LITERARY TEXT RESEARCH (PERSIAN LANGUAGE AND LITERATURE)
Year:2019 | Volume:22 | Issue:78 |Papers Count:12

In a general definition, Intertextuality is a term that has refered to the relationship between texts. Not only, in the era of postmodern the intertextuality doesn't simply mean the interplay of each other texts, But also it has an unbreakable bond with the other features of postmodern texts such as uncertainty, relativism, disordered time, paranoia, and criticism of the past and so. The article, whit the goal of the representation of intertextuality impact in the narrative of postmodern works, has analyzed its relationship to other features of postmodern texts in the novle of Suge moghan by Mohammad ali Aolumi. The present study shows That the conscious and unconscious stream of Narrator's mind in the historical, mythical and oral intertextuality, has created a postmodern narrative of the terrifying world in which has lived it. Therefore Intertextuality in the novel, has led to break and crumble of grand narratives such as the Shahnameh, polyphony, lack of knowledge of the universe, lack of representation of reality, etc.

Among Iranian novelists, Gholam Hossein Saedi has managed, as a writer and a psychiatrist, to portray the manifestations of anxiety rooted in existential concerns (life and death, loneliness, and freedom and emptiness) in realistic and believable characters. Some critics believe that the presence of some of the characters and their actions in the works of Saedi, especially Azā dā rā n-e Bayal (Mourners of Bayal), are misplaced due to the weak story. The author of this essay has tried to show that, contrary to this viewpoint, these characters and their actions can be explained with the existential psychology approach. In the story collection of Azā dā rā n-e Bayal, loneliness arises from the anxiety of demise, and each fictional character of these stories, by denying death and the experience of its anxiety, chooses a certain defense mechanism against this inevitability in order to continue living. Saedi, with respect to his education and research among the people in west and south of Iran, is familiar with this kind of defense mechanisms and could depict them well in his works; unfortunately, however, he had no solution for the elimination and treatment of mental disorders and only shows this ugly and frightening turmoil with honesty and courage. He leaves the reader to his or her own, to reflect on this issue, and while affected by the atmosphere of the story, to think about one’ s situation and the world around.

The purpose of this paper is to study the usage of amphibology of proportion and analyze its constructing components in Rumi’ s Masnavi. The results of this study, conducted with a content analysis approach, show that, Mowlavi, despite relying on improvisation for writing Masnavi and being affected by the flowing string of words and the creation of meanings and thoughts, in his congregations, has depended on his knowledge of different sciences to apply elegance and precision regarding literary devices, especially amphibology of proportion and other similar devices, including amphibologies of allusion, antonymy, translation, and association. He has managed to create proportions that are in close relation to different fields, more closely to domains like music, astronomy, medicine, religious and Quranic issues, and mythical and historical concepts. Mowlavi, based on his attitudes and worldviews, was interested in some of these domains, feeling a sense of belonging toward them, enabling him to use this literary device and create a high volume of meaning.

Archetype is the eternal symbols of ancient thought, accumulated by the collective unconscious of human minds. These patterns are forming a part of the information of collective unconscious. The "wise old man" is one of the most important archetypes, the symbol of spiritual world as well as that of the father in the material world. This character directs all of persons toward emancipation and optimism in critical conditions. Maqā mā t Hamidi is a magnum opus in Persian literature, in which the champion tells amazing stories each time in a different and unknown appearance to free the narrator of hardship and poverty, fulfill his needs with a type of generosity and champion characteristic, and finally disappear. In this sense, Maqā mā t Hamid, which mostly include the stories of ruffians and mobs, is different from other similar works of literature, as it revolved around spiritual and mystic concepts. According to this research, the purpose of the "wise old man" archetype in Maqā mā t Hamidi is preaching, teaching, appearing as the "spiritual old man", the “ traveling old man” , and the "wise gallant", all of which are representations of the same wise old man.

In most manuscripts of Shā hnā meh, as well as descriptions and dictionaries about it, there is a controversy about the meaning of the two words Jonagh and Jona. Available explanations about the meaning of these two words do not have much compatibility with verses in which these two words are used. Therefore, this essay studies the meaning of these two word in Ferdowsi's Shā hnā meh by considering the situational context of verses, and the in-text markers of Shā hnā meh, through a holistic and comprehensive study of the verses in which these two word are used. Hence, the researchers first classified the meanings found in important dictionaries of the Persian language, with special descriptions about those two words. Afterward, by considering these three important factors, this article criticized different meanings to finally acquire the main definition. Through this review, the researchers found that, contrary to the opinion of some researchers, the word Jona cannot be other form of Jonagh, and in fact these are different words with different meanings. The semantic proximity and apparent affinity of these two terms caused many people to consider them as one, using them interchangeably without considering their semantic differences.

