the works of young researchers).Although such attention to these theories cannot be without a reason, however, their applications have always not helped to resolve problems and on a number of occasions it was found that what must have been a cure, turned to be a pain itself. It seems that the actual reason of the attention to those theories is their strength and capacity highlight a hidden angle that could not be shown by traditional approaches i.e. the approaches of great personalities like Minavi. Ghazvini, Iqbal. However, various reasons that caused the application of these theories are not only proved unprofitable rather these are pains themselves along with other pains. These reasons include: a) lack of exact and correct identification of theories, b) heedless to historical and cultural bed where these theories grew and took shapes, c) ignoring realities, d) incorrect selection of theories (theories are diverse and plenty hence, one cannot seek profit applying one theory for every topic) and e) weakness in composition of theories.

In Zoroastrianism, the world that is experiencing a phase of eternal perfection will reach to the ultimate perfection with the help Soshiyanet. And, immortality from the seam of Zoroaster or from the creed of Iranian mythological heroes of the resurrection will help in eternal doom. There are direct link between the return of many of the immortals and their reaching to the stage of immortality in mountains that are the nearest natural places in the Persian mythology to numinous, are directly related. A number of these immortals are manifested in Ferdowsi's Shahnameh although tampered with in cases of being mythical. Additionally, a number of immortal forts located on high mountains and according to.Mazdysna, there is no way for death and destruction were put into consideration.Taking into account these two dictums, the current paper tries to discuss immortality legends and their relations with mountains as well as study changing forms of these legends in Ferdousi's Shahnameh which is the most invaluable texts after Islam that has reflected a number of pre-Islamic Iranian legends.

From discussions on the books –Articles on Shams-e-Tabrezi, a verbal debate such as fatalism and volition, creation and eternality and, faith each of which on their part encompass important issues of theology. In his speech, Shams has propounded a discussion on fatalism and volition that precisely are invaluable. Contrary to most of the Sufis, who are inclined to volition, he takes into account the deterministic thinking and considers man as an autonomous being. As a whole, his speeches like Shia speakers favor the middle path of fatalism and volition. These thoughts of Shams-e Tabrezi have also reflected in the works of Maulavi. Undoubtedly, Shams’ speeches are one of the main reasons of this thought process in Maulavi but researcher so far have not paid much attention to this aspect. Apart from this, Shams has had very remarkable views about worldly creation and eternality. Contrary to a number of mystics and philosophers such as Ibn al-Arabi and Sheikh Eshraq who are critical to the universal creation, he explicitly considers the universe as a creation. To prove his own belief, he applied remarkable simile and discuss this topic by interpreting some of the verses of the holy Qur'an. Following Shams, Maulavi also with the same explicit views, speeches and similes considers the universe as a creation and elaborates this concept further.This article, initially, gives brief description about theological knowledge and ideas such as fatalism and volition, creation and eternality. In continuation, in order to describe structured viewpoints of Shams-e-Tabrezi, attempt has been made to study the reflection of these speeches and beliefs in the works of Maulavi especially in his spiritual mathnavi hence, it was showed that one of the most fundamental sources of Maulavi's thought is the same speeches of Shams.

"Plot" is one of the main elements of stories and the most important assessment criteria of aestheticism in an anecdotal work. The holy Qur'an is full of narratives whose belletristic could be assessed on the basis of modern yardsticks. In this research, the plot of Yousef's story has been studied and analyzed based on Larivey's theory.Among the specialized features of the plot of the proposed story, one can point to aspects such as the exact management and the suitable selection of information, the creation of paradox and the gradual abeyance in the least voluminous text, congruence of actions and unity of incidences, and homogeneity in the narrative with respect to occurrences.

One of the important features of literary discours, especially in the East, is the performance of ecstasy. From semio-semantic point of view, in the literary discourse, the ecstasy takes shape at the time when actions are in a secondary condition and is replaced with stress- emotional process in which free from its reactionary condition and under the glory and intention they experience one “more” abrupt “feasibly” topic. Actually, the ecstasy minimizes the distance between establishments in the border of action and crossing to a new semantic aura that accompanies with change or metamorphosis, to the extent that it encounters our literary discourse with knocking or an impulsive condition. In that case, what is the natural end of a process occurs in the beginning. By this reason, the ecstasy is a literary approach that disturbs all discourse assessments and away from every kind of rational and anecdotal chain, leads to unwariness and glorification. In fact, ecstasy is a situation where discourse topic puts it in a complete dismissal and in a way, it is absent that is a source of escape from bad actions of resistance.Which are semio-semantic approaches of literary ecstasy?, how the literary ecstasy change actions to the time? how literary ecstasy provides the transcendent condition for discourse subject?With due attention to the above description, the purpose of this semio-semantic analysis of ecstasy in literary discourse is to explain the mechanisms that enable it to achieve a model that could review the production process of the literary ecstasy and its role in explaining the semantics.

Sociological literary theory, due to the past tradition of attention to affect and affected, has enjoyed particular attention in Iran compared to other types of literary theories. And in the study of Persian literature, especially novel, much of the literary researches have been done with this approach.Philosophical origins of these theories and viewpoints of theorists of this school that often influenced by Marxist theories, in many cases, are inconsistent with Persian literature and since taken from other society with distinct thoughts, opinions and transition, often could not establish deep connections between affects and affected of literature with social problems in Iran.With a description of philosophical and sociological origins of this theory, the paper applies it in literary researches of pathology. This study includes: substantial differences in the formation of the novel in the West with Persian novel, inconsistent principle of this theory with principle of Iranian thought and culture, the lack of precise definitions of certain terms in this theory, the absence of coordination between some of the main topics of texts and literary theory, that utmost caused confusion of two different discussions i.e.societies in literature and sociological literary theory. The consequence of this situation is inability of sociological literary researches in order to find social samples in literature, regardless of the basis of this theory.

Formalistic criticism was the most important approach at the turn of 20th century that was originated from the modernism. The last decades of nineteenth and the early twentieth centuries, were the periods of denial and rejection as well as break-away from the past literary and artistic traditions. Modernism tried to break the ideology of ancient art and created "new" and "modern literature". For that reason, in the early twentieth century, thinkers made anti-cinema, anti-theater and anti-novel efforts to create a kind of anti-artistic views. The formalism in this tumultuous scenario raised the flag to combat traditional thoughts in literary and artistic domain. Is today, in the existing circumstances, formalism can be used for literary criticism?In this paper, the manner of emergence of formalism in the early twentieth century literature is studied and techniques and theories are compared with the Persian rhetoric. Undoubtedly, today, after the passing of nearly one century of the emergence of formalism, it should be noted that although formalists created new theories, almost all stages of their works are clouded with dogmatic fundamentalism. Today, in order to pay tribute to their efforts, formalistic critical school, with an absolute perspective, must virtually be placed in museum of artistic and literary criticism and cannot be used as an ultimate and final method in criticism.