پژوهشنامه ادب غنایی
پیاپی 24 (بهار و تابستان 1394)

Penname (Takhallos) is the poetic name of the poet which comes at the end of Ghazal and other poetical formats. Since Plato era so far, different theories have been presented which believe that the poet has a narrator who flows the poems on his/her tongue. From the rhetoric view, it is a subset of a kind of "Tajrid". In the present paper, using the descriptive-analytic research method, it has been attempted to mention some signs which demonstrate that some of Ghazal poets were aware of this rhetoric and artistic point and utilized it. Penname differentiation signs of the poet and the penname are of two kinds: literal signs and semantic ones. In this article, in addition to considering the differentiation methods of the poet and the penname or Tajrid signs, penname personality has been described and analyzed regarding the similes in which it has been used as the Vehicle.

The Poems expressing a person's emotions and feelingsare categorized in lyrical literature. Sometimes the poet's personal life, particularly childhood, obviously reflects in his/her poems. Experts emphasize on the relationship between literary texts and personal life of the author. One of the great poets whose poems are analyzed in this respect, but little attention has been paid to him is PejmanBakhtiary. He is skilled at portraying the good and the bad times of life. In childhoodhe lost his father and spent his life as a child far from his mother's affection. The severity of these sad events affected him deeply. He repeatedly expressed his discomfort deals in his poems. Generally he has a pleasant and effective expression in his lyrical poems which is examinedin the present descriptive- analytic article.

In the Greimasian semiotic discussion, in order to know the stages of production and apprehension of the meaning, deep structure of the narrative is to be analyzed according to a variety of processes and patterns of discourse. Since studying and recognizing the mechanisms of meaning production in the lyrical poems seems necessary; In the present study, semiotic features and processes of the meaning production in Nezami’s Khosrow-va- Shirin have been considered and analyzed based on Greimas semiotic theory and using the descriptive-analytic method. The purpose of this article is to clear the issue that to what extent the Greimas theory, which is universal and flexible for analyzing a variety of texts, is adaptable to lyrical poems? Moreover, it is discussed that how the[sensory-emotional form affects semantic actant and results in production of the meaning. The results demonstrate that the meaning in lyrical poems is produced in the template of action and l̛état. The narrative of Khosrow-va- Shirin doesn’t follow Greimas proposed patterns for production of the meaning and in this path it is faced with some challenge in which The time actant, along with the temporal segmentation and expectation actant, have leading roles in realization and production of the challenging narrative meanings.

Analyzing the literary works based on the modern views leads to understand their unknown sides. The story of Zal-va-Roudabeh which is a unique combination of love and saga, has not been analyzed with the psychoanalytic approach yet. Such an analysis may open a new window to the eyes of the audience. In this article, first, the theory of Jung and its archetypes will be briefly introduced. second, regarding the theory, some of the most frequent archetypes of the story of Zal-va- Roudabeh will be sought and analyzed. The results demonstrate that Zal, earns a kind of divine wisdom and he is released from the heaviness of the matter to be the father of the most eminent hero of Shahname, Rostam, and finally reaches to individuation. Reaching this stage, everything is provided for a divine marriage and the result is the world's hero, Rostam.

Life and death have always been two important issues in scholars’ views; contemporary Iranian poets have looked at death from different perspectives. In this regard, three distinguished poets after Nima (Akhavan, Shamloo and Forough) are of paramount importance. In this research, using qualitative content analysis, three contemporary poets’ (Akhavan, Shamloo and Forough) thought and feeling about life and death were evaluated. In so doing, the themes of life and death in their poems were found and analyzed, and then in this way, issues like life, death, evolution of thought in the three poets, the world after death, and eventually martyrdom and fear of death were investigated. The findings indicated that the unpleasant image of life and hatred of death and sometimes fear of it, are more or less unchangeably present in Akhavan’s works, sometimes being mild and sometimes indifferent accompanied by sarcasm. But in Shamloo’s perspective, life with love is beautiful, and although sometimes it is unbearably painful, at the same time it is perfect and lacks nothing. To him, living in the midst of deception and oppression of society is the worst type of death and death for his belief is beautiful and impressive. He unwillingly accepts the natural death as the law of nature. Evolution is more vividly depicted in Forough’s perspective. She loves life with all its absurdity. At first, she likes death because of her weariness with life, but little by little death in her view becomes beautiful and is depicted by clear and poetic words.

