نشریه ادبیات پایداری
پیاپی 14 (بهار و تابستان 1395)

As an icon, emblem and character, Imam Hussein (AS) has always had a significant role in contemporary Arabic poetry. Muzafar al-Nawab, the contemporary Iraqi Shiite poet spent the better part of his life influenced by the political and social thoughts of Marxism.
This study focuses on a descriptive approach to investigate Muzafar al-Nawab’s poems on Imam Hussein (AS). It also attempted to discover Muzafar al-Nawab’s attitude towards Imam Hussein (AS).
Inspired by the revolutionary movement of Imam Hussein (AS), he introduces His holy person as the founder of the governance of the poor and the emblem of resistance. Fighting against Arab corrupt tyrants and protecting Palestine are the main themes of his poetry. He highlights the possible reoccurrence of Ashoura and introduces armed struggles as the only way to save Palestine.

"Da" is a sample of contemporary Persian prose in 1380-1390s.
It clearly has a simple, brief, intimate, fluent and fictional text that, especially in the middle parts, enjoys a detailed view toward events.
Anecdotal narration and unity of structure are presented in a way that any reader can imagine the events.
"Da" is also a documentary about the imposed war narrating the problems people faced during the war. Metaphor is the main rhetorical technique used in the book. The frequency of verbs is intentionally high and is more than names and adjectives. This has led to the dynamicity of the text and its pleasant briefness. Arabic and Kurdish terms have a high frequency in the text as well. "Da" is such an extrovert and concrete work in which the narrator mostly talks about the surface of events using a detailed perspective.
Honest, effective narration of the events, especially of the first days of war in Khorramshahr, has made this work the expression of passions and emotions of the narrator.
Using analytic- descriptive techniques and emphasizing content, this study analyzes the stylistics of "Da" memoire based on three fields of stylistics: the stylistics of language, literal stylistics, and rational stylistics.

To study and discuss resistance literature it is necessary to know its specificities and to accept one of the many definitions all of which have emphasized the essential and definitive qualities. The study of the evolution of these definitions shows that in the beginning, the term “resistance literature” exclusively covered literature of the Holy War. Gradually and with regard to the origins of its appearance, however, it came to obtain a more general domain. Based on the previous definitions and considering its evolution, it can be concluded that any text written to motivate the society in order to protect its identity against threatening factors is included in resistance literature.

Tahereh Saffarzadeh is one of the Islamist figures in contemporary Persian poetry. The investigation and analysis of dimensions of Islamism in Saffarzaddeh is helpful not only to recognize her status in committed poetry and literature of the Islamic revolution of Iran, but also in recognition of contemporary Persian poetry. Islamism, in fact, is a return to religious sources, idealism (ideological) and newly-thinking intellectual colonization and Imperialism, 6. justice and unity with the oppressed nations of the world.

Mahmoud Darvish is regarded as a pioneer of Palestinian resistance poetry, who has devoted his poetry to the Palestine's ideals and tried to describe the pains and desires of Palestinians, especially that of children whom Darvish regarded as Palestine's future. He also sees the spirit of resistance in them and expects them not to forget their parent's blood and to be honest guardians and defenders of their territory.
Mahmoud Darvish has witnessed the scenes of war and bombardment since his childhood and he has tasted the bitter taste of homelessness, exile, poverty, and bereavement; he has witnessed the pain and grief of his hometown children, therefore, he can speak of their pains and grieves effectively and frankly. This study tries to describe and analyze Palestinian children's pains and grieves in Mahmoud Darvish's poetry through a descriptive and content analysis method. The study of Darvish's poetry from this viewpoint shows that the following subjects compose his main poetical themes: the unfortunate status of displaced Palestinian children in exile and custody, poverty and bereavement, insecurity and genocide of children and their families, and the spiritual turmoil caused by witnessing these disasters. His poetry is a mirror reflecting feelings of oppressed children whose rights have been violated, and now as a poet, he expresses this before human thought and conscience.

