Pazhuhish-i Zaban va Adabiyyat-i Farsi
Year:2007 | Volume:- | Issue:8|Papers Count:10

In the Holy Quran the story life of several prophets is elaborated through a story. One of these stories speaks of Joseph's life. Joseph’s Sura has a hundred and eleven verses. The first three verses and also the last ten verses are non-fictional, while the other verses cover the entire story without any the non-fictional verses interrupting. Quran's purpose is not to tell a story, but this Sura possesses many of the common and known aspects of the fictional elements recognized in fiction. This article intends to study and survey the plenitude of the fictional elements in this story.The present article is both descriptive and analytic; through which it discusses and analyzes the fictional elements such as point of view, plot, structure, the idea (including theme and subject), conflict, character, characterization, dialogue, time and place setting as well as the atmosphere in a story.The story of Joseph is the only story in the Holy Quran which is atually told from the beginning to the end in one Sura. In this Sura, through utilizing the modern techniques of fiction, the religious culture, education, teaching, guidance and men's learning lessons are all introduced, in addition to indicating the lofty purposes of the Holy Quran in the form of a story. In this story the elements of fiction are structured in a way that the reader feels as if he himself is present in the story just like one of the characters.

Despite all the efforts made by the eloquent figures in the recognition of literary techniques, some of them are still unknown. This article introduces one of such technique known as "the artistic quotation" and elaborates the details in Hafez' poetry. What is an artistic quotation, how does its artistic aspect occur and what are its types? This article intends to respond to the mentioned questions. Our method is the descriptive method through the structuralism approach. The overall studies lead us to conclude that Hafez' artistic quotations have generally passed a balanced path both in narration and the poetic process; which is due to his tendency for moderation. And in these two-sided aspects considering the present situation, they have been united with several elements such as; the narrator, atmosphere, time and place setting, description, character, dialogue, incident, suspense, and the ornaments of the figures of speech like; metonymy, simile, style of finding the proper equivalent, metaphor, personification, paradox, irony, pun, phonemes, harmony of adjectives, equivocation, identification, convenance, contrast and many other figures of speech to be mentioned. Also examples of this technique cover a variety of divisions in his great poetry book depending on the basis of the definition in the details.

At the beginning of the fifth century, Khorasan suffered from insecurity, poverty and disorder as it was the major center of the political revolutions. Also the instability of the kings and princes led to the oppression of peoples' rights and the promotion of hypocrisy and flattery as a culture. In this situation most of the scientists and the official learned men were either pawns in the hands of the authority and the political authorities, or chose to isolate themselves and seal their lips in mere silence and surrender.But Abu-Saeed Abol-Kheir, a social mystic, reacted properly against pretension and seduction by relying on a humorous and affectionate behavior and speech. At the same time he was quite aware of what others thought; counted as a clue for the guidance of people and simultaneously supporting the oppressed and devastated ones.This article intends to show the relation and accordance between the events and incidents of those days and Abu-Saeed's reactions and behaviors. In this relation we have also tried to reveal the extent he was influenced by the social and political events and issues of the time as well

The deep researches of Carl Gustav Yung in the field of myths and his findings has turned into a basic working material for many of the critics in the study and survey of literary works. In the present research, Ferdowsi's Shah-Nameh, especially the story of Siavash- as a great series of the Iranian historical and mythological narratives in ancient times- was studied. This story was evaluated within the framework of Yung's process of individuality, and also the archetypes of "self", the hero, shadow, persona, the old wise man, oneself, reactions, and the function of the heroes and the characters in Siavash's story. Then the manifestation of each single archetype was defined as a major issue in this research. At the same time the presence of archetypes such as Anima, Animus, Mother, Mandela, Manna and Rebirth are also of notice in here.The method of research in this study is based on the analysis of content. The results of this study show that Afrasiab stands for the archetype of shadow, while Rustam stands for the archetype of hero, and Afrasiab's interpreter expresses the archetype of the old wise man. Also the archetype of the self is manifested in Keykhosrow's character. Still the ascent of Keykhosrow and Siavash's death are examples of death and rebirth in the Shah-Nameh.The repetition of these themes in the three mythological, heroic and historical sections of the Shah-Nameh show the harmony and integration among these three parts in the method of expressing the archetypes, while it expresses this point that the major theme of the archetypes appears constantly; yet in various shapes and forms.

