پژوهشنامه نقد ادبی و بلاغت
سال ششم شماره 1 (پیاپی 11، بهار و تابستان 1396)

Minimalism is a literary style or origin in literature which is based on an extreme stress, excessive briefness and a work content simplicity. If, by definition, briefness and simplicity are considered as the most important features of minimalism, in Persian prose classic works; we face with a variety and frequency of minimalism examples, which have been considered by a group of Persian language poets and writers of since the beginning of the formation of Farsi Dari language.
Baharestsn by Abd-ol-rahman Jami is a work that is considered from a minimalist point of view. This paper by reviewing components and principles of minimalist stories seeks to find a trace of this literary style in Persian stories of Baharestan dissertation by Jami. The author of this paper considered this work qualified for minimalist features by reviewing short short story components and adapting it to some Persian stories of Baharestan.

Without accepting the limits of rhyme and rhythm, today's poetry tries to gain more scores than what these two elements gave poetry before. Accordingly, it benefits a variety of mechanisms, most notably the use of the phonetic and semantic capacities of the word on the path of repetition. This linguistic phenomenon has a great influence, with its special function, on the richness of an artwork and contributes to beauty creation. Based on analytic - descriptive method, the important technical and semantic aspects of repetition have been studied in present essay, regardless to its lexical aspect, in some odes by Nazik al-Malaika and Nimā Yushij and explores the identification of repetition axes and the stylistic properties of their poetic language. Both poets have used this linguistic phenomenon as a means of aesthetics in line with two principles of proportionality and coherence that makes text to move towards music, and ultimately the transference of meaning. Therefore, it converges with the inner music of their poetry and increases the effectiveness of meaning. The function of repetition style is expressed in two semantic and musical axes, and they are found in both poems at three levels of phoneme, word and phrase.

Semiology-semantics criticism is an instrument for the perception of meaning.In semiology-semantics, contrary to structural semiology, signs have the opportunity to take on new signs.By creating coherent discourse systems, Gremies paved the way for interpreting the narrations, realizing that there is a drawback in the meaning in the initial narration, which needs to develop into a transcendental sense in a secondary stage at the end of the story.The story of Sheikh San’an is one of the narratives that suffers from the drawback of a chaotic state related to Sheikh San’an at the beginning of the story in which, in view of his dream, he takes an inevitable action which leads to the representation of some discourse systems.In the present research, using content analysis, we made an attempt to clarify that Attar Neishaburi has the intension to alter the undesirable initial state into a favourable one at the end of the narration by a pre-set plan.In analysing discourse systems, the first intelligent discourse system is prevailing. This means that the narrator, using systematic speech acts, depicts the evolution of meaning following an intelligent discourse.Two types of tension-emotional and providence- are created through the story, which assume the second and third status, respectively.

Introduction of Heisenberg's uncertainty principle in Physics changed the human worldview about existence and about himself. “Reality” was consequently redefined and “language” achieved a particular place as a mediator and constructor of reality. The reflection of this thought in literature creates a new genre in fictional literature that consciously attracts the attention of audience to its fictitious situation in order to bring questions up about the relation between story and reality. These stories are called “metafiction” that reflect the use of fictional techniques besides being influenced by the principle of uncertainty. Shortcuts, contradictions, permutations, excessiveness, being infinite, nesting structure, multiplicity of narrators, unreliable narrators, double bonding, absenteeism, multiple and indeterminate endings are all fictional techniques have affected by the principle of uncertainty. “Night of Possible” (Shab-e-momken) is a metafictional novel by Mohammad Hassan Shahsavari that has successfully benefited postmodernist arrangements to create uncertainty in the story. In present paper, the effects of uncertainty have been studied in the novel “Night of Possible” and the different ways of creating uncertainty in metafiction have been introduced.

In the process of understanding the mystical experience, there is a mutual and sustainable interaction between the perception of experience, on one hand, and the place and space of events, on the other hand. As the existence of experience recipient makes the place dynamic, being in the atmosphere of the experience leads to the internal transformation of the mystic. The description of the place and the space of these incidents is not always the same in mystic's words. Describing the mystical experience, the easiest way to interact with "place" is its application in reference to a geometric position. All the intuitive events occur in a particular place for a mystic, although these experiences occur not in the material but a metaphysical world that weaken the link of mystic with material world. The presence of the subject in the atmosphere of experience leads to crossing the material space and existing in new spaces or new space creation. Based on the mystical experience, there are various descriptions about the space of these events. The most important places and spaces for the acquisition of mystical experiences can be divided into five categories, in general: 1) physical place of experiences, 2) auditory place, 3) mysterious place, 4) metaphysic and 5) time place. Reviewing and analyzing these spaces, the present study offers a plan of "place" component in mystical revelations.

The Persian and Arabic language and literature have been closely related and interchanged with each other for a long time. Allusion, among these interactions, is the most fundamental rhetorical subjects and the most sensitive issue of language which has similar definition both in Persian and Arabic languages. Allusion is, in both languages, divided in several parts such as: "allusion of adjective", "allusion of noun", "allusion of verb or infinitive", "allusion to relation". Highlighting the similarities and differences of the structure of allusion in both languages, they have comparatively analyzed, in present essay, through an analytic-descriptive method and different opinions of experts of both languages have been expressed. Findings show that allusion has same meaning both in Persian and Arabic literatures and their differences seem being very little that, in its lowest form, it can be pointed out on their semantic differences. However, it should be noted that the lack of symmetry, in Arabic language, makes allusion distinguished from other figures. But in Persian language, this subject is precisely used as mixed metaphor.