Subject to excitements, strength and weakness and unpredictable accidents, war is instinctively enthusiastic and controversial. Due to this important factor, a large number of writers and authors have chosen war as their subject matter. However, closeness of war and ideological bases of Iranians makes it difficult to investigate the field, and necessitates special narrative methods. Magic Realism is one of styles that can be effective in showing the spiritual dimensions and spectacular events of war through mixing reality and dream.
Two holy defense short stories, “The Lunatic” and “Ood-e Aass-e Sabz”, written by Majid Gheisary, are evaluated here to see how this method can be applicable in creating fictional works of holy defense. It is necessary to mention that not using different styles of story writing can lead holy defense works of fiction to repetitiveness and approximate the parallel flow of narrative literature.

"From . . ., to…" by Reza Amirkhani is an epistolary novel relating the adventures of the characters in a story in 47 letters. Because of its unique structure, regarding the novel's narrative formation and characterization, it is a noticeable and admirable work. Focusing on Holy Defense, the novel was written by Amirkhani in 1380.
As the major analytic framework of this story, Greimas's Actantial model can describe the role of each character based on three axes of desire, transmission, and power, in an accurate way with its holistic and comprehensive approach.
The results revealed the consistency of Greimas's Actantial model in analyzing and revealing characters in the novel. On the desire axis, the major actant is Morteza Meshkat whose purpose is a desire to fly and becoming Faranak Naseri's godfather. On the transmission axis, we are confronted with senders related to the major and secondary purposes, like the flying desire (Morteza Meshkats), including Tayebe (Morteza's wife), major pilot Rahim Mirian, and Faranak Naseri. Receivers, or the beneficiaries, are Tayebe (Morteza's wife), major pilot Rahim Mirian, Faranak Naseri, Morteza Meshkat, Faranak's uncle, and Syrus (Faranak's cousin). And on the power axis, the helpers in the narration are major pilot Rahim Mirian, Tayebe (Morteza's wife), Faranak Naseri, Faranak's uncle, the old woman, and major pilot Arash Teymoori. The opponents are the Air Force Commander and Arash Teymoori, the major pilot.

The tragedy of Imam Husain’s martyrdom occurred in Muharram in the year 61 AH. Refusing the allegiance with Yazid was an excuse for the opponents of his family to act outrageously. This traumatic event caused grief in important cities including Mecca, Medina and Kufa and spread into all Islamic countries, so that memorializing this tragedy dominated Muslim culture, specifically the Shiism. Shia people all over the world mourn the martyrdom to keep alive this sorrowful event forever; they have used some symbols in their mourning in the form of special rites during Moharam and Safar. The frequency of the symbols indicates the deep effect of Ashura tragedy in Shia culture. The symbols have different names in different cultures of Islamic countries. The reasons and the methods of the application of mourning symbols in various Islamic countries, and the pathology of these symbols in terms of negative effects on the basic aim of Imam Husain’s upraise are the main objectives of the present study. The symbolic status of worldly and spiritual elements of this movement is mentioned as well. This study is descriptive and library- research.

Hamid Sabzavari is one of the prominent poets whose poetry indicates the hardships and suffering of Islamic revolution era and the internal pains of holy defense time. In fact, he is a national revolutionary poet who incites people against oppression, encouraging them to fight and endure, and criticizes those who are indifferent toward the Pahlavi Regime's depravity and the oppression of Baath regime of Iraq. Illustrating a suffered nation's bravery and courage, this heroic and tireless poet blames the Pahlavi Regime and reveals Baathist's cruelty. In addition to inciting people, whenever he finds an opportunity, he criticizes laxity. The present study was conducted through a descriptive-analytical method, aiming at representing the aspects of resistance literature, so that at the end such aspects as anti-oppressionism, martyrdom, struggle and sacrifice, criticizing tyranny, revealing enemy's crime, etc. are illustrated in his revolutionary poetry.

Haiku is a form of poetry, taken into account in the contemporary era, especially in the field of resistance literature poetry. Despite the fact that one of the principles of composing Haiku is to use simple language and to avoid figures of speech, poets of the Holy Defense, however, show prowess of the Islamic warriors during the eight years of Holy Defense, using these figures. Through a descriptive-analytical method, and based on the fundamentals of classical rhetoric, this study aims at investigating and presenting Holy Defense poetry and figures of speech in the Haikus of Beikvardi, in his collection of poems called "The Moon overhead Majnun". Studying imagery and figures of speech in Beikvardi's Jebhe Haikus shows conscious application, without artifice, of figures of speech; an application which has emerged, mostly, based on association, and has managed to poetically express feats of the Islamic warriors during the eight years of Holy Defense.

