manoochehr joukar

Most of Abu Tarab Khosravi's short stories have a surrealistic style, and in them, events and other story elements exceed the boundaries of conventional realism. This research aims to examine five short stories from Divan Somnath, Hawieh and Kitab Wiran in the light of the theory of unnatural narrative. The theory of unnatural narrative, as one of the branches of post-classical narratology, examines the types of non- and antimimetic narratives. The stories discussed in this article depict unnatural storyworlds through the unnatural elements of Dead", "Half-human and Half-animal" and " "Metafictional Characters and Geographical impossibility", "Unfixed" and The External Materialization of Internal States. The issue that arises is how these worlds are formed, with what arrangements they make the readers believable, and finally what they say about us and our world. In other words, the aim of this study is to discuss the ways of unnatural world-building and the ways of making believable in five surrealist stories by Abu Torab Khosravi; Then, Jan Alber's natural reading strategies are used to naturalize the unnatural. The results show that these stories with measures such as citing religious beliefs, internal focalization and the dialectic of the natural and the unnatural make the readers believable, and finally their natural reading shows that these narratives are the basic concerns of contemporary human life such as the importance of speech and understanding. It depicts the idea of death in human relationships in the postmodern era and cultural and historical determinism in the form of unnatural things.

Grotesque is a pseudo-species in which the author or speaker mocks individual and social abnormalities with an unpleasant exaggeration that is at the same time disgusting and funny. Grotesque elements create a dual space in a literary and artistic work and create a structure that contains a combination of conflicting thoughts; Grotesque simultaneously fascinates and frightens, laughs and scares. Grotesque usually shows the face of a human being and everything that is based on it in an exaggerated and manipulated way and treats regular and logical structures such as time sequence and cause and effect relationships as if it happened. It is also possible in another way. The novel "Uncle John Napoleon" written by Iraj Mesechzad is one of the works of fiction in which Grotesque elements and spaces are used to criticize some ideas and behaviors of the Iranian society. In this novel, there are 136 Grotesque elements, of which the element of "abnormality" is more abundant, and the type of abnormality is mainly conceptual and behavioral; Also, in the Grotesque element "horror and comic" - which has a frequency after abnormality in this novel - the comic and funny side is more than the horror side..

Malek osh-Sho'arā Bahār is considered to be one of the masters of Persian ode, but his masnavis were a strong means for him to depict various personal, social, political, historical and critical concerns. Since Bahar's masnavis constitute a significant volume of his poetic works (348 pages), his artistic personality and poetic performance cannot be properly evaluated if these masnavis are neglected. In the present research, while discussing the poet’s art of masnavi writing, fourteen of his masnavis are briefly introduced and his "Prison Poems", which are the most detailed Persian prison poems, have been examined and analyzed using descriptive and structural analysis method. This research attempts to show that Bahar has expressed his interest for innovation in poetry in masnavi writing. Moreover, in his use of a language influenced by street language and terms and phrases of spoken language, he created a moderate level of literary elements such as simile, allegory and allusion in these masnavis. However, description, narrative, simile, allegory and its types, especially proverbs, irony and allusions, are the most important literary elements in his "Prison Poems". Apart from their literary value, “Prison Poems” contain first-hand information about political strife and arrests of opponents and critics of the government and the state of Iran's prisons; in general, they are historically and sociologically valuable for the study of Iranian society in the previous century.

Lived experience is a broad, controversial, and sometimes ambiguous term that has been used by researchers in various fields of study. While there are occasional references to this concept in literary studies, it has not yet been seriously considered by researchers. The study of lived experience and its role in the process of literary creativity is very important in explaining poetic concepts; for it is a way to better understand poetry and, moreover, can provide a criterion for examining the success or failure of a poem or literary period; moreover, the shared experience of the reader and the poet can help to better understand poetry, paving the way for reader-centered criticism from the perspective of lived experience. In this study, an attempt was made to explain the concept of experience through the Lived analytical-critical method and its modes. Then, to better understand the role of lived experience in the process of literary creativity, a systematic model for it should be defined and drawn. In this context, lived experience is divided into types such as personal lived experience, specific lived experience, and general lived experience, each of which has subcategories. The findings of this study not only explain the concept of lived experience and its role in the process of literary creativity, but also show that lived experience is one of the basic elements of literary works, especially poetry, which can contribute to the understanding of the existence of poetry, its formation, the sources of inspiration of poets, etc.

