Pazhuhish-i Zaban va Adabiyyat-i Farsi
Year:2016 | Volume:- | Issue:39|Papers Count:7

Official literature is full of poetic claims in different themes (eulogy, love, mysticism, libel, facetiousness, epic, exposition, glory, complaint and etc.). Although it seems that poetry and literature are not in need of analogy and affidavit and other ways of logical reasoning to prove the exaggerated literary claims, in fact the poets and a literary person usually benefit from methods similar to logical reasoning (claim, evidence, reasoning) like simile, allusion, and allegory (proverb, story and fable), proverbial method, discursive practices, and oath in order to express what they have in mind and to objectify the abstract concepts. Meanwhile, paying attention to “Folklore” plays an important role in strengthening and explaining the poet’s mental and intellectual principles in literary expression, and it acts like supporting evidence and the background for proving the claim in literary causal methods. This article analyzes the important role of folk literature and culture in consolidation of semantic and rational foundations of official literature.

Human interaction with nature is an important part of human life which due to the devastating effects of recent attitudes, needs to be seriously reviewed and to be provided with new approaches which can promote this interaction into a more sustainable and meaningful one. One of these effective approaches is Rumi's mystical view that emphasizes the special position of man in the universe and its link to humanity. Studying the principles of human interaction with nature according to Rumi’s world view, this article presents a pattern based on which, humans should consider the nature as the manifestation of God’s various names and attributes, and as the Caliph and his trustee, they should be the guardian of the universe. Additionally, human actions will impose inevitable reactions on him, among which humans must try to remove the negative ones. As a result, according to Rumi, understanding the special position of human beings in the world and recognizing the characteristics of humans and the nature, the empathic connection between man and nature will be revealed.

From sociology of literature point of view, literary creation is not a personal matter, but rather a social one. Since the society plays a fundamental role in formation of individual characteristics, and the style is not separated from writers’ characteristics, we can say that in creation of any literary work, society has the most significant role. The writer’s social insight and his position against different events are remarkably affected by social status and social classes. Hence, we can analyze a writer’s literary style based on the social class he belongs to. Presenting an introduction on how writers’ world view is related to their social classes according to Goldman ’s theory of social classes, this paper also has a glance at IrajMirza and Farokhi Yazdi's social status. Then, the major stylistic differences between them will be compared. The findings show that the aforementioned writers’ outlooks are different in some domains such as social/religious criticism, freedom, patriotism, anti-colonialism, anti-authoritarianism, defiance and tendency to luxury.

Due to being away far from the capital of Iran as well as its economic deprivation and sociopolitical limitations, the literary status of Kohgilooye and Boyer Ahmad has not yet been analyzed in a proper way. This article, first introduces the social and political status of this province since Safavid era. Then, the literary history of this part of Iran will be studied. In doing so, biography of some of the late and recent famous poets have been studied in this location and during this time section. Among them, two poets from two different eras seem to be more famous and influential comparing to the others. The first poet is Mirza Showghy from Naseri era. Through expressing publicly accepted religious concepts including the event of Karbala, praising the holy prophet of Islam and the leading Imams as well as writing his poems in the dialect of Kohgilooye and Behbahan, he could perpetuate his influence on the people’s minds of that era, as well as the next generations. Amongst the contemporary poets, Hossein Panahi has been recognized as a national figure. He was a cinema, theatre, and TV actor and director. By publishing his poems, he could be recognized by different audiences inside and outside of Iran.

Irony is a type of lyric which aims at modifying the disorganizations by picturing and criticizing the disadvantages and deficits of the society. In this regard, they can be considered as the most effective type of criticism. This method of expressing is not the result of prejudice or hatred, but it is a critical review on various disadvantages in the society which is mentioned in a special kind of language accompanied by laughter resulted from sorrow and sadness. Irony has an extended application nowadays while in the past it overlapped libel, facetiousness, and ridicule. “Abolghasem Payandeh” and “Jalal Al-e-Ahmad” are two contemporary writers, and critics who have satirical style. Through using satire in their stories they reveal the shortcomings and vices of the society aiming at awakening people and repairing the situation. Although they both had the same goal and they both used the same tools and ploys, due to the difference in the origin, social status, and approaches the employed, the product of their efforts are different. The aim of comparing these two writers is to show these similarities and differences. Although regarding time and language they are close to each other, Abolghasem Payandeh’s criticism is more socio-cultural, and Jalal Al-e-Ahmad’s is more socio-political. They both employed techniques like similes, irony, folk interpretation, strange word formation, etc, but satirical similes are more frequent in Abolghasem Payandeh’s works, while in Jalal Al-e-Ahmad’s works Irony and folk interpretation are more frequent.

The point of view is like a window through which the author wants the reader to look at the story. In short stories because of the size of the book, the point of view is very important. “Najdi” who is a modern and outstanding story writer, has a special position in contemporary short story. He pays attention to the form and structure of the story more than the content. He make use of “point of view” skillfully in a way that by altering the point of view, he creates a new meaning and form in the story. In this paper, after introducing “point of view” and its different types, the point of view in three stories “A Pool Full of Nightmare”, “The Day of Horseshed”, and “Again from the Same Street” are studied. In the “A Pool Full of Nightmare”, the point of view is the third person with a change from traditional to a modern one. In "The Day of Horseshed”, by shifting between first and second person point of view, two different worlds are represented in the same general world. In the »Again from the Same Streets", the story is begun with the third person point of view, but turns into the first person and due to the objection of the main character of the story to the writer, the theory of the “death of the author and uncertainty” is presented. Generally the point of view in the three stories has undergone changes that cause de-familiarization which is related to the formalist view where the content is less importance.

In this paper, the influence of One Hundred Years of Solitude by Gabriel Garcia Marquez on Touba and the Meaning of Night by Shahrnush Parsipur is discussed through a comparative-critical approach. In these two novels, confrontation and conflict between tradition and modernity is one of the most significant themes. So, this paper tries to depict the discursive and inter-textual connection between the above mentioned novels based on their similar content and themes. It also aims at demonstrating the way these two work confront the modern world based on the voices in the novels, explaining how the authors of these two novels, had a dialogue with modern world through a fusion of reality and illusion, physical and metaphysical world; and death and life. After a comparative study, this paper aims at revealing different aspects in these two novels regarding the discourse of tradition and modernity, according to a critical approach. It will be revealed how Parsipur’s narration suffers from the lack of integrity and coherence, in a way that “Touba and the meaning of night” doesn’t have the same firmness and complexity of One Hundred Years of Solitude. As a result, it couldn’t make proper use of elements like irony, credibility of characters and significant correlation of the events. In One Hundred Years of Solitude, the reaction to the foreigners is evidently critical, explicit, and contradictory. While, in Touba and the Meaning of Night, this reaction is chaotic, confused and somehow passive.