نشریه کاوش نامه زبان و ادبیات فارسی
پیاپی 38 (پاییز 1397)

Esoteric views of Burhan al- Din Muhaqiq Tirmidhi induced a great impact on Rumi. In this article I would try to show how important the concept of interior aspect of religion and mystical exegeses of Quran are in understanding the thoughts and words of Burhan al- Din Muhqiq, to examine how and why his words have in their turn, influenced Rumi enormously. My main concern here would be the inward aspect of religion in Burhan’s eyes and words according to his Maarif, and his method of using mystical commentary of Quran by means of figurative tropes, symbolic language, metaphors and allegories, which is reflected in Rumi’s Mathnawi and Fih ma Fih.

Today the study of narrative discourse in the stories and novels has occupied a special status in the literary criticism. In the meantime, the study of that part of the narration, which is expressed not by the narrator himself, but by his characters has been given a special emphasis by discourse studies. Jalal Al-e-Ahmad is one of the authors who prefer to structur their stories by an alternance between the narrator and character's discours. For this purpose, the narrator of Jalal uses the common and classical type of direct and indirect speechs, as well as the free indirect speech, interior monologue and narratized discourse. But does he have any narrative or literary justification by using each types of speechs instead of other? The answer to this question is possible by a careful study of each type of speech, relying on critiques of discoursive and narrative field, such as Gérard Genette and Dominique Maingeneau, and by studying their function and their unique role in particular story situations. This study confirms that the narrator of Jalal, rather than taking the speech for himself, places this emphasis on his fictional characters. Indeed, Ahmad's realistic view of social issues has led him to choose two types of direct and indirect speechs on the other types of speechs, in order not to judge himself, but to transmit the word of character to the reader, and put him in free judgment. On the other hand, the narrator seems to have often devoted the interior monologue to stories that rely on the mental complexity of characters.

The oust of Reza Shah in 1320 and fall of Mosadeq government in 1332 culminated with sociopolitical transformations which had certain repercussions in Persian literature. The present study aims to detect these repercussions in the domain of Persian fiction particularly novel applying Bourdieu’s theory of sociology of cultural production. To do this, sociopolitical conditions dominating literary atmosphere of the specified time period are studied in terms of the concept of ‘field’, then, the influences of translation as a social action on the development of Persian fiction particularly Persian novel is investigated in the framework of literary field. As the next step, productions and activities of two author-translators, i.e. Sadeq Hedayat and Ibrahim Golistan, are investigated in terms of habitus to clarify the link between the concepts of field and ‘habitus’. As a conclusion, it appears that this theory provides an opportunity to link the macrostructures of sociopolitical situations to microstructures as family conditions, personal motives, literary position, economical purposes, political doctrines and personal interests. Accordingly, the origin of developments in Persian fiction is detected and the agency of cultural producers as authors, translators and author-translators is elaborated on.

Iraj's and Hobra's poems, and Venus and Manuchehr are among the contemporary rich tales that have been written in the conflict between the two beliefs of love and homeland. Venus and Manouchehr are the translations of Freedom, which Iraj Mirza has written to the poet of Venus and Adonis William Shakespeare. The Iraj and Hubbard system, Qasim Larben, is also one of the last romantic poems in Persian literature to imitate and welcome the love poems of Venus and Manuchehr Iraj Mirza, and in the same volume. The present study uses a documentary and library method to compare the structural and content of the story of Zohreh and Manouchehr Iraj Mirza with Iraj and Hobra. The results of the research show that although the fictional elements of both works are somewhat adaptable, Iraj and Hobraj's poetry is not a mere imitation of Iraj's work. This poem, in spite of the tangible influence of Venus and Manuchehr, is genuine and authentic. Elegant testimonials and innovative combinations, its soft and delicate soft language, along with its novelty, has added to the theme and values of the poetry. Zohreh and Manouchehr's poems are in terms of simplicity, psychic and stylism on folklore, expression and display of personality relationships beyond the live and natural conversations of the literary works of Iranian literature.

"Habsiyeh” is a kind of poem written by a poet in prison to represent its sensory, spiritual, epistemology interactions, which are involved with its imagination to show his threatening  position in prison by using a special language. The prison “landmark” either draws the poet to the threatened body and mind, or forms the cognation in which the "prison" is a "supernatural". prison discourse is formed in the poem  according to his related social affairs and the world. Accordingly, in explanation of the poem of “Habsiyeh”, we face with two types of prison discourse which at first is pre-modern world poet whose poem confirms the governing of the social and political powers, and the second is poet representing of the contemporary “Habsiyeh” whose poem is against the power and in a context of resistance literature. In this article, by using a critical discourse analysis method and with special attentions to Laclau and Mouffe points of views is tried to investigate two prison discourse in the poetry of Masood Saad  and also “Habsiehs” of another two contemporary poets known as FarrokhiYazdi and Bahar to reveal their discourse circumstances. In the traditional discourse of “Habsieh”, fanaticism is the core of this discourse. The elements that are articulated in this discourse, represent the poet's worldly life as a symbolic structure, social acts involved with the governing power.  But in the modern “Habsieh” poets, prison discourse is a political protest; therefore, the core of political protest is articulated by elements such as law, liberty, struggling and constitutionalism.

