پژوهشنامه نقد ادبی و بلاغت
سال پنجم شماره 2 (پیاپی 10، پاییز و زمستان 1395)

Behnāz Alipour Gaskari has purposefully and deliberately used post-modern techniques in the title, the content and the style of narrative in her short story collection called “Bemānd…”. Recursive structures, short junctions, setting and disrupting frameworks, confusion and lack of coherence in text, contradiction and uncertainty are all the post-modernist techniques have been used in the stories; however the use of recursive structure is more noticeable. Creating several different narrative levels or fictional world in addition to the ontological content of the stories, recursive structure shows the artificiality of them highlighting the fictional framework. The author expresses her own opinion about women issues using the above mentioned worlds. She had worked totally different in two stories. Using the sleep-expressing technique, she creates, in the story of “Bādhāie Ke az Hindukush Mivazand” (The winds blow from the Hindu Kush), an imagery world besides the semi-real world; and shows herself in the story of “Zany Az Jense Mes”(A woman of Copper) and shows her authority and the artificiality of the story pointing directly to the writing. Using the post-modern techniques by the author to express the problems of women in modern society shows that post-modernism is a narrative tool rather than a method or school of thought.

Historically, one of the most frequent themes in the poems of Arab poets has been the praising of wine in different ways through different interpretations and images that Abū Nuwās, the Iranian poet of the Abbasid era, reorganized and founded it as the style of wine-telling (Khamriya-soraie). Hafez and Manuchehri Dāmghāni are the ones, among the other Persian poets, who have taken the most significant effect of him. The word "wine" and a brief history of its usage in Persian and Arabic literature has been initially studied in present paper, and then the common interpretations of Hafez and Abū Nuwās have been expressed using some evidences. The third part of the paper consists of Abū Nuwās's special interpretations of wine by explaining 24 examples; while the fourth part is dedicated to Hafez's interpretations with 21 examples. Similes and the common explanations about wine, provided through six examples by Abū Nuwās and Hafez, form the fifth part of the paper. "Wine" has been briefly reviewed in the next part and the reflection of these two poet's philosophical and mystical teachings in their wine-telling poems has been pointed out and finally, the similarities and differences between the ideas of these two great poets have been stated in thirteen paragraphs in the conclusion.

If we Study the poetry of Hafez, we will find that he has composed many of his poems to welcome other poets. In addition, he has included some of the themes, lines and hemistiches of previous and contemporary poets in his poetry. Only the hemistiches that Hafez has borrowed and used in his poems with no manipulation are analyzed in present essay. He has likely borrowed a hemistich from a line of another poet and didnt prefer using the other hemistich or has composed a better one to complete the line. So, borrowing a hemistich and changing the other, he has created a new meaning for the borrowed hemistich, and has increased the inner and lateral rhyming patterns of the poem through substituting of hemistiches. Although he has sometimes borrowed from the other poet's non-lyrical hemistiches, they seem more natural and interpretative in his poems than in their origins. However Hafez has deliberately tried to borrow the finest and the most outstanding hemistiches of the other poets, but he has, in many cases, given a new life and meaning to them and has promoted them in quality.

…nor is there anything wet or dry, but is in a clear record(Holy Quran, al-Anam, 59).
With any approach we look at the Quran, either in terms of scientific or literary and artistic, It shines special. Everybody who drinks of this resuscitative spring, his words will seem to be heavenly. In Persian literature, the poets or the writers whose work's themes are rooted in the teachings of Quran have special positions. Thanks to the Word of God in Holy Quran, Khwāja Shams-ud-Dīn Muhammad Hafez stands on the peak of Persian sonnet. One of the rhetoric arrays of Quran from which Hafez benefits is sarcasm that has been analyzed in present essay. Sarcasm is a kind of Irony that appears sporadically in the divans of predecessor poets, however it cannot be considered as their stylistic feature because it doesnt have the necessary frequency and abundance.
This stylistic feature is observed in Divan of Hafez with high frequency such as: Dignified Zahid, Khwāja of Wisdom and etc.

