فهرست مطالب

جستارهای نوین ادبی - سال پنجاهم شماره 2 (پیاپی 197، تابستان 1396)

نشریه جستارهای نوین ادبی
سال پنجاهم شماره 2 (پیاپی 197، تابستان 1396)

  • تاریخ انتشار: 1396/06/10
  • تعداد عناوین: 6
|
  • ناهید نصرآزادانی، حسین آقاحسینی*، سعید شفیعیون، سیده مریم روضاتیان صفحات 1-23
    نشانه شناسی تقابل های دوگانه، بررسی شبکه عناصر نشانه ای حاضر یا غایب در متن است که به طور پیدا و پنهان در تقابل با یکدیگر قرار می گیرند و از طریق تقابل با یکدیگر قابل تفسیر یا قابل فهم می شوند. اگرچه این بررسی، امری نسبی است و با قلمرو فرهنگ هر خوانشگر متن ارتباط دارد، کشف روابط نهفته در دل تقابل ها حاکی از نظام پیچیده تری است. کتمان اسرار عشق در عرفان، اصل بنیادینی است که در تقابل با پرده دری های عشق، ما را به تحلیل نشانه شناختی تازه رهنمون می شود. تحلیل نشانه شناسی حکایت دختر کعب از الهی نامه عطار و درک نشانه شناختی معانی این حکایت، در گرو لحاظ کردن لایه های مختلف روایی و زبانی آن است. محور ترجیحی در بررسی این حکایت دو رمزگان «رازداری» و «افشاگری» است. در این پژوهش بر اساس دیدگاه انسان شناسی عرفانی عطار، تنش مدام بین این دو رمزگان بر بنیاد یک ماجرای عاشقانه در متن منظوم عارفانه، سه گونه تقابل شخصیتی، زیبایی شناختی و معنایی را به تثبیت می رساند و طرح اسباب استکمال روحی و درونی و تحول شخصیت در عرفان به انجام می رسد. این مقاله با روشی توصیفی- تحلیلی و رویکرد ساخت گرا به بررسی نشانه شناسی «تقابل های دوگانه» و واکاوی این تحول بر شالوده سرگرایی عرفان می پردازد.
    کلیدواژگان: نشانه شناسی، تقابل دوگانه، دختر کعب، رازداری، افشاگری
  • سیما ارمی اول، محمود فتوحی رودمعجنی *، محمد تقوی، محسن خلیلی صفحات 25-56
    این مقاله به واکاوی چگونگی بازنمایی روابط جنسیت در رمان لالایی برای دختر مرده اثر حمیدرضا شاه آبادی (1384) می پردازد. بنابراین در چارچوب تحلیل گفتمان انتقادی و با کاربست مولفه های جامعه شناختی- معنایی ون لیوون نقش و هویت افراد خانواده و روابط بینافردی آن ها را در رمان نام برده تحلیل و تبیین کردیم. تحلیل رمان به این روش سه الگوی مهم اقتدار و هویت را در بازنمود انواع خانواده ترسیم کرده است: 1- اقتدار پدرسالار- مردسالار / هویت جنسیتی پنهان [1] زن؛ 2- اقتدار فراپدرسالار / هویت جنسیتی منفعل زن؛ 3- اقتدار پدرسالار سنتی/ هویت جنسیتی کم رنگ زن. بدین ترتیب، زن در این اثر در سه نقش پنهان، منفعل، کم رنگ و مرد در سه نقش مردسالار، آزادی خواه و پدرسالار به صورت فعال تصویر شده است. این داستان، بازنمود گفتمان های فرهنگی- اجتماعی جامعه در برهه خاصی از دوره معاصر است. منازعات گفتمانی سنت، روشن گری، عدالت و فقر در روند داستان در جریان است. قدرت در این گفتمان ها پویا و سیال بوده و به بازتولید مفاهیم درون گفتمانی، حذف و حاشیه رانی گفتمان عدالت و روشنگری، اظهار و برجسته سازی گفتمان سنت و فقر در دو مفهوم اقتصادی و فرهنگی و بازنمایی ایدئولوژی پدرسالاری- مردسالاری در بافت فرهنگی داستان می پردازد.
    کلیدواژگان: روابط جنسیت، مولفه های جامعه شناختی- معنایی، ایدئولوژی، لالایی برای دختر مرده، حمیدرضا شاه آبادی
  • علیرضا مظفری *، عبدالله طلوعی آذر، فاطمه ذوالفقارزاده صفحات 57-74
    در شعر معاصر با ظهور نیما و توانایی وی در آمیختن زبان مادری با زبان معیار، زبان محلی توانست از حاشیه نشینی به درون ادبیات راه یابد و به عنوان یک عنصر زبانی، علاوه بر تشخص و برجسته سازی، باعث ایجاد وحدت ملی در حوزه زبانی گردد. نیما در کنار شعر فارسی به زبان محلی خود شعر سرود، علاوه بر آن واژگان بومی منطقه خود را در شعرش وارد کرد. بعد از وی، شاعران دیگر راهش را ادامه دادند و امروزه ادبیات بومی علاوه بر این که ادبیاتی مجزا است، عناصر آن در شعر فارسی حضور فعال دارد. در این مقاله سیر تطور زبان محلی از مشروطه تا انقلاب اسلامی بررسی شده و بیانگر این نتیجه است که شعر مشروطه به دلیل گسست زبانی از شعر کلاسیک، آغازی برای ورود زبان محلی به شعر است؛ اگرچه همچنان در این دوره سبک شعر کلاسیک به صورت تفننی استفاده می شد، اما در دوره بعد در شعر نیمایی رشد کرد و جزو سنت ادبی گردید، جلوه های زبان محلی به دو صورت نظام زبانی مستقل و عناصر محلی به صورت هنجارگریزی گویشی با زبان فارسی آمیخته شد که این آمیختگی بار فرهنگی آن منطقه را نمود داد و با هدف مشترکی که شاعران داشتند همبستگی ملی را رقم زد.
