mahmoud bashiri

Tangsir novel is an outstanding naturalist work in Persian fiction. The naturalistic work is written based on descriptions and adjectives and predicates have many functions. In this essay, the descriptive function of adjective and predicate in the novel Tangsir, by Sadegh Chubak, has been investigated. What kind of metagrammatical function can adjectives and predicates have in the formation of the writer's literary doctrine, the treatment of characters in the story, and the creation of atmosphere. Examining the aesthetic function and the semantic function of the descriptive role of predicate and adjective and comparing these two grammatical roles in the formation of the main components of the naturalism doctrine can lead to important results in literary criticism, which is a great strategy for the authors of this doctrine in paying attention to their main components according to the function Grammar of vocabulary. Therefore, the present research answers the question that what is the meta-grammatical function of predicate and adjective in Tangsir novel and the literary doctrine of naturalism?

This research is descriptive-analytical. Based on this, this research was prepared by extracting and analyzing the adjectives and predicates in the text of the novel "Tangsir". Discuss Tangsir is the story of suffocation. the story of the suffocation of the proletariat; Accordingly, documentary sentences that confirm this content have been used a lot. In this section, the adjective has a more prominent function; Because in this section, the frequency of words is very important. The adjective gives color to the whole text and the author has used it more in this section. The difference is small, for example, the color black is repeated 19 times as a predicate; But as an adjective 21 times, in general, it can be said that the adjective was more useful for the author in this section. In addition to suffocation, just as the author has taken the style and atmosphere of the story to darkness and the bitter human truth by using adjectives indicating the blackness of the atmosphere and the life of the lower class, he also uses the preposition in the same direction, which has a complementary role to the adjective. The word dark as a predicate has a high frequency, it is repeated 16 times as a predicate in the story, and the word black 19 times, while the word light as a predicate in Tangsir's novel, such as words like light, is used a total of 10 times, and the color white is used 10 times.

In describing the characters of his story, the author has used descriptive tools such as prepositions and adjectives, among which prepositions are more functional. The number of predicates used for characterizing has been more than the number of adjectives; Because it is more difficult for the author to create descriptive sentences than to use independent documentary sentences to describe the characters of his story. In the field of literary function, the adjective has more functions; Because it has a literary structure and makes the text of the story more imaginative. The literature that the author has given to the text with the adjective has a major difference with the literary function of the predicate. The highest function of adjectives in this section can be seen in compound adjectives and compound derivatives, which have both norm-avoidance and literary functions, such as creating metaphors. 23 compound adjectives and 48 compound derivative adjectives are used in Tangsir's novel. The structure of the adjective has an effect on its literary function, which the author has given to the text by using and creating compound derivative adjectives; But the number of predicates that created a literary function in the text was very limited and they did not add literaryness to the text to the extent of adjectives. In the comparison of the use of colors in order to create space and the literary doctrine, the colors used as attributes have more variety, and therefore they can help the author more in creating space; But the two most frequent colors, white and black, were almost equal, and the frequency of black is used more frequently than white, either as a predicate or as an adjective, which creates a dark background in the story. A small amount of black color can be seen in the text, which can be concluded that the text has given a darker atmosphere to the story. But because the variety of colors in the predicate is less, creating space with colors is mostly created with adjectives.

 According to the holistic approach, in examining the content of a text, one should pay attention to the principle that the understanding of the text in the real sense is achieved when the unit of analysis of the text is considered as a whole. Otherwise, the text cannot be cited for research. The researcher"s lack of attention to the text as a whole causes problem in understanding the text; sometimes, these problems are acute and increase the complexity of the text. This problem has also arisen in reading and understanding Maulavi"s Mathnawi. Reading part by part and focusing on the verse has caused the spiritual Mathnawi to be presented as a confused and disorderly work among the massive scholars. This research aims to change the approach, i.e., focus on semantic units larger than verse, to reach the existing order in the expression of Mathnawis.

 The research method is based on the goal; Descriptive-analytical, and in terms of collecting information, it is a library documentary.

 According to the findings of this research, the connection of Mathnawi content is intermittent. Alternation in the Mathnawi is alternating the non-narrative (educational) part and the narrative (parable) part.