In pre-Islamic sources, no mention is made of Rostam. Only a brief reference to him can be traced in four texts: Yadegar-e Zariran, Drakht-i Asurig (The Assyrian Tree), Bundahishn, and a narrative called the Sogdian story of Rostam. In Bundahishn, he is referred to twice but briefly and no comprehensive account of him could be drawn from the reference made to him in Drakht-i Asurig. Notwithstanding that almost all pre-Islamic sources, predominantly the religious/governmental sources, treated this mythological and historical towering character with silence, much is said about him in the post-Islamic sources and texts in a way that the majority of the heroic texts in post-Islamic era are centered around Rostam and his kin. Despite the gulf between the pre-Islamic and post-Islamic era germane Rostam, he is venerated as the most prominent and popular national hero in Persian literature. He is portrayed as one who has immense influence on national epic, folk narratives and even mystical literature. In the light of the contention that existed between Rostam and the Saints of Zoroastrianism such as Kay-Kavus, Vishtaspa, Tous, and Sepandiyar, Rostam’s affinity with Babr-e Bayan (Palangine), some of the hidden evidence present in the Shahnameh, and also taking into account some other hypertext evidence presented in this article, this presumption comes to mind that maybe Rostam was meant to be censored from the pre-Islamic religious/governmental sources. Furthermore, it seems that Mobeds played a pivotal role in associating Rostam with Zahhak and describing his caesarean birth as a demonic birth from his mother’s flank.

The theme of "death and dying" in contemporary poetry has manifested itself through different signs of black and white. From among the themes which become dual and contrasting while facing with the conflicting romanticism is death and thinking to it. This theme has been as black and white in Persian romantic poetry. The highest sample of black death can be seen in the poetry of Nosrat Rahmani and the white death in the poetry of Sohrab Sepehri, the most optimistic poet. Therefore, using content analysis, their poetry has been examined and revealed that the two poets, in addition to having two contrasting viewpoints to the subject of death, this conflict is apparent within their poetry; i.e. Rahmani, in spite of being pessimist, is sometimes optimist and Sepehri, in spite of being optimist, is sometimes pessimist. Their intellectual conflict was the contributing factor of their similarity. Rahmani, through creating scary and gothic image and using frightening and black words and selecting the name of the poem based on the theme of death, and also using some techniques such as expression, emmory, report and description about suicise, corpse, grave, talking to the death and believing himself a dead, adds to this theme. The most important factors of such an approach include the failure of social ideals stemming from the 28 Mordad 1332 (Solar Calendar) coup d ' état, being affected by the European poetry, paying attention to the works of Sadeq Hedayat, admission of pessimism as an art and using realism in romanticism period. Sohrab Sepehri, due to his tendency to mysticism of Zen and Khorasan, sees death through having positive and white views. Through creating positive images and his mystic ideas, Sepehri shows his ideas by statements. In his last four books (Miad Dar Lajan, Hariq Bad, Pialeh Dor-e Degar Zad, and Boveh Siah), Rahmani sometimes depicts a positive image of death. The negative and grey image of death by Sepehri relates to the beginning of his poetry and his first two collections called Marq-e-Rang and Zendegi Khabha. In his poetry, Sepehri has been affected by the dominant style which was common in his era.

The novel "It's Twenty-Three People" by Ahmed Yusefzadeh is considered as the novel of war. The story of this epic novel and the persistence of 23 of Iran's precious Iranian teenagers during the 1960s is captured by the language of one of them (the writer of the novel). In this study, which aims to highlight one of the values of the novel, the issue of "speed of narration" has been studied as an effective factor in its reputation and its survival. Reviewing the speed of narration is to show how much of a book has been devoted to literary work, actions, and events over time from time to time, and how much of a book is devoted to measuring each time period; Therefore, the narratives of the "Twenty-Three People" novel, based on the narrative theory of "Gerard Genette", were analyzed in an analytical descriptive manner and focused on increasing and decreasing factors of narrative speed in such topics as selection and elimination, periodicity, Frequency, description, dialogue, adding episode, theorizing, expressing mental activity, depicting emotional-emotional time, self-righteousness, and quoting. The result of this study is that the speed of narration in the narratives of the novel "It is twenty-three people" is "slow". Considering the volume of these narratives, the maximum use of speed-reducing agents is considered to be an advantage, and has led to the popularity, popularity and durability of the novel.