mohsen zolfaghary

In the love triangle theory, Sternberg examines the types of stable and unstable romantic relationships of couples. Mustafa Mastour is one of the contemporary romance writers whose love is the focal point of his stories. In the novel "Love and Other Things", Mastur narrates the story of the conflict between love and other things. The purpose of this research is to analyze this novel based on the love triangle theory, which tries to answer this question with a descriptive-analytical method: based on the love triangle theory, what types of love are there in the novel Love and other things, with what elements and characteristics? In this novel, each of the characters express their views on love and other concepts such as wealth, revenge, forgiveness, loyalty, etc., based on their words and dialogues, while reflecting a part of their existence. The four characters advance the main narrative of the story in the form of dialogue by strengthening the conflict and creating suspense, and sometimes with sub-narratives, they provide the conditions for the acceptance of Plot for the audience's mind. The excessive preoccupation of Hani - the main character of the story - makes the situation darker for him. His love for the swallow and the finding of Iskandar and his marriage with the swallow are a crystallization of love and other things in his being that undergo changes throughout the narrative. According to the love triangle theory, the romantic relationships of the characters in this novel are compatible with transcendental love (commitment + intimacy + passion), sad love (passion) and petty love (lacking all three components), romantic love (intimacy + passion) which It can help to better understand the meaning of love and the hidden layers of the text of this narrative and justify the phenomena related to emotional relationships.

The event of the Islamic Revolution brought about changes in the cultural and political atmosphere of Iran and brought with it achievements. In this way, a religious current emerged in fiction. The analysis of fictional elements in the literature of the revolution reflects the purpose and causes of this phenomenon. The aim of this study is to continue the scope of research in revolutionary literature in order to investigate how Maryam Basiri approaches the theme and characters of the novel involved in the love of religious teachings. The research method is analytical-descriptive, the method of data collection is library. The basis of the analysis is the range of words, specific and frequent concepts related to religious teachings. Basiri, by designing and creating a religious situation, continues the flow of religious literature after the Islamic Revolution and seeks to strengthen theology, expand and generalize the foundations of belief, and through characters and themes, a teaching-promotional approach to the principles and foundations of Islam and induction It has a religious feeling to the audience and benefits from the doctrinal concepts, rules and ethics of Islam. The issue of Imamate is most evident in this approach. Basiri, from the language of typical characters, has a value-oriented view of religious concepts and takes the educational propositions of religion to the basis of the novel and facilitates access to religious teachings by studying the work of fiction for the audience.

Forugh Farrokhzad's explicit and lucid diction has had an extraordinary impact on her choice of prosodic meters. The present article is aimed at looking into the most important manifestations of prosodic meter in one of Forugh Farrokhzad's poetry collections called “Another Birth”, attempting to answer the following question: What are the most important prosodic innovations in “Another Birth”? Using a descriptive-analytical method, this article first examines metrical patterns in “Another Birth” and then by presenting graphs and analyzing statistics, it comes to the following findings Forugh has beautifully drawn upon the potential capacities of prosodic meter and therefore has created an original and innovative poetry. Forugh has managed to display her mastery and adeptness not only by presenting her individual and personal experiences commensurate with her audience's moods but also through manifesting the facets of external music in her language, a language that suits the taste of her contemporary audience. Unlike the poems of her predecessors, her poems occasionally give the reader the opportunity to experience various meters in segmentation, and the reader encounters several meters in one single poem, two meters in one hemistich or the application of partial elements at the end of a hemistich; the reason is that words and content-and not form- are important to her. Moreover, we sometimes come across some hemistiches in her poems that have extra-long syllables which indicate the independence of her hemistiches from other hemistiches on the one hand and on the other hand she displays her ability to employ poetic options, especially “Taskin”, to her readers. Metrical patterns such as Ramal, Mujtath, Muzare' and Rajaz are the most frequently used ones in her poetry.

