نشریه جستارهای نوین ادبی
سال چهل و سوم شماره 1 (پیاپی 168، بهار 1389)

Nima Yooshij applied various techniques in order to describe diverse poetic subjects. This research deals with analysing the usage of these expressive techniques from two perspectives - poetic and structural.Nima applied structural expressive techniques more often than poetic expressive techniques in order to describe various poetic subjects.These techniques include adjectives, adverbs, adjective clauses, adjective predicate, descriptive sentences, and imaginative verbs.The usage of adjectives and descriptive sentences is more common as opposed to other techniques. Among the poetic techniques such symbols as allegory, irony, metaphor and personification is in first position. The more extensive use of structural expressive techniques confirms that Nima’s poetry is closer to natural expression and rhythmic prose.

Some of contemporary poets, at a certain period of time due to distressed political and social situation and individual and social successive defeats, some poets find conviction in "Absence of god,'' which is one of the fundamental Western philosophical ideas; but because of human's intrinsic tendency towards the concept of ''God'' and under the influence of Western philosophical ideas, belief in a "different God" appears. This subject caused to appear a different form of theism. In this article, the authors review the history of this topic in religious tradition and Western philosophy, and then study their emergence, durability, wane, difference and similarities in poetry of the three prominent contemporary poets - Akhavan, Foroogh and Shamloo.

Human voyage to the world of ultra sense is a matter of discourses which was widely discussed between nations and the various schools of philosophy, language and many people including leaders of religions and thoughts branches confessed doing such voyages and left some literary reports of their mystical and dreamy travel. The oldest and newest of these reports are shown in this paper and them between the voyages that traditional people have reported and the letter of ascension of M.R.SH.KK as ample of a modern man which is available we make some comparisons in different dimensions, dealing with unconscious and interfering of super human in forming their phrases. This survey shows that most of these voyages could have certain occurrences, and could explain them in scientific view and particularly based on Yung's ideas. In evaluating a part of phrases of these voyages it has been shown that the similarities and common points of these ascensions is related to the beliefs, mortification and deliberations that cause these voyages in one side and in the other side is related to the influence of the most formers and the letter voyages; also by comparing the two traditional and modern groups of passengers of the invisible world.Through submitting and explaining their documentary reports, the ideology role of these two groups is described in creating the elements of these phrases and mean while the commitment and mission of human is described based on considering the traditional definition of human as a speaking animal and the definition of moderns as a searching animal in human general ascension, and at the end it is reminded that the modern human is trying to encourage and prepare the collective conscience of human to clear and improve the society through conscious movement and describing manners of painful souls in world of spirits and using the fear strategy. The reason of fear less critic of poets in the last part of the letter of ascension of modern human is because of this lack of attention to the mission and commitment of poems as the main base to the society's cultural facilities.

Regionalism in the contemporary Iranian story telling begins seriously in the 1930s and reaches its peak in the 1940s or 1950s. The regional stories reflect mostly the common specifications and elements, such as cultures, beliefs, rules and ceremonies in the geographical area. In the contemporary Iranian story telling, with respect to the geographical origins of writers and regional specifications reflected in their worksfive realms of regional story telling in the north, south, east (Khorasan), west (Kermanshah), and Adharbayejan are reflectedAfter presenting the definition of regional story, This article critically counts and introduces regional stories of Khorasan and their specifications.

In this article Naser al-Din Shah’s accounts of travels to Europe (Safar-Nameh) have bee examined and criticised in a discourse analysis approach.By using this approach, attention has been paid to linguistic factors, co-text and context of the situation (social, cultural, political and historical), and institutional position, as well as the writer's attitude which has been effective in informing the work. The travels to Europe and Naser-al-Din Shah's discourse in these works have political, social, and cultural achievements and results. Some of these achievements had a great influence on linguistic and literary styles.

Although researchers have always been trying to remove the veils of mysteries from it‚ Shahnameh‚ the Iranian ethnical and cultural identification record‚ has continued to remain vague and mysterious in the field of beliefs, symbols and philology. On the other hand‚ Shahnameh is a rich treasury due to the amount of Persian words, and it is the secret of the existence of the Persian language and literature. There are many words used in the Shahnameh, which,with the same pronunciation or with some variation of it, are still used in the speech of the villages of the Greater Khorasan. In this article an effort has been made to review the Shahnameh verses in order to correct the faults that the Shahnameh researchers, stylists, and rhyme experts have found with it. In this article we first present the various records of it in its multiple versions by the Moscow publisher and Jalal Khaleqi Motlaq‚ and then different philologists’ views have been given. In the second part of the article the record of “hom” has been preferred over the record of “ham.” In the third part‚ however‚ the writer of the article reads the rhyme not as the philologists do‚ but as “hom” rhyming with “dom‚” that is “hom.” The reason for this preference and the different meanings of the word “hom,” which is still used in Gonabad and its surrounding villages‚ is explained and illustrated by citing examples from the text.

Though Sanai is the leader of Persian mystical poem and his role is distinguished in creating the poetics of mystical poetry, the fact that he has risen from the hert of a rooted mystical tradition, whose linguistic signs can be seen in mystic and theological works written before him. So the main question of this article is: Are there any similarities and common topics between the study of Hadiqa Tu’l Haqiqat, as the pinnacle of mystic poetry, and the mystical and theological works predating it? In order to find the answer we extracted common topics of Hadiqa Tu’l Haqiqat and exceptional mystical and theological works predating it, and then analysed the existing data in three level: similarities, tales and other common topics. The next question is: can we determine the probable sources that had an impact on Sanai’s thoughts? The more we meet the name of a certain work, it can show that the work was a source of Sanai‘s ideas, and vice versa.