Literature has always been the stage of representing prominent concepts of humanity, and illustrated the most undercover scenes of human life. Warfare and resistance have apparently been represented in literature. Writers and belletrists have always created fine works in this field to the extent that after the crusades, especially after the rise of Zangies and liberation of the occupied territories, poets as the expressive language of the time, assigned their poems to encourage leaders and encourage consistency of epic emotions for releasing the occupied territories. Ibn Munir Terablosi is one of the popular poets of Zangies period who devoted his mission to the resistance goals to liberate Islamic territories from the dominance of crusaders. Influenced by religious thoughts and Islamic thoughts, he induced the morale of warriors and Islamic leaders. Calling to jihad, hope for the future, expression of joy, and adaptation of history are considered as the most important components of resistance in his poetry.

Semiotics is the systematic study of signs which has worked as an effective tool for analyzing many texts, and stratified semiotics, as a theoretical approach, sets the ground for the analysis of multi-dimensional texts composed of linguistics and non-linguistics signs.
This study investigates the epitaphs of the Shirazi martyrs of the Iran-Iraq war from the stratified semiotics perspective. Martyrs’ epitaphs consist of two strata: the linguistic stratum and the non-linguistic stratum. There are substrata in each stratum as well. Linguistic stratum consists of the opening writings and poetry, as well as the identity of martyrs and their wills. Non-linguistic stratum deals with the functions of the colors and images which are displayed in these strata from a semiotic perspective. This study indicates that both images and colors (such as red, black, and green) of the epitaphs crystallize the concepts of martyr and martyrdom. Moreover, it is indicated how the linguistic signs formed as poetry and short proses are effective in transferring the intended meanings. This study also asserts that it is possible to investigate these epitaphs from the stratified semiotic perspective because, as a theoretical perspective, stratified semiotics has a variety of functions in multimodal texts.

Habibolah Chaichian, known as "Hassan" is one of the most sincere poets writing on the Innocent Imams and the theme of Ashura. His collection of poems, "O Tears, Shed" is in connection with praise and elegies of Ahl-al-Bayt. Themes of his poems consist of the movement of Imam Hossein, his leaving Medina, Imam's companions, Hossein as today’s leader and the martyr of the past, Imam’s family, freedom, not succumbing to the tyrants, and requiem for the tragedy of Imam Hossein.
Mahyar Deilami was an Iranian poet and scientist who wrote Arabic poetry during the 5th century Hijri. He did not talk about the tragedy that occurred to the Shia in Karbala. However, he explicitly states the important function of the violation of Imam Ali’s right to the state in leading to the incident of Karbala.
This study compares and contrasts the elegies of the two poets regarding subject matter, thought, and images to analyze the manifestation of Imam Hossein’s movement in the poetry of Hassan and Mahyar.

A seeker’s enthusiasm and effort is indeed the means of ascension toward God and His divine love. Ibn Farez’s heart-rending and literary moaning, are similar to those of Mohyadin Iraqi, Molavi Balkhi, Fakharldin Iraqi, and other Gnostics. Given that he has used an extreme amount of innovative verbal and spiritual figures in his poems − which hasn’t been of interest to researchers − and also with the objective of recognizing his poetic character, the present research was conducted. The obtained results indicate that flares of divine love, lack of intimacy and union with the divine throne, and freedom from the mortal world, have created rare literary manifestations. In his poems, Ibn Farez has inspired a literary revolution along with a combination of literary techniques that has led to extremism in beauty hindering him from reaching his goal.

A great part of the literature of Afghanistan is composed of resistance poetry. This poetry emerged during the years 1357 to 1380 against the Soviet-appointed regime in Afghanistan, the military invasion of Afghanistan by the Red Army, and the Civil war against Taliban.
The present study is to examine the effect of Ferdowsi’s Shahnamh on the resistance poetry of Mohammad Kazem Kazemi and Hamed Abdossami, two Afghan poets. It is a descriptive-analytical study based on textual and library evidences.
The findings indicate that poetry has been influenced on ideological level − patriotism, and fighting tyranny − and lexical level – using mythical symbols, terms of weaponry, allusions. Their poetry, therefore, has been influential in creating self-knowledge, and national identity.