مجله ادبیات پارسی معاصر
سال سوم شماره 1 (بهار 1392)

Feminine approaches in different social، philosophical and literary areas are one of the phenomenons of today world، especially after industrial revolution. Such western approaches later spread to Arabic language world and Iran and had different effects. The present research is based on the assumption that feminine thoughts in both cultural and literary areas have same characteristics and trends. Also، the main results of the research shows that Iran and Arab feminist movements to reach a proper situation in family and society is formed at the same time. This paper is a research about how these thoughts entered in Iran and Arab society. So we will try to study the reflection of feminine approaches in literary works of these two linguistic and cultural areas. To reach such results، first we will study the history of the formation and development of feminine thoughts in Europe and then in Arab world and Iran. Then by searching in the literary works of these two cultures، especially in late century stories and novels، and Arabic and Farsi prose، feminine features are studied and analyzed.

Lyrical literature includes a vast majority of literary works and among them is Complaint. All humans are inclined to complain by instincts. As more sensitive ones in the society، poets view all things with a more delicate look. Hence، they express this literary genre with a different language. Complaint has always been a part of Persian literature. The contemporary poetry has adopted a new approach towards complaint which is expressed in a simpler language. Complaints may be found in five trends in the poets'' works: personal، political، philosophical، mystical، and social complaints. Considering the contemporary era and significance of the poets’ social language، the present research tries to study and analyze social complaints in 15contemporary important poets in a historical order. Among these poets، some have composed their poems in classic style and some others have composed poems in modern style.

Every language is in relation with various factors such as speakers'' religion، sex، age، job، environment، social conditions، education and the like، and the same factors are among those which produce characteristics types. The present research aims to study language performance in Seyed Mohammad Ali Jamalzadeh''s short stories characteristics types. To this end، at first، the characteristics types of the story and popular and behavioural features of each type have been characterized; then، by considering the author’s main aim، the stories and social conditions and also the existing variables، the relationship between language and the certain types was considered and، in particular، language، words، and expressions suitable to various types and their social class، occupation، education، religion، sex as well as taboos، environment، and power relations have been studied. The results show that Jamalzadeh has taken knowingly and purposefully into account non-linguistic factors influencing characters. Employing various factors in a correct manner، he has managed to help better communication of social concepts in his stories. In sum، in his book Yiki Bud Yiki Nabud (Once Upon a Time) by considering the number of characters، he has made more uses of variables and based on two variables، religion and job، he has made the most impacts on the characters'' language.

Sohrab Sepehri was one of the contemporary new stylist poets. He had managed to reach at the peaks of the modern poetry along with Nima (the founder of Persian modern poetry) and other great figures of modern Persian poetry such as Shamlu، Forough، and Akhavan Thalith. Sohrab Sepehri was familiar with the western literature and literary schools; also، he was interested in the eastern mysticism. For this reason، his poems are of a unique taint and composed in a unique manner. Special attention paid to natural elements، attributing extraordinary to the ordinary، and going into surreal may be seen throughout his works. Sepehri''s mental and Illuminationist approach has helped him to enter the unthinkable and made his poetry full of surrealist expressions. Showing surrealist expressions in Sepehri''s works، the present article tries to study the way Sepehri has been influenced by Jung philosophy and Surrealism so that، in this way، a new knowledge of his poetry may be acquired.

Studying Kadkani''s poetry، one may find aesthetic principles of his poetry. Such principles confer beauty to the poems and make them attractive for the audience. In the aesthetics of Kadkani''s poetry، the principle of «unity» enjoys an important status، and it is the most important feature of the beauty of his poems. In other words، there are visible and invisible threads at the level of words and senses which link parts of his poems and lend them a united body; and this very point makes them more attractive and influential for the audience. Coherence in the poetry may be felt when there are some sort of unity and at the same time diversity among parts of the same poem. Unity brings all parts of the same poem into harmony and correlation and makes it permanent. If there is unity between words and content of a poem، that poem will make the audience to feel more beauty. In the present article، the principle of unity (as the most important aesthetic feature of Kadkani''s poetry) and the elements leading to unity and coherence in his poetry (such as unity of content، harmony among parts of a poem، gradual development، appropriateness، and repetition) will be discussed.

Extensive uses made of simile and metaphor are among striking features of the Afghan poetry in immigration. In the present study، metaphor has changed into its main form which is simile. Thus، the study has been organized in two main parts (tenor: the thing which is likened and vehicle: that unto which a thing is likened) and they have been prioritized according to their frequency. Vehicles are divided into four major categories: description of the beloved as well as love، nature، description of the poem، and other concepts. According to the tenors used by them، Afghan poets are internalist. They live in a sorrowful and dark world which has its roots in war، undesired moral codes، sin، suffering، and poverty. At the same time، however، their poems are full of wishes and hopes. Vehicles are، in turn، divided into nature، personification، mood، opposition، feast، war، poetry، religion، and other concepts. In this concern، poets have borrowed elements of nature (which are the most frequent ones) from the literary tradition.

One of the main ideas of formalism which has drawn great attention is defamiliarization in literature. The mission of art is to defimaliarize the familiar concepts and provide a new perception through removing the veil of habit from eyes. In literature and as one of the manifestations of art، defamiliarization takes place at various levels including the language level. Linguists have explained and classified defamiliarization within the language as one of the formal elements of the text. Reflecting upon the language of Dolatabadi''s stories، we will find that how such a defamiliarization is important in shaping the desired form which may be suitable for the content of the story. This study is، on the other hand، a brief review of definitions and classifications provided as far for various ways of defamiliarization at the language level.