Nafthat-Al-Masdoor by Shahab-Al-Din Mohammad Zeidary Nasavi, is one of the Persian euphuism masterpieces.The book begins without any kind of preamble and ends quite abruptly. It appears that it is the author’s overflow of feelings which is realized in an imaginary text with a rhythmic language. In the present article, the content of this book will be studied from the perspective of lyric theory. The author reminisces his emotionally loaded memories and, simultaneously with his miseries, pains, nostalgia, and loneliness as Kharazmshahian Kingdom was close to its downfall. He creates such poetry genres as elegy, complaint, eulogy, and satire through describing his own feelings towards different people. In fact, a structural analysis of these genres reveals the author’s overflow of feelings. Therefore, the readers are often faced with a poetic and rhythmic prose which is replete with emotions, excitement and passion.

Imad Bin Mohammed Al-Saghri is one the authors of the 8th century and his "Jawaher-Al-Asmar" is a legendary lyrical prose which is written with the figurative language and in terms of a simple prose. The narrator Of "Jawaher-Al-Asmar", "The Parrot", tells 100 Legends during 52 nights. Al-Saghri mentions some of the lover and beloved's features in the beginning and the end of stories which are most counted as advises. He is wiling to get Vision of Love without any filth. He also cites cases to bring a deeper and more stable love. During the story "The Parrot" with brilliance, Gives the main character "Mah Shekar" a piece of advice that actually works and makes "Mah Shekar" to think about love again. The Method of this research is Descriptive and using library resources and its importance and necessity is for its Obscurity. The purpose of this study is to consider what is necessary between the lover and beloved for a long lasting love in Al-Saghri's opinion.

The folkloric songs and stories of different regions of Iran and Persian language speaking countries are a cultural treasure that its protectors are people and local singers whom are called in different names everywhere and have their own special performance method. In this article,the Persian language singers and instrumentalists of the North and West of Iran have been recognized and introduced considering 300 kinds of native songs, becoming familiar with their work method. The singers are called by different names in every area such as: “Gossan”,”Tasnif khan”,”Chavoshkhan”,”Nohekhan”,”Darvish”,”Choopan”,”Charvadar”,”Bakhshi”,”Looti”,”Looloochi”,”Qushmechi”,”Soopi”,”Asheq”,”Talookhan”,”Parikhan”,”Ozan”,”Sayachi”,”Aqichi”,”Shahrikhan”,”Beitkhan”,”Kharat”,”Soozkhan”,”Mirshekal”,”Tooshmal”,”Mehtar”,”Raravash”,”Kalamvash”,”Norouzkhan”,”sharkhoon”,”Godar”,”Amirikhan”,”Changi”,”Sareban”,”Hodikhan”,”Koli”and “Pahlavan”. The present paper has been written regarding the results of the research project of the author, entitled "Studying the folk songs", carried out following the “Scholars Fund” request in 2014.

her poetry but with a special approach so that it can be said that her way of using Tahereh Saffarzadeh, is one of the contemporary, revolutionary and committed poets and regarding her important, high place in our contemporary literature, particularly the revolutionary and committed literature, conducting any kind of research about her and her poetry is necessary and helpful. Saffarzadeh, at her first period of life, was under the influence of "Emotional Romanticism". Although, in the following periods, she kept distance from this sort of Romanticism, the effects and implications of that can be traced in her poems in other forms; however, they do not have a full tone of that school. It seems that her familiarity with the European poetry has been effective in more profound identification of these literary schools and, consequently, taking effect of them. The aim of this article is to study the Romanticism atmosphere in Saffarzadeh's poems and demonstrate the elements of this school in her poetry, which is achieved through descriptive-analytic method. The findings of the research illustrate that most elements of Romanticism can be found in Romanticism is an Iranian one, with the elements of social and revolutionary Romanticism.

The native identity has not been considered much in Persian classical literature and olden poets have not trended much to reflex their living nature and environment in their poems. But, Nima along with his innovations in different aspects of the poem, entered ecology into the realm of poetry and found some followers; Manuochehr Atashi is on the top of the proponents of this style who consciously shows a special trend to provide local and native symbols, elements and images. In keeping with the nostalgic feeling of homesickness and encountering with modernity, he has a deliberate approach to the native identity and his poetry’s motif is mostly based on the local environment and climate of the south. Regarding the importance of the identity as a basic principle of a nation or community’s unity, in the present paper, it has been attempted to illustrate Atashi’s motivation to pay attention to the native identity on the one hand and examine its presented contents and components in his poem and provide a clear framework of this concept on the other hand. Studies demonstrate that the most important aspects of the native identity in Atashi’s poetry include: celebrities memorials, usage of the specific, native vocabulary of the south, Presentation of the images and names of places, native plants and animals And considering some traditions and beliefs of south of country.

