فصلنامه شعر پژوهی (بوستان ادب)
سال پانزدهم شماره 4 (پیاپی 58، زمستان 1402)

Among the factors affecting the quality of mourning, "Gender", as a cultural-social element, is important and worthy of study. It should be noted that the concept of gender is different from what is defined at the time of a person's birth and is classified as a social-identity category. Characteristics and behaviors change based on the reactions of each of the desired female/male groups, and after that, the person develops certain gendered behaviors. This causes a person to see the agency of his talent and capacity to initiate and guide his actions against reactions such as: the feeling of control, power and self-awareness under the domination of the ruling environment (ibid.: 45). What may seem normal in the daily lives of men and women is often the result of roles that the culture has produced and thus feels normal. Therefore, gender is more than a natural and innate factor, it is a cultural and social construct that can be discussed and analyzed as one of the internal stimuli or important controllers of various behaviors in human behavior. Women and men poets are the most lively human emotions and influences. They have displayed their loss and their life experience in the mourning process in their obituaries and poems.

From the very beginning, poetic imagery with birds has been very common in all types of Persian literature. Owing to the significance of birds in Iranian mythology; religious beliefs; and Quranic stories; poets have given special importance to birds and their imaginative representations, describing their movements, shapes, flights, and songs. The present study is an attempt to investigate the imagery of the birds’ song, which is taken into consideration due to its various reflections in Persian literature. The song of birds has been manifested in three forms in literary works. First: through putting clear words in the mouth of the bird, which is an example of personification. Second, through the feeling of happiness or sadness that the birds’ song gives a poet or writer. And finally, through the reflection of the poet's perception of the birds’ song in the form of meaningless phrases that are recorded with letters and sounds in every language, such as the owl's cuckoo. The third type can be investigated using Zaum's theory or formalism beyond the meaning since in this type, a meaningless expressions replace the words. Moreover, the idea of the economy of breathing in the airy imagination of Gaston Bachlar has been taken into consideration.

Hafez's Divan is one of the precious literary treasures that different groups of people use according to their literary knowledge and intellectual tendencies; but can Hafez's poems be useful for teenagers? The authors of the upcoming article have organized a research to answer this question, and this article is a part of its achievements. The premise of the research is that some of Hafez's poems are linguistically understandable for teenagers and many of them can communicate at least with the basic levels of some poems. This research was carried out in two ways: one is the study of reliable sources related to the topic and its descriptive and analytical review, and the other is the compilation and distribution of a special questionnaire for teenagers. According to the results of the research, there are similarities between the characteristics of adolescence and many of Hafez's verses, which confirms their suitability for teenagers. Some of the capacities of Hafez's Divan to provide to teenagers are: The common characteristics between the adolescence period and Hafez's Divan confirmed that this work is not unsuitable for teenagers. Dealing with topics and concepts like knowing oneself and finding the meaning of life, idealism, moral and social issues, love and friendship (also characteristics of adolescence), the multiplicity and diversity of characters (human and non-human) and their processing method, as well as the narrative and dramatic atmosphere of some song, is among the capacities of Hafez to present to teenagers. These capacities can adequately answer many spiritual needs of teenagers; a safe space for internal dialogue; Thinking about realities, possibilities and imagining; a safe and intimate friendship, with common feelings and concerns; independence of action while benefiting from the guidance of reliable and knowledgeable people; and the need to identify and know God and achieve the meaning of life.

