فصلنامه ادب پژوهی
پیاپی 7-8 (بهار 1388)

Modern story-telling is no longer interested in the traditional ways of narrating and the content of the story is no more as significant as the narrative devices. The novelette Shāzde Ehtejāb by Hooshang Golshiri, is one of the early examples in Persian fiction in which a great emphasis is laid on "form" and "techniques" of narrating the story. A significant point in this work is the technical turn in point of view which has some crucial effects on the function of the other fictional elements. In Shāzde Ehtejāb, Golshiri has made use of both indirect and direct interior monologue. Our study tries to demonstrate that this work of fiction is so coherent and structured that all its elements do exactly the functions they are supposed to. Although benefiting the technique of the stream of consciousness, the work does not suffer from the confusion prevailing among the novels written by this technique.

This article, based on the theory of Genette, intends a structural analysis of some short stories by Amir Hassan Cheheltan. Genette, by his Narrative Discourse, shed light on the concept of narrative; meanwhile his definition of fabula as well as his critical study of "point of view", became a turning point in the area of "Poetics of Fiction". Influenced by the Russian formalists, Genette saw fabula as a narrative aspect and the real order of narrating. He could thus give a precise analysis of all the possible relations between the chronology of events and the narrative order. This study intends to demonstrate that in It is late to die at five, "time", as an essential element of narrative is in the focus of the writer, through which and by the change in its linear order, he will be able to establish his ideal complicated form of narrating the story. Keeping in mind the principle of meaningfulness and the causality of actions, Cheheltan finds the possibility of setting up his own order of narrating the story and finally creates the temporality he is after.

Functional linguistics is one the three major trends of linguistics in which both function and meaning are simultaneously taken into account. In Halliday's functionalism, three kinds of meaning are concerned: Experimental Metafunction, Textual Metafunction, Interpersonal Metafunction, of which the third one is used in this article for analyzing The Lights, Ill Turn Off, by Zoyā Pirzād. This article, after determining the theoretical principles of Halliday's functionalism, applies them to the novel of Pirzād. The statistical graphs produced by this application proves that the past tense is mostly used in the novel, while future tense is not used at all; meanwhile indicative mood which is comparatively used more, characterizes the narrative style of the novel. Concerning the adjuncts, the verbal adjuncts and the qualitative adjuncts have respectively the most and the least usage.

The present article intends to examine the various epistemological and ontological aspects of the element "Light" in Mathnavi and compare them with the function of "Light" in the other important mystic works of Persian literature. According to the findings of the article, Mathnavi is mostly concerned with these epistemological aspects of "Light" which deal with The Law and The Quran, and its interpretation of "Light" and the related concepts differ from both ontological and epistemological interpretation of the mystics such as Ali-ebn Othmān Hojviri Hamedāni and Ahmad Ghazzāli, and the systematic and coherent understanding of Ibn-Arabi and his followers. Molavi, although exploring the multiple features and values of "Light", never goes beyond the epistemology of Holy Quran and Tradition.

The technique of "Fair Endings", as it was traditionally called, has always been in the centre of attention of the Persian poets. In Modern Poetry, this technique continued to be an esthetic element. Nimā coined the term "Refrain", but this word, later on evolved to the general term of "Ending". Concerning the poems of Gheysar Aminpoor, the frequency and variety of "endings" play such a significant role that they double the beauty and effect of the poems. It can even be said that Aminpoor has his own style of creating the "endings". This article, while taking a look on the function of this technique, investigates and classifies the devices and innovations of "endings" in the poetry of Aminpoor.

The present article studies the narratological space and time in Quranic anecdotes. At first, through examining the narratological time from Genette's point of view, the concepts of "order", "continuity", and "frequency" will be determined by referring to some Quranic anecdotes. Then, through reading the Joseph Surah (Surah Yoosef), the typology, textual indices, and function of the narratological space of the anecdotes will be discussed. The final achievement of the article is that the narratological analysis of space and time in Quranic anecdotes supports a better understanding of the anecdote's plots and characterization as well as a deeper reading of the Surahs.

Aboriginal songs that take advantage of local culture, language and themes, are of great importance in oral literature because they familiarize the readers with the elevated concepts and ideas of a specific region. In the vast cultural area of Iran, the aboriginal songs benefit from a great variety and multiplicity: Amiri, Tāheri, Tālema, Najmā, Catooli, Haqāni, Soot khāni, Sharafshāhi, Chehārdāneh, Keylāee and Lāko, Sharbeh, Sharveh, Hājiāni, Fayezkhāni, Shanbehee, Dobeyti, Chehārbeyti, Sarhaddi, Sarsowt, Faryād, Navā, Farāghi, Asheqāneh,… are just a part of these songs which must be collected, identified and categorized before being metamorphosed into the vrersions of a dominant culture. This article firstly, through studying the historical backgrounds of the aboriginal songs, defines their characteristics, and secondly investigates and clarifies the songs of various parts of Iran considering their geographical districts, appellation, form, esthetic aspects, subject and theme.

Structuralist sociology is among the decisive approaches of the contemporary literary criticism whose pioneers such as Althusser, Macherey and Goldmann, have sometimes analyzed the symbolistic and surrealistic texts. Three drops of Blood by Sādegh Hedāyat, although mostly studied psychologically, has the capacity to be read from different viewpoints. The present study of this work is based on the ideas of the structuralist sociologists who look for the reflection of ideologies, social structures and formations in literary texts in order to picture the genius of their writers in representing social changes. Three drops of Blood as a representation of the social relationships of its time, reveals how an ideological society enfeebles its men and women by depriving them of their human rights.

The 1340's is one of the most remarkable decades in Persian contemporary poetry in which many poetic trends and waves such as Moj-e Now (The New Wave), Sher-e Digar (A Different Poetry), and Sher-e Hajm (The Poetry of Dimensions) appeared, all originating from Nimā's poetical innovations. Hooshang Chālangi was among the poets who got interested in free verse, and together with some other poets founded a group called Gorooh-e Sher-e Digar, later on developed as Sher-e Hajm. In 1350's the poetic knowledge and achievements of Chālangi was a manifest for the young poets of Masjed Soleymān who were enthusiastically supported by Manoochehr Atashi, and finally established Moj-e Nab (The Pure Wave). Chālangi is known for his unconventional poetic diction, conciseness and taking advantage of the natural elements of his native land. A different interpretation of the old mythology, going beyond the scansions of Nimā, as well as making use of surrealistic images, defamiliarization and metaphoric language are among the other features of Chālangi's poetry.

While collating Kolliāt-e Shams based on Ghooniyeh Version 770, Towfigh Sobhāni extracted some cases which are different from those in the version used by Foroozānfar and through reasoning concluded that the Ghooniyeh Version is more authentic. If the comparison is to be based on the Ghooniyeh Version and the version finally published by Foroozānfar, the number of the differences will know no limits because Foroozānfar did not consider the Ghooniyeh Version as his only authentic text. In this article the 93 cases mentioned by Sobhāni are once more examined in order to show which record is more authoritative.