One of the most important features of Mohammad Reza Shafiei Kadkani’s poetry is its profound link with historical and cultural background of Iran. This feature can be found, more than anything else, in two areas of myth and mysticism. These two, along with social themes, constitute the most outstanding semantic implications of Shafiei’s poetry, according to critics. The purpose of this article is to study the image system of Shafiei’s poetry and to explain its relationship with the three above-mentioned semantic areas. This image network is the result of a systematic gathering of images such as vegetation, rain, spring, morning and singing. The most important function of central image of growth is the creation of semantic confrontation between two categories of concepts, what makes the signification of Shafiei’s poetry in three mentioned areas possible. Therefore, the visual cluster of growth in Shafiei’s poetry should be considered as the point of conjunction of the main meanings derived from his poetry, which redefines many of the symbols in the contemporary Persian poetry by repositioning concepts and images in a contradictory system.

Reviewing several types of sentences in Hafiz’s sonnets and comparing them with poems composed by other poets such as Salmān Sāvuji, Nāser Bukhārāʾi, Khājūi Kermāni, etc., the relation between the music of poetry and the arrangement of different sentences have been explained in his sonnet in present study. His sentences have their own special music along with the music of sounds, letters and words. It can be said that one of the syntactic capabilities that makes Hafiz's poetry more prominent among the works of other poets is his ability to use the variety of sentences in the general structure of the sonnet. In this sense, not only the use of various sentences, but the way sentences are arranged makes the poetry musical. Comparing Hafiz's poetry with those of the others makes it possible to understand that Hafiz has rarely used three consecutive declarative sentences with a monotonous rhythm. He uses, in such cases, imperative mode to reduce the uniformity of declarative sentences. Those Hafiz's sonnets have been examined, in the present research, of which there are similar instances in the works of his contemporary poets in terms of rhythm, rhyme and order.

Mikhail Bakhtin considered novel as the closest artistic event to popular carnivals in the streets and public places, because it has the potential to reflect the different human and social sounds equally and to reduce monotony in society to the extent that leads to reversal of the dominant cultural, religious and ethical powers and makes the inferior and popular culture to upheave to promote democracy. “Don’t worry”, a novel by Mahsa Mohebali, is a work that expands, imposing an earthquake in the metropolis of Tehran, the imagination of a reversal in various dimensions of society to a lower and more general range of social classes, especially the younger generation, and the emergence of a polyphonic discourse. Almost all components of carnivalesque can be found in this novel: polyphony, slang, relativity, grotesque realism, reversal, frenzy, laugher of death, etc. After a short review on the elements of Mikhail Bakhtin’s carnivalesque, in present paper, the novel “Don’t Worry” has been analyzed on the basis of this theory and its components.

The father is the reference, the author, the watcher and supervisor of law, and, in other words, the representative of the social order. His name is a factor that terminates the process of subject identifying through an endless chain of symbolic order. The function of paternal metaphor is putting the father's law instead of mother's desire. Any disturbance in the process of identification with the name of father results in suspicion and intense distrust to social order. Jacque Lacan believes that delusions, suspicious deliriums, and paranoid fear and anxiety arise in the absence of a father's name. Lack of coherence between the name and the law of father makes the subject lose his confidence in the symbolic order and imagine the world unstable and insecure. Using Lacan’s Neo-Freudian achievements and reviewing the characters of The Blind Owl of Sadegh Hedayat (maternal objects and metaphors, and paternal connotations), it has been tried, in present paper, to analyze the process of identification failure of narrator’s character in symbolic order. Father plays a diminutive role, in The Blind Owl novel, to form the narrator's personality. His connotation is absent in symbolic order. His name is not coherent. Therefore, the narrator suspends the name of father and slips into maternal objects. Suspension of father’ name and identification postponement in the chain of symbolic order connotations leads to appearance of paranoid components in the narrator of The Blind Owl.

Discovering how much the great poets, like Hafiz, have used imagination and lingual skills to convey poetic concepts is one of the ways by which one can achieve the nature of literature and to speak effectively. Consisting of two parts of superstructure and infrastructure, the present essay is to analyze the stylistic (lexical, syntactic, and rhetorical) layers of one of Hafez's sonnets. The first part, in the field of structure and form, contains the analysis of lexical and syntactic layer and the second part, relating to the theme and imagination, contains the analysis of rhetorical layer and dramatic images of Hafez's poetry. In the second part, some examples are mentioned from other sonnets of Hafez. Adopting a new attitude, it has been tried in present essay to prove the continuity of Hafez's mind and language to eternal themes (the themes deal with the origin of man and his life before his Descent on Earth); a logic that affects his vocabulary, lingual combinations and poetic imagination simultaneously and forms his thinking system. A system still calls researchers to decrypt the mystery of word and meaning in his poetry after several centuries.

Today much more attention is paid to the relation of "psychology" and "literature" in the field of interdisciplinary studies. Literary works, on one hand, are the result of man's mental states; and they foster man’s spirit, on the other hand; so, it seems being a suitable platform for the study and analysis of psychological concepts. Romance poetry covers a wide section of Persian literature. Saadi is one of the few poets who have upgraded love to its highest heavenly and terrestrial meaning throughout the history of Persian literature. Love is also a major topic in empirical psychology, and some well-known psychologists such as Erich Fromm and Robert Sternberg and Renee Allende have spoken in detail about it and its context and functions. The effective role of love in human evolution and excellence, and submission to the will of the beloved, as well as the need for sacrifice and forgiveness are the main commonalities exist between Saadi’s points of view and empirical psychology on love. These commonalities reflect Saadi's truthfulness and honesty in loving and expressing it, from one hand, and emphasize the sustainability of many healthy and natural love criteria, on the other hand.