    کلیدواژگان: زبان محلی، شعر معاصر، مشروطه، نیما، تطور
  • مهشید نیک فر، سمیرا بامشکی *، محمد جواد مهدوی صفحات 75-98
    اسکاز یکی از پدیدارهای هتروگلاسیا است که منجر به حضور صدای دیگری در گفتمان های ترکیبی آزاد غیرمستقیم و هتروگلاسیا در داستان می شود. اسکاز به دو دسته زینتی و هدفمند یا توصیف کننده تقسیم می شود که نوع اول ممکن است به صورت کلی باشد و همه ویژگی های اجتماعی و عرف پسندی زبان و صدای دیگری را از دست بدهد و تنها یک آوا در آن به گوش برسد. در نوع دوم، شیوه کلامی شخص دیگر به عنوان دیدگاه و موضعی برای پیش برد داستان به کار می رود. ویژگی های اسکازی به طور کلی به دو دسته ساختاری و محتوایی تقسیم می شوند. در این جستار با بررسی آثار حسین سناپور، ویژگی های اسکازی در داستان های ذهن او که هفت ویژگی ساختاری و چهار ویژگی محتوایی است، به چشم می خورد. ویژگی های ساختاری عبارتند از: انعطاف ها (جابه جایی اجزا) ، حذف ها، تک واژه ها، تکرارها، واژگان خاص و اصطلاحات و تکیه کلام ها، صفات جانشین اسم، آواها و نام آواها و ویژگی های محتوایی عبارتند از: عدم سانسور، محدودیت افق فکری، شاعرانگی و ابهام زبان. از میان ویژگی های ساختاری، انعطاف ها و حذف ها پرکاربرد هستند و از میان ویژگی های محتوایی، محدودیت افق فکری و شاعرانگی به دلیل حضور صدای دیگری در بخش هایی از داستان به جای حضور راوی و تشبی هات و توصیفات فراوان، دارای بسامد بالایی هستند. کارکردهای اسکاز عبارتند از بسط گستره ذهن، انتقال حجم بیشتر اطلاعات توام با تسریع در آن، امکان ترسیم و انعکاس روحیات و خلقیات شخصیت ها، برجسته کردن نگرش، باورپذیری و ایجاد توهم حضور در فضای ذهن در خواننده.
    کلیدواژگان: اسکاز، ذهن، گفتمان آزاد غیرمستقیم، هتروگلاسیا، سناپور
  • نجم الدین گیلانی *، نرگس خزاعی صفحات 99-123
    یکی از پراهمیت ترین مسائل فرهنگی ایرانیان، تداوم فرهنگی آنان در طول هزاره هاست. برای این تداوم فرهنگی، نخبگان بسیاری تلاش کردند. بسیاری از دیوان سالاران ایرانی خواه آنان که در دربار اعراب مسلمان بودند، خواه آنان که در دربار ترکان، هر یک به شیوه خاص خود در پاسداری از فرهنگ ایران و انتقال آن به دوره های بعد کوشا بودند. یکی از این دیوان سالاران خردمند و توانا، ابوالفضل بیهقی است. در کتاب تاریخ بیهقی بسیاری از مولفه های فرهنگی ایرانیان باستان انعکاس یافته است که پرداختن به همه آن ها در این مجال نگنجد. آنچه در این مقاله آمده است، بازتاب فرهنگ و سننی مانند الهی بودن مقام سلطنت و فره ایزدی، دادگری پادشاه، همنشینی با خردمندان، شادزیستی، عید نوروز، جشن مهرگان، جشن سده، سنت هدیه و پیش کش، آیین شکار، ارتش چندملیتی و گارد جاویدان، و سنت نان و نمک در کتاب تاریخ بیهقی است. در این مقاله تلاش شده است با استناد به منابع دست اول و به روش توصیفی- تحلیلی به این پرسش پاسخ داده شود که مولفه های فرهنگی بازتاب یافته از ایران باستان در کتاب تاریخ بیهقی کدامند؟
    کلیدواژگان: بیهقی، فرهنگ، ایران باستان، نوروز، مهرگان
  • سیاوش حق جو، مصطفی میردار رضایی * صفحات 125-155
    در قرن ششم، شاهد تحولات شگرف و بنیادینی در عرصه هنر هستیم تا حدی که نخستین بارقه های تعالی و پیچیدگی در هنر دوران اسلامی در این دوره مشاهده می شود. این اتفاق برای شعر نیز می افتد و تصویرهای شعری به یک باره از آن ساحت ساده سبک خراسانی خارج می شوند و پا به اقلیم پیچیدگی و مفهومی شدن می گذارند. این روند رو به پیچش به واسطه عنصرها و ابزارهایی صورت می گیرد که در مسیر سلوک به سازه تصویرها افزوده شده است؛ عناصری چون شگردهای آمیغی یا صناعات کنایه محور. این مطالعه که به روش کمی و آماری نوشته شده است، به بررسی آماری و مقایسه ای دو گروه از شگردهای ادبی منفرد و آمیغی در 500 بیت از شعر نه شاعر زبان فارسی - از قرن ششم تا قرن هشتم - می پردازد. نتیجه پژوهش نشانگر حضور و وفور شگردهای آمیغی در تصویرهای قرن ششم است. در قرن هفتم، شاعران چندان تمایلی به بهره گیری از شگردهای آمیغی و آفرینش تصویرهای پیچیده ندارند و تصویرها عمدتا ساده اند، اما در قرن هشتم شاهد باززایی و تداوم بهره گیری از شگردهای آمیغی در آفرینش تصویرهاییم.
    کلیدواژگان: سبک شناسی، شگردهای ادبی منفرد، شگردهای آمیغی
|
  • Nahid Nasrazadani , Hosain Aghahosaini *, Saeid Shafieioun , Sayedeh Maryam Rozatian Pages 1-23
    Introduction
    The semiotics of double contradictions is the study of the network of present or absent symbolic elements in the text, directly and indirectly in opposition to each other, understood through the confrontation. In the structuralist method, influenced by the Roman-Jacobson pattern and more seriously found in Claudio-Strauss, any semiotic analysis leads to understanding and discovering the system dominating the story, roles, and value of the signs in it, through the relation of elements and based on specific codes.
