LITERARY TEXT RESEARCH (PERSIAN LANGUAGE AND LITERATURE)
Year:2017 | Volume:21 | Issue:73 |Papers Count:7

Beowulf is the oldest and greatest work of epic literature in England which was composed in old English language. Its major hero`s name is Beowulf. The name of the major hero of Shahnameh is Rostam. As Beowulf and Shahnameh have considerable similarities, especially in their epic parts, a comparison of the two works would shed light on the similarities of the two heroes. In addition, the similarities of epic genre and fiction epic literature in the two works can be demonstrated. With a focus on American approach to comparative analysis of literature, the author intends to explore the common global similarities of the two literary works by considering their major characters. Contrarily, the historical or any affective relationship between the two works is not within the scope of the present study. The results show that the similar epic aspects of the two works are prominent national hero, extension of the atmosphere, miraculous acts of the hero and supernatural things.

Coherence is achieved through creating a link between words and sentences which have specific content and meanings. Hence, the meaning is clarified through the meaningful relationships between the textual elements of a text. Cohesive factors are of the three types, namely, syntactic, lexical and relational. The present study aims at investigating lexical cohesion in the story Gaumart based on Halliday and Hasan’s Theory. The study had a descriptive and secondary research approach. The results of the study showed that the poet has been able to create close ties between different elements of the text through the application of lexical elements, especially repetitive ones.

Multiplicity of "Ego" and its relationship with pluralistic identities have caused it to be defined differently in various areas. In postmodern narratives, “Ego” is conceptualized based on pluralistic identities and poststructuralist perception as an entity in suspension. This approach is one of the important foundations in the narration of postmodern writers like Mohammad Reza Kateb. Drawing on a descriptive-analytic method, we first, explain the postmodern conception of "Ego", and its Post-structural roots, then we study the deferment of "Ego" in Kateb’s narration. The results shows the fundamental role of "Deferment and uncertainty of "Ego"" as one of the most important techniques of narration in some of Kateb’s stories. Not only this is a superstructure category, but also is one of the most important tools of Kateb in forming the identity of Author-Narrator, Narrator, Narrator-Actor even the Literary Work. This is reflected in different ways such as ontological doubt through indeterminacy of "Ego", and plurality of identities as a result of the multiplicity of subjectivities and decadence of the status of individual to subjectivity, anti-heroism, and even anti-humanism. This issue has led to serious challenges for some definitions of classic narratives.

Contemporary Persian literature of the 20th century has dramatically changed in line with the mainstream societal and cultural events. The investigation of the effect of translated western works such as novels, dramas and poetry as a modern cultural movement could reflect the way contemporary literature of Iran has correspondingly changed. In the meantime, even those groups of poets who have a national orientation in their works have gained advantage of western literary works in original language or through translation. Mahdi Akhavan Saleth, one of the famous modern poets, translated some of the western works. He later digress from mere translation of western works and tried to touch his creativity in the course of his literary activity. “Se Ghatre”, “Gole Sorkh o Golchin”, “Sag-ha o Gorg-ha”, “Gorg o Bareh”, “Angah pas az Tondar”  and “Maya”, are some of Akhavan’s poems which are created under the effect of translation of foreign works. This paper aims at investigating how these poems have been influenced by western works.

Allegory is a literary device which makes language more artistic and effective. Besides its aesthetic aspects, allegory has some other important functions. Considering this, the paper investigates allegory in Maghalat-e Shams and identify various types of allegory in this text. Regarding the frequent use of allegory in Maghalat-e Shams and its role in convincing the audience and expression of wise teachings, it came to notice that allegory in Maghalat-e Shams is not only a rhetorical device but also an effective method for conveying mystical and wise teaching more persuasively. Along with the aesthetic aspect, implicit reasoning is another important function of allegory.

Children and adolescents’ stories in general and street and labor children's stories in particular, via providing an imaginary context, make it possible for the readers not only to empathize with the stories’ characters, but also experience the unpleasant struggles of life in an epistemological manner and expand their life horizon. On the other hand, a meticulous analysis of the orientation toward child labor presented in children’s literature clarifies the changes to mentalities and discourse patterns about this issue over time. This paper was an attempt to find how the phenomenon of child labor has been presented in Post-Islamic children’s Persian fiction. To do so, the content of more than fifty novels and short story collections are analyzed based on sociological approaches. The findings showed that in the traditional and rural areas, child labor is considered as a positive element or stage for adulthood preparation. On the contrary, in the urban and industrial spaces, child labor is regarded as an act of exploitation and assault on the child rights. This transformation coincides with social developments and healthcare services and replacement of agrarian economy by industrial economy.

The main characteristic of Hafez style is polysemy of his words. He has tried different ways, especially ambiguity, to achieve this important. Hafez has been committed to creating ambiguity by different methods. One of the ways Hafez has picked for creating ambiguity in his poetry and has not been mentioned in books, interpretations and articles is creating ambiguity through rhetorical substitute. It seems that a function of substitute is avoiding repetition of words that once was considered as a defect to eloquence, but Hafez went beyond this in most cases. Through using his verbal and rhetorical knowledge, he substitutes words which have rhetorical functions along with the substitution ones. One of the most important functions of rhetorical substitute in Ghazals of Hafez is the creation of ambiguity. Through exact selection of substitute, in addition to staying immune of repetition, in many cases, he has achieved the beauty of ambiguity. In this article, first, rhetoricians’ definitions for ambiguity are presented, then rhetorical substitute is briefly defined. Next, some verses of Hafez are ambiguous due to rhetorical substitute are analyzed. Finally, 20 poems by Hafez are randomly selected and analyzed for rhetorical substitute. This is to measure the proportion of ambiguity created through rhetorical substitute to other kinds of ambiguity.