 The topics presented in the non-narrative and narrative parts are connected like chain links in such a way that after each non-narrative link, there is a narrative link that has the role of an allegory or supplement. The educational materials are related and complementary if we do not consider the narrative circles. Therefore, the connection of academic content in the Mathnawi is a circular sequence.

Every literary work uses a main and key element. The most important element of the story is its characters. The characters are actually the soul of the story and the charm of the stories largely depends on their characters; Therefore, its processing method should not be considered simple. The author is the creator of the characters of his fictional work and must have the ability to show their inner and outer layers to the reader. The purpose of this essay is to investigate and analyze the characters of the story of D’abel and Zulfa. The purpose of analyzing and criticizing the character of D’abel and Zulfa is also to achieve the meaning and structure hidden in the characters of the story in order to determine whether the processing of the character of D’abel and Zulfa has been done correctly in its structure and context, according to the author"s goals?

The research method in this study is descriptive and analytical, which was done in a library form by studying sources, taking samples and classifying the materials.

The novel D’abel and Zulfa, written by Muzaffar Salari, is a romantic novel in a historical and religious format. The main axis of the story is based on love. The tasteful and thoughtful writer has mixed the bitter memories of the caliphate of Harun al-Rashid and Ma"moun Abbasi with the spice of love to make it sweet and pleasant for the audience and describes the characters in an artistic way.

Characterization in this story is mostly done through dialogue between the characters, and the element of dialogue, in addition to playing an important role in the flow of the novel, also plays a significant role in dramatic characterization. The characters of the story play a role in the creation of the story in both positive and negative poles. In conversation, characterization through dialogue (two-way conversation) is superior to characterization through monologue. Salari has used two descriptive and dramatic methods for characterization; That is, the characters of the story have been introduced both by their actions and behavior and by the author by describing their appearance, moods, moods, thoughts and opinions, and by using the mind, one can find each of these descriptions and put them together.

Both critical discourse analysis and the theory of systemic-functional linguistics use a variety of approaches from disciplines such as linguistics and sociology to investigate the interconnections between texts and overall power relations. The three-stage model of description, interpretation, and explanation, as well as terms and concepts, are connected in Fairclough's Approach, while the functional theory is linked to different functions of language and clause terminology, as well as to the three interpersonal, interpersonal, and textual axes. We chose Forough Farrokhzad's poem "I miss you" to investigate the simultaneous application of analytical tools from two theories mentioned to Persian literature, namely the use of functional grammar at the level of description and interpretation of the critical discourse analysis. We considered two main functional purposes. We wanted to present an accurate review of these two theories, followed by a linguistic analysis of this poem. We tried to discover the text’s ideology and its relationship to social structures. In short, we wanted to discover the relationship between the discourse of the text and the power relations of its time. The findings show that this poem inveighs against and rejects not only the Pseudo-modernity that ruled Iran during its time, but also traditional and neutral discourses, as well as tyrannical, nationalistic, and male-dominated systems. On the contrary, Political-social fight, feminism, and humanism are reproduced and articulated. Meanwhile, the tone of the message is critical of the dangerous religious attitudes held by some religious individuals. A bilateral relationship exists between some poetic symbols that invite multiple interpretations and the democratic relations which welcome multiple voices.

In this article, by examining the poetry flow of black romanticism in the thirties and forties in Iran, the representation of loneliness in the poems of the poets of this flow is analyzed. The main issue is the connection between the intellectual and ideological components of the black romanticism of these two decades with the emergence of the concept of loneliness in their poetic meanings. The main reason for the emergence of the black romanticism trend is the frustration Coup D’etat of 1332 Š./1953/ 1332, which has led to dark themes and blackness in this poetic trend, and it harbors nihilistic ideas. The discussion of loneliness has strongly considered this nihilistic trend. The main poets of this trend, based on their influence from the existentialist and humanist attitude, whose works are analyzed in this article, are Hassan Honarmandi, Forough Farrokhzad and Ahmed Shamlou. The results of this research showed that although the influence of the thoughts of French thinkers about loneliness is evident in this thought stream, this is associated with the unconscious influence of the background of Iranian thought in Persian poetry and concepts such as humanism, individualism, the endlessness of life, freedom based on It has reproduced individuality.

