مجله فنون ادبی
سال پانزدهم شماره 2 (پیاپی 43، تابستان 1402)

In this study, the concept of resistance in the Ashurai poems of Yazd is investigated using descriptive-analytical and testimonial methods with the aim of interpreting the content of the Ashurai poems in the context of epics and mysticism. In the Ashurai poems of Yazd, the aesthetic and artistic aspects are so intertwined with the content of the poems and the beliefs of the composers that it is considered a turning point in the expansion of the expression of the concepts of resistance and the spread of this type of message. The ritual poet of Yazd clearly states the thoughts and concepts that exist in the culture and school of martyrdom by mixing both the Persian literary language and the common language of the people and also using local literature. The achievement of this process has caused that beyond the thematic commonalities of Ashura poems, the concept of resistance in the two axes of epic and mysticism have become the adornment of these types of poems and a new chapter in the fabric of this category of poems has emerged by using these two elements. Thus, the Ashurai poems teach mankind different values and anthropological lessons using an aura of epic and mysticism through the window of emotions and sorrow. It is obvious that the connection of Ashura's emotion, mysticism, and epic with resistance thoughts has led to the enrichment and elevation of ritual poetry, the explanation of Ashura's philosophy, the literature of the front and war, and the expansion of Persian poetry.

Modern literary criticism approaches are theory-oriented actions. They mainly include interdisciplinary theories. The theories and critical approaches can be classified according to some criteria. This analytical-descriptive research aims to collect and evaluate the classification models of literary theories. At first, ‘academic criticism’ was re-identified from ‘journalistic criticism’. Then, it has been shown that according to which indicators literary theories have been classified so far, which of the types are from the other types, and which of the other species is more effective. The findings indicate that in one of the models, the typology of literary theories is based on what questions these theories aim to answer. Another proposed model for the typology of literary theories is Abrams' model. In this model, literary theories depend on four factors of artist, audience, world, and text. They are also divided into four types of simulation theories, pragmatic theories, statistical theories, and objective theories. The most complete model is Jacobsen-Selden and Widdowson's model. In this model, after removing the ‘communication channel’, five factors are effective in the process of literary criticism. The maximum attention to each of these factors differentiates a type of literary criticism approaches from other types: Author-centered literary criticism (romantic literary criticism and psychological criticism), reader-centered literary criticism (phenomenological criticism and perception theory), text-centered literary criticism (Russian formalism and new criticism), subject-centered literary criticism (criticism Marxist and modern historicism), and cryptographic literary criticism (structuralism and post-structuralism).

Prosodic elements are considered the main parts of the Prosody science. So, learning these elements and the system that governs them plays a critical role in traditional prosody. In addition, recognizing the different types of elements (Salim va Mozahaf) shapes a big part of prosody. By realizing the defects of the traditional system, prosodists created new prosodic systems. In this way, each of them introduced their desired prosodic elements. But in the meantime, the explanation of the relationship between the elements in the new prosody and the suggestion of a structure for them was neglected. As a result, it confused the basics of prosody and caused difficulty in learning it. This research aims to identify the relationships between the elements and structurally explain them. The results of the study show two types of structural relationships between Persian prosodic elements. The first is formed based on the increase and decrease of the last syllables of the elements, and the second is based on the old concept of prosodic circles. By using it, all elements can be derived from the circles we call ‘elemental circles’. Based on these two types of relationships, two new prosodic structures are introduced: linear structure and circular structure. The common result shows that, regardless of rare ideas, the number of correct elements of Persian Prosody reaches 44, which are: 1 one-syllable, 2 two-syllable, 7 three-syllable, 13 four-syllable, and 21 five-syllable elements.

Many books have been written in the field of rhetoric and especially Badi’’ science, which is one of the three branches of this knowledge. One of the most controversial topics in the field of Badi’’ science is anadiplosis. There is a lot of disagreement in the definition of this figure of speech and its examples, so sometimes the definition of this figure of speech in rhetorical books is mixed with other figures of speech such as puns, polyptoton, pseudo-derivation, etc. This makes various divisions and common evidence of this figure of speech. Some rhetoricians have even examined its quota, doubt, acrostic, or one of the types of puns. But with more reflection and careful consideration, more precise and clear definitions can be offered for it, and the border between them can be distinguished. In this study, which is organized with a focus on Persian rhetorical books with a partial view of Arabic books, an effort has been made to study and review the historical rhetorical ideas in this field and compare the definitions provided in rhetorical books about the anadiplosis, similarities, and differences. By providing a suitable definition in a descriptive-analytical way, the border between this figure of speech and other figures of speech that are intertwined with it has been separated.

Khosrow and Shirin of Nezami is one of the well-known Persian verses in lyrical literature. In this story, there are four women with various capitals. They, through the conflicts of the story, confront special situations and unavoidably apply their capital toward their benefits. This research is an interdisciplinary study using references and library documents. This descriptive-analytical study analyzes the cause and quiddity of the pendulum (variation) of the lovers’ dominance in the mentioned verses from the sociological viewpoint using Pierre Bourdieu’s theory of action. Based on this theory, we can analyze different patterns of productivity of each of the characters according to their capital types and show the role of the capital arena and the mental orientation of woman in their life. In this study, the quadruple capitals of Bourdieu which involve financial capital, cultural capital, social capital, and symbolic capital were analyzed in line with the four prominent women of the verse (Mahin Banoo, Shirin, Maryam, and Shekar). The findings show that women possessing different quadruple capitals are active in different fields and are present in dominant parts, but because of the unbalanced capitals and ineffective use of them, none of them except Shirin attain consistency.

In a general sense, a symbol is a sign or an image to create a relationship and convey a message in various ways. In a particular sense, as an image, often like an explicit metaphor, it is based on the literary element of simile. The symbol plays a role in all types of literature, including popular literature and, accordingly, in myths. Myths like other manifestations of popular literature, form a major part of human literary and cultural norms. In other words, they are the epitome of cultural norms, moral teachings, psychological tendencies, events, and meta-history of peoples. They have been part of the life of peoples’ memories and nations for a long time. One of the examples of myths in Persian literature is the myth of ‘Malek Jamshid and the Apple Thief Demon’ from the collection of Mashdi Galin Khanum. The purpose of this study is to further introduce this myth, with an approach to understanding the symbolism, the dependence and intertwining of myths, symbols and archetypes, the types of symbols in it, and most importantly, to show the functions and capacities of the literary element of the symbol in the myth. This research is done in a documentary-descriptive way using content analysis. The study concludes that the myth of ‘Malek Jamshid and the Apple Thief Demon’ in addition to all the beauties, has wide capacities from the point of view of criticism and analysis of symbolism and all kinds of symbolic images. Studying and deciphering the symbols of this myth helps in understanding the concept and its message. It also increases the pleasure of reading it and finally adapts the reading to the important topic of intellectual-psychological development and personality of the audience.