نشریه پژوهش های ادبی
پیاپی 48 (تابستان 1394)

This article pays a glance at literary studies carried out between 1934 to 2012, which have revolved round women; manifesting these studies’ terms, frequencies, repetitions, absences, and neglected aspects. Moreover, efforts have been made to readout and analyze graphs and tables. The consideration of these studies has experienced a rising trend. Female researchers have carried out the majority of studies on women in Iran’s literature. Also, based on figures, the majority of studies have been conducted on classical poems, mainly the collection of Ferdowsi’s poems, Shahnameh. Meanwhile, a shortage of scientific studies on women is evident in the classical poems of women. Among the prose texts, One Thousand and One Nights has allocated the highest number of studies, and researchers revolving round women have been warmly welcomed in the domain of tales. Simin Daneshvar, as the first Iranian female author has contributed the majority of studies in this realm. In the contemporary poetry, the shortage of studies on the classical poems composed by women is not sensed, and the majority of such contemporary poems have been criticized and studied. The poems of Parvin Etesami have achieved the highest figures, as poems which bond classical and contemporary poetry.

In Shavashi dialog, the dialog is mainly a function of emotional conditions. This means that this dialog system is not based on acts, and the connotation of the text is shaped upon the relationship of the supporters of this dialog system with the elements surrounding the text. Two sub-groups of perceptive and emotional dialogs go under the heading of Shavashi dialog system. In these two dialog sub groups, senses, perception, and emotional tensions of the Shavashi dialog followers maintain the highest contribution to creation of the text’s connotation. In this manner, the literary work goes beyond a solely structural dialog and its inner relations are challenged. The perceptive dialog manifests the active presence of five senses of mankind in formation of meaning and the emotional system has also studied the spiritual and emotional tensions of the followers of Shavashi dialog in a bid to elaborate their role in formation of different connotative conditions. In this research, the story of Siavash in Shahnameh is studied and it will be stated that the characters of this story have gone beyond acting and the majority of their acts and behaviors are considered within the framework of Shavashi dialog. In this manner, their outward sentiments are observed within the framework of perceptive dialog and via five senses, while their inner tensions and sentiments are specified via emotional dialog. Shavashi dialog puts behind pure structuralism and goes beyond an apparent categorization and an objective readout, creating the text’s connotation with due regard to dialog systems. Thus, we will encounter a live and dynamic perceptive system.

The point of view is a window which is opened by the author for the reader for the latter to pay a glance at the events unfolding throughout the tale. The narrator is valued and treasured as long as he maintains his own voice. Whenever the narrator turns autonomous, the narration is harmed and the tale becomes unilateral. This report has been carried out within the framework of categorization made by George Genette, within which five points of view in the stories authored by Daneshvar have been assessed. This article intends to realize that up to what extent the point of view in these tales has impacted the means used by the narrator and in regard to which point of view, the author has rarely interfered in the story. This article has come to realize that there are two types of voice in the said tales. Firstly, it is the voice of character or narrator which builds up the inner-text voices, and secondly there are the trans-contextual voices which are added to the text. In some points of view, there exist trans-contextual voices, and in other parts, inner-contextual voices are maintained. The collection of data has taken place upon the assistance of library techniques. This process has been assessed with the descriptive-analytical methodology. At the end, the statistical graph will display the point of view and the scattered trans-contextual voice in texts.

In this study, attention has been made to the denotation and connotation of dreams and the related functions and theories have been enumerated. The features of dreams in the epical and mystic-educational genres have been named and their possible differences and similarities have been researched. The result of this study shows in epical texts, dreams are more bonded with the text in regard to time, driving force, and elements. Hence, in these texts, dreams are more effective and involved in the process of narration, compared to the mystical literary genre, such that dream is an integral part of the related text. Additionally, the message or theme of the dream is more transparent in epical texts or is revealed upon the assistance of the dream reader, removing all existing ambiguities.

This article initially summarizes inter-personal relations; their governing features, and impact on language. Later on, the dialogs of mentally deranged characters are studied based on their relationship with the addressee, in two sections. In the first section, anecdotes are stated which show how the madmen remain indifferent toward the conditions which they should comply with in their dialog with rulers. Their dialogs do not match the social status of rulers and are considered as a sort of devaluation and disempowerment of kings and the powerful. In the second section, the remarks of them with God, which maintains an independent language and marks their identity and character, showing their close bond with God, are researched. Hence, their character in their dialog with the addressee, especially their friendly dialogs with God matches their character.

Bijan Najdi (1941-1997) is one of the pioneers of post-modern stories in Iran. In this article, the status of reader in his post-modern stories has been researched. In his stories, he has used a number of approaches such as addressing the reader, and obscuring the introduction of the addressee of the story for the reader; the severalty of narrators; constant and non-identical changes of the point of view and the resulting lack of coherence in the text, depiction of paradoxical worlds, and presentation of different choices to the reader throughout the story in the form of meta-fiction, self-reference, and suspension of the reader amid the imaginative and factual atmosphere of the story, non-identical changes in the focal points of the narration, and thereby establishment of a multilateral atmosphere, an open ending, and/or multiple conclusions, for stories. All and all, these show that in the preparation of the stories,  a pivotal role has been taken into consideration for the reader, and methodologies have been applied in Najdi’s stories for establishment of the ground for direct interaction of the reader and the text, and participation of the reader in development of the denotation of the texts.