    The love story of "Ka’b’s Daughter" in Attar's Divine Masnavi contains implicit meanings and valuable concepts in the context of confrontation with the core of “secrecy” and “secret disclosure”, conveying the view and perception of the speaker to us. It also suggests a better induction of the concept of personality transformation in mysticism through secrets denial, showing the indescribability of mystical experiences.
    The study of structuralism in this narrative is a concept by which a single entity may appear in numerous ways. With this approach, regardless of the gestures that make such changes, one focuses on the implicit implications of a single idea.
    Methodology
    This article, in a descriptive-analytical and a constructivist approach, examines the semiotics of "double contradictions" with a focus on "denial" and "secret disclosure" in the poem "Ka’b’s Daughter". The subject includes the attempt to explore the implicit reciprocal relationship in the text, the proof of the aesthetics of Attar's mysticism and the pleasure of understanding it for the reader.
    Discussion
    The story of "Ka’b’s Daughter" is a fluid combination of romantic and mystical themes to fit in the second implication with the meanings of the mystical intention of Attar. In this parable, Attar relied on an unconventional expression of love in the virtual and apparent form, along with believing in denying the secrets of love.
    The narrative of Ka’b’s Daughter is a complex plot, dealing with transformation, recognition, and painful facts with a linear narration and a specific beginning that after going through obstructions in the middle, ends in disaster.
    The main hero is Ka'b's daughter (Zain al-Arab), whose opponent characters are named Harith (her brother) and Baktash (Harith’s servant). Although Ka'b's daughter has the subject of love in common with Baktash, the blame and humiliation of Baktash when revealing love and her attempt to conceal love is a step toward maintaining a "paradox of similarity and difference". This contrast from the viewpoint of secrecy semiotics in mysticism points to the principle of wonder, because pilgrimage and astonishment are two correlated truths.
    Harith initially cherishes his sister, but confronts her with the disclosure of the mystery of her love. Harith is the stranger who becomes the greatest obstacle to this love mid-story, with traits of violence and frustration. She is confident in love, in contrast to a brother unfamiliar to the secrets of love. Baktash is a hero whose relationship (master and servant) with Harith is the first sign of the opposition between them. By reluctantly avoiding the beloved and leaving the mortal world behind, he enters the inexistence stage where love has secretly shown him. He is a confidant whose secrecy has evolved into secret-knowing and brought him closer to perfection. In this narrative, the inevitability of speaking alongside belief in silence and analyzing the subject in the context of human beings’ deeds leads to the superiority of the aspect of disclosure.
    The study of mutual animal symbols proves natural manifestations and confronting concepts, equality of confidentiality and disclosure. In confrontation of the "fox and the lion", Ka'b's daughter is the lion in the meadow of truth: a confidant lover knowing the truth of salvation and difficulties, but Baktash, in her opinion, is a fox captive to the ego, ignorantly thrusted to the meadow of love. In the contrast to “twilight (wolf and lamb)”, the wolf hiding the lamb, and black and white hiding each other, allude to the heart hiding secrets and not revealing them to the stranger.
    In aesthetics confrontations, such as the contrast between “the king and the pawn”, secret denial and courage of Ka'b’s daughter, which is the product of love, empowers her as a king on the chessboard of life, against whom the moon and the sun are but powerless pawns. In the confrontation of "distraught hair and property of population", the position of division is that of the mystic and one who does not come to obey. The heart of such a mystic is not allowed to the truth and the position of selves is from his truth and mercy, the highest position of which is the selves of selves. This is the state of a confident person to the secrets of divine, the mortal mystic in the position of inexistence. In confrontation of sun and moon, sun is the greatest star of heaven and earth, illuminating the earth every morning, dropping on the night. It possesses a distinctive feature of revealing, but moon’s light is borne by the sun. The moon shines its weaker light at night, so it has features of concealment and secrecy. In the contrast between "present and absent", presence is the consciousness on all creatures and ignorance of mysteries, and absence is the heart’s absence from all creatures and knowledge of secrets. In contrast between "candle and night", night in mysticism brings moments of pure love, and is the hoard of heavenly secrets of mystics. Candle in romantic literature shows the disclosure of secrets of love. In the confrontation between “pearl and shell”, shell is a sign of secrecy and hiding secrets in the heart of the mystic, and pearl is the mystery that is desirable if it is discovered by the diver (mystery confidants), keeping its value. In "flower and bud", complexity, roundness, privacy and latency are characteristics of the bud, as signs of secrecy and denial of mysteries, and flower is the symbol of opening and revealing of inner secrets.
    Semantic contradictions include “injury and ointment”, where injury is the sign of disclosure of love and ointment is a sign of concealment. In "friends and strangers" contrast, friend is a mystic knowing the mysteries and stranger is distant to the secrets of love. In the contrast between "wisdom and insanity", wisdom is the power underlying knowledge and insists on the concealment of mysteries, and insanity is the language of sane of the insane throughout history for expressing some secrets. In opposition of “speech and silence” keeping the silence seems to be an opening to preserving the values and conditions of salvation and denial of mysteries in mysticism, but in truth, to say that there is secrecy that must be preserved, is an inevitable base to this principle.
    Conclusion
    The semiotic analysis of the Ka'ab Daughter's narrative from Attar's Elahinameh and the semiotic understanding of its meanings depend on the inclusion of its various linguistic and linguistic layers. In this story, the contrast between terrestrial and heavenly love provides a context for wide use of various confrontations with the focus of secrecy and disclosure of secrets, such as personality, semantic, and aesthetic conflicts, while understanding the theme in the context of earthly love is easier. Attar's narrative is in creating a story whose purpose is the escape and development of the characters of the story, mystical secrecy along expressing the theory of humanity and the indivisibility of human beings from the impact of cultural and social environment.