The position of words in a sentence and its effect on rhetoric is one of the most important topics that Abdul Qahir Jorjani has raised in "Nazm" theory. He examines the position of elements under the heading of "preposing and postposing", and, of course, in relation to definition and refinement. Jorjani’s ideas are consistent with information construction and subject-information construction in Halliday's "Functional Grammar" theory which focuses on lexical arrangement in sentences. Vocabulary arrangement can be considered as one of the most prominent features and the basis of syntactic structure in the Garshaspnameh and the story of Bijan and Manijeh. Therefore, in this study, we have examined the prepositions and postpositions of the main elements of a sentence and analyzed the rhetorical function of each in about 3000 sentences of the two poems. In this regard, first we examine the frequency of preposing and postposing of the main elements in sentences which have a subject and also the sentences with a deleted subject in the mentioned range of two poems. Then we have entered the statistics in the tables representing the distribution in terms of number and percentage creating a precise analogy between the poems. Then, with reference to the table related to each section, we have analyzed the rhetorical function of the elements according to its position in the sentence. The results of the research suggest that in addition to compulsion in observing the meter, rhetorical intentions such as emphasis, paying tribute, humiliation, confinement, etc. have a significant effect on preposing and postposing the main elements of the sentence, and on the position and order of words in Ferdowsi and Asadi Tusi's poems. The Main rhetorical method of the two poets is their foregrounding of of the main elements, especially the verb as a means of emphasis.

Attention to existence has a special place in the works of Gholam Hossein Saedi because it shows sociality and concern for existence. Although the author seeks to break the shackles and dependencies, he has also used the components of existence "death, suffering, fear and sin" in his works. The purpose of this article is to clarify the components of the philosophy of existence in the collection of stories of Gholam Hossein Saedi.

The research method in this article is descriptive and analytical and the information is collected by searching library resources.

The whole effort of the philosophy of existence is to cover the various aspects of humanity that value the sum of the physical, mental and social forces of man. While adhering to this philosophy has brought the responsibility of commitment to Gholam Hossein Saedi. Following Sartre, Saedi touches everything to show the traces of death and despair in his works. In Saadi"s works, we talk about the loneliness of the human subject, the inability to live and the emptiness of life and existence, and the presence of death, suffering, guilt and fear is felt everywhere.

The results of the research indicate the influence of Saedi"s worldview on the analysis of philosophers. The course of events of Gholam Hossein Saedi"s stories, for the depiction of social issues; He is free from any moral or religious claims, and his language reflects the daily life of all the weak and miserable sections of society. In most of his stories, Gholam Hossein Saedi has attacked the prevailing ideology in all aspects and tries to challenge all the social, cultural and economic sufferings of the society by challenging religious ideas and beliefs among different layers by challenging the institutionalized values. See the community; But after the rejection and condemnation of religious ideology, it offers nothing but despair, frustration, exhaustion, emptiness, and abandonment to a series of naturalistic or realist events and laws, an attractive or liberating solution for mankind. In fact, Saedi"s main message is to express the loneliness and anonymity of the human soul. He does not intend to please the reader with unreasonable things.

