فصلنامه متن پژوهی ادبی
پیاپی 77 (پاییز 1397)

Shams Kasmaei is the first Persian modernist poet. His poems were published in modernist magazines and women's rights advocate’s journals during Khyabani's government in Azarbaijan. To study the relationship between the poem of Kasmaei and the relations of power in Azadisetan, The present study describes the text linguistically based on Halliday’s systemic functional grammar and the interpretation of its findings; that is, the identification of Situational context and Textual context of these poems, as well as its ideological aspects. Thus, this article focuses on the critical stylistics of the poem of Kasmaei with a pattern of three-dimensional model of Fairclough in the analysis of critical discourse, Halliday’s systemic functional grammar, and aspects of Lacla's and Moff's theory of discourse. The descriptive findings, based on the analysis of intellectual, intertextual and textual meta-functions, shows that his poetry articulates Azadisetan discourse, constitutionalism and Iranian nationalism. These poems reproduce the relationship of power in Azadisetan with the articulation of the discourse of freedom by articulating of Azadisetan discourse and give legitimacy to the political system of freedom by articulating the constitutional discourse and Iranian nationalism among the subjects of these discourses.

Social researchers can examine the various areas of social life, society and its issues with regard to sociological insight as an analytical tool. Including, we can point to artistic and literary areas that somehow reflect the environment in which they are created. In this article, we are analyzing the poetry of Forough Farrokhzad, which is dramatically mixed with the social events of his community, from the sociological point of view. The present study identifies Forough Farrokhzad's poetry in the form of four essays on "ontology", "methodology", "stationary" and "dynamic" of social elements using library and documentary methods. In the field of ontology, Farrokhzad believes in the existence of the Almighty God and the cognition of the world. Methodologically, she believes in a naturalistic and dialectical way. In the study of statician, she studies the pathology of her time society and criticizes the various layers of society, including women, intellectuals, clerics, the rich, ... . After describing the present situation, Farrokhzad outlines her ideal society in the quest for dynamism by presenting a solution. A society in which love, friendship and simplicity are dominant and individuals in it have some kind of self-awareness of their social conditions. In the ideal example of Forough, women and men live far from any discrimination and injustice, not against each other, but with each other. Although she believes in the emergence of savior to reach the utopia, but she thinks that the awakening and inner consciousness of the people are in the forefront which must be established in their existence before any revolution or external transformation.

Local historiography has not been considered as a form of historiography in Iran, especially during the Timurid period. Meanwhile, one of the types of local historiography is the poetic historiography, and a kind of poetic history spread during the Timurid period is Shahrashoob. In fact, the townships provide plenty of information about the social and cultural history as well as the characteristics of cities, guilds, etc. in the form of local history. Also, the poetic historiography provides a lot of information about the reconstruction of some of the historical events of his time and in terms of showing evidence of the revival of the Iranian soul and the Persian language. Therefore, the main purpose of the present paper is to provide a sociological analysis of Shahrashoob as a local episode in Timurid times and examine the social and cultural conditions of this age.

The rule of the Ghaznavids period is the most important phenomenon which Beyhaghi on the one hand, as the secretary of the court and in the position of the mighty writer and critic on the other. . The authors believe that Behaji's history is a text that leads the reader to somehow deeper self-awareness by creating passwords in the form of words and asks the reader to get a better understanding of the text. The use of special linguistic structures in narrative discourse, that conceals meaning in content and form elegantly, is a way that Beyhaghi has taken it due to his art of writing and literary creativity to reveal the facts of his contemporary history. Making background and naming, continuous display and discrete display, evaluating, evaluating, Representation in the form of "quote- sign" action, activating and deactivating, representation of the "agents' response" in the whole text body with a dramatic structure, and ... are discourse-driven components in which Behaghi's narrative of Hassanak's story implies a kind of covert expressing discourse in telling the truth of the history of the Ghaznavids.