    Keywords: Semiotics, Double confrontation, Ka’ab Girl, Confidentiality, Disclosure
  • Sima Erami Avval , Mahmood Fotoohi Rudmajani *, Mohammad Taghavi , Mohsen Khalili Pages 25-56
    This paper analyzes the representation of gender relations in the novel Lullaby for the dead girl. Using Van Leeuwen’s (2008) approach to critical discourse analysis, the paper investigates how the roles of fathers, mothers, sons and daughters inside and outside of the family are represented. Different patterns of authority and gender identity will emerge from the analysis of three families depicted in the novels: (1) male domination combined with suppressed gender identity; (2) post-patriarch authority combined with passive gender identity, and (3) traditional patriarch authority combined with backgrounded gender identity. Women, in these family types are, respectively, suppressed, passive and backgrounded; men are dominating, liberal and patriarchal. The novel represents the socio-cultural discourses in specific period of contemporary Iran with all the discursive conflicts of tradition, modernity, poverty and justice. Power is active and streams among the discourses. Power reconstructs the inter-discourses meaning. Also, power includes the modernity and justice discourses; and excludes the poverty and tradition discourses within the economic and cultural concepts. Power, also, represents the ideology of patriarchy and male dominance within the cultural context of the novel.
    Introduction
    This study examines how gender relationship’s roles and identities are represented in Iranian adolescent novel Lullaby for the dead girl written by Hamidreza Shahabadi (2009). The purpose is to analyze the roles of fathers and mothers, as well as their relationship with their family members in Iranian society. Studies of language and gender (e.g., Baxter, 2003; Cameron, 2005; Mills, 2008; Sunderland, 2004) have often conceptualized language as a critical means for constructing or deconstructing gender in diverse ways. However, little attention has been paid to cultural differences in this regard. This study examines gender relationships in families as well as the role and identity of individuals inside and outside the family. In other words, this study focuses on social actors in families with an emphasis on the formative influence of the social and cultural context.
    Methodology
    This study is based on the descriptive- analytical method. Using Van Leeuwen’s social actor analysis (2008) to explore the identity and the role of the members of each (three) families, leading to the identification of three models of authority and identity. The differences between these models are explained with a focus on social actors. Finally, the social construction of these models is discussed. This research focuses on the adolescent novel, Lullaby for the dead girl, by Hamid Reza Shah-Abadi comprising three families depicted in the novels: (1) male domination combined with suppressed gender identity, (2) post-patriarch authority combined with passive gender identity, and (3) traditional patriarch authority combined with backgrounded gender identity. This novel alternates between the present and the period of Iran's Constitutional Revolution and the formation of the first National Assembly of Iran in 1906, which was a landmark in the history of Iran. This time fusion has significant implications. Iran’s Constitutional Revolution, which moved the country from authoritarian rule to constitutional monarchy, crystallizes the discourse of freedom and rule of law, achieved through the efforts of liberal elites and people fed up with the atrocities of the despotic monarchy. The social-political context depicted in the historical part of the work is related to present-day political-social developments.
    Critical Discussion Of Differences in Three Models of Authority and Identity
    How has Van Leeuwen’s framework for analyzing the representation of social actors helped understand these models of authority and gender identity?
    Role determination has been a significant issue. All male actors in relation to other actors in the social context of families have been portrayed as active. In contrast, female agents have been represented as suppressed, and in the third model as passive in relation to male actors.
    The identity of female actors in the first model is determined by actions such as doing housework, cooking, washing men’s clothes and bringing up girls with her style while in relation to the husband, they are portrayed with the technique of suppression. In the third model, female agents have been passively represented.
    Fathers have been represented in three distinct ways. In the first model, they are primarily represented by means of physical identification. In the second model through functionalization and in the third model through classification. Considering that the description of physical features can refer to implicit concepts (Van Leeuwen, 2008), the physical identification in the first model connotes power, authority and dominance, and the father’s role. Based on descriptions provided in the text, father has an absolute power in the family context, who makes decisions, even for other family members, any complaint against which would lead to exclusion and rejection. The father in the second model is represented with an emphasis on functions such as participation, empathy and harmony among other actors in the small social context of the family.
    The father in the third model is represented with a combination of positive functions such as his kind connection with his children, being worried for his family members and some negative actions such as making decision for the family.
    Type allocation is another technique used for representing prominent differences between social actors in the three discussed models. In this regard, male actors are distinct from female actors in the first model (individualization), whereas in the second model they are assimilated and collectivized as a single, united group, with all family members having relatively identical roles. In the third model, genericization is at work, portraying the father as a prototypical patriarch and linking him to other patriarchal male actors. The male actor is here the decision-maker inside and outside the house, and the economic leader who determines the role of other members in the family, trying to legitimize his decisions with various reasons that are regarded as valid in the traditions of the culture. In all three models, the female actors are portrayed as active in domestic work while the male actors work outside the home.
    In the first and third model, the father is the superior power who takes responsibility for both the domestic and the outside affairs of the family. Also, in the first model, the male actor is represented as associated with other men, and differentiated from the women in the family. In the second model, however, family members are all associated, and not differentiated (inclusion).
    The mother's identity in the first model has been represented in terms of physical identification and functionalization. Her physical identity has been negatively represented, and the emphasis has been on her function as a mother and housekeeper who aims at satisfying the needs of the male family members. In the second model, the mother is represented through the technique of functionalization with an emphasis on her maternal function and on attributes such as compassion, kindness, responsibility and caring for children. However, this function has been backgrounded in the third model.
    The daughter has been represented differently in the three models. In the first model, she is portrayed through the technique of passivation by family members and suppression by the father on the one hand, and activation in relation to friends and peers, on the other hand. In the second model the daughter is represented as actively and dynamically engaged with all other family members. In the third model, the daughter is activated in relation to her peers and suppressed in the domestic environment.
    In all three models, differentiation is a key factor in describing the daughters’ identities. In the first model, power, authority and domination belong to male figures and female actors are marginalized and suppressed by male actors. In protest to existing conditions and in an attempt to free herself from discrimination and gain freedom, she leaves the family. In the second model, male and female actors are associated. They all adopt identical roles and functions. Unfair boundaries, discrimination and coercion give way to participation and assimilation, and negotiation replace conflict. In connection to the daughter in the third model, gender differentiation is visible in the context of society as a whole, where women are a male property that can be sold whereas in this model acceptance partially replaces the protest. As if the father decisions are the only best way to survive.
