فصلنامه شعر پژوهی (بوستان ادب)
سال نهم شماره 3 (پیاپی 33، پاییز 1396)

Contemporary Persian writers and poets regard nature and wildlife in different ways. The image of uncontaminated nature, ecological concerns, human beings, animals and plants are some of the subjects that poets have paid attention to. Mohammad Reza Shafiee Kadkani, a well-known figure in the field of literature and literary criticism, is one of those poets who shows a special concern for nature. Ecocriticism as a new literary theory is about the reciprocal relationship between the writer/narrator/character and nature and the impact of nature and wildlife on the poet's mind and soul. This article aims to explore and explain how Shafiee Kadkani looks at nature and the environment from the perspective of ecocriticism. The poet complains of the human's disregard for nature and wildlife, on the one hand, and on the other hand, he is so absorbed in nature in his poetry that he considers himself one with it.

Constructivism as a new theory in philosophy of teaching and learning can be applied to analyze didactic and mystical texts. According to this theory, people are prominently involved in understanding and learning concepts and facts. According to this view, human beings construct their understanding and new knowledge through interaction with what they already know, and ideas, events and activities that confront them. In this paper, Attar's mystical teachings in Mantiq-ut-Tayr and Mosibat-Nama are analyzed based on constructive theory. It is concluded that in the educational relationship of the teacher and the disciple, Attar wants to define the mystical path in order to reach personal transformation. The internal motivation of the disciple, active participation in group discussions, the travel route and cognitive processes, facilitating discovery and learning methods are the most important factors found in these works.

One of the primary texts exerting influence on Masnavi is Baha Walad's Maaref, yet it has not been extensively studied. Allegory is one important aspect of Maaref which is analyzed in this paper probing the influence of Baha Walad's Maaref on Masnavi. This influence takes different shapes, chief among them being allegory. Maaref and Masnavi both have a philosophical look at allegory; in both works, allegory is based on two types of propositions: pedagogical and philosophical-pedagogical. Since allegory is a kind of reasoning, it can also be observed from this perspective. An analysis of reasoning in the two works shows that in the philosophical-pedagogical type of allegory, the network of reasoning is more extensive. This study also shows that the allegories dealing with morality begin with one of the issues that is related to man and his inner world. These morality allegories aim at proving either pedagogical or educational principles with regard to human beings. The pedagogical allegories, however, are based upon a proposition that is about existence or about the elements of existence emphasizing a universal or inclusively general rule to help human destiny as well as his purpose. Consequently, the first type of allegory can be called pedagogical and the second type pedagogical-ideological referring to an ideology and ideological horizon with which the speaker tries to satisfy the audience.

Poetry studies in Iran cover two different types of poetry: traditional poetry and oral poetry. Performance of folk poetry and indigenous poetry in Iran is varied and multi-faceted. The aim of this paper is to show the various traditions of performing folk poetry and the relationship of poetry and folk music and how they are performed in different parts of Iran. Thus based on a field study, 345 different folk poems from all over Iran were considered. Each poem was studies based on whether it is accompanied with instruments, solo or choral singing and with dance or acting. Most of these poems are sung or accompanied with an instrument. Each poem may be sung for a special occasion with names such as sarbang, beed khani, kallehkash, dong dal, heva heva, pakotli, beedgani. These poems are performed either solo as lullabies; sung by two as in Pahlavi khani, doy balal, beit-o-bahs, hajioni; and choral as in poems sung while working, baloore, raj khani. Some of these poems are performed with dance such as choopi, das garte, hera. Some of these songs are accompanied with acting or the act is based on these songs such as rashki and masi in Arak, naqqali, and pardeh khani.

Masnavi's significance in stating mystical subjects and the audience's favorable reaction started a genre of commentary writing on this important book gradually spreading as a literary-mystical movement in different times and regions. Each of Masnavi commentaries has been written with a different structure and approach to describe Rumi's poems. Although these commentaries have literary and mystical usage, they have also significant shortcomings. Among the most important shortcomings is the commentator's lack of attention to Rumi's spiritual disposition. The most important thing about Rumi's mystical disposition is that he is one of the elders of the early mystical tradition. Therefore, his views are totally different than those of Ibn Arabi who is a Sufi from the later tradition. Accordingly, the adoption of principles and themes of the later tradition to explain Rumi''s views is not a sound approach. In this article, Masnavi’s most important commentaries in terms of their attention to Rumi's mystical disposition are analyzed. It is argued that that almost all commentaries on Masnavi have attributed Rumi's mystical disposition to the later mystical tradition, though they are different in their application of the principles and issues of the later tradition.

The aim of this essay is to show how themes of wound, sickness, blood, pain and death are represented in the poetry of Nima Yushij, and their implicit meanings. Based on the discourse of the Constitution period it is argued that such themes represent slaughter and bloodshed. On the other hand, the image of sick bodies can be interpreted as a sign of democracy and the presence of minority voices. The paper takes advantage of the ideas of Charles Baudelaire and Linda Nochlin. According to Nochlin's views on wounded and sick bodies, lack of body’s cohesion in Nimaꞌs poetry can be considered as a metaphor of absence. This absence has created a modern world without cohesion and certainty. It is argued that experiences of sickness and death in Nimaꞌs poetry is based on a relationship between artist’s sensitivity and that of the patient, as Baudelaire stated. Finally, it is concluded that injury, sickness and death’s image in art does not mean decay and non-existence; it means “new birth”. In other words, we can understand a new meaning of art and beauty via non-aesthetic themes.

Punctuation marks are relatively new tools in Persian language. The present article investigates the status and the role of punctuation marks in the Nimaee poems of Mehdi Akhavan Sale to see what role and function they play in his poetry. Using the deductive method punctuation marks have been extracted from the six books of Nimaee poetry of Akhavan. Then the data has been examined using the descriptive and analytical methods. The results indicate that punctuation marks in Akhavan’s modern poetry have two main applications: A) the use of language to imply suprasegmental sounds, breaking up the sentence structure and creating coherence in the text; B) artistic usage to create images, and foregrounding which Akhavan has used to strengthen the unity of his poems.

An important feature of Hafez's ghazals is his use of contrast and contradiction. Hafez by using contrast magnifies and zooms out his topics putting his verse in a "fall and rise" challenge. Zooming out and magnifying is a technique used in literature putting individuals, concepts, and themes in rise and fall situation. The poet by putting a series of themes higher and the others lower gives the reader a sense of respect and pride or frustration thus empathizing with the poet. In this article, the rise and fall used by Hafez has been classified in three themes of romance, eulogy and social. Hafez has always tried to magnify and appreciate the status of a beloved in his love themes. Also, in his eulogy poems, he has used romantic themes to express, influence and most importantly, to convey a sense of willfulness to adore. In social issues he uses a variety of techniques, including satire, which sometimes comes by contrast. By using contrast Hafez reduces a large phenomenon, and brings it to such a lower level that indeed doubles the magnitude and greatness of the opposite side.