A part of Persian poetry's beauty and delicacy has been manifested in literary arrays. So it seems inevitable to analyze the quality connection between the researches on exquisite arrays and poetical changes. Do the requirements of this reciprocal link really considered? Examining some poetic examples from some prominent styles of Persian poetry, this research answers to above mentioned question through an adaptive-comparative method. This study shows that the exquisite researches and poetical changes have not had a balanced development; it means that the Persian poetry has experienced many ups and downs in quality of literary arrays usage due to criteria such as term-minding and meaning-orientation, simplicity and industrial-thinking, and poetical and literary theories, but oblivious to these developments, exquisite researches have just thought their own severe frameworks, and as a result, they have gradually lost their role in shaping poetical capacities and have changed into an inefficient knowledge to create innovations and poetic criticism. The more than ever necessity of retrospection in exquisite researches has been proven in present essay as its result.

After a brief introductory reference to the concept of deconstruction and proposing a summary of philosophical, linguistic and literary thoughts of Derrida, the deconstructive approach has been studied on the basis of his reading two western texts, and finally, one of the famous odes of Khāghāni called" Dar Moareze-ye sheikh al-shoyukh-e Baghdād"(About the opposition of Baghdad's great sheykh) has been deconstructed upon the Derrida's approach to show that a deep and deconstructed reading results in confusion and surprise of reader to understand the issue, to realize the meaning, and to know the poem's audience. Analyzing the contrasts, words, mode of expression, themes, intertextual relations and some literary industries, this kind of reading provides a meaning contrary to appearances or even to the intention of the poet.

Referring to the Persian rhetoric books, from the very beginning until today, the present paper is to study the reasons for banality of similes and different types of similes(such as conditional, comparative, implicit, antithetical and eloquent similes) have been used to rectify them. To do this, the authors have initially reviewed the history of the subject in the books of Persian rhetoric, and then, clarifying the concept of strange and banal similes, they have studied the causes of simile banality and the dimensions of its strangeness under the title of "main strangeness and adventitious strangeness" and have criticized the attitudes of rhetoric books about the subject. They have also described some technical details that can release similes from banality and help them to be more thoughtfulness and rhetoric. To explain each of the methods, they have tried to criticize the viewpoints of related books and to analyze their accuracy. Finally, they have offered another new technique called "bound simile" to rectify the banality of simile.

The conventional interpretation of Parvin Etesami's poems is that she was, in terms of structure and content, attached to the previous poetic tradition and took step in the path of her predecessors; but her humanitarian attitude and her compassionate to the poor people and social concerns in general, for instance, are more highlighted in comparison to the ancestors and are rooted in Parvin's individual nature and her femininity. It has been tried, in present essay, to show that Parvin was synchronous with her past poetic tradition in terms of structure and form, but she has reflected, in terms of thought and poetic content, the voice of the contemporary liberal philosophers. Therefore, she pioneered many other poets, in modernization. One of the main development sources of such strong thoughts is the impact of Marx's ideas on her. Like any other poet, parvin has reflected to the events and ideas of her living period and has evolved her poetry in relation to them. It has been tried, in present essay, to show that Parvin might have both historically and socially been familiar to Marx's ideas, and her poems are full of Marxist concepts..

The analysis of fictional characters in literary works is an important discussion firstly entered the field of psychology and then in the world of literary criticism by Jung's theory of "Individuation".Based on this process, the fictional character, on the way to individuality, confronts a number of archetypes and he/she can gradually realize his/her inner truth and reconstruct his/her patient unconscious self, leaving each of the archetypes behind. The Nezami’s “Haft Peykar” is one of the works in Persian literature that can be analyzed through such an approach looking deep in fictional characters of this masterpiece and exploring the hidden dimensions of the story on the basis of Jung's Individuation. Pointing to these psychological archetypes in two stories of “Haft Peykar”: “the Green Dome” and “the Red Dome”, it has been tried in present paper, to study the personality development of the main character as well as the quality he reaches individuality and mental health.