Aliname and Khavaranname are prominent examples of religious epics of the fifth and ninth centuries in Persian literature related todescription of the wars under the command of Imam Ali (as). Epic elements are formed according to the content and theme of the stories, and the structure is drawn according to the theme procession. Comparative analysis of modern epic elements in ancient epics is the main topic of this article. In these two poetrypoetries, the main elements of the epic include the story format, heroism, time, place, elements and extraordinary forces. Aliname and Khavaranname are among the Iranian epic works after Shahnameh in terms of literary status. These two epics have common foundations and structural-epic features. The events of both epics are temporally proportional. The epic of Aliname is more about describing Imam Ali (AS) in the battles of Jamal, Seffin and Nahrawanwhile Khavaranname is mainly concerned with the description of Imam Ali's travels and expressions of bravery in land of Khavaran, accompanied by Malik Ashtar, Abolmohjan And Amr Umayyah and other elders of his army and the war with Ghobad, the king of the East and other pagan rulers such asTahmas king, Salsal King and the war with the demon, the dragon and the like. The research method is descriptive-analytical. The results of this study indicate that although the two epics are very similar in appearance and epic elements, the theme and form of the epic elements in the stories are different. Although these two books are strong in the field of habit and fiction, the popularity and absence of the heroes of these two poems from high moral qualities have caused the general public to consider the main hero of the story as an example and manifestation of their ideal and epic man. Irrespective of the religious dimensions of Aliname and Khavaranname, in terms of epic aspects, the heroism feature is reflected with the presence of Imam Ali (AS) and other religious figures and heroes of the Islamic Revolutionary Guard Corps. In these two religious epics, there are many wars between Muslims and infidels for religious reasons, and in the end, the Muslims win. In describing Karzar Square, these two religious epics are very similar to Ferdowsi's Shahnameh which share exaggeration and forms of imagination with an active manifestation. “Rabi' and Ibn Hussam” imitation of Ferdowsi's expression is quite obvious. In the study of Aliname and Khavaranname, from the narrative point of view, we came to the conclusion that Ibn Hassam and Rabi' used more direct methods in characterization. In other wordsm, bydescribing the characters of the story and by showing Imam Ali as a hero, they made him a "brigade" that seems to be far-fetched and extraordinary in the audience's opinion. Many of the stories in these two epics are strong in terms of plot. The plot of Khavaranname is about the events that are related to the elements of supernatural things or acts that make the story weak and unbelievable. In the field of extraordinariness, with the presence of bold elements such as demons, dragons, magic, as well as the high frequency of objects and strange places in this epic, it can be called the most imaginative epic poetry in Iran. This is despite the fact that extraordinary elements such as dragons and demons are not seen in the poetry of Aliname. In terms of heroism, the goodwill and intimacy of the heroes of these two epics and the absence of high moral qualities have led people to consider the main protagonist as an example and manifestation of their ideal and epic man. In general, Khavaranname is less cohesive in structure than Aliname.

Existence is the philosophy of the originality of existence (one of the most important and influential schools of philosophy and literature in the world, the birthplace of which is "Europe"). Existence is directly confronted with the borderline situations of "death, suffering, fear, and guilt."Gholam Hossein Saedi (1936-1986), who is known as a modern writer, talks about pain, loneliness, and death. His works represent the literature of existence. Saedi's view of life is noteworthy. In his collection of stories entitled Bill's Mourners, he talks about the pains that have fallen on human spirits, and the atmosphere he depicts is full of fantasy, illusion, stress, economic and cultural poverty of rural and urban life in a way that the reader can not hope for a happy ending in the story. The power of Saedi's writing is rooted in his philosophical, literary, and existentialist thoughts, which modern man has repeatedly observed under the magnifying glass of his literary taste. One of the features of the story of Bill's mourners is sociality. Saedi tries to portray the ugliness, corruption, and inequalities of the society in front of the readers as well as expressing the consequences of this injustice. Most of the contemplations on the content of Bill's mourners' stories have been readable for critics, which is the link between social and personal issues and especially the impact of society on an individual's illness. The features that show the relationship between mental disorders and the social level are listed below: The philosophical despair of the characters are  intertwined with social pessimism and social contradictions; The psychology of the masses are illustrated in fictional actions; The villagers take refuge in the city and suffer from immorality and homelessness; The suburbs of cities are suffering from poverty and prostitution; Poverty in the modernized environment is threatening, and a fate awaits people; People ruined by heroism and sanctification; Urban dwellers, like villagers, are plagued by their superstitions; and The result of living in the conflict between tradition and modernity is isolation and loneliness. All the above features can be examined in the context of the borderline situations of "death, suffering, fear and sin". The main discourse of Bill's Mourners is critical, and the predominant themes of the works are the roots of moral corruption and mental illness in the society. Saedi combines attention to the aesthetics and creation of a story with modern methods of storytelling with political and social ideals. For this reason, he is known as one of the writers who pay attention to morals whereas the moralists criticize him. His writing style stands in the opposition to those of contemporary fiction writers. Being influenced by the world literature, he could also be compared to writers such as Dostoevsky, Faulkner, Hemingway, Joyce, and Marquez, due to his political leanings and representing the storytelling in a modern way as well. This influence is shownin two styles: realism in the style of writers such as Chekhov and Dostoevsky; and subjectivism in the format of mental-narrative works of Hedayat, the metamorphosed world of Kafka, the eerie atmosphere of Marquez, and the existentialism of Jaspers and Sartre. As a result, Saedi's thoughts have a strong influence on the philosophers' viewpoints. He seems to know the society, its main pains, and problems. The main themes in his stories are death, suffering, fear, and sin on which the existentialists focus. According to the results of analyzing the story of Bill's Mourners, characters not only do not go beyond the phase of moral existence but also do not get the phase of faith existence. The philosophy of existence has based its analysis of human destiny on three fundamental inferences and considered three signs. The purpose of this article is to clarify the three principles of the entity (benevolence, morality, and faith) in Bill's Mourners.