The father and son's confrontation is one of the motifs seen in many myths, epics, legends, folk tales, or even in the religious narratives of the world. The background of this confrontation is generally the epic literary genre. In many of these confrontations, we encounter with tragedy. In this article, we have analyzed three stories of Oedipus Shahriar, Rostam and Esfandiar, and Rostam and Sohrab. The present research problem is that in epics those narrate these confrontations, although they have similar structures, according to the definition of tragedy, one who defeats and dies at the end of the Greek sample is father and in an Iranian sample is son. In response to this, we conclude that the background of ancient Greece's tragedy and its cultural structure, which is the result of democracy and dialogue in that culture, is the reason for the end in Greek example and the main reasons why the boy died in an Iranian sample, are binary oppositions, trying to keep the original sample, and the unicast mentality, in which another presence is denied.

The subject of this article is the analysis of the type of Vassaf's look (663-730 AH) in five volumes of his history to Kalileh and Demneh, from the perspective of the theory of "aesthetics".“Theory of reception” emphasizes the relation between "reading- text" and the outstanding role of the reader in the meaning of the text rather than the relation of the “author- text”. Hans Robert Jauss, one of the founders and theorists of this approach, suggested that the meaning of the text varies according to the historical period and depending on its readers. The discovery of "the history of the meaning of the text" was one of his theoretical concerns. The perceptions in each period and in the writings of the great writers, as the reader of Kalileh and Demneh (as one of the masterpieces of Persian literature), as well as which part of this text are considered, can be used by contemporary critic for different analyzes and different angles of sight about this text. To clarify the kind of Vassaf's thought as one of the most important historical and literary figures of the Mongol era from Kalileh and Demnsh and facing it is one of the essential steps for compiling the "history of meaning" of Kalileh and Demneh, according to Hans Robert Jauss. The present study shows that the reading of Wisaf (as a historian who lived in the troubled conditions of the Mongol era) is an entirely political and critical reading of the narratives of this text, depending on the type of selection of stories and phrases.

One of the aspects of the Persian literary index is the attention of the literary people to the Qur'anic issues and prophetic stories. A part of these stories and narrations are derived from the Holy Qur'an, which has no problems and in fact, it is ornamentation for literary texts. But a significant part of it is shaped by Israelites (Isra'iliyyat). Due to the coordination of the Holy Quran with some of the topics of the Torah and the Gospel, as well as the tendency of a group of scholars from People of the Book/Scripture, such as Ka'b Ul-Āhbar, Wahab ibn Monabbah, Abu Horayreh and others to Islam, has caused interpreters and historians to pay attention to the sources of People of the Book/Scripture and their statements. And from here, their strange and fictional stories have penetrated into the field of interpretive, historical and literary texts. Poets and writers of Persian literature who were familiar in historical and commentary texts were influenced by these myths and fabricated hadiths and unwittingly, as commentators and historians, played a key role in promoting Israelites (Isra'iliyyat). Unfortunately, the main part of these myths is related to the life of the prophets and the Prophet (PBUH) is no exception, but in the hadiths, he is exposed to the Israelites more than other prophets. This research attempts to answer the question in an analytical descriptive way: What aspects of the life of the Prophet of Islam (PBUH) are affected by Israelites (Isra'iliyyat)? And what have been the role of commentators, historians and, most importantly, the role of poets and writers of Persian literature in the propagation of such fake?

The literary school of naturalism was endorsed in the late nineteenth century by Emile Zola in France. This school considers the behavior and thoughts of man from natural desires and inner instincts and emphasizes aspects of inheritance, environment, moment and observation of human life away from idealism. Naturalistic through the translation entered the Iranian literature And influenced some of Iran's contemporary writers, including Bahman Sholehvar. In this paper, we examine the novel of Safar-e Shab by Sholehvar in a descriptive analytical method from the perspective of naturalism and the results of the research show sixteen components of naturalism in this work. Components of detailed descriptions and description of details, opposition to moral and religious conventions, Obscenity, The obvious expression of sexual issues, breaking the sanctity of words and concepts, the influence of the environment, colloquial language, the feeling of despair and vanity, attention to the lower class, and the negation of will and power are the most frequent components of Safar-e Shab novel. Reasons like the author's style and the political and social atmosphere of the 1930s and 40s are the underlying causes of the frequency of these components.

