مجله زبان و ادبیات فارسی
پیاپی 80 (بهار و تابستان 1395)

Mohammadreza Mirzadeh Eshghi in Persian Literature is comparable to Percy Bysshe Shelley as one can compare the reign of terror that emerged in Iran after the Constitutional Revolution to the reign of terror that existed in England after the French Revolution. Mirzadeh Eshghi and Shelley composed poetry and drama in response to the ruling powers of their eras. They both showed resistance and questioned the ruling discourses of their time in order to make their voices heard. This can be interpreted from the point of view of Cultural Materialism. Allan Sinfield, a notable figure among cultural materialists, suggests dissident reading of texts and talks of faultlines in texts that challenge the ruling discourses. This study argues that the difference between the poet’s voice and the ruling discourses of the era depicts faultlines in such discourses and thus challenges them.

According to experts in rhetoric, Interrogation refers to asking about a thing which is unknown to the speaker and aims at knowing something; they mention, however, that these statements deviate from their real purposes sometimes and refer to some other secondary meanings. Writers have mentioned more or less different secondary purposes mainly based on the Quran. More recent writers have also provided some examples of more secondary rhetorical purposes. Persian language is among those languages in which different meanings can be inferred from statements. This paper intends to survey the secondary purposes of interrogative statements in Saadi's Ghazals. In addition to improving rhetorical knowledge of secondary purposes, this paper shows that secondary purposes of interrogative statements are not limited to what were introduced by old and modern rhetorical writings, since special verbal structures were used by Saadi to indicate minute rhetorical intentions. His Ghazals are the best sources to identify secondary purposes of interrogative statements in Persian. The survey is a theoretical research based on library studies with descriptive-analytic method and the results have been analyzed contextually. Statistical society is 714 and the sample size is 238 based on Krejcie-Morgan's formula arranged in random sampling. The results show that Saadi paid attention to 45 secondary purposes in interrogations and used different meanings and purposes in one statement simultaneously.

Fantastic Realism is a genre which remind us of Russia and its great writer Dostoevsky. This genre has been developed in Iran among Iranian writers who have been familiar with the books of world literature, especially Russian literature. Fantastic Realism employs and combines reality and imagination, and while it concerns the reality related to human beings, it pictures that kind of reality which is internal. That is why the reader has some difficulty in finding the true meaning in such novels. Among the Iranian writers, Khosro Hamzavi is more inclined to this genre and the novel The City which Died under the Cedar Trees is one of the best novels of this writer which is written on the basis and reflects Fantastic Realism. The City which Died under the Cedar Trees is discussed in this paper based on Fantastic Realism using a descriptive-analytic method.

Governmental systems and administrative organizations in Iran have been always in change throughout history. A position which was necessary in some centuries and was counted as an important governmental position was “Amirdadi”. The person who held this post was called Amir-e dad or Mirdad. Lexicographers have mentioned several different tasks for Amir-e dad. Some believe they are the same as chief judges. Some have considered them as the executers of the King’s commands in Mazalem (justice) days. And some others have assumed they are the administrators who were responsible for public affairs. Some also have mentioned them as ministers or administrators of the Ministry of Justice. In this article the researcher attempts to answer this essential question: What position did Amir-e dad have in old administrative organization and for which tasks he was responsible? This article consists of four sections: in section one, the word structure of Amir-e dad is studied. Section two analyzes the era in which this term was prevalent. Section three describes the tasks and positions of Amir-e dad in governmental systems in which this post had been officially recognized, on the basis of some available literary and historical evidences. Finally, in section four, some points are mentioned on the ceremony of Amirdadi empowering.

Zeidari Nasavi’s Nafsat al-Masdoor is one of the few works which are written in technical prose and mainly aim at conveying meaning rather than affection. Considering the emotional strain of his literary text, Zeidari believes music has the highest effect on conveying the feeling, and in various ways, including the use of elements of prosody, literary figures, and the selection and arrangement of the terms in Paradigmatic and syntagmatic ways, he creates a musical effect in his text. Thus, by working on his style and manner of writing and by employing different diction not only he created music in the text, but also because of the dominance of music, the meaning has changed. This method of writing made him to be more careful in choosing his words, for the changes he affected in the standard language have been the effect of vocal arrangements and defamiliarization. This has also made his work on history more imaginative and closer to lyric literature and poetry.

In this paper, based on the contemporary theory of cognitive metaphor, the metaphoric functions of Jamal (Beauty) and the clusters of images related to it, namely the world, man, face, sun, mirror, etc. in Mawlavi's lyrics are explained. In theology, the motif of conceptual metaphor of Jamal is Royat (vision). Finding its way into mysticism, "vision" is expressed in the metaphor of Beauty and thus the idea is conveyed through metaphoric language. Through the analyses of beauty as a metaphor and its related images in Masnavi and Divan-e Shams, we find out that "God is visible". This metaphoric idea is evident in the depth of the structure of the works. Accordingly, Mawlavi describes the Jamal-e-Haqq (the Beauty of God) through particular metaphors, such as Hosn-e-Yousof (the Beauty of Joseph), the world, the Perfect Man, the sun and food. Using these metaphors, Mawlavi proves that God is visible. In this paper attempt is made to analyze and explain the relationship between metaphor and ideology, and also to suggest a new reading of Persian poetry, especially in regard of mystical discourses.