Centuries after Maqameh had come to the fore, stories by the name of ''Picaresque'' began to be written in Spanish literature which had numerous similarities with Maqameh. Picaresque can be regarded as the evolutional forms of romances with a different subject matter. Lazarillo de Tormes is the first picaresque story which has been written in 16th century in Spain. Narratives of picaresque have numerous similarities with present-day stories, so much so that, some designate Don Quixote de la Mancha- one of the latest picaresque- as the first novel. Since Spain was conquered by Umayyad dynasty, connections were formed between Arabs and Spanish which lead to scientific, artistic, and cultural exchanges and bilateral use of cultural resources. Since picaresque was formed in Spain and because of its similarities to Maqameh, the hypothesis comes to the fore that it originates from Maqameh. This has been referred to in some works which we have made mention of them in the literature. However, we oppose this hypothesis by showing their differences and foregrounds of Picaresque in Europe as well as its social-historical factors.
In 4th Islamic centuries, a species of prose came to the fore in Arab literature which was called Maqamat. It rapidly gained prominence because Arabic prose in this era had been tended to decorum and artifice and the appearance of Picaresque paved the way for the pens who adored artifice. Mohammad Taghi Bahar believed that Maqameh was a translation of "Gath'' in Mazdayasna (Zoroastrianism) which has survived after Islam. These excerpts in Mazdayasna were melodious and its syllabic poems had symmetry, balance and interval silences; just how Maqamat seems to be (Bahar, 1349, 2nd v: 234). Picaresque was a story written by a picaro in which a satire of his era and the people is narrated (Sibre, 1389:4). This literary genre appeared in 16th century in Spain and spread to other European countries like France, Italy, Germany, and England. The myth of Hermes can be regarded as the prototype of picaro. According to Greek myths, he was the god of roads, commerce, fortune, sports, and rhetoric. Hermes used to deceive people and trickery was one of his features (Manser, 2009: 219). Picaresque can also be a mixture of "picaro", "picador", "Picards", and "picaroon".
Maqamat in its theme is influenced by the social and cultural situation of its era. Beggary, deceit, and tongue are some common themes of Maqamat which is a mirror of the social and cultural situation of that time. Picaresque is in its turn a micro history conflated of literary and historical narratives which its roots should be sought in humanism (De Haan and Mierau, 2014: 1-2). Since picaresque has come to the fore because of a protest to the feudalism of Spain in 16th c and the quasi- religious reign of the era, has been labeled as humanistic works.
Considering similarities of Maqameh and picaresque, the appearance of Maqameh six century before picaresque and in Spain, the hypothesis has taken some force because Arabs lived and ruled Spain in that period and the bilateral relationships of them cannot be neglected. Nonetheless, these similarities do not provide a solid ground for the hypothesis because these similarities are there in postmodernism, symbolism and Persian classic literature.
In addition to differences between the two which outnumbers their similarities, the second reason to reject the hypothesis is the fact that picaresque came into the fore influenced by a foreground of European story writing, holy Books, romance, Aesop's fables, The Fabliau, joke books, novella, and etc. the third reason is the social-cultural condition of Spain in 16th centuries and the influence of the life of picaro, Picards, picaroon; just as the influence of the rhythmic style of Quran and traditions of Abu-Zayd Sorooji, Abbas doos, Tarrar Basrah is evident. Furthermore, the fact is that picaresque was not directly influenced by Maqameh because of the three explicit intertextual relationships (quotations, plagiarism, and implicit intertextuality), none can be trace in picaresque from Maqameh.
Picaresque should be considered as the product of Spanish social condition of that period of time, not an imitated one nor influenced by eastern prose. This story genre, indeed, was taken from the lives of the poor and picaro of that era of Spain which criticized feudalism, quasi-religious reign, and churches. It is a satire on the miserable state of the poor and their hopeless struggle for bread. At best, Maqameh can be considered as one of the foregrounds of picaresque.