    In another framework of identity expression, the daughter in the second model and the parent actors in the first and third models are over-determined through a variety of techniques such as inversion, deviation and connotation. The daughter in the first model is the symbol of today’s generation. She protests against her mother’s view of female roles and female identity and critiques her compliance and obedience to her husband. That is, she protests against the role defined for her in the traditional context. The past generation here remains committed to traditional culture and imitation of previous generations and the new generation rejects this and seeks to live according to its own standards, rather than those of the patriarchal system. In the second model, the prevailing justice and freedom discourses give actors the right to freely and openly and not implicitly express their criticism. In other words, in this family, conflict has been replaced by negotiation. Connotation is an important over-determination factor in the novel as a whole. The representation of the ‘dead girl’ in the mirror implies the persistent pain of confusion of female identity in patriarchal societies from the past to the present. This confusion of gender identity, gender discrimination, and patriarchal authority is reconstructed over time in various social and historical contexts.
    Conclusion
    The research has shown that the portrayal of authority and gender identities in Iranian stories representing families is based on three models which has been affected of the various types of families in Iranian society. In the model of patriarchal authority and suppressed gender identity, men are in control and determine the role of women. The stories realize this through the techniques of gender differentiation and individualization into the two poles of “us” and “them”. We have called this model of authority and gender identity “patriarchal - male dominated”. It portrays patriarchal dominance and the suppression of female identity and represents women as obedient and compliant in serving the needs and desires of men. Women then seek to transfer this model to the next generation through the way they raise their children. In other words, the socialization of children in patriarchal families results in the reproduction of the system in future generations. Girls learn to follow in their mother’s footsteps and boys look up to their powerful fathers as their role models. In societies where authority, power and conflict dominate the public sphere, this domination system can be found in the family as well. The contradictions between the traditional patriarchal-male dominated system and the equality system can give rise to confusion, identity conflict, family tension, and social conflict.
    In the ‘male liberal authority and female active gender identity’ model, men play a role both inside and outside the family. Although the woman is still home-bound, she plays a more active role and does not merely performing daily routine activities. Also, although the man is represented as the economic leader of the family, the woman is not merely at his service, but also involved in personal and individual activities. In this model, justice, freedom, support, compassion and encouragement partially replace power, domination, humiliation, violence and punishment and children experience a cooperative environment, based on negotiation, gender equality and freedom. It is an environment that empowers them to manifest their abilities and identity in a dynamic and constructive manner instead of suppressing them, so that in the face of difficulties and conflicts, they can refer to them as a deterring and preserving force. Societies in which the discourse of justice and freedom in the true sense of the word prevails, and in which the relation between the state and the citizen is characterized by interaction, smaller communities can be based on the same concepts.
    In the third model, i.e. the ‘dominant patriarchy and passive female gender identity’ model, the father continues to have patriarchal power over both the male and the female members of the family, and he still determines the role of all family members in all domestic and outside affairs. But in this model, patriarchy is not necessarily dominant, though children under the influence of this model will continue to follow it in the future. Women may be subordinated to their husbands, but they are not suppressed or marginalized.
    Children in this model also have a passive and receptive role and are required to perform duties assigned to them by the superior power of the family. Since in this model, there is interaction between the father and children and they receive emotional support of father in some circumstances, the contradiction between authority and compassion can make young children confused with regard to their gender identity. That is, on the one hand, they see themselves deprived of any authority and domination, choice, decision and understanding and on the other hand, compassion makes them committed to this dominance.
    All three models portray authority and identity in the history of societies which are subject to constant change and reconstruction. In fact, they are the outcome of the culture and politics of these societies, which can then, through stories of this kind, play an active role in the formation of adolescent gender identity. The models and the manner of their representation in influential and widely read texts such as adolescent fiction can be pivotal in shaping socio-cultural and family models that are based on cooperation, activation, role-assignment and equality.
    Keywords: Gender relations, Socio-semiotic features, Lullaby for the dead girl, Hamidreza Shahabadi
  • Alireza Mozaffari *, Abdollah Tuloeazar , Fateme Zolfagharzade Pages 57-74
    Introduction
    The entrance of local elements into language is among the transformations of theoretical foundations of poetry in the contemporary literature which has led to the creation of local literature. Considering the sheer number of languages, dialects and accents in Iran, local literature did not gain acceptance in the classic Iranian literature and was not taken seriously as a stylistic feature of literary eras. However, after the Constitutional Revolution in Iran, conventions of classic poetry were swept away and a transformation occurred in the semantic and formal structures of the language. In this transformation, non-poetic and linguistic change was approved and consequently paved the way for local language in poetry. Local language was reinstated in the contemporary poetry by the emergence of Nima Yooshij. He frequently used local terms in the standard language and also invited others to do the same; to this end, elements of local language independently entered the standard language through dialectical and semantic deviation, and have continued to do so. This paper studies the evolution of local language in the period from the Constitutional Revolution to the Islamic Revolution in Iran.
    Method
    The objective of this research is to study the status of local literature and language in the contemporary poetry. Samples were chosen from the poems of well-known nativist poets. Document analysis is used as the method of the present research and its content is written in a descriptive-analytical manner. By studying the evolution of local literature, we aim to answer the following questions:When did local language emerge in poetry and how was it developed and reinstated?
    What role did Nima Yooshij play in reinstating local language?
    Who are the nativist poets in the contemporary poetry?
    How is local language used in the contemporary poetry?
    In addition to linguistic personification, how has the presence of local language transformed the meaning? Findings: Our analysis indicates that the Constitutional Revolution’s poetry, owing to its linguistic diversion from classic poetry is an entry point of local language into poetry. In the following periods, poets like Nima grew and became a part of literary tradition. Native poets freely utilized the elements of those languages into their poetry, and this was not seen as humor, but an innovation and poetic dexterity. Following Nima, in the 1940s, the 1950s, the 1960s, and the 1970s, the fruitful presence of local language can be seen which is manifested in two ways: first as a separate language, instances of which were also present in the classic poetry, and second combining local languages with the standard langue which was not used as a style in the classic poetry, but in the contemporary poetry is regarded as lexical deviation. In terms of the local languages used, dialects such as Mazandarani, Gilaki, Southern dialect, Turkish and also Neishabouri dialect can be seen in contemporary poems and nearly fifteen well-known poets have incorporated local language into their poems, the most prominent of whom are Nima Yooshij and Manouchehr Atashi.