As is generally known, Saraapaa is a Persian literary genre in which the poet or the author strives mainly and primarily to describe the beauties of the beloved from head to toe, generally according to the literary traditions and in a creative and imaginary manner. The main subject of Saraapaa is only the description of the beloved in all her existential dimensions; it is the sole purpose of its creator to write such a description; and it is written completely in a literary language, in the framework of traditional rhetoric, adorned with imagery and poetic exaggerations. These three are necessary and intertwined characteristics of original Saraapaas. This classification is emphasized upon in order to differentiate between Saraapaa and those collections of poems and scattered writings which contain such a subject, but their authors have not had prior intentions and have not envisioned independent forms for them.One of the most significant subgenres of Persian Saraapaa is compiled Saraapaanameh, commonly known as Merat-ol-Jamal (literary, mirror to beauty), which is itself divided into several types. Compiled Saraapaanamehs are extracted from among verse or prose works which are not originally Saraapaa but contain subjects of Saraapaa; therefore, as the name implies, they are not written but collected and the collector is usually someone other than the poet or the author. However, Merat-ol-Jamal by Saeb Tabrizi is one of the most famous examples of compiled Saraapaas, the author and the collector of which is Tabrizi himself, a remarkable poet who has a distinguished place in Persian literature for creating novel subject matters and anthologies.

Examining Eschatological Elements in the Poems of Ahmad Shamlou IntroductionOne of the enduring and widely debated topics that has been the focal point of discussions among individuals, theorists, philosophers, religions, cultures, and nations is the concept of the world's ultimate fate. The idea of a beginning for the world implies that humanity consistently perceives the world in a linear path and envisions a destiny for it. Such a perspective leads to various cultures and nations, based on their ways of life, intellectual foundations, beliefs, traditions, and collective experiences, offering diverse predictions about the fate of the world. These predictions, at times, become influential and give rise to multiple movements on a societal level.Although eschatology is a significant topic in theology and divinity, it has also found prominence in broader fields such as literature and art, giving rise to a literary genre known as eschatological or apocalyptic literature.

Post-structuralist thinking in literature caused the production of texts that lack an sequence of actions in narrative and intentional coherence. These writings, which are called non-text, are actually countertexts that popularize counterculture, and their purpose is to combat and change the conventional standards of syntax and rhetoric, the usual ways of thinking and traditions in culture. Dark countertext  , which was invented by one of the scholars of western philosophy named Dr. Mehdi Khabazi Kenari, was created as a result of the conflicts between his tradition and western philosophy, and he tries to solve it by reproducing the tradition. Therefore, the Dark countertext is an ontological and epistemological issue that shows how the poet looks at mankind and the world and how he lives in a philosophical perspective. Philosophically, blackness in Dark countertext means ontological and epistemological darkness and ambiguity, which is produced as a result of the subject's constant skepticism . It, also, indicates unrecognizability, constant transformation and endless traces from a linguistic point of view, it refers to the non-determinism of language and denies any origin and purpose for language. In this approach, language is living and dying and is in a constant struggle of conscious and unconscious. Language refers to itself to reveal its dysfunctional nature. Words in Dark countertext have independent and temporary territory. The temporary (in) coexistence of words indicates the impossibility of thinking about reality and its expression. Therefore, with Dark countertext, the world is not felt or understood, but merely written.

verse by Amir Khosro DehlaviAbstract:In the poem Shirin and Khosro by Amir Khosro Dehlavi (born: 651 AH, died: 725 AH), which was collected in imitation of Khosro and Shirin Nizami, there is a verse as follows:I am a subservient for your slaves to worshipThis verse in Shirin and Khosro, which was edited by Ghazanfar Aliyev and published by the Institute of Asian Nations in Moscow (1961) and also in Khamseh of Amir Khosro Dehlavi, which was revised by Amir Ahmad Ashrafi (1983), is the same as mentioned, means, in that verse, the above combination "Religion" is stated.In the present research, which was conducted in the field and in the library, this researcher faced the question of whether there was any revision in the above work or not? Because the key words of this verse such as "servant", "subservient" and "maid" do not have a precise semantic relationship with "ritual worship or religion".On the other hand, in the three manuscripts of Amir Khosrow's khumsa in the library of the Islamic Council, instead of religion-worship, low-level worship is mentioned to prove that it is a valid combination that Amir Khosrow borrowed from Nezami, but due to the low prevalence of this combination in Persian literature and the closeness of the writings of ritual and low in the manuscripts, it was corrected or distorted by the hand writers.