نشریه پژوهش های ادبیات تطبیقی
سال پنجم شماره 2 (پیاپی 12، تابستان 1396)

Turkish writer Orhan Pamuk in his novel "My Name Is Red" by presenting a historical fiction story of a moment in the history of their country's artistic and cultural developments The contrast between traditional art and Western art in the form of a long narrative in the face of the Ottoman court painters Venetian painters (West) has written to the Heand fabls by referring to the distant past and telling stories that are rooted in history and dream and myiths, wider problems of modern society in a way one of the complexities of the world today is rebuilt, This open confrontation with the audience intelligently processing, This raises the question; indeed the author of the text intended to articulate what it is and what it is, how does Reproducing? Part of that comes from this study that The story ultimately is the paradox interpretation unwanted desires historical and cultural tradition and modernism. In a society where at least five centuries ago is still involved in this story. In this paper, we investigate and analyze the aspects of the interpretation of its dimensions. This paper includes descriptive analytical process would have benefited from the resource documentation library.

principles and values ​​of the era and their religion sins and reward them invokes the punishment and Padafrah they speak. Due to the distinct practices and mention them with reward or punishment is given to the special function of the coordinates of a Ardavyraf. In contrast Altvhm Ardavyraf a sin and reward are not separate, significant and lasting psychological torment of their physical Zabhay. Meanwhile, preaching and spiritual Tavylhay other features that affect the structure and content of the author's worldview is influenced observations. In terms of structural characteristics, descriptive and literary Altvhm Zybatraz Ardavyraf a more coherent and discussed. Seeking perfection and ascension of the steps are the same wonderful man, is evident in both, the one that belongs to the collective unconscious of mankind, regardless of the particular religion that has Hrsr. Both Ascension accordance Razamvzy rites of passage are seven stages and come to full brightness. an

Magical realism is one of the important literary flows in developing countries that critics have investigated this area work's characteristics in two different disciplines of fiction styles and/ or literary schools. The main origin of this is Latin America, however, also in Persian language, due to cultural and social similarities, similar and sometimes distinct manifestations of the literary style can be seen. Since most of previous studies have investigated commonalities of magical realism manifestation in works of Persian land literature writers and Latin America famous writers, in this paper, by an adaptive- comparative method similar and distinct manifestations of this genre have been investigated and analyzed in two stories of "Heaven" by Bahram Sadeghi and "a very old man with enormous wings" by Gabriel Garcia Marquez.
The results show, although the two stories in terms of split cultural origin and common components such as: strange beliefs manifestation, the use of symbols, contrast and mix of tradition and modernity are within magical realism range, if we look at their sub difference stories of Marquez and many Latin American writers from the perspective of including magical realism components are more proportional to realism available in land and rural literature of Iran and Heaven of Sadeghi considering the prevailing structuralism, regarding modern elements and the kind of the author view to traditions mainly reflects a kind of magical realist story that can be called urban magical realism.

The Calling myths have prominent role to deepen and enrich the literature of different nations including Arabs Iranian myth, "Zoroaster", one of the myths That there is not often in classical Arabic poetry. But some contemporary Arab poets inspired by Friedrich Nietzsche (1844 - 1900), German poet and philosopher, In the framework of "Qna" and the mask of the Zoroastrian myth, Seeking element for social and political struggles In the wake of people with superhuman slogan Thereby uprising Against the evil tyranny and corruption of contemporary oppressors .the Purpose of this article is a comparative study of the Zoroastrian myth In ancient and contemporary Arab poetry To show what is the symbolic thought of this Arabic poets About this archetype? And basically for what purpose, each of these poets has been used of this Myth in their poem? Achievement of this study that is written Based on the Descriptive analysis method shows that in the old Arab literature, it is very hard to find a Poet that mentioned the myth of "Zarathustra" in his poem. And only observed a few references to the Magi and the religion of Pre-Islamic Persian in The poetry of this period. In contrast, in contemporary Arabic literature, Zoroaster has come in the formation of a national savior in to the form of a political ambassador that emancipated the Contemporary human of the Political Pains and suffering.

Rumi, Sufi poet, because of acquaintance with musical instruments transmits the mysticism and Sufism concepts through the outland instruments like harp and lyre. Concepts such as: Divine origin of music, the priority of mortality on survival and contrast question. Impact of Christian teachings, Old Testament books and studies on Mythology is caused that Lamartine uses lyre for transferring divine concepts. But the contrast of Old and Omar (Religion and Spirituality) in the first book of Masnavi converts to the poet and ambitious king in poetic meditations of Lamartine. Also lyre metaphor in these masterpieces is different because of Cultural and temporal differences. For Lamartine lyre is the symbol of the heart but Rumi considers it as human body. In this paper, the lyre function is studied by using the theories analogies without contact and Rapprochemen within the domain of comparative literature.

In the present paper we aim, in an analytic and comparative manner, at an investigation of the conceptual metaphor "LOVE IS WAR" as a way of understanding of falling and being in love and speaking of them in Hafez's Divan and Petrarch's Canzoniere within the framework of Lakoff's Conceptual Metaphor Theory. What comes out through this examination reveals that although the two collections turn out to be similar in many ways in terms of metaphorical theme, there are two major differences between them in terms of imagery: to begin with, Hafez employs more warfare terms and expressions than Petrarch does, and secondly, Love in Petrarch's poetry on many occasions reveals itself in the image of Cupid, God of Love in ancient Roman mythology, who with his bow and arrow aims at the lover's heart and captures him. In Hafez poetry, however, there is no such explicit imagery which personalizes the abstract and invisible force of love emotion in the form of a god, but in it we encounter a beloved, or the eyes and eyebrows of which, that, in a figurative manner, shoot arrows at the lover's heart and ensnare him.