One of the oldest and most pleasant and efficient kinds of poetry, which have attracted the attention of scholars and lovers of poetry since the beginning of the Persian poetry until now, is elegy. Khaghani Shervani is one of the poets who wrote after this genre and composed many memorable and beautiful elegies. The poet, who like many other people experienced happy and sad events and occasions, wrote many elegies in which he commemorates and remembers many of his dear ones. These poems are marked by their emotional language and poetic expression of feelings, which is simple and unaffected but at the same time expresses his emotion and passion in the best possible way. In this article elegy is discussed in the collected poems of Khaghani.

Feministic criticism concerns the function of specific feminine cultural and ideological constituents in literal works. In its approach to narrative this kind of criticism follows two methods. First, the attributes of women and their role and personality in course of the story, and second a critique of women presented which studies female authors. Sorkhi-e-to az man by Sepedeh Shamlu is one the feministic novels, which concerns the world of women in recent years. It has attracted the attention of many readers interested in Persian contemporary novel. Considering the importance of this novel in the process of feministic narrative writing of post-revolutionary Iran, this paper attempts to explore the elements of feministic narrative following an analytic-descriptive method. The findings of this paper show that this modern novel seeks to cast doubt on the differences of men and women through a deconstruction method. The female characters of the novel consider their identity and situation to be molded by imposed patriotic social relations, which are created by men and the dominance of masculine language. By considering the beliefs, worldviews, emotions, privet parts, women’s feelings of disgust and fear, lewdness, objection to masculine gaze, choosing short sentences, etc. in the text the researchers attempt to highlight the feminine style of writing.

This study examines the narrative approach of Shahnameh by Ferdowsi based on Bakhtin’s dialogism. The logic of dialogue, a narrative that describes the relationship between different views through dialogue and interaction and considers dialogue as the only way of communication. Dialogism is supplemented by concepts such as "polyphony", "the other voice" and "Carnival". One of the necessary constituents of carnivalistic life is laughter. In Shahnameh there are three kinds of laughter, one of which is considered closer to Bakhtin’s laughter; it is a laughter that causes ridicule and humiliation. Other types of laughter are those of joy and an analogy of nature. In this article the carnivalistic laughter and laughter in Shahnameh are compared with each other to find out the correspondence between dialogism and Shahnameh. In this study, we attempt to study the word "laughter" and its derivatives in Shahnameh using descriptive-analytic method and evaluate it on the basis of Bakhtin's theory of dialogism, and also find out its similarities and differences with Bakhtin's carnivalistic laughter.

The novel Malekan-e- Azab is the latest published work by Abu Torab-e Khosravi. The significance which is always assumed by Khosravi for words and writing is conspicuously seen in this novel as well; however, the author’s attempt to develop novel atmosphere and techniques has added a new dimension of complexity. To fully appreciate this complication and to gain an understanding of the discourse, we will investigate the deep structure of the novel and its affinity with the author’s technique, drawing on non-narrative elements, the implication of the signs and the binary contrast involved in the process of signification. The theme of the novel is a battle against Time. The technique of narration is multi-dimensional which is compatible with its deep structure. Given the significance of the association between words and creativity, the author has endeavored to develop a close connection between words and creativity and writing. In doing so, the author provides a circular portrayal of the characters. The realization of the characters by words and literary elements has induced a vivid image of the narrator by exploiting new indexicals which are constituted by the characters. The author’s novel technique to battle against Time is metamorphosis; the characters are realized as narrative indexicals and lead their lively life throughout the narrative. The symbolic elements of the narrative are closely interweaved with the circular structure of the characters and are so formulated to develop the deep structure of the narrative within a transformational framework.

Among extant books of Sufis prose, the prose of Maqalat-e Shams-e Tabrizi has high and particular qualities. Its special language and the sensitivity that Shams shows in every point of his Maqalat regarding language makes us observe the dialectic between structure and meaning of language which is the results of forming a progressive prose compared to the prose of his contemporaries. Among the different functions of Shams’ language, metonymic function of prose has a special importance in Maqalat. Therefore, in order to discuss the form of Maqalat, in this article the metonymic language function is discussed, and in this way the theory of Roman Jakobson about metaphoric and metonymic pole of language has been used very much. Jakobson by accepting the theory of Saussure about the arbitrary aspects of language and also admitting two axes of replacing and companionship in language, adds that metonymy is formed by the relationship of proximity and companionship of words, but metaphor from the relationship of similarity in the replacement axis in language. By studying Maqalat we may conclude that its prose has used metonymy to present particular and special concepts.

Mythology allocated a large part, fundamental and effectively to the human mind. The knowledge of mythology in fact recognizes the important infrastructure of ideas, culture and civilization. One of the most common ways to study mythology is to implement psychological ideas in mythology. The result is not only a better understanding of mythology, but also a better understanding of human psyche and man’s individual and collective life. In this study, we want to take advantage of Jung's theory of personality psychology to explore the myth of the creation of man in ancient Persian mythology. In this paper we refer to Jung's theory of personality psychology to explore human creation in ancient Persian myth. Carl Jung believed that in human there are two sexes together. Kiumarth, the first human in Persian mythology is a creature who denotes both a man and a woman: Mashya and Mashyana. The evolution of the first giant into the king-priest, the expansion of his character and finally his martyrdom are, according to Jung's theory, the steps that existed in the Persian myth of human creation. This article studies the human creation on the basis of ancient Persian and the Middle Persian sources in the light of Jung's personality theory.