پژوهشنامه نقد ادبی و بلاغت
سال دوازدهم شماره 1 (پیاپی 29، بهار 1402)

The positivist approach, which Martin Seligman founded in psychology, is one of the applied approaches in the psychological analysis of the novel's main character, and it implies the six virtues of the character, that is, courage, self-control, humanity, justice, excellence, and wisdom, which is a way to reach is prosperity; Seligman believes that a person should have an optimistic attitude towards the future and achieve real happiness by using the power of personality to be optimistic in the future. He talks about happiness as a combination of strengths, positive psychology while overcoming emotions. Negativity changes them and by improving positive emotions and giving meaning to life, it reduces people's mental problems and improves their well-being. Therefore, in this research, this positivist approach in the main character "Erian" in the novel Al-Ralzah al-Amin by Najib Al-Kilani, who is one of the contemporary Arab writers and is aware of the behavior of the characters and their influence in the human society, is analyzed with descriptive method. Analytical, examines and portrays his behavior and personality change and has an effect on cultivating creativity, empowering and improving the condition of people. Erian, an intelligent character, critical thinking and self-confidence in doing something, appears and in the continuation of the novel, he turns into a revolutionary and brave character who confronts the western culture. The findings of the research indicate that Erian, on the way Arriving at the truth cultivates the virtue of humanity in one's existence and covers the sense of altruism, responsibility, tolerance of opposition, respect for others' opinions and comprehensive forgiveness. . he is grateful to God and the creatures who corrected his life path. The character of Arian in this romantic and religious novel, with a coherent and heartwarming plot, is a character with chaste love who cannot satisfy himself with superficial and clichéd ideas and seeks to gain knowledge and basic truth by deeply studying Islamic teachings. With courage and control of his temperament, he puts aside all attachments and prejudices in the path of truth, has patience and forgiveness in the face of disturbances and implements human values, behaves justly in interacting with people, so as to elevate his truth-seeking spirit. Give (superiority). Finally, with his inherent and acquired wisdom, he considers God's pleasure and is optimistic and hopeful about his world and the change of his life path. In the novel, the virtue of bravery in Erian's character started with his encounter with Shams and his initial attachment, until he changes his religion and discovers the truth, and on the way he faces events and in this context, he risks his life. Erian controls his ego's attachments until he reaches the truth and knowledge and gets God's approval.

In the realm of rhetorical sciences, some terms used to describe rhetorical techniques or imaginative imagery have proven inaccurate for various reasons. Presently, there exists an urgent necessity to reassess and redefine their meanings through further examination. Among these techniques lies the densely woven use of multiple images within the structure of a stanza or verse, referred to by rhetorical scholars as the "invention of multiple images," "double images," and "duplication of images." These definitions and terms warrant deeper contemplation, as revisiting them could potentially unveil new avenues into the realm of imagination and poetic imagery. A novel perspective may offer a more precise and lucid elucidation of the artist's intent within this craft.This article aims to explore an artistic form and aesthetic creativity, a distinctive type of imagery. It endeavors to provide an extensive explanation, reinterpretation, and comprehensive terminology for this rhetorical art. Rather than mere amalgamation of imaginary images or innovative techniques, this artistry involves crafting various forms of imagination within the structure of a stanza or verse. These forms are intricately interconnected in terms of compositional elements, such that one imaginative form becomes an integral component of another, resulting in an intricately woven textual tapestry.      The research was conducted using descriptive and analytical methods, employing a library study approach. The focus of analysis was Hafez's ghazals. The author meticulously examined all of Hafez's ghazals, identifying and scrutinizing the underlying imagery.     This study introduced a concept termed "joint building," illuminating the collaborative construction of these imaginative forms. Additionally, the research traces the trajectory of this artistic form within rhetorical works, exploring its meanings, definitions, implications, and its association with established terms in later rhetorical literature. A novel perspective proposes an alternative definition and term, thereby enhancing the precision and clarity of the poet's intention.The article's outcome underscores the necessity for revisiting and refining certain aspects of rhetorical sciences due to various inadequacies. The lack of precision in terminology and nomenclature for several rhetorical techniques impedes a comprehensive understanding of the nuances within aesthetics and rhetoric.

