LITERARY TEXT RESEARCH (PERSIAN LANGUAGE AND LITERATURE)
Year:2018 | Volume:21 | Issue:74 |Papers Count:7

The sprite and the sorceress are among the mythological beings in Persian mythology and epic literature who sometimes are beside the epic hero and sometimes stand against him. In Post-shahnama epics, these two characters have found prominent places as they tend to appear with their duties on a good side as the goddesses of fertility and reproduction in the form of the archetype anima - the feminine part of the psyche -acting effectively in furthering the hero’s aims. Contrarily, they appear in a devilish form as the sorceress with destructive roles preventing the hero reaching his grand goals, which, indeed, characterizes the negative anima. In the present study, after a brief description of the nature of the sprite and the sorceress, it is attempted to explain that the sprite is the same sorceress who changes into a diabolical entity representing evil duties influenced by Zoroastrian thought.

Bakhtin's concepts of Polyphony and heteroglossia are two of the main principles of modern criticism, especially in the analysis of literary texts such as novels and stories. Polyphony and heteroglossia as potential capacities of a text let the readers analyze novels and stories based on polyphonic and heteroglossic features. This study aims at investigating one of the leading contemporary novels, namely, Sangesaboor by Sadegh Ckubak, based on the principles of Polyphony and heteroglossia. To do so, polyphony and heteroglossia Bakhtin and its various manifestations including parody, intertextuality, literary and historical figures are explained using examples of the novel. In fact, the study aimed at finding if Chubak’s novel has cases of polyphony and heteroglossia in their different manifestations.

Narratological study of literary works could lead us to gain a better understanding of the hidden layers of works through exploring more components and aspects of them. Tooti Nameh is one of the most famous works in Persian literature which is translated from Sanskrit into simple Persian by Ziae Nakhshsabi in the 14th century. The present study aims at an analytical exploration of the work based on narrative theory of Gerard Gennete. The work has both intradiegetic (writer) and extradiegetic narrators (parrot) while the latter plays the bigger part in narrating. The book is studies for Focalization and focalizer from the two perspectives of intradiegetic and extradiegetic narrator. In Tooti Name, we don’t see specific calendar time, but instead a general sense of time. Similarly, places are presented in specific and general senses. Tooti Name has a unique voice, as a dominance ideology runs through the story, and any unconventional behavior from characters will result in their suppression and inexistency. Writer of the book tries to compress the time through elimination and shortening of some of the descriptions.

Metaphor is a linguistic category and structure. The way metaphor is chosen and applied plays a critical role in idea-making and explaining ideas. Hence, it necessarily conveys the ideas, purposes and thoughts of authors and poets. There is a coherent meaningful and purposeful link between metaphors and ideologies as the former form the latter. The present study, using an analytical method, explores ‘Sa’di’s debate with The Plaintiff’, one of the long narratives of Gulistan’s Seventh Chapter with a discursive-dialectic structure. The most important question in the paper is whether the narrative solely explains the difference between wealth and poverty, and the preference of the former over the latter or not. Generally, the set of conceptual metaphors and deductive debates reveal that Sa’di’s undermined poverty-oriented historical view of society in an experimental-phenomenological fashion, taking into account the effective active and creative self-knowledge ideology using his own capable character.

Adjective is one of the categories of Persian language that has different types and is discussed from different points of views. Demonstrative, interrogative and exclamatory adjectives are three types of non-rhetorical adjectives that have undergone some structural and functional changes from the past to the present. These adjective categories have remained with the same structures or functions of the past or have undergone more or fewer changes over time. The investigation of these three adjective categories along with an historical account of the literary works could be revealing for readers. The present study, drawing on various types of literary texts, mainly the masterpieces of their own periods, on the one hand analyzes the structures and functions of the three adjectives categories, and on the other hand, makes it possible for the readers to figure out the differences and similarities from one period to the other. Since a deep analysis of the three grammatical categories requires a wide literary corpus, the researchers decided to broaden their corpus and examine various types of texts.

What structuralist narratologists have in common is that, instead of analyzing the actants of a literary genre based on traditional rhetoric, they analyze a literary genre as a systematic structure whose actants have internal links together. The plot or the sequence of events is the most significant element that both the first and the second generation of Narratologists have considered attentively. Although the first generation emphasizes on causative and effective sequence, the second generation, especially, Raymon Kenon, has also added the periodic sequence to that. The present study aimed at considering 300 Sufis’ revelations selected from 30 mystical prose from the 4th to the 7th Century. It was found that even though the combination of events had numerous superficial differences, they followed few similar patterns. The results also showed that, in addition to the causative or periodic relevance, the revelations had another kind of sequence whereby a unique moment of the mystic’s incoming is briefly narrated. These kinds of revelations are highly inspired by a type of French story which is called “Nouvelle - instant” revelation.

In Jung's Analytical Psychology “Self” is one of the important expressions. In Jung's view, self is an archetype which can be considered as base of an individual's integration and consistency. According to Jung's theory, we all grow slowly during their life time and after experiencing a process which Jung calls it "Individuation process" we become the one who we are. Jung calls the whole personality "self". From his point of view "Self" can’t be understood completely. "Self" is symbol of integration and Christ is the archetypical exemplar of human integration because Christ is an example of the divine integration. Jung has mentioned several features for "Self". On the other hand, in Ghazaliyate Shams and overall in mystical literature we face with terms such as soul "Rouh", spirit "Jan" and heart "Del" that are consistent with the schema that Jung define. In this study in addition to explaining the "Self" archetype form Jung's perspective we have also  aimed to collate it with the features of "Soul" , "spirit" or "heart" in Ghazaliyate shams and study its features.