The story of Zal-va-Roudabeh is Ferdowsi's first love story in Shahname that is lyrical-epic and in which the romance is reflected naturally and logically. It should be noticed that in such stories‚ the poet doesn’t usually interfere in narrating and transferring the ancient's heritage to the next generations and he reveals his feelings and emotions less; but from the view of description and imagination forms that state the poet's skill and ability in composing the poem‚ he tries to state the happenings of the story in an artistic style. In the present study, the structure of Zal-va-Roudabeh story, regarding its lyrical aspect, have been examined in two parts using the descriptive – analytic method. The first part allocates to the combination and the context of the story which includes: the form‚ the topic and the way of expression‚ conversations‚ characters and heroes of the story and contains all the elements of a lyrical poem. In the second part of the story‚ the role of the forms of imagination in making epic or lyrical story is described. In some cases‚ such as metonymy and simile‚ the story has kept its epic – lyrical form in accordance with their frequency but considering the metaphor‚ lyrical aspects are dominant and most of the metaphors are devoted to the beloved (Roudabeh). Considering the allusion, the allusions with the epic concept are dominant.

Houshang Moradi Kermani, born in 1323, is one of the successful novelists and comic artists in the field of children and teenager's literature. Using a wide range of Satire making mechanisms in Moradi Kermani's works is one of the reasons his works are significant. Regarding the results of this study, these mechanisms are mostly divided into two categories: "the mechanisms based on language usage" and "the mechanisms based on language content". In the first category, the satire is created based on language usage and form, specially its two or multiple meaning feature; whereas, in the second category which can be observed with a higher frequency in Moradi's works, the satire is made more on the basis of language content and creating the situations. However, each of these categories is divided to more subsets according to the different theories and patterns which will be discussed in detail in the present study. The results demonstrate that in Moradi's works, satire has been changed through the time and headed to a hidden satire with complex and unknown mechanisms for which the reader needs to excavate the inner layers of the writing to understand it. The purpose of this study is to categorize and analyze the mentioned mechanisms, using the descriptive-analytic method, considering the common theories and patterns of the satire world.

Shahrashoobs composed by Mahasti are considered as protests against eulogists and megalomaniac rulers who lived in a class-based society in which panegyrics had a certain status and the importance of rulers depended on court eulogists. This paper aims to identify the encrypted signs of this ironic act within implications of her poetry. As far as Persian culture and literature is concerned, women’s solutions have always resolved many obstacles and problems or they have illuminated the situations. These feminine behaviors are presented in Persian tales and Mahasti used them in her romantic poetry to show a reaction toward the eulogy. Regarding this fact, it can be said that her act has been a kind of illumination that changed the style of Persian poetry for a long time. Mahasti tried to protest against her contemporary poets who were praising the ruling class, thus, attempted to describe the lowest social strata. She put these two heterogeneous phenomena against each other and metaphorically directed her protest against eulogists and rulers and disparaged the eulogy. In the present article, in has been attempted to illustrate the manner and quality of such a feminine reaction and protest.

Khosrow-va-Shirin is the second poem collection in Mirza Muhammad Sadeq Nami Isfahani's Khamseh (1204 AH), which was written imitating Nezami's Khosrow-va-Shirin. In spite of possessing a common theme and identical rhythm and format, this writing differentiates with its counterpart in many points. The number of Nami's Khosrow-va-Shirin verses are almost two-third of those of Nezami's and deleting many events and scenes, has declined charisma and charm of the story. Nami has changed many events, stirred their arrangement and removed and added some; because he claimed that he created a poem collection equal to Nezamis. In the present study, These cases were investigated using the library and descriptive- analytic methods. Although Nami's creativity, his ability to create these changes and using artistic combinations and poetic images- which encourage the researchers to study his works- cannot be ignored, it must be acknowledged That he has not been particularly successful in narrating the story of Khosrow-va-Shirin.

Studying literary texts based on the insights mentioned in modern psychology is one of the most popular fields of research in Persian language and literature. Saadi's sonnets (Ghazaliat) as one of the outstanding works in lyrical literature, have expressed elegances and precisions of Romanticism. On the other hand, love is one of the widespread discussions in psychology and leading psychologists such as Erich Fromm have explained it, its fields, function and different kinds. There are a wide range of common points between Saadi's views and Fromm's theories; such as the motivations to love, necessity of courtesy, being submitted to the beloved and emphasizing on the fact that, love is the connection spot of The human and non-human beings. Along with the mentioned similarities, some differences between Saadi and Fromm's views can be observed. The research method in this study was The analytic comparison of Saadi's view of life in his sonnets and Fromm's and also illustrate the similarities.