    Discussion
    With the emergence of Nima and his ability to combine native language with the standard language, local language was able to move from the margins of the literature into it and, as a linguistic element, in addition to personification exaggeration, create a kind of national unity in terms of language. Nima composed poems in his native language. Before him, also, several poets such as Malekol Shoara-Bahar had composed poems in their native languages; however, his important contribution, which ultimately transformed the language, was that he entered the native terms of his region into his poetry as an element of deviation, such that the poem is not deprived of its poetic form; he also encouraged other poets to use various terms in their poems. He says that exploring the vocabulary of villagers, names of various things (e.g., trees, herbs, animals, etc.) each is a boon and there is no need to be afraid of utilizing them. Do not assume that the incontrovertible rules of language are those of the standard language of the capital, the force of usage has created these rules (Yooshij, 1989). The entrance of the elements of local language into the standard languages and the fusion of native terms and their linguistics elements did not cause poems to deviate from the linguistic logic, but this deviation led to the linguistic development of poets. In the poems of these poets, we encounter a language system where native terms are not discordant with other words, but take readers’ imagination beyond the mentality of the poet, laying bare his linguistic personification in the language system.
    After Nima, other poets followed suit and each with respect to their native region, utilized their native language in their poetry. Among the prominent poets who paid a lot of attention to local language Ashraf-Al-Din Gilani known as Nasim-e-Shomal, Iraj Mirza, Ali-Akbar Dehkhoda, Mohammad-Taqi Bahar, Mohammad-Hossein Shahriar, Nima Yooshij, Manouchehr Atashi, Sohrab Sepehri, Hossein Monzavi, Mohammad Ali Bahmani, Hushang Ebtehaj, Mohammad-Reza Shafiei Kadkani,and Khosrow Golsorkhi can be named. Similarly, in the poems of Tehrani poets such as Forough Farrokhzad, Ahmad Shamlou, and Simin Behbahani and others who did not lean toward local language, Tehrani language and dialect is highlighted. Local languages, considering the living regions of poets studied in this research and their tendencies include Tehran, South of Iran, Khorasan, Mazandaran and Gilan, Hormozgan, Kashan, and Azerbaijan. By reinstating local langue as such, contemporary poetry took up a regional appearance which in addition to linguistic personification, led to increased cultural interaction among poets. Today, the elements of native literature, in addition to being an independent entity, take an active part in Persian poetry. Through an independent language system and elements of local language, instances of local language in the poems of poets are combined with the Persian language as a dialectical deviation. In an independent language system, the entirety of the poem is composed with a local dialect and accent, however, elements of the local language are combined with the standard language in a way that indicates a deviation. The terms are used as collocations and substitutes with coordination. In terms of substitution, they are wisely chosen to create the highest level of semantic and verbal symmetry once combined with other elements of the poem in terms of collocation. In collocation processes in a language systems, elements involved in the story and event are placed together such that it is not possible to eliminate one and substitute another and it is necessary that all the elements of language are used together (Shairi, 2012).
    Keywords: Local language, Contemporary poetry, Constitutional Revolution, Nima, Evolution
  • Mahshid Nikfar , Samira Bameshki *, Mohammad Javad Mahdavy Pages 75-98
    Introduction
    Skaz is one of the phenomena of heteroglossia, which leads to the presence of other voice in hybrid discourses; discourse free indirect and heteroglossia in the story. Skaz is divided into ornamental and purposeful or characterizing categories. The first type may be generic, and loses all social and customary features of the language and other voice, and only one voice will be heard. In the second type, the verbal style of another person is used as a point of view and situation for the advancement of the story. Seven specific features have been described for characterizing and purposeful Skaz: namely •narrative •the limitation of intellectual horizons; •duality; •verbal content; •abruptness •spontaneity and speech Skaz features are generally divided into structural and semantic categories.
    Methodology
    This study is based on descriptive analysis method using library research and studying the characteristics and structure of Skaz in the works of Sanapour. Accordingly, the intention is to determine what Skaz's functions are in his work. Since Skaz has been only studied in theoretical fields as a heteroglassic phenomenon, its’ features and functions have not been explicitly investigated in particular works. Hence this paper aims to create various works of Hossein Sanapour in the field of stream of consciousness, searching for Skaz in his works, examining and analyzing the structural and content properties of Skaz and its functioning in his stories of mind.
    Discussion
    Heteroglossia is a very effective way of expressing mind, which may appear in a variety of ways and styles in a story, which includes stylistics, parody, Skaz, and speaking (written verbal conversation). The term "hybrid discourse" is a term used by Bakhtin and is a combination of two social languages within the boundaries of a single word, a confrontation within the realm of a word, between two different language consciousnesses separated from one another by a period, a social distinction or with another component defines. He also described the discourse that is characterized by its syntactic markers and a single speaker, but actually describes the combination of two words, two modes of speech, two styles, two languages, two syntactic systems, and moral beliefs. In this definition there are two phenomena. One is an indirect free speech, with all its difficulties, which leads to the combination of narrative and personality discourse, and the other is heteroglossia, which is a combination of social words that reflect the society of the story. It is the process through which the function of hybrid discourse shows itself in its higher level in texts. In fact, Bakhtin, the presence of another voice in the story, is the product of the combination of the narrator's voice and personality in the combined discourse, which Skaz plays in its formation.
    Skaz narrative (from Russian Skaz, 'speech') is a literary form that represents an oral (or 'conversational') story-telling situation in which a speaker tells a story to a present audience. Apart from having a distinctly oral diction and syntax, a Skaz-narrator's discourse is also characterized by a high incidence of phatic and appellative elements, signaling the presence of the listening audience. Skaz is closely related (and usefully compared to) the poetic genre of the 'dramatic monologue'. (Not all Skaz narratives are necessarily homodiegetic ones, however).
