فصلنامه إضاءات نقدیه فی الادبین العربی و الفارسی
پیاپی 17 (ربیع 2015)

The novel has taken new functions and mechanisms in contemporary era and sits on top of literary genres. Overlap and interference of novel with other literary elements is of the most important modern function of novel. This function collaborated to the emergence of novel in a new narrative frame so that a dynamic and brilliant literary genre can be proposed. This relation between novel and other literary genres includes applying element of dramatic dialogue, poetic features, heroic idealism, and supernatural epic events. In modern era, the phenomenon "new novel" has communicated with visual arts including cinema. Relation between novel and cinema is bilateral. The novel could use cinematic visual functions as decoupage of images, motion and mise en scene. Ibrahim Nasrollah is among those novelists who borrowed elements of other arts in their narration especially cinematic elements and features. In this paper, the authors have tried to study cinematic techniques in the novel through analytical- descriptive method. Nasrollah has taken some important cinematic elements in his novel as zoom technique, montage function, cinematic narration, scenario writing, etc.

Comic poem is not dedicated only to Mamluki era because there is almost no ere which is free of this style. However, comic poetry found inexperienced popularity during the Mamluki era and it became one of its clear features. This kind of poetry came out of its tight framework in the Mamluki era and entered real life stage and communicated with people's true life. Therefore, this poetry obtained popular color and tone and reflected painful lives of people. Among most important themes in comic poetry of the Mamluki era, these can be mentioned: ruler's tyranny, judge's corruption, moral decadence of society, people's poverty and need, stinginess of the rich and the like that dominated the society in Mamluki era. The present study aims to investigate comic poetry in the Mamluki era and analyzes social themes and motifs to clarify the role and position of comic poetry in reflecting events of the society. This paper is based on descriptive- analytical method.

Until the advent of the American school of comparative literature, the studies in the field had focused on finding out the effects of a literary work on another one belonging to a different country and culture. But with the advent of the American school, which can be called the criticism-oriented school, the studies in comparative literature have centered on probing into the aesthetic dimensions of the literary texts and thereafter on their comparison so that a literary text stands in its own deserving status on the basis of scientific viewpoints. Based on the criticism-oriented school of comparative literature, the present study has compared two literary works, ie. "Bimarestan, na Ghatar" (Not Hospital, Train) by BijanNajdi and "Fazzao Toyuren Akhar" (Another Scarecrow) by Ghada al-Samman, a Syrian writer and poetess, so as to uncover the importance of comparative literature function in understanding literary texts. According to this study, the American or criticism-oriented school is able to actualize its outlined goals, i.e. merging the two knowledge areas of comparative literature and literary criticism without their being fused with one another. This study indicates that the mentioned school can, relying on the new tools of literary criticism, play a role in discovering the aesthetic dimensions of literary texts. Moreover, the two above-mentioned writers convey their intentions to their audience through certain mechanisms that are compatible with the concepts in their texts, except that BijanNajdi has surpassed Ghada al-Samman in creating literary images. The present study also shows that extracting aesthetic dimensions of literary texts is not the final stage of a comparative research: rather, a comparative researcher should thereafter set the aesthetic dimensions for the readers to raise their understanding of the texts and strengthen their viewpoints in opting for the better choice.

Sonnet "Afif" found existence during Abbasid period, in spite of presence of Sufi poets and on top of them Mohammad Davood Esfahani known as Zaheri who went beyond physical sensation and lived with a pure and holy love. This sonnet was the result of unaffected Islamic education in which religious teachings immingled with human spirit which resulted in chastity and virtue. Among most important features of this sonnet is "Nirfana" which had great influence on Arabic poetry progress because it created a distinct poetic purpose and in addition to maintaining classic poetic methods it was influenced by Islamic civilization and other cultures of that time. The aim of this study is to reveal some characteristics of spiritual nurturing being common among Buda, Sufi and importance of mystic life and its position in these two religions and to discover scientific methods and tools to accommodate it with keeping away from sensual desires and moving toward divine essence as well as investigating Nirfana's thought in the sonnet "Afif". Death, pain, lack of will, inner tension, and masochism are some of its most important elements. Therefore, exact investigating of this poet's poems will reveal its technical value and chaste approach in studying this distinct poetic aspect.

Modern ode depends on two fundamental factors, rhythm and meter in shaping its musical structure. Sound rhythm is a verbal tool with which the poets express their feelings and emotions and transfer it to the reader. Nizar Qibbani, contemporary Syrian poet has used this expressive method in his odes especially the famous ode "Balqis". He composed this ode in memory of his wife Balqis Ravi who was killed in bomb explosion of Iraq embassy in Beirut. The rhythms created by order of words are observed abundantly in this ode. The present paper has investigated metrical devices in the ode through a descriptive- analytical approach. The most important conclusion of this discussion is that Nizar Qibbani has been able to change phonetic level of words. He not only considered external rhyme of the ode but also had special attention to rhythm caused by rhymes density, rhythmic words, words repetition and order caused by words arrangement. The above mentioned elements altogether have given dramatic musical quality to the ode. The poet has been able to offer pleasant and calming rhythm to this ode through rhyme diversity and other sound elements and so monotony has been diverted and this feature has been appeared in such odes.

‘Adodeh’ is among the most manifest samples of Egyptian folk literature and closely related to death and mourning. This technique-although with some differences- is folk bemoaning sample in formal literature and also one of the most important types of Egyptian folk music. Hence, the present study investigates texts of ‘Adodeh’ technique with analytical- descriptive method and cinematic approach and consists of two parts; the first part compares all types of montage according to Eisenstein theory on the technique and the second part studies fundamental factors in applying montage technique in ‘Adodeh’, i.e. frame of the technique and repetition. In the investigation, some cinematic techniques were discovered which is consistent with the aims of this technique in expressing sorrow, sadness and counting a dead person's features through imagery and visualization.

In this article, we have tried to clear the concept of Baroudi’s poetical oppositions. Because there are some disagreements among many critics about the fact of his poetical oppositions as some believe that it is a pure imitation of past poets while some others believe that it made an innovation in his poetical oppositions. So we are going to find the fact of his poetical oppositions. In this respect and to discover the truth, odes with which he opposed past poets were studied and at first his poetic style was dealt. And then we expressed the most important features of his poetical oppositions. Finally, we compared one of his poetical oppositions with Abouforas's poems to determine his style in poetical oppositions with past generations. With these introductions, we analyzed his oppositions in imitation and creation and tried to characterize his success level in poetical oppositions with emphasis on two key elements of literary action: “form and “content”. At the end of this study it was concluded that Baroudi has kept his own poetical style and characteristic in his poetical oppositions and that most of the time the ode with which he opposed were the only sources of inspiration for the flourishing of his poetic experiences.