In different periods of the history of Persian literature, the art of conflict or answer has been prevalent among poets, especially famous poets of each period. Some of these controversies were confined to the realm of imitation, and others were able to achieve a desirable degree of technical value through the innovations of their creators. A study of books of poems which is called divan, shows that the relationship of poets sometimes occupies a significant part of their poems. One .e.g. of this relationship is the technique of conflict or response. One of these conflicts is the conflict between Homam tabrizi and Saadi shirazi. Examining sources such as Tarikh Gozideh, Muns al-Ahrar, Tazkira al-Shoara, etc. shows that the debate between Homam and Saadi has a history among the ancients. Some of the oldest sources that have mentioned Homam's conflicts with Saadi which is addressed in this research are:The jong that was kept in the library of Lala Ismail in Turkey and was written in 741-742 AH by several scribes, the safine of Shams Haji which was written in 741 AH by a man named Muhammad known as Shams Haji and is now kept in the NafezPasha Library of Turkey and an ancient manuscript from the Divan of Shams Tabrizi, which was written in 739 AH by Ali Shah ibn Ali Sa'iq Esfahani and is now kept in the library of Ayatollah Marashi in Qom. In these manuscripts, the contradictions of Homam and Saadi are explicitly mentioned. For example, the jong of Lala Isma'il has mentioned the sonnets of Sa'di and Homam as the "Contradictions" between Sa'di and Homam. Also in the old Divan of Homam, some of Homam's sonnets and Saadi's sonnets have came together. In the present study, based on these contradictions in the mentioned manuscript and with the help of statistical method, we tried to enumerate the similarities and differences between Homam and Saadi by comparing the domains of vocabulary and syntax. Indeed this thesis was investigated the words construction, non-persian words, verbs construction, particles, deletion, shifting pronouns, presentation and delay of sentence components. At last, we examined the lexical structures of each and found that Saadi paid more attention to the types of words and the variety and novelty of the lexical structures than to Homam. We found that the syntactic structures in Saadi's sonnets are more solid. For example Saadi has more deletations than Homam which made his poetry more concise. Also Homam moved the parts of the sentence more than saadi which caused it to deviate from the standard syntax. Also, statistical charts are drawn using Excel software to display the results of the research in one place.

From ancient times, there have been references in texts to commonalities between music and prosody. If some musicians consider the origin of Iranian classical music to be prosody and encourage their students to learn the two- and three-syllable metric changes, their purpose is to organize rhythmic circles and find new rhythms, and they did not mean that the structure of music was created in imitation of the prosody. They made prosody the basis of comparison with music in order to have a better understanding of the structure of music through simulation. The temporal primacy of music over prosody and the unification of the structure of music in the ancient world to the contemporary age require that prosody is arisen from music. However; in some cases, the impact of prosody on music.On the one hand, the dimension of skill to music makes its passionates unable to obtain a proper understanding of it even by studying the structure of the music.This article aims to compare the structure of prosody and music, (by mentioning the similarities),  provide a special picture of the correct understanding of the structure of music for those who do not know about it, especially the prosodies, and to describe the undeniable role of music in prosody.In addition, the influence of prosody on the structure of the music and its role in the organization of Iranian classical music are determined. The data of this study was collected by library method (and in few cases, field) and the research was conducted with theoretical and library methods , describing and comparing the data.ConclusionsThe equality of musical notes and  prosodic syllables in terms of consonants and vowels. Asbab, Otad and  Faselh have dual usages. Expressing the characteristics of the tetrachord and reaching the conclusion that among the ten main prosodic pillars , only three pillars  are corresponded  to the music tetracords. The apperance of tetracords with 5 beats and pentacords with 6 beats in music, by  mimicing  some prosodic pillars such as Motafaelon and Mafaelaton. Both classical music and the prosodic meters are the result of the combination of tetrachords and prosodic pillars. Meters derived from main prosodic meters are like tonalities creating from one main Maqam. Modulation does not occur in the manner of music in poetry. But perhaps changing the content in poetry can be considered as a kind of modulation.The Proof of Maqami music has been able to be modulated at two levels (internal-mode circulation) and (external-mode circulation)  since farabi's   time. Musical circles are based on the imitation of prosodic circles. In the prosodic circles,there are two meters, standard and non-standard, with the exact formation of music modes.

