Pazhuhish-i Zaban va Adabiyyat-i Farsi
Year:2011 | Volume:- | Issue:20|Papers Count:16

The main question of the research is that what is meant by poetry and how the contemporary approaches account for it. Does Poetry have a moral and educational content, or it is purely of aesthetic function? Can political and social issues be included in poetry, or it is essentially a matter of inspiration? The purpose of the present paper is to capture the most reasonable and modern understanding of poetry. To do so, various theories known as Poetics have been reviewed. Today, poetics and criticism of poetry is mostly understood in terms of cultural affairs and poetic inspiration. The Nature of poetry as inclusive of all the functions is the very cultural infusion or an important part of culture that seems pervasive.The research was done by reviewing old and new views on poetics, their comparison and contrast, and finally preferring one to the others.

To better understand the Persian literature, knowing mystical expressions is necessary because the mysticism and mystical thought is the spirit of Persian literature. Expressions such as “Fath”, “Fotuh” and Fath-e-bab have been frequently used in different literary works. In this research, regarding their various meanings, looked up in literary texts, we will briefly follow the changes in the meanings and interpretations of the expressions “Fath”, “Fotuh” and Fath-e-bab” through distinguished mystical and literary works from the beginning to their growth and again their descend. In some works, “Fath”, “Fotuh” and Fath-e-bab have been used interchangeably, or one has been used for the others.The word “Fath” was originally taken from the Qur’an by mystics and literati and turned to a loaded remark. In fact, the various significances of these mystical expressions originated from the words of Qur’an as seeds which gradually became a fruitful tree of huge foliage in the works of Mowlana.

The aim of this article is to show destiny - centered structure of tragic stories of Shahnameh. In tragedy, there is an inevitable thing that the hero of story is not able to prevent it, in order not to amortize him. It is called definite destiny or fate. All heroes of tragic stories of Shahnameh, are defeated by it, and when they are faced with a network of cause and effect, despite all their attempts and determination, they admit defeat, and inevitability of their fate. So, they accept the order of destiny and believe that, whatever should be done, will be done and you have to accept it. So many elements form destiny- centered structure of the tragic stories of Shahnameh; ignoring just one of them will affect the whole work. Studying the elements will make it possible to analyze the structure.

The first ode in Farrokhi Sistani’s Divan is a poetic description of clouds. It has been imitated by many poets. The authors of the present research have studied the first part of the ode (Taqazzol), which has been imitated by three poets close to Farrokhi’s time- Azraqi, Masoud Sa’d, Amirmo’ezy- comparing them with Farrokhi’s own poem, in the framework of systemic–functional linguistics. Since Azraqi is known for his poetic innovations and Amirmo’ezy is accused of sheer imitation – if not literary theft – of Farrokhi’s Divan and Onsory’s, the research can also provide a scientific and objective analysis of creativity, innovation or sheer imitation. No doubt many literary artistic beauties and fine points cannot be explained through linguistic analysis. However, most linguistic approaches, methods, and tools are useful for understanding literary texts preventing subjective evaluations and judgments.

Sheikh Shahab-Al-Din Yahya Suhrawardi is considered as one of the greatest Iranian thinkers who are mainly famous in the field of Islamic philosophy and Kalam. His works, specially his Persian treaties, which are allegorical and of symbolic expression, have not been studied yet, as they deserve to. Applying new theories of literary criticism to them and the works of the rest of classics can reveal their hidden values. In this paper we have tried to study the structural and narrative coherence of Resalatuttayr (Treaties on the Birds), an allegorical story of Suhrawardi’s, adapting a narratological approach. Findings of the research show that Suhrawardi has skillfully used the first person point of view. He appears like a modern novelist in his perfect use of fictional elements, such as narrative time, creating symbolic time, and suspension.

This article is an analysis of the narrative aspect of Attar’s Mantiq-Al-Tayr (Speech of Birds), based on the views of two structuralist narratologists- Gremas and Genette. On the one hand, using Gremas’s interpretative actanitial model, and basic structure of binary oppositions in this model, we will study the process of creating meaning and development of narrative units in Mantiq-Al-Tayr, as well as the role of binary oppositions, such as, meaning/ form, body/ soul, and the heaven/ the earth in the formation of the actantial roles. On the other hand, based on Genet’s theory, the three narrative levels of the story- narrative, narratology and linking features of these levels- will be presented in Mantiq-Al-Tayr in order to show to what extent this work enjoys narrative structure.