    According to what Bakhtin suggests, there are two kinds of Skaz; the first type is the ornamental Skaz, which may be pure and in the form of narrative, loses the social and customary features of the language and the other voice, and in direct reference to the author It turns out to be just one voice, like Turgenev's works. The second type is the purposeful or descriptive Skaz and serves to express the individual and social characteristics of someone else's alien and another vocation. In this way, the author uses the other's verbal approach as a point of view, which is essential for the advancement of the story. Like the Belkin's Stories by Pushkin's.
    Seven specific features have been described for characterizing a purposeful Skaz, •namely, narrative, the limitation of intellectual horizons, duality, verbal content, abruptness, spontaneity, and speech. According to these features, Skaz must necessarily be in a narrative text, not in a text that is specific to the person's external narration. It also highlights the intellectual distance between the narrator and the personality that is ordinary and unprofessional, and thus creates bilingualism in the text. Oral and non-use features of the official and written discourse and, consequently, the use of the rules and coordinates of the spoken language to contribute to the formation and tangibility of other voice. Ultimately, the spatial presence of a speaker in which he responds to the listener and, based on the prediction of his questions, responds to the tension between him and the audience, is in accordance with the requirements of a purposeful Skaz. It should be noted that if all of these features were not in Skaz, then the first three features are required.
    Since everything in the human mind's pre-speech stage, such as perceptual perceptions, emotions, thoughts, and many other aspects, is in itself non-verbal, the writer has to put these elements in equivalence Verbal (oral discourse), which, for the sake of similarity to the processes and functions of the mind, mostly has unscrupulous features and linguistic and structural normalization that expresses the Skaz nature and their conversation; in fact, Skaz with style synthesis in the discourse aims to highlight and transfer the attitude and voice in the story of the mind. Skaz has features and functions. In this essay, by investigating the works of Hossein Sanapour, the features of Skaz in his stories, which have seven structural features and four semantic characteristics, are in the look.
    Conclusion
    Skaz in the works of Hossein Sanapour has seven structural features which include: flexibilities (components moving), deletions, single words, repetitions, specific vocabularies, terms and habitual phrases, successor adjectives, vocabulary, and phones while onomatopoeias semantic characteristics includes: uncensored, restrictedness of intellectual horizons, poetical language and ambiguity. Among the structural features, flexibility and deletion are widely used and among the semantic characteristics, the restrictedness of intellectual horizons and poetic language due to the presence of other voices in parts of the story rather than the presence of narrator and abundant and descriptions have high. The functions of the Skaz include extension of the scope of the mind, the transfer of greater volume of information together with acceleration, the possibility of drawing and reflecting the spirits and personality characters, highlighting the attitude, belief, and illusion of presence of reader in the minds of characters.
    Keywords: Skaz, Mind, Indirect Free Discourse, Heteroglossia, Senapour
  • Najmedin Gilani *, Narges Khazaei Pages 99-123
    Introduction
    Ghaznavis were influenced directly by Iranian culture because of being brought up in Iran. They celebrated Nowruz and Mehregan celebrations with the same ceremonial and rituals as original Iranian did. They learned their principles of military and warfare like having body guards, tailor in the protective guard equipment, etc. Although Samanids themselves were influenced by Sassanid dynasty’s techniques, undoubtedly, Bayhaqi, as a tactician minister who was completely familiar with Iranian culture, was effective in making Ghaznavids known with the Iranian culture. Therefore, the reflection of ancient Iranian culture in the book of Bayhaqi's History is not very surprising. In this book, there are some cases of cultural influences and commonalities during this period, which clearly shows the study and reflection of Bayhaqi in the ancients’ books, including Shahnameh of Ferdowsi, Altaj Jahiz, Adab Saghir, and Adab kabir by Ibn Muqaffa. He tells about Ibn Muqaffa and confesses that he has read his books. In this research, the cultural components reflected in Ancient Iran in Bayhaqi’s history is studied by referring to resources like Bayhaqi's history.
    Methodology
    This article is written in descriptive-analytical way and based on library and first-hand sources, especially the Bayhaqi History book. This research aims to answer what the cultural components reflected in Ancient Iran are in the history of Bayhaqi. The research findings showed that more than twelve cases of the Iranian cultural components are influenced by the book of history.
    Discussion
    Bayhaqi expresses a great deal of history, culture, and politics of the ancestors in his book, which cannot be included in this context. In this research, we have studied twelve Iranian cultural components that have been reflected in Bayhaqi history. One of the cultural components reflected in the history of Bayhaqi is description of Nowruz and Mehregan celebrations with the same rituals. And also in this book, the idea of ​​the divine authority of the monarchy, Farah Izadi and conformity of the king Adel Farhmand are clearly reflected. Moreover, Massoud Ghaznavi's military training style, and his hunting practices reflect the traditions of the ancient Iranian, especially Cyrus Hakhamaneshi and Bahram Gōr. The companionship of the Sultan with the wise men who were named in the history of Bayhaqi also reflects the wisdom pennies of Ardeshir Babakan, Bahram Gōr, Bozorgmehr and Kosrow Anushirvan about meetings of king with wise men. In addition, in history of Bayhaqi, love and passion of Massoud Ghaznavi for pleasure and hunting is a reflection of the desire of Bahram Gōr to the same things. As it is mentioned in Shahnameh of Ferdowsi, Rostam Dasan held feast and served drink after every war, in the history of Bayhaqi after every war, Mas'ud Ghaznavi did the same. Moreover, in the history of Bayhaqi, the tradition named ‘bread and salt’ had been mentioned and it is declared that bread and salt is one of the original Persian traditions that Iranian pilgrims and young men adhered to.