Seyyed Mohammad Reza Kurdistani, known as MirzadehEshghi, is one of the pioneers of Neo -poetry in the constitutional period, who mentions political, social, cultural issues, etc. in his poems. For this reason, his poems can be analyzed based on a sociological approach. The review of MirzadehEshghi's poems tells many political, social, cultural, etc. facts of the poet's life period, which is the focus for showing these social and popular issues of contemporary Persian poetry can be seen in his works, especially in the poem "Three Tableaux of Maryam". According to Pierre Bourdieu's theory of action, active people are influenced by inner values and institutionalized habits in their society and in this poem the combination of Bourdieu’s “Agency and Structure” and its practical concepts are revealed in the best way.The two central categories of habitual and field are the basis of Bourdieu's view in Ideal Eshghi’s poem, which the poet, by developing these two categories and dialectic analysis between them in the objective world, shows how the inequality in the society of the constitutional period is always reproduced for the sake of the wealthy people. What can be perceived from this poem is the social and cultural conflict and contradiction between the concepts of tradition and modernity, which in this poem is also expressed particularly as a social action of Bourdieu's cultural theory. The subject that doubles the importance of this comparative comparison is MirzadehEshghi's view about social issues, which puts him unlike his predecessors, and like Bourdieu, in the front line of the fight against the domination system.

Because of its linguistic and literary precision, the translation of poem has atracted human's sensibility. Among them, in temporary poem, the translation of modern poem was experienced differently, since its form, stile and purporst are different from classic poem Mahtab Nima Yoshij's poetry, like many of her free and complete verses, is devoid of similes and poetic images in the ancient style and is formed in the form of codes and metaphors without parallels. In terms of content, the poem is very delicate and beautiful. It shows the poet's doubt, anxiety, worry, longing and sorrow at the threshold of the path he is hesitant to take or not, and in front of a collapsed palace and a sleepy and sad people give Undoubtedly, the translation of such poems will be successful if it is examined according to the context and intellectual atmosphere of the poet. beside of arab translators who tried to render persian poems into Arabic since recent decades, Persian translators have worked on this survey as well. The purpose of this research is to measure the performance of Arab and Iranian translators in the face of new poetry and its translation through the direct and indirect translation strategy of Vinny and Darbelneh. These strategies have seven procedures, the procedures of borrowing, extracting, and literal translation are related to direct translation, and the strategy of indirect translation covers the four procedures of displacement, balance, and modification. Following each of these procedures in the mentioned translations will determine the performance of the translators in providing an audience-oriented or text-oriented translation. The resultant of these endeavours is almost similar to prosaic texts, without paying attention to the poet's stylistics and his/her poems features. In this research, Mahtab poem of Nima Yooshij in Moosa Bidaj's translation Dr. Aref Alzoghlool and Hyyan Muhammad Alhasan have been investigated based on the theory of Viney & Darbelent. Results indicate that both arab translators tried to recreate poetic pictures of Nima for arab audience, by using substitution, regulation and balance processes in indirect translation. in contorary, the iranian translator presented a literal translation of Mahtab, tried to remain in Nima's style of using words and etc. By using the technique of lexical translation and, as a result, source-oriented translation, she tried to stick to Nima's style as much as possible in repeating certain words and inventing new ironies, and she turned to conceptual translation only when necessary. It seems that the translation of Nima's poems requires the use of both direct and indirect strategies in order to preserve his poetic style and to witness a translation that is suitable for the audience and worthy of the name with appropriate equivalence and not just expressing the meaning