The importance of language and beauty has been discussed in literature for a long time and has also been reflected in literary schools. Contrary to traditional rhetoric, which believed illustration was done only through imagery, there are many imaginative images that are free from any image and work very well in conveying the feelings and emotions of the poet. Creating an image without imagery is one of the imaginative ways of creativity. The main issue of this article is to study the characteristics of Romanticism in Monzavi’s poetry and to analyze and explain reality- and fancy-based images according to the Romantic components of the poems. Romanticism is a social, political and cultural movement formed in the nineteenth century breaking the traditional barriers in Europe. The social conditions for its emergence were provided at the end of the Constitutional era in Iran. Hussein Monzavi is one of the most innovative and talented contemporary poets, whose poems reflect personal feelings and many principles of Romanticism. Using descriptive-analytical method, the present article, , in the two axes of real images and imaginary images, analyzes the prominent features of Romanticism.We have dealt with the reflection of the poet's personality in the images, grief and its effect on the poetic images, and ambiguity of  the images, etc. Research findings suggest that several of Monzavi’s poems are the result of his romantic feeling . "Reflection of the poet's individuality in the image" is the dominant Romantic feature of Monzavi’s poetry, while other features of the school occur with different frequency in his poems. In the field of language, real images appear much less frequently than figurative images. Grammatical techniques for expression such as adjectives, sentences of peace, verbs and adverb have often created figurative and imaginative images in the context of speech.

The revolutionary poetry is a product of the strife amongst various discourses which had suffused the Iranian society’s literary arena from the late 40s till late 50s. In the present research, the topic of the struggle in between secular literary discourse and Islamic literary discourse, has been delved into. In order to conduct this study, discourse analysis Theory (from the standpoint of Ernesto Laclau and Chantal Mouffe) has been applied. While Foucault discourse opinions have also been used. The strife between the two mentioned discourses has mainly been over their meaning and their attempts to reform ate the concepts of revolutionary poetry. Historicity and phenomenology of literary have not been dropped out either. the process of conceptual formation named revolutionary poetry has been analyzed through there conflict. According to this study, the poetry of the Islamic Revolution resulted of some epistemological breakdown (in Foucault words) of the previously stabilized process with its find exclusion. As a result of this struggle, the revolutionary poetry adopted a new formulation with the hegemonic intervention of the new political institution, having emerged from the revolution. This different current brought about a type of political poetry, called the Islamic Revolution's poesy.

After the constitutional revolution, with the acquaintance of Iranian poets with European poems, the titles and names of literary works drew more attention than before, so that the poetic titles in the overall structure of the contemporary poems took a special position and the poetic title was regarded as the abstract of the text. Surveying the poetic titles as a way through the text can reveal the type of the attitude, ideology, and  aesthetical tendencies of the poets. In this research, the poetic titles of one of the third movements of the contemporary poems (from the coup to the revolution), which is the era of a variety of voices and stabilizing of contemporary poems (i.e. religious resistance poetic movement) have been investigated. To do so, the titles of all the poem collections of pre-revolution by Shafi Kadkani, Mousavi Garmaroodi and Tahereh Safarzadeh (the most famous poets in this movement) have been studied in three approaches (linguistic, literary and thought) from a stylistic point of view.  In linguistic evaluation and analysis, the poetic titles of these poets were classified into four major groups; word formation, compound formation, phrase formation and sentence formation. Then statistical and comparative analysis were done. In literary level, figures of speech used in poetic titles were specified and then studied and analyzed statistically. In the level of thought, classifying the five speculative concepts of  poetic titles of these poets was done as individual and romantic, myth and epic, nature elements, political and social and religious beliefs. After that, the statistical tables of these poetic titles for every one of these poets in the above mentioned areas were presented and then the evaluation and analysis of the poetic titles of these poets were dealt with from this point of view and finally we came to this conclusion that the poetic titles of each one of these poets' works have a vertical relationship with the used concepts but there is a difference  in the method and the way of selecting the poetic titles in this literary movement from linguistic, literary and thought points of view. These differences finally led to the creation of stylistic features for each one of the poets in this literary movement.

Abstract The mythical concepts, due to their wide extension in the depths of human mental structures, form a large part of our existential infrastructure. Hunting also constitutes a fundamental and long-standing ritual, due to mythical features in the circle of mythical concepts. In a way, this masnavi is a mysterious mystery symbolic that in some cases hides a link. From the point of view of the mythological approach, Mars in seven bodies is only seeking to achieve super-manly status because of the components of the mythical predator's personality. In addition to hunting as a mythical concept, this paper also illustrates the hidden aspects of the story and its deeper recognition based on the myth of hunting, and suggests that whenever a fundamental message or massive incident occurs, Through the myth of hunting, the message is transmitted. In the direction of the most fundamental myth that makes the story more conspicuous, mysterious and mysterious, is the myth of hunting.