The description of poetry and stating the poet's position among the social classes are the two major features in Anvari's literary point of view. Anvari succeeded to suggest and point to new and solid attitudes and views on the analysis of poetry and also the poet's class-identity due to enjoying a rational education and being quite familiar with the versified word and its fields, in addition to the pure artistic experiences he himself earned during his life by creating poetry. He founded one of the most significant sources for the sociology of poetry and the poetics in the Persian Literature by both categorizing the poets' classes and the analysis of the poet's role and position in the chain of the social needs. He then compared these productions, or better to say in this field 'the creations', with the products of the other social classes. He also studied the reasons leading to the creation of a variety of poems in the poet's mentality and mind. Anvari himself created a few long and prominent poems in this specific field of study for the first time and expressed the first descriptive-rational attitudes on the nature and essence of poetry and its various kinds. This article reflects Anvari's precise and clear thoughts and ideas about poetry and the poet's class-identity.

Ghazal (sonnet) is one of the major forms in the Persian Poetry. Still, the foundation, development, and its various types constantly invite and encourage the researchers towards further studies and contemplation.This research initially offers a new definition on poetry and the narrative Ghazal. Then its various types are recognized and divided within two approaches; the formal-structuralism and the contextual-conceptual approach which are the old literary divisions and forms. The other part of the research is devoted to the origin of the Persian Ghazal and the varieties of opinions are discussed.According to the findings of this research which are supported by some of the Persian poems, the origin of the narrative Ghazal can be surveyed with two attitudes; both in lyrical and also the sonneteer's field of approach. Its different types can be divided on the basis of structure (with the three genres including the narrative, the dialogue, and description in mind), and the content (with social, historical, mystical-cognitive, elegy, trip journals,  life stories and etc which are among the subdivisions of the structure of narrative).At the end, the positive points and functions of the narrative Ghazal (such as the poetry's cohesive structure, finding the contents easy to understand, making a better communication with the audience, dramatization, and gaining pleasure and joy) have been pointed to.

The people's awakening and awareness, seeking liberty and justice, wanting rules, fighting against oppression, patriotism, and in other words demanding the Constitutional situation were among the most important events in contemporary Iran and some of the other neighboring countries. The writers of this article intend to reveal this common theme in the poetry of two contemporary poets; Nasim Shomal- the Iranian poet and Ahmad Shoqi; the Egyptian one.Though Nasim Shomal and Ahmad Shoqi lived in two non-neighbor countries with different languages; there are many common concepts and themes related to the Constitution observed in their poetry which show the common cultural and social aspects in both the Iranian and the Egyptian nations. They expect the Constitutional and the parliament system  to have deserving, functional and knowing rulers; a system which provides the people's welfare and progress and happiness and blocks any kind of oppression and tyranny.But unfortunately the Constitutional system does not develop in the living era of these two mentioned poets as it is expected and fails. The anti-constitutionals gain power over the parliament and the other governmental positions and therefore the country is threatened by chaos and turmoil. For these reasons both of the poets encourage and call people to protect their countries.

In the chaotic and overexcited era of the Constitutional Period, Mirzadeh Eshqi was a live and vibrant poet; fortunate enough to think about modernization. Within the versified worldview of Eshqi one can observe all the aspects of the phenomenon now known as "modernization". The feature most of notice in the structure of thought and approach of Eshqi is his paradoxical and heterogeneous attitude towards the different dimensions of modernity. Eshqi's ideas constantly flow within a black and white whirlpool approach; in other words there are constant changes. Therefore such an entirety-seeking thinking would be full of paradoxes. In Eshqi's worldview, there is not any share for wisdom and rationality; where this atmosphere mostly represents a picture of destruction, seeking revolution and carnage. Eshqi is so nervous and vehement natured that once he views an instance, he tends towards exaggeration and observes all human beings the same; regardless of whether they are good or bad. In overall, Eshqi's attitude towards the Iranian individuals is filled with paradox and contrasts. This article surveys the concept of modernization in Eshqi's poetry.