Abd al-Qahir al-Jurjani was one of the famous Iranian rhetoricians who believed that, according to his own theory, the superiority or the real value of a literary work lies in its "order". "Ordering", in his view, flows in the whole structure of a text and creates a lexical and semantic coherence in it and in whole work. He believed that the superiority of speech relates to the beauty of order, words good-neighboring in an integrated network of syntactic relations, and the composer's awareness of word's correct place in combination. The literary value, the existing rhetorical functions of these texts, and finding why their authors and the poets are so capable and outstanding can be found through the analysis of the principles of this theory in different works. Analyzing his theory and comparing it with the other linguistic theories, it can be found that Hafez, as a great capable poet who knows rhetoric techniques and their functions has created a chain of lexical and semantic coherence in his sonnet, by proper and in-time use of rhetoric and eloquence tools and has made the reader or the audience, using secondary denotations, aware of a secondary meaning that can be found on the basis of context.

Deviation is one of the techniques Russian formalists discuss in their criticism theories. This is an effective method to foreground matters in a literary work that can be easily defined as departure from normal and standard language. Its usage, as an expressional technique (or somehow trick) can lead speech in to dynamicity and makes the audience to pay more attention to the text. Geoffrey Neil Leech (1936-2114), the English linguist, believes that de-familiarization in literary language is put in to effect in two ways of "foregrounding" and "deviation". He has distinguished eight different types of deviation in a literary work. Through an analytic-descriptive method, different types of deviation have been analyzed in present essay on the basis of Leech's theory in the poems of the Syrian well-known contemporary poet, Nizar Qabbani, published in his work "Kitab al-hubb" (Book of Love). The results show that Nizar Qabbani has used different types of deviations in his poetry and there is no "stylistic" deviation in this work, while "semantic" and "phonetic" deviations have been used with a high frequency.

The phenomenology of the novel "Pol-e Moallaq" (the Suspension Bridge) by Mohammad Reza Bāyrāmi has been analyzed through an emotional approach in present paper. Resistance stories are suitable substrates on which the functions of lyrical elements, as the most artistic form of human emotions manifestation, are represented. So, the nature and the characteristics of human emotions and their position and relationship to emotional events and experiences can be known by phenomenological studies to provide an infrastructural and ontological analysis of novel and its lyrical elements. The research methodology is based on semantic descriptions of behaviors and emotions on the basis of their approaches and content. The elements of each process have been recognized and to determine and study their positions in semantic calendar. The emotions have been analyzed in the novel through two classic and modern phenomenological approaches beyond the character's cognitive and attitudinal foundations. The content and the motives of biological actions and experiences and their similarities and differences have been initially explored in subjective (or personal) and inter-subjective (or empathic) frames; and then, the modes of expression, in terms of reflection of affections, their role in creating emotional spaces in the novel, and their impacts on the reader have been studied using the principles of modern phenomenology that is more scientific in comparison to affections.

Criticism is one of techniques by which masterpieces are analyzed. Both surface structure and emotional-semantic infrastructure of masterpieces are being analyzed through criticism. Mythological, sociological and historical approaches of criticism, all related to the deep structure of literary works, have been used in this essay to answer eastern and western critics of Sahnameh (the epic of kings) of Ferdowsi. There have been many thinkers in the entire world who have researched on Persian literature from almost 15 centuries ago, and Iran's national epic has had a special place in these studies. The researchers have not merely praised this work, but have sometimes considered it through a critical look. It has been initially tried, in present research, to evaluate the comments of some older thinkers such as Movses Khorenatsi, Abū Rayḥān al-Bīrūnī, Ibn al-Athir and then, among the late eastern and western scholars, the beliefs of Theodor Nöldeke, Edward Granville Browne, and Taha Neda have been analyzed and answered. The result is the clear and explicit responses are provided in the research to answer all the old and new critics.