Based on the formalism school, the discovery of the beauty of a text, or so-called "text literacy", is one of the most important issues to be considered in the critique of a literary work. Focusing on the "text" itself, the theorists of this school try to discover the causes and factors that turn the ordinary and everyday language into a poetic language. According to them, using different techniques such as "defamiliarization", the world of the text can be alienated from the viewpoint of audiences. In the formalistic approach, the form and content of a literary work are not independent of each other, rather the content is represented in form; hence, the content and the theme of a literary work can be comprehended through the study of the form and structure. "Arghavan" is a brilliant poem with a social theme by Hushang Ebtehaj who is one of the famous figures of contemporary poetry. The dominant feelings in this poem are sadness, grief, and regret that, because of the lack of freedom, are imposed on the heart of the imprisoned poet. But his idealistic mind craves blowing up for flight and release. In a formalistic and analytical approach, this research aimed to study the linguistic, musical and aesthetic domains in "Arghavan". The formalist analysis of this work shows that the artistic techniques used at the three mentioned domains help to discover hidden aspects beyond the thought and ideas of the poet. Therefore, going beyond the words, linguistic interpretations, and syntactic functions in the poem, it was aimed to find answers to the following questions:1- How are the grief- and regret-centered emotions of the poet represented in the form and structure of this poem?
2- How effective are formalist features in the acceptance and durability of "Arghavan" poem?
3- How can focusing on the form and structure reveal the implicit and latent ideas in the poem?
This review shows that this literary work has two major characteristics that have a profound and long-lasting influence on the mind and thought of the audiences that make the poem acceptable to them. The first one is the use of the communicative language in the poem which creates an intimate and close relationship between the poet and the audience. The other characteristic is the focus on the quest for freedom and the hope to release, which is a pervasive and universal human-social concept. Accordingly, the poet's ideas and social concerns, as well as his emotional and personal feelings are intermingled in a coherent manner and properly represented in the form and structure of the poem, making it a perdurable literary work. In addition, there are other reasons for the success, attractiveness, and durability of this poem that can be detected in the three domains of language, music, and aesthetics, which include:1. Domain of language: use of lexical terms connoting negative emotions, such as gleam, wretched, forgetfulness, penetration, pale, prisoner, mourning, and sorrow, which imply the grief and sadness of the poet, use of the attribute of art instead of the noun, anomalies in the construction and application of verbs, transposition of the parts of speech in a sentence, "Archaism", establishment of a variety of semantic relations, and use of colloquial language.
2. Domain of music: use of heavy and dragged mater consistent with the content (faeilaton), the artistic use of the accompanying music (bringing rhymes in seven strings out of the total of ten lines of poetry and applying the row in six cases), amplifying internal music through the repetition of consonants and vowels (phonemes), and use of different types of puns.
3. Domain of aesthetics: use of images in balance, consistent with the poet's feelings, use of metaphors, metaphorical combinations, personification, metaphorical symbols that make up the dominant part of the poem, use of allusion to avoid explicit expression of items, use of various rhetorical instruments and verbal and semantic artifacts such as simile, repetitions, synesthesia, hyperbole, paradox, etc.
Ebtehaj used the mentioned features, and applied formal elements and various techniques to create an artistic and enduring work called "Arghavan" and he succeeded in transferring his emotions and feelings to the audience. Because of these features, critics place a high value on "Arghavan".

The poem,s of biabanaki is wild, explicit, critical and committed; In fact, his poetry is a response to the world around him, his ideas, developments, and relationships around him. A significant part of his poetry serves the devoted literature, especially sacred literature and sacred defense.Using linguistic and linguistic constructs and creating linguistic abnormalities in different ways, his poetry is distinct from the poetry of his contemporaries. And it's a personal and personal style in his poems. In this research, with a structural approach and descriptive-analytic method, he examines the paraphernalia of his poetry in order to determine what the style in his poem is. In conclusion, the result of this research is that his point of view is to acquaint himself with the way of making new combinations, the use of folk and craft structures that create a sense of humor and critique in his words. And the skill and mastery in securing the poetry of other poets are important components in determining the style of his poetry.

