مجله پژوهش های ادب عرفانی (گوهر گویا)
سال پنجم شماره 2 (پیاپی 18، تابستان 1390)

The attempt to diminish the religious culture and to revive the antique Iranian culture which in turn led to separation of State and religion in the era of Pahlavi and his son had a great impact on Persian poetry. It formed a kind of poetry which reflected no religious affair. From 1332, however, some religious manifestations were seen in Persian poems, although there was a tendency towards material and sexual issues among poets.Tahereh Saffarzadeh was one of the poets who wanted to compose poems in this field.This article is an attempt to clarify the religious subjects proposed by Saffarzadeh when intellectuals had in their minds the idea of “art for art sake”. In addition, it explores the type of religious concepts reflected in her poems.

Bābā Fighānī Shīrazī (925AH/1519AD) is one of the epoch maker poets of the Persian literature. Effect of Fighānī on poets and poetic trends of Safavid period (907-1135 AH/1501-1722 AD) is remarkable. In biographies of this period, names of many poets have been mentioned who were researchers of Fighānī and answered his sonnets by sonnet such as Žamīrī Isfahānī (987 AH/1579-80 AD) and Huzūrī Qomī (1000 AH). Many others have been impressed by him and have followed his method such as Şā‘ib Tabrīzī (1087 AH/1676-77 AD) and ’Urfī Shīrāzī (999 AH/1590-91 AD). In addition, some issues have been referred in these works which attract attention of the reader. For example, ''Mardum Dīdih'' (written in 1175 AH/1761-2 AD) refers to imitation of Fighānī by Sirāj al-dīn Alīkhān Ārizū and importance of this issue is made evident when we know that Khān Ārizū is one of the greatest critics of Persian classic literature and is rarely found among the old and his special attention to a poet such as Fighānī indicates his importance in Persian literature. Vālih Dāghistānī (1170 AH/1756-7 AD), the writer of Rīyāž al-Shu’arā (written in 1161 AH/1748 AD), states that he is indebted to Fighānī in learning poetic techniques and poetic language. Imitation and emulation of Fighani in centuries 10 AH/16 AD and 11 AH/17 AD were so common that some of the poets such as ’Urfi Shīrāzī (999 AH/1590-91 AD) gathered in shop of a person called Mīr Țarzī-Afshār and imitated work (Dīvān) of Fighānī.

By composing “Ghoghnoos” in 1316, Nima Yooshij began using symbols in contemporary poetry. After him, strong and serious followers were found. By contemplating and meditating on Nima’s poem, especially the poems composed after the mentioned year, we can find the origin of his poetic symbols. The main origin of his symbols is, first, nature and its various manifestations like time, place, some of Four Elements, birds, animals, jungles, trees, etc and then humane symbols which are often related to native characters and people of Nima’s living area. In his poem there is no trace of legendary and epical characters such as Rostam, Esfandiyar, Afrasiyab, and the Islamic characters such as the Prophet of Islam, Imam Ali and other leaders as symbol. Some of his other symbols are rooted in our past mythology, tradition and culture.In this article, by examining symbols in Nima’s poem, it is clarified that most of his symbols are innovative and personal. Of course, even his most subjective and personal symbols originate from the observable and objective world and the environment of the poet.

Mostafa Mastour is one of the successful authors in the field of contemporary fiction. One of his successful works is “Kiss the Lovely Face of God” which has gained acceptability among the addressees. In this paper, by an interdisciplinary view and by using communication science theories, the non-verbal behaviors reflected in this fiction are analyzed and non-verbal signs such as physical appearance, pantomime, movement, facial actions and vocal behavior of fiction characters and also the environment and space and manufactures which form the communication in this narrative are decoded.The investigation of fictions from the aspect of non-verbal communication which is a chain of expanded signs and various messages are received from them with regard to communicative context and the aim of interactants can lead to a new reading of text.This paper is based on Paul Ekman and Wallace Friesen’s theory of classification and behavior analysis in two fields of decoding and practice. The results of this study show that non-verbal communication often plays the role of complement of verbal communication in advancement of narrative and it has an important role in personification and increases the representational potential of fiction.