During the last 90 years, the high frequency of criticism of Farsi classic poetry in different fields of thought, cultural, literary, and so on, has made a kind of discourse, in the way that studying modern poets like Nima Yushij and Ahmad Shamloo, for example, we face with the “discourse of criticism of the classics”.Discourse is a set of statements on a given subject developing in a certain period of time. It gives rise to creation of its own terminology and enriches the language with required words on that field. In genealogy, the most important methodological approach of Michel Foucault’s in discourse analysis, most approaches and statements are deconstructed, analyzed and pathologized, going back to the origin of formation discourses and their promotion. This article aims at representing the backgrounds of formation and promotion of criticisms of Farsi classics, studying, categorizing, critical analysis and pathology of five well-known Iranian intellectuals in the 13th century (19th century). To do so, analytic – descriptive method has been used.According to the findings of the research, Iranian intellectuals have criticized old Farsi poetry with scientific positivistic scales; reducing literature to a social – political, scientific and materialistic function; taking positivistic view on language and stressing expressiveness of literary language for informing, education and publicity; and projecting criteria of experimental science and biology upon literature. They made their criticisms seem natural in the frameworks of such concepts like foregrounding, deviation from the norms, opposition, stereotyping, misidentification, and so on.

The mechanism of Social Thought in Barahani’s works is the base for the present paper. The portrait of pre & post Revolution Iranian Society painted vividly in two novels of Reza Barahani’s was studied based on Lucian Goldman's Genetical structuralism. The two novels are “The Mysteries of my Homeland” (Les Mysteries du moon Pays) and “Azadeh Khanoom and her Author” (Dr. Sharifi’s Private Auschwitz). Key concepts of the novels were categorized according to Parsons in four categories of culture, society, politics and economy. Findings of the paper show that the mechanism of Social Thought in Barahani’s literature is of politico- cultural approach, in other words, Barahani’s novels are political, but, the political content is obtainable via culture.

One of the streams of contemporary story-writing is political one. Titles of political fictions regarding their theme are worth more consideration than any other types of streams, to the extent that studying political fiction with focus on their titles- as meaningful and autonomous units- is a type of criticism of fiction the main goal of which is mostly to explore the dominant political thought of the text.Here in this article, the author has studied titles of nearly 100 political fictions with a semiotic and semantic approach. The corpus includes 22 stories published in 1350’s, 33 stories in 1360’s, and 46 stories in 1370’s. While %9 of the titles are linguistically simple, % 86 are compound. This comes from the fact that author’s try to attract the readers’ attentions to their works; moreover, the very nature of this literary genre entails ambiguity and obscurity. An epistemological look at the corpus reveals that about %30 of titles include the words expressing senses like human suffering. As for the political fictions of 1360’s, it amounts to %45. In semiotic – semantic analysis of the titles one more consideration was made due to the kind of oppositions in titles of different periods: Titles chosen for the stories in a period may be suggestive of dynamism, and freedom, while at another period they may imply inaction, and captivity.

Parvin is a poet expressing the isolation and the constraints imposed on women by her contemporaries. She delved into the prevalent beliefs and ill-treatment of the women of her time, which mainly originated from the women themselves, and attempted to evaluate them carefully and realistically so that she could find solutions. She was a pioneer poet in this regard.This article analyzes Parvin’s view on women which at the same time is traditional and modern. On the one hand, she admires women as mothers and wives, which entails the features like endurance, kindness, compassion, purity and chastity. On the other hand, she stresses the effective fulfilling of these functions through education and originality of their thoughts. Their relations to their spouses would be based on mutual understanding rather than obedience; they could raise their children in such a way that they would serve the society efficiently.

The article studies reactions of three contemporary poetesses to masculine culture. First, we review the difference of attitudes between Iranian poets of classical and constitutional periods. Then, we check the point with the poetry of Parvin E’tesami, Simin Behbahani, and Forooq Farokhzad, as the representatives of three different attitudes of objection reflected in their poems. Parvin represents the poets of ‘protesting’ attitude, who never go beyond the rigid limits of the tradition though. Simin is the representative of the poets distancing themselves from the tradition and have ‘reformist’ sympathies. Finally, Forooq represents the poets for who ‘protesting’ and ‘reform’ is not an end. Rather, they take a “rebellious” attitude toward the traditions.