LITERARY TEXT RESEARCH (PERSIAN LANGUAGE AND LITERATURE)
Year:2017 | Volume:21 | Issue:72 |Papers Count:9

Nietzsche mentions two central pillars for the genuine influential civilization of ancient Greece, i.e. , the Apollonian and the Dionysian principles. The first principle, using the logic of wisdom, has structured and formed all affairs and orders of the Greeks' world, and thus contributed to the formation of the unique individuality of the Greek man. The second, relying upon passion, madness and ecstasy, has tried to reach beyond the systematized frames and limited individualities of the first principle and therefore has led to a more extensive and comprehensive individuality by means of passion and excitement. The growth and transcendence of the Greek man has taken a big step forward through the constant conflict and dialectic between these two contradictory elements. Meanwhile music and sculpture have functioned as the containers of these two elements, representing the Greek wisdom and madness. However, based on mythical, historical and cultural evidence, it must be said that the two mentioned contradictory principles did not originate in ancient Greece but ancient Iran. The present article is an attempt to shed light on the Iranian origin of the two principles by analyzing their main features. Next, their background in the ancient Iranian civilization is presented. Finally, their continuation into various Iranian cultural trends, especially the mighty trends of mysticism and Sufism, undergoes discussion.

Critical discourse analysis is an Analytical method which seeks to understand different discourses, and determine their relationships with power. Critical discourse analysis has different approaches including reliable and comprehensive views of the Norman Fairclough’s theory. Because of its nature, literature is one of the emerging arenas of discourse. It is full of historical facts expressed in the form of stories and novels. Through the analysis of these stories and novels, it is possible to gain a better understanding of the relevant history and culture. Such texts are mainly representative of sociopolitical realities of a society to raise the awareness of the public. This paper is an attempt to explore Chubak’s first novel, Tangsir, based on Norman Fairclough’s theory of critical discourse analysis. The novel was published in the 1340s, when Iran experienced a decade overshadowed by ideology and turbulence. The Findings indicate that the novel has anti-government, anti-authoritarian and anti-colonialism themes. It is a revolutionary and unifying literary work.

Literature, in any shapes and forms, is a base for concepts and rites which people have believed in over time. Lawsuit and pleading is one of the issues that has been discussed in literature and reflected in it in different styles. "Complain elevating" is one example of litigation that has been widely reflected in literature. In addition to historical, political and social aspects, this rite can be explored from a literary perspective. "Complain elevating" is a rite which has survived centuries, though superannuated by allusions and other literary and social traditions.Poets and writers have had political, educational and literary uses of this ritual. Consequently, it has been used for different poetic theme-makings such as a raw material, as a device to criticize rulers and encourage peasants, and as a device to reform the society. This paper aims at reviewing the historical roots of the rite and exploring the w3ay it is reflected in the words of poets.

In the poetics of formalism, the two issues of "story" and "plot" have been redefined depending on the ultimate goal of this theory that is defamiliarization .Based on the new definitions, "story" that was believed to be the temporal chain of events, is presently known as the raw material of the narrative called fibula. Similarly, "plot", in opposition to what preformalist critics believed to be the logical and causal narrative structure, currently refers to all the aesthetic devices used to give that raw material an artistic structure and is called subject. These devices appear in the three levels of language; themes, narrative techniques and the aesthetic structure of narrative. Persian contemporary short story writers have created an innovative form of deconstruction in the narration of their stories by considering formalistic theories and a skillful utilization of linguistic, thematic and Technical features. Therefore, in the process of writing stories, they disregard plot in the form of its event-driven classic definition rather try to highlight the form of a fictional narrative through the application of new narrative techniques. As a consequence, they achieve "Defamiliarization" and "subject" intended by formalism. Given that the defamiliarization often appears in the level of narrative figures more broadly and diversely, in this article, we are going to analyze and categorize diverse methods of creating defamiliarization which are the main reasons for the strangeness and intricacy of the contemporary formalist short stories.

Ferdowsi’s Shahnameh is among the texts in Persian literature that can be explored based on the semiotic systems as it has a mythical substructure and has many symbols. In many parts of this book, the reader faces a variety of events which are manifested in the form of a semiotic system. The Mourning ceremonies are among the events of Shahnameh that could be investigated from a semiotic perspective. The present study aims at investigating these mourning ceremonies from a semiotic perspective. Relying on some evidence from other classic texts, the authors wants to show that the actions during the ceremonies have mythological substructures and are symbolically reflected. Each of these actions refer to a meaning which once was functional but today is only reflected in tribal and nomadic life and in general culture. Examples of these actions are wearing black, doffing the hat from head, pulling hair, pouring soil on head and pulling mane and tail of heroes’ horses during mourning. When studied together, these actions indicate certain meanings. These meanings are hidden and are not explicitly manifested in the appearance of the texts.

Morphology analyzes the effect of content on the structure of literary works as well as the impact of their structure on content. As the structure of each literary work is closely related to its content, each particular concept is embodied in a specific format. The present study, drawing on a descriptive-analytic method, was an attempt to explain the narrative and to analyze the morphology of Ibn-e- Hesam Khosfi Birjandi’s Khavarannameh  (d. 875 AH). Khavarannameh is an epic religious work including fantasy stories such as the travels and warfare of Imam Ali (AS) from the perspective of the characters, heroes, dutifulness, time, location, motivation and movement. The work stands out because of its structure and form of the themed stories. The present study was an attempt to analyze the structure of Ibn-e- Hesam Khosfi Birjandi’s Khavarannameh in light of Propp’s theory. The work included some religious practices which did not exist in Propp’s classification. The results suggest that in spite of its religious nature, the religious-epic Masnavi of Khavarannameh has its own unique functions as a fairy tale. It also has some other functions that are specific to religious epics, such as invitation to faith, acceptance of the invitation, rejection of the acceptance, and so on. Regarding the number of moves, the rising action of the events include 12 one-move adventures, 5 two-move adventures, 7 three-move adventures, and 3 three-four-move adventures which play a significant role in the logic and coherence of the work.

Visual or concrete poetry is one of the modern poetic trends in both European and Iranian poetries. This form of poetry which is includes written deviations and linguistic foregrounding is manifested in a combination of poetry, graphics and sometimes calligraphic lines. In this poetic tradition, written structures are chosen in a way that the type of layout and combination of letters, words and sentences of poem create visual images. This paper aims to rely on a combination of approaches including comparative literature in the comparison of American and French and formalistic approach, and the concept of comparing the American and French and formalistic approach, to review and evaluate the impact of conjunction between visual poetry and similar species in Iran's poetry. To do so, examples of visual poetry are compared in a formalistic way with the examples of the type in Iranian literature including Toushij poetry (Moshajjar, Motayyar, Modavvar and Moaqqad), visual poetry, Movassal, Tadbij, letter-oriented poetry, illustration, incarnation. The results showed sundry similarities and differences between the principles of visual poetry and examples of the type in the Iranian tradition. Some of these similarities and differences are deviation, foregrounding, homogeneity of graphics, defamiliarization, and alienation. These similarities do not mean “Plagiarism” because there is a close relationship between Iranian and French literature in various aspects. There is no doubt that Guillaume Apollinaire, in the creation of his “Calligrams”, was strongly influenced by the concrete and visual Persian poetry including "Toushih poetry”.