Humans have various identity dimensions in Shahnameh. In this paper, identity is studied on the basis of human functions in an ideal king-based society as well as Iranian society and, therefore, dimensions of human identity are studied on the basis of three factors of politics, society and religion separately. Theoretical basis of this article is that since Iranians always define their identity in order to establish, maintain and fix a utopia, so individual part of identity is neither important nor of value. This paper analyzes three dimensions of human identity:1) The political identity in which kings have a more important role and their functions can be analyzed in four dimensions: urbanity, justice, consultation and competition.2) Social identity is analyzed on the basis of love and happiness identity and religious identity is investigated in two dimensions: verbal (praise) and behavioral (blessing). The purpose of this paper is to explain the religious, cultural and social bases of human functions in Iran in the historical past.This paper uses a descriptive-analytical method and shows evidences related to this issue in Shahname by using library resources.

Discursive sign-semantics is the fruit of structural semiotics and narrative system of semantic studies. This view links the flow of meaning production and sensory conditions and considers a kind of ontology for linguistic productions. Discursive sign-semantics signifies an event variant of the presence of sign-meanings and investigates the function, production, and reception of meaning in discursive systems. Sign-semantics of discourse is sketched in the form of processes and different emotional, cognitive, sensory-perceptual, esthetics, etc dimensions. All of these variants share the flexibility and fluidity of sign-meaning and are revealed under the supervision and control of discourse process. In this process, signs, along with meanings, are turned into fluid, dynamic, plural, multi-dimensional and full of tension variants. Sign-semantics pattern can act as an efficient method for analyzing literary texts and predisposing them to new readings. Gheisar Aminpour is one of the great contemporary poets. The investigation of his poetry from the sign-semantics view reveals that he makes the process of meaning beautification by a novel approach to phenomena and with a sensory-perceptual relationship with them. This process is a dynamic and fluid one which is turned into an exalted sign passing worn-out and dusty concepts. This view joins the structuralist semiotics to fluid and ontological sign-semantics. This article tries to analyze the poetry of Gheisar Aminpour by studying two important principles of sensory-perceptual and esthetic dimensions of discursive sign-semantics system, and shows the formation of esthetic process in his poetry by a novel and fluid view.

Shahnameh, the unique work of Ferdowsi, has greatly drawn attention of Persian poets. They have benefited from it a lot. Among them, epic poets have particularly looked at this work as a masterpiece of epic literature. Like a model, they have substantially profited from it or tried to compete with its author.The composer of Samnameh is one of those epic poets who not only read Shahnameh fully but also used it in the composition of his work.In this study, the author is trying to show how the composer of Samnameh used Shahnameh as a model for selecting stories, types of events, styles of narrative, processing of character, themes, and even rhymes of words. But due to the lack of required talent for depicting battles and the inability of describing his imagination, the composer is not capable of creating an epic work like Shahnameh. It appears that the composer is not capable of creating a work like Shahnameh because he does not have mastery and skill in using speech elegances and also in approaching tastes of ordinary people.

The knowledge of man’s real identity is supposed to be a complicated or even an impossible task. The main purpose of this descriptive-analytical article, done by library method, is to provide a comparative analysis of some aspects of “identity” in the views of Molavi and sociologists on the basis of his snake-charmer story presented in Mathnavi. The main question is”what are the similarities and differences of Molavi’s viewpoint and those of modern sociologists with respect to the concept of identity?”. The theoretical findings of the article show that most of the sociologists perceive "identity" as a relative concept formed from the interactions of some environmental and social variables such as social class, ethnicity, nationality and so on with each other and man's psychological aspects as well. Furthermore, most of sociologists decline any independent substantial entity for identity. Conversely, Molavi considers essence and transcendental truth as the principal components of identity which lie potentially in human. He interprets identity as returning to man's basic humanity equal to High God's recognition and finding his original position in the universe. On the basis of Molavi’s viewpoint, the concept of identity cannot be merely depicted through sociologist's popular categories such as personal identity, national identity, social identity and so on. Both Molavi and sociologists regarding the historical-cultural conditions of their own time, consider the alienated form of society and persons through the application of various literary symbols. Molavi applied symbols such as worm, dragon, snake etc while modern sociologists present the alienated forms of society and its actors via utilization of expressions such as loneliness, disappointment, depression, isolation, anomie and disgust.