Symbolism exists in the thoughts and dreams of various human races and leads man to a range of non-speech thinking. From the past, the Iranian people have paid special attention to Shahnameh and established a close relationship with it according to its texture. During the Safavid period, the narratives in the cafes described the stories of Shahnameh with Pardeh-Xani and arrangement of scenes for entertainment. This research examines and decoding symbols in the images of Haft khan-e Rostam in Ferdowsi's Shahnameh. Rostam passes the seven-step test to save Kay Kāvus and achieving the championship base. Each khan (step) is a symbol of Rostam's confrontation with the hidden creatures that confronts him with the difficulty of reaching perfection. Rostam faces in the first step with lion (a symbol of pride and evil force), in the second step with thirst and warmth (the symbol of power without shape and spirit, as well as its hidden and unknown motive), in the third step with dragons (the symbol of drought), in the fourth step with the witch's wife (the symbol of the negative Anima), in the fifth step with the Devil who named Aowlad (symbol of door guard), in the sixth step with Arjhang Dave (the symbol of the anti-heroic helper) and in the seventh step with the white demon (the symbol of death and his blood symbol of life). The purpose of this research is to analyze the symbols in the illustrated images related to Haft khan-e Rostam in Ferdowsi's Shahnameh. The method of this study is descriptive-analytical. The results of the research show that in all the pictures, the symbols in the story of Haft khan-e Rostam in Shahnameh are presented in the pictures and it has made meaningful the relationship between the image and the original text for the audience.

The Tanazo is one of the disciplines of grammar, according to which, part of the sentence takes several different syntactic roles simultaneously. The purpose of this paper is to determine the aesthetic roles of this language preparation in poetry. When competing in poetry, the poet adjusts the structure of the sentence so that different vocabularies, combinations, and sentences entice litigious toward themselves for completing their syntactic structure and, in other words, they are struggling to get it. This feature creates various artistic creations in poetry and connects the sentences and sections of the poem like a hinge, and giving them depth and meaning. The creation of ambiguity and Polysemy, the construction of Figures of Speech, coherence, the creation of specific poetic language, and briefness observance and avoid expansion or redundancy are among the artistic functions of struggle in poetry. In most cases, the poet is consciously using the struggle to make his poetic language more prominent

Ahmed Shakeri in his novel, "Naked against the Wind", deals with the events of a decade after the war in the Kurdistan region, with a new and influential attitude to creating a personality. Diversity and multiplicity of personality and recognition of the role of each of them in the elaboration of the trajectory of the narrative of this novel is worthy of reflection and analysis. Greimas actantial theory as a litter and field of the analysis of this narrative can represent the role of each character in this novel in a detailed model of the three axes of ''desire'', "transfer" and "power", with a comprehensive and complete approach. The results of this research show the adaptation of Greimas actantial model in explaining and analyzing the characters of this novel. In the axis of desire, the main actor in this narrative is "Joseph/ Yosuf''. Valuable object and the main purpose of this narrative, is reinforcement of altruism, Patriotism, religious beliefs and values of sacred defense and martyrdom. What makes Joseph try to achieve this goal and pushes him to do this, is "love, patriotism and memorizing the martyrs and their memories of devotion". Meantime, Joseph is the first person to benefit from this goal and achieve his long dream (martyrdom). Of course, the Canicha people and other people also benefit in this section and they are considered as the subsidiary beneficial owners. The helpers and companions of this narrative, "Abu Khezr, Mullah Idriss and Delaram," and narrative deterrents are "The Komoleh Party, Tarokh and Manijeh".