Epics have a prehistoric basis, and the era of their creation is over. But, epic writing and epic aspect in connection with historical and social events, especially wars, continues. Iran's wars against Russia and Iraq in the last two centuries have been among the country's most decisive events. War poetry is an important branch of war literature that shows its most obvious and useful manifestations in connection with the literary type of epic and in the application of the epic aspect. Understanding and examining how to relate to the literary type of epic and the use of the epic aspect in the poetry of the two wars is the concern of this research.A comparative study of the use of the epic aspect in the poetry of both wars and the epics of their poets will lead to a better understanding of this event, and consequently, to a better and more important understanding of an important part of the tumultuous history of the last two centuries. For this reason, this study is deemed necessary and is considered as a kind of historical study of poetry.This article has an analytical and descriptive method and has used documentary and library tools. The researchers have adapted the poetry of the two wars in order to reveal the differences in the attitudes and choices and the similarities and differences in thought, language and literature of the poets of both wars in the way they use the epic aspect. in the studies, all the written literary inventory of the poetry of the Iran-Russia wars and many of the prominent poems of the poets of the Iran-Iraq war have been considered.Poets of both wars benefited from strong patriotic and religious motives. They have followed the epic texts of the past, especially Shahnameh. But, the poets of the Iran-Russia war have often repeated and imitated the past, and sometimes considered the king and princes superior to the poets of the past and national heroes. People have no place in their poetry and only failures are attributed to people. Epic flattery and exaggeration about the king and the court have replaced the praise of the soldiers' sacrifices. In contrast, the poets of the Iran-Iraq war are light-hearted and have a deep and transnational perspective. In their poetry, they have paid attention to the diversity of literary genres in the service of the epic aspect. They are idealistic and think of national unity and even unity with other oppressed nations. Women have a strong presence in their poetry and are praised and honored like warriors.

A significant part of Persian poetry is epic, and its domain has extended to the realm of folkloric literature. Local Jangname are poems with epical features that have been specifically written to imitate Shahnameh. These poems are in the form of masnavi, motaghareb and sometimes hazaj, describing exaggerated narratives, tales and heroic stories of persons or historical individuals from a geographical area. They are preserved for a long time in the area and could be used to resolve local and tribal conflicts. Depending on their subject matter, Jangname sometimes narrates the war between tribal leaders and the feudalists (khavanin) of the region, and at times narrates the war of a group with the central government, or the battle of a group of regional people with foreign forces. The element of war and the celebration or degradation of the local and regional characters and events are the basics of these poems. The works focused in this study are Jangname of Raeesi Delavari, Jangname of Hayat Daboud and Nightshift, and Jangname of on the light of Liravi which are studied stylistically and typologically. These poems influenced by the linguistic and literary style of the Shahnameh and other epic texts, as well as their tone and dialogue, have substantial differences with the epic genre; there is no indication of aspects such as myth, fiction, heroism, national spirit, and defamiliarization in these poems. They suggest no national spirit, because their heroes often seek to achieve their personal goals and objectives. It is concluded that these poems should be called ‘quasi-epic’.

Themes related to Christianity have been among the prevalent allusive elements of Persian Poetry. The same interest can be seen in Persian modern poetry. Ahmad Shāmloo, due to his constant study of the classical texts and living with a Christian wife has been sufficiently acquainted with these themes and has made use of them in 25 of his poems. Shāmloo, although benefited from the authorized sources, was able to present an updated and innovative interpretation of them. Meanwhile, these elements in their turns, affected the poet’s morphological structure and syntactic formation, and also increased the cultural, socio-historical and mythical capacities of his poetry.