    Conclusion
    The persistence of Iranian culture is one of the most resonant topics that has always occupied the researchers’ minds. In this regard, many elites and many scholars have been diligent, and not only did they keep Iran's culture, but they have also transmitted it to the other periods. Abo al-Fazl Bayhaqi is one of these elites who has been keen on preserving and transferring Iranian culture to other periods in such a way that many cultural components of Iranians and Iranian thought are reflected in the Book of Baihaqi History. Followings are the cultural and political components reflected in Bayhaqi's book. 1. ​​Iranians believed in the status of divine monarchy, given to Ahoura Mazda by the king, and also, in the history of Bayhaqi, he was called the monarchy of God. 2. Ancient Iranians believed in the existence of an idealistic Farahmand king that a Gloria had a hallo of light around his head and was the cause of the victory of the king in the wars; in Bayhaqi's history, Mahmoud and Massoud were referred as the kings of Farahmand, such as Sunshine. 3. In the Iranian thought, the king could have a Gloria until he was a judge and not oppressor; otherwise, the king’s Gloria would be separated from him and must fight against him; in the history of Bayhaqi, until the king is impartial, he has the right and we must obey him, otherwise we should rise against him. 4. In ancient Iran, the judiciary of kings, especially Ardeshir Babakan and Kosrow Anoushirovan, were considered as the ideal kings of justice, which were the example of others. And also in Bayhaqi's history, Ardeshir of Babakan is mentioned as an example of the justice of the kings and Kosrow Anoushiravan as a righteous king. 5. In ancient Persia, the kings chose wise and scholar companions and believed that the wise companion exalted the spirit and the wise minister should remind him of the defect of the king; in the history of Bayhaqi, the role of a wise companion in the transcendence of the soul is mentioned and the defect of the sultan has been pointed out. 6. Anniversary, music and celebrations in ancient Persians' thinking were a ritual and traditional theme that the kings of Iran paid greatly, and the same thing was reflected in Bayhaqi's history. 7. The national festivals of Nowruz and Mehregan were important for kings of ancient Iran and they were offered gifts during that time; in the history of Bayhaqi, the Ghaznavid Sultans held the same style. 8. In ancient Persia, on the Mehregan Day, the kings wore a crown which reflected the light of sun. In the history of Bayhaqi, Mas'ud Ghaznavi also wore a crown which reflected the light of sun, during the celebration of the Mahregan. 9. In ancient Persia, there was a costume that the tribes would give the king the best product of their land, including clothes, jewelry, and animals, and in the history of Bayhaqi, the tribes bestowed their best production of their lands as gifts to the Sultan. 10. In ancient Iran, the king was regarded as the king of predators, and in the childhood they learned special training for hunting to become strong in the battle; in the history of Bayhaqi, the training of Massoud Ghaznavi in hunting and killing his lion is applicable to the stories of Cyrus and Bahram Gōr. Moreover, the tradition of special hunting practices such as the abandon of killing lions in front of a king were reflected precisely in history of Bayhaqi. 11. Army in ancient Persia has various nationalities with stained flags. In the history of Bayhaqi, a multi-national army with flagged flags has been mentioned. 12. In ancient Persia and in the Shahnameh of Ferdowsi, the tradition of bread and salt is mentioned, and the history of Bayhaqi has also referred to this tradition.
    Keywords: Bayhaqi, Culture, Ancient Iran, Nowruz, Mehregan
  • Siavash Haghjoo , Mostafa Mirdar Rezaei * Pages 125-155
    Introduction
    In the sixth century, we observed a dramatic and radical transformation in the field of art, to the extent that the first sparkles of excellence and complexity in the art of the Islamic era are observed during this period. This case has also happened to the poetry, and poetic images came out of the simple shape of Khorasani style and went in to the complexity and conceptualization. This complicated process was done by the elements and tools that have been added to the image structure over the time; elements such as compound techniques or metaphor-based art.
    Methodology
    This study is based on the statistical analysis and comparison between two groups of unique and compound literature techniques in 500 bits of poetry from nine poets of the Persian language from the sixth century to the eighth century.
    Discussion
    The artistic literary tools (discussed in this study) in the sixth century are divided into two types; that is, by parsing the poetic images of this age, we will find two types of literary elements: (1) unique techniques including rhetorical techniques such as simile, metaphor (Explicit and Personification), metonymy, and ambiguity; (2) compound techniques which are against unique techniques and in this study are used as metonymy-based arts or compound techniques, including metonymy metaphor, amphibology metaphore metonymy, and simile amphibology metaphore metonymy. This study puts emphasis on the number and frequency of these techniques in the image of poems od poets, because the presence of unique techniques in the images (with a small difference in number) is obvious and inevitable. Therefore, this study only examines the number of three expressive elements, like simile, metaphor (explicit and makniyeh), and metonymy in the image of poems; the set of these three arts; are the unique techniques.
    But in terms of looking at the images of the second type, the compound techniques, which are underlined by this study, and from the standpoint of stylistics, it is important to note that these arts are the combination of the unique and rhetorical elements of the first type. In terms of compound techniques, literary instruments of the first type that are considered as independent elements in the aesthetics and making of poetry are combined, and after this combination, they are not considered to be unique. An important point about the compound techniques is that ambiguity is in the center and other literary elements are around it; therefore, with the combination of expressive or alternative elements that are capable of being combined with the ambiguity, the new creation will be created that has been named ambiguity-based art. Thus, the case studies of ambiguity-based art in this research are metonymy metaphor, metonymy ambiguity metaphor, and simile ambiguity metonymy metaphor.
    Conclusion
    With the decomposition of the geometry of the sixth-century images, a kind of literary tools emerged that have not been revealed much before this era. These rhetorical elements are compound techniques that have an effect on the creation complexity and conceptualization of the images of Seljuk poets; this can even be seen in the poetry of Attar, whose language is simple and Khorasani. In the context of his images, the number of compound techniques is similar to the compound techniques of Nezami images and even higher Khaghani, who has a complex and Azerbaijani language. In the seventh century, poets were reluctant to take advantage of compound techniques and created complex images, and it seems that the task of transferring these literary instruments from the sixth to the eighth century is on the responsibility of Attar, and all of these elements transfer by Attar's poetry to the poets of the eighth century. In the eighth century, in contrast to the seventh century, we see natural presence and continued use of compound techniques in the creation of our images; hence, the scale of the use of these techniques in Hafez poetry reaches its highest value.
    Keywords: Stylistics, Unique literary techniques, Compound techniques