فصلنامه ادب پژوهی
پیاپی 22 (زمستان 1391)

This article focuses on mortalism and culturalogy in Sādegh Hedāyat’s fictions. The very depicting of the different ways of burial and the cemetric rites in his works - which are accomplished by benefiting from the knowledge of archeology, anthropology, and the different beliefs and cults - indicate that Hedāyat has hesitated on these beliefs. In Adam’s Ancestors, Hedāyat narrates the death of a human-monkey, and in Darkroom, Abunasr’s Throne, Afarinegan, and The Last Smile, he gives a narration of man’s death, respectively in Stone age, Iron age, and the later ages such as those of Kiāni Kings and contemporary period. This trend goes on even up to thousand years after our time which might imply a chronological order in Hedāyat’s fictions

Folk tales, similar to myths and mystic tales, are very rich for their capacities to be deciphered. The stories known as Hātem Nāme are among the folktales, and one of which called Hammām-e Bādgard (Ventilated Bath) is studied in this article following the combined psychological- mythological perspective of Jung and Campbell. This story narrates the mystic journey of the protagonist, Hātem. He goes through all stages of the ritual conduct starting with accepting of anima and entering to the World of Unconsciousness, being instructed by the Wise Old Man, struggling with the different aspects of his Shadow, and finally going out of the bath, taking the steps of Initiation, crossing the Water and being reborn and reaching the Unconscious Abyss to kill his Inside Parrot, which is a symbol for Utilitarian mind and discovering one’s Substantial gem.

Imagery has a vast function whose examples can be seen in poetry, photography and movie. Cinematic techniques make it possible to objectively represent natural scenes, because the precondition for making any image is an exact look on natural beauties. This ability could be seen in literary works of the past. The present article is concerned with a literary narration of Iran History called Tārikh-e Beyhaghi and concentrates on some parts of the book which are dramatically and visually rich. The study aims at introducing the cinematic techniques used in this book through verifying them by instances from the world famous movies.

This article is essentially concerned with the central place of “God”, “Man”, and “Love” in Mowlavi’s worldview. The paper starts with the Divine History of the first encountering of Man with God in order to pose the questions mostly asked in our time; then it is followed by dealing with topics such as Nature, Initiation and Innovation, the significance of Desire, Devine Love, and the crucial role of Man’s Kindness in being connected to God. The mutual attempt of The Deity and Man for proximity which is initiated by God, the priority of God’s Will, the mutual love between God and Man and the Divine origin of this love, as well as the decisive role of Man’s Kindness for making affinities with His Creator, God’s response to His servant’s prayer, Absolution, and inviolability from Divine Wrath, are among the findings of this research.

This study is an attempt to apply a semiotic approach to a short story by Hedāyat called Dāsh Akol. The paper, in order to capture the explicit and implicit meanings of the text, takes advantage of all micro and macro elements of the story. Meaning is a spatial and abstract entity and would not be actualized unless it is expressed by language. In Dāsh Akol, not only the phones, words, phrases and sentences but the very text indicate that there is a harmony between the general atmosphere and the language of the story. The study also proves that the linguistic mechanisms and strategies put into effect the intended meanings.

Postmodern fiction through holding playful discussions about language and act of story-telling diminishes the authority of metanarrative. Metanarrative is a significative and cognitive system in search of the Ultimate Truth that tries to claim its dominance on all texts including literature. In contrast, the postmodern literature uses many techniques to reject this dominance by annihilating the order and architecture of the metanarratives. Various forms of the language games and anomalisms such as deviating the verbal and visual norms are among these techniques. This study concentrates on the unconventional use of punctuation marks as one of the stylistic norm deviating devices in Persian postmodern fictions. The evidence is sought in twenty six stories from Iranian writers in the two last decades.

Roodbāri is one of the Southwestern Iranian dialects consisting of different variants which are spoken in Roodbār, Kahnooj, Manoojān, Ghal’e- Ganj, Jiroft, Anbarabad, and some districts of Hormozgān province. This article studies the active affixes of Kahnooji variant through dividing them into two subvariants of derivational and inflectional, and comparing them to standard Persian. The findings of this research indicate that although many affixes of Kahnooji can be found in Persian, a small number of them either never existed or no longer exist in Persian. Concerning the latter, the origins of the affixes should be sought in Fārsi Dari or Middle Persian and the present paper might be a good source for such researches.