Homeland and defense are among the important issues of Resistance Literature. This study aimed at exploring how the issue of defending homeland is reflected in the titles of contemporary resistance literature works. This study was an attempt to investigate the way title as a threshold for going into the main text of the literary works draw on the pattern of woman-mother as homeland to shape noticeable works in Resistant Literature. In so doing, the relationship between title and main text were investigated in the two novels of ‘Omm-e Sa΄d’ by Qassan Kanfani and ‘Daa’ by Seyyed Azam Hoseini, from a paratextual perspective. These two novels were selected for analysis because they are two of the most prominent works of Resistance Literature. The titles of the two novels reflects the contents of the novels. The author of ‘Omm-e Sa΄d’ has used the term mother as a symbol for Palestine which is reflected in the main text as well. Qassan Kanfani has successfully followed the features of Resistance Literature to create a great literary work of Resistance Literature. On the contrary, although the protagonist of the novel ‘Daa’ is a fighter and the title of the work means mother, there is no conceptual relationship between the title and the main text. The novel of ‘Daa’ could not be considered as a good example of Resistance Literature work.

Narratology is a branch of literary studies and has its roots in structuralism. It seeks to find a unified universal grammar for various narrative texts. Narratologists have each referred to some of the repetitive models in narrative texts. Gerard Genette is one of the prominent structuralist narratologists who offers a comprehensive plan for analysis of narrative texts. In his theories, Gerard Genette investigates three dimensions of narrative speech, namely time, aspect, and intonation. These three dimensions are made clear by investigating the structure of time, the narration focuses, the narration distance from the narrator's narration, and the numerous viewpoints used in the work. By investigating and analyzing these dimensions, one can achieve an accurate and coherent analysis of a narrative text and assess the fictional ability of the writer in shaping the narrative system and structure of a fictional work. Using Genette's theories, the study explores numerous dimensions of narrative speech and the mutual relations of these dimensions in the novel Aftab-parast-e Nazanin. Mohammadreza Kateb, the author of this novel is a prominent writer in Iran’s contemporary literature and has achieved a special style and readers in recent years. His style is accompanied by complexity, suspension, linguistic games and a tendency towards post-modernism. However, in Aftab-parast-e Nazanin, these stylistic features have been modified a bit. There is a specified beginning and end, and the author tries to attract the attention of a wider range of readers. The present paper studies the different narrative techniques used by the author for the narration of the above said story.

In the last three decades after the Islamic Revolution of Iran، a wide variety of books have been written about the contemporaray literature of Iran in both prose and poetry form، each having its own specific characteristics. Among all these books “The Contemporary Literature of Iran- Prose” written by Mohammadreza Ruzbeh is different to some extent. However، the mentioned book is not far from some faults it comprises the proper samples and an extensive amount of contemporary proses within acceptable review and analysis of them، all gathered in a small volume. It should be also considered that this book has been selected as a refrence book of bachelor course of Persian literature. Therefore، it is of great importance including several benefites and points and can be regarded as a chosen training text in educational courses. In this article the stengnth and weakness aspects of this book has been investigated.

During the last one hundred years and since the beginning of the modern story writing, a large number of stories have been written and published by Iranian women writers. Critical investigations of the different aspects of such stories can reveal the changes and the evolution that have occurred in the story writing trend in contemporary Iran during one century of modern story writing. This study attempts to demonstrate the general characteristics of such stories through a comparative study of the themes and subjects related to women and women-oriented stories of women writers in two historical periods i.e., before and after the Islamic revolution (from 1300 to 1380). Further, it examines the transformation process of the above-mentioned themes. The issues dealt with in this paper are of four general categories: childhood, love, marriage and married life, and mother and filial relationship. Moreover, this study aims to examine a number of different stories considering the four-given categories.