Layer semiotics with sign substructure, langue, parole, codes, context and so on aims to provide an exact reading of text. In this procedure, the sign in discourse interaction will change to text. In fact in this process, the contextual reading has resulted the signs in form of codes which turn to textural layers. Although inter-text and inter-discourse reading of addressee will direct these layers. Khosrow and Shirin poem had the potential of this reading, so due to current research, some signs such as water, milk, blood, tree, stone, sun and so on are seen as the main actors of a story around three characters including Farhad, Khosrow, and Shirin so that phenomenological reading considers the above-mentioned signs in parallel to every character in semantic process in proportion with the implicit significations. Descriptive–analytic method of Layer Semiotics indicated how a poet can use the story economy in form of signs to make the volume of semantic-content structure of a literal work. So, some analysts with structuralism view in addition to purgatory view of all signs in reading different codes caused to the semantic reproduction, for example when the companion actors with Shirin such as water, milk and blood are placed due to the signs processing in different codes of mysticism, myth, psychology and so on. Finally, Shirin is placed in a way confronting different implicit significations such as Gnosticism Early death when she was punished.

The familiarity with and the unrivaled mastery of Shah Nimatullah Wali over the Quran and religious knowledge is a well-known fact that can especially be seen in his poems. In his poetry, Quranic themes and teachings are abundant and because of his great command of the Quranic ayahs, he has used various literary devices (including adaptation, tazmin, allusion, simile, analogy, etc.) in making the most of the Quran. The present paper, aiming at analyzing the functions of the Quranic ayahs in the poetry of this distinguished figure of mysticism, sought to answer these questions: How are Quranic ayahs reflected in the poetry of Shah Nimatullah? What functions do Quranic images have in the poetry of Shah Nimatullah? The research method used is descriptive-analytical and the research corpus comprises the poetry of Shah Nematollah. This study found that the most important objectives and functions of Quranic ayahs in his poems can be categorized in four main axes: 1. Rhetorical-literary functions 2- Presenting innovative, extraordinary and personal interpretations of the Quranic ayahs 3- Using citation and examples to validate mystical topics 4- Tayamon and tabarok.

This article examines the impact of Khayyam’s Quatrains (Rubaiyat) on Khaghani’s, and shows that Khaghani influenced in various aspects such as poetry style, verbal, style of expression and philosophical ideas. Whatever in this descriptive-analytical research, we will scrutinized, is the answer to this question that what are the aspects of this influence? And to what extent are these? The results shows that Khaghani, in many cases, remained at the level ofrhetoric in writing questions. But in many cases, he wanted to be close to Khayyam in verbal aspects and in this way he achieved some success. Also there are similarities philosophical ideas and intellectual between Khayyam and Khaghani (in their Quatrains). Although there is some diffrence in this aspects; the philosophy is the centered thinking of Khayyam but Khaghani is away from philosophical thoughts, even he is against them. Other result of this research, researchers to pay more attention to Khaghani’s Quatrains and recognizing this section of this poems that is hidden behind his ode’s shadow.

Nezami’s works, especially ‘Seven Bodies’, contain messages and concepts emerging from his individual and collective unconsciousness reflected in symbolical and mysterious expressions. This literary trend has emerged from his deep mythological understanding manifested in the form of stories that impose on the reader an experience of wonder and timelessness. This article aimed at demonstrating Nezami’s mindsets which have mythological tenets in their innermost aspects. The analysis was based on a mythological approach with a focus on the myth of creation an and the myth of circle. The study was an attempt to explore myterious and interpretive meanings of issues such as the myth of tree, the myth of immirtality (staying in heaven for a day and night), and the main reason for Adam’s fall. The findings of this study provides a new understanding of the two legends of Black Dome and Turquoise Dome in the narrative structure of the myth of creation.

This article is an attempt to provide an analysis of Sadi's Arabic odes and a description of the language structure in the Quranic images in those odes. Due to the exalted status of Sadi in both Iranian and world literatures, elucidating the main features of his illustrative language to prove his mastery of the Quranic language and Arabic poetry deems necessary. Because no previous has taken a language and images approach to Sadi's poetry on the basis of the influence of the Quran on him, the present study tries to provide answers to the following questions: First, what are the impact and position of the Quranic ayahs in Sadi's Arabic odes? Second, what are the portions of image and non-image couplets in his poetry? Third, what are the characteristics of figures of speech in his Quranic couplets? And fourth, what is the central focus of image in those couplets? Additionally, explaining how, in Sadi's image perspective, Quranic words contrast, interact, connect and collocate is another approach adopted in this study.