One of the features of modern art, especially poetry, is the focus on semantic meanings and ambiguity, and one of the most important ambiguity tools is using the words’ polysemy capacity. In art, polysemy consists of some rhetorical and literary techniques of classic and modern literature such as metaphor, trope, irony, symbol and amphibology. The quantitative and also qualitative study of how to apply these elements have a major role in determining the poet's authentic style to create ambiguity. Thus, the researchers of this article – acknowledging that Forugh Farokhzad is one of the distinguished apprentices of Nima Youshij's doctrine in the modernization area in whose poetry many modern art features can be found – have tried to explain her poetry style with a stylistic approach, based on two of her poetry collections, namely Another Birth and Let’ s Believe in the Cold Season. This study focuses on her use of polysemy elements, explaining the level of application of these elements to create ambiguity in her poetry.

Simultaneous with intertextuality and structuralism, comparative literature was presented with a different approach, and it declared itself an independent discipline. Comparative literature, intertextuality, and transtextuality all "examine the relationship within a text with other text or texts, " yet using a different approach; this brings the text out of a monosyllabic and closed form, and gives it a new dynamic, transformation, and meaning to find. Comparative literature examines the "literary relations between the literatures of nations based on historical relationships, similarities, differences, and the relation of affecting and being affected” which, in this case as well, occurs in the form of a dialog between texts, though it is on the transnational and cross-border level. Therefore, it is interrelated with intertextuality, and, primarily, with transtexuality. These two methods are effective ways of criticizing a text, and they play a key role in better understanding and decoding the text. This article will examine the Boustan by Saadi with the approach of intertextuality and transtextuality (as well as the paratexts within the transtexts), and it explains the external factors effective in the creation of the work and understanding the text. Some parts of the text that do not seem important at the first reading, show their function with the help, and in light, of these approaches, and their relatedness becomes evident from the viewpoint of comparative literature.

In this article, various aspects of the animus archetype in Iranian legends have been studied. The results of this paper show that the masculine strengths, in the journey of the heroine, play an effective and vital role in reaching her ultimate goal, with symbols such as thieves and gangsters or repeated concepts such as wearing men's clothing, choosing a masculine name, and acting like men. This archetype in Iranian narratives includes traits such as desire for violence, rudeness, jealousy, desire for the death of others, wariness and courage, verbal speech, and the like.

Mirza Agha-Khan Kermani's works have been so far very little studied in terms of their literariness. The scholars of Qajar and Constitutional literature have usually sufficed to what previous authors have mentioned about his works and thoughts, although invaluable endeavors have been undertaken that resulted in the collection and publication of some of his works including Naame-ye Bastan [Letter of the Antiquity]. This paper is organized as following. The introductory remarks are intended to explain the status of Mirza Agha-Khan in the Constitutional literature. Afterwards, one of his significant works, i. e. Seh Maktoob [Three Essays], is introduced, the reason being that this work contains the play we seek to analyze here. The final section deals with Susmar od-Doleh in detail as it is a very important play in the history of Iranian drama. The comic elements in this play are extracted and discussed in terms of their innovative aspects.

Metafiction is a postmodern story writing technique that has many complexities due to its predisposing features. Theoreticians, such as David Lodge and Brian McHale, have identified these features, but until now, no classifications have been provided. Due to the widespread and scattered features of metafiction features, there exists some overlaps between them that impede understanding the application of each. In this article, as the first step, metafiction and theories about this story writing technique have been investigated. Afterward, the most important element, that is, the short circuit, is reviewed, and, by through reasoning, a new division is introduced, which also includes exposing the literary technique. This feature, previously described as independent, is categorized in this paper as part of the short circuit. In addition, some of metafiction's features such as metafiction naming are identified and defined. This feature, despite the importance, has not been previously mentioned as a metafictional feature.

Owing to the fact that lyric poetry is regarded as a short, non-narrative poetry that expresses emotions, there rises the question of how long a story could be to be categorized under the lyric genre. Analyzing love stories from the viewpoint of genre, it is revealed that in stories in which love affairs are more important for the poet than the narration itself, different modes of expression take the place of narration, and hence, such modes as adoration, elegy, rhapsody, complain, and compliment almost always cause the narration to be halted, and, accordingly, make the poem take a lyric appearance. In this article, analyzing Khosrow & Shirin and Leli & Majnoon, the researcher shows how different modes of the poet’ s emotions, as well as those of the characters, are foregrounded. As a consequence, in these stories, the reader faces the description of different aspects of emotions rather than narrative suspension. Thus, it is recommended that the term lyric be used not as a subcategory of mode but a genre in such stories.