نشریه پژوهش های ادبی
پیاپی 33 (پاییز 1390)

The pureness and righteousness of Siyavash – the mythological protagonist in Firdausi's Book of Kings – that were trialed by his passing across fire, took root in the depth of Iranian people's believes and ideas. In the chivalric romance of Sir Gawain and the Green Knight, that has a high status in English and European literatures, Gawain too, as one of the purest knights of king Arthur, after being successful in passing a series of trials – that like Siyavash's trial had a supernatural nature – proves his personal virtues. Through an integration of the structuralist theories of Claude Levi Strauss and Northrop Frye, this research intends to provide a critical framework to study the form and content of these two stories in order to determine their similarities. Here "similarities" refers to the archetypes and mini-myths that have been stated in the narrative plot of the romance of the two stories in the dual contrast of nature versus culture. On the ground of this basic dual contrast the two protagonists pass their "intrinsic" and " "superficial" archetypal trials to prove their righteousness. Moreover, the two stories restate the two basic archetypes: Death and Rebirth, as well as the Terrible Mother.

Nafsato-lmasdur, written by ShahabAldin Mohammad KharandaziZeidariNasavi (died in 647 A.H.), is one of the scare works that have been transformed to a creative and pictorial text especially because of its literary characteristics and fictional style. This article tries to demonstrate the dramatic capacities and pictorial elements of this text by examining some of the dramatic elements and indicators, and moreover, it points to the text'sfictional and narrative quality, dramatic characters, suspension and finally its diversities of challenges, to shows that this text exceeds from a mere historical reportand passes over descriptive approaches and finds considerable dramatic capacities.Thetheooretical base of this research consists of a combination of theories of fictional literature and drama (cinema). The articlehas been processed on the basis ofdescriptive- analytic method and usinglibrary resources.

"Tarabi'srebellion"is one of the interesting parts of Jahan-goshaHistory. The analysis of narrative elements of this text can help understanding the spirit of the whole work. Joveyni, the writer, confesses inthe Introduction that by writing history he aimesto perpetuate Mongol's magnitudes. That means the readers encounter with a one-sided narration. In spite of this fact, according to the expectation of readers, the writer tries through some textual tricks to show he has an objective position in history narration. But this target would not be possible by two reasons: the first reason deals with the nature of narration that does not let the creator to take a neutral position. The second reason relates to the intentions that force Joveyni to write his work, i.e., he reduces the history to a panegyric. "Tarabi'srebellion" is one of the texts thatis structurally cracked through a deconstructive approach of reading, so that not only the writer fails to achieve his goal, but also the text stimulates a rebel against itself. Through a creative re-readingof this historical event, this article tries to present a new interpretation and portrait of Tarabi.a reading that can be extended to the whole text.

Folk tales are oral narrations that have been cited through the ages among the different generations by word of mouth and now we may find their written forms. It is not far from truth to claim that these stories consist of the most fundamental principles of human thought through times. In the late nineteenth and early twentieth centuries A. D., the genre of folktales has been focused by researchers; and especially with Prop’s method that have been modified and completed by others,a new window was opened in this field.Different theories have been formed about the features of stories and their classification,and these developments progressed to the point that a group of scholars considered one single source for folktales.Comparative literature thatputs its emphasison similar topics in the literature of two languages or nations, with a wide field provided the ground for research and comparison of similar works in different cultures.One of the topics of comparative studies is to investigate the folktales in different cultures. This comparison shows not only the similarities and differences, but also represents the extent of creativity of authors or narrators.While pointing to the characteristics of folktales and the researches and criticisms that have been developed in this genre, this article introduces folktales shared by Korean and Iranian literature.Moreover, it analyzesthree Korean folktales that have similar versions in Kelile and Demne. Among these three pairs of tales, two pairs have nearly similar themes and actions, and the third pair represents such a strong similarity in both Persian and Korean cultures that persuades us to think that they have the same origin. The comparison and analysis of these tales show not only their similarities and differences but also indicates the structural changes of narration in Kelile'swritten text versus its oral folk version.

The concept of love is one of the most common themesof Persian poetry over all periods especially in the sonnets of theninth century A. H.This conceptin Abdol-Rahman Jami’s triple poetic works, that have been composed in accordance with his three stages of life (i. e. his youth, middleage and old age), has been stated in different forms and involves a special developmental process. For instance, inhis youth, he as a lover poet follows his predecessor poets, especiallySaʻdi to create his own love sonnet discourse.In his middleage love sonnets thatcoincided with the development of the ideas ofIbn-e-Arabi in the school of unity of existence, Jami created his love sonnet discourseas a poetic mystic.This concept, finally in his old age poems, in coincidence with the anarchy and collapse of the Timurid government, developed according to the principles ofVaSukhtschool (that means the School ofturning away from the beloved). This study tries to use Norman Fairclough's method in Critical Discourse Analysis, and Michael Halliday's ideas in Systematic Functional Grammar to investigate the development of love discourse in Jami’s sonnets.In this regard, among the various language metafunctions, the Ideational metafunction has been focused here because of its accordance with sonnet genre and lyrical literature as whole. The development of love discourse in Jami’s sonnets has been mainly realized through the development of material and mental processes as well as by referring to the main participants of the love discourse, the beloved and the lover respectively as YOU, andI.

This study aims to investigate cohesion, cohesive elements, and the plausible cohesive role of rhetorics in Persian esoteric prose literature. The cohesion of a given text depends on some factors within the text that use structural and semantic links to create text integrity. It seems that rhetorical devices, like simile and metaphor, along with linguistic factors, affect the cohesion of the esoteric prose texts.In the study of the sample esoteric prose texts that have been chosen randomly, the number of the existing cohesive devices, their distribution and the role of each structural cohesive device in maintaining links among the parts of the text were analyzed on the basis ofHalliday and Hasan’s approach. Then the role of rhetorical devices, like simile and metaphor, in creating semantic links, and consequently in giving cohesion to the texts,was studied.The results show that in esoteric prose texts, besides the structural cohesive elements, rhetorical devices,such as simile, metaphor, and especially allegory and compound metaphor that are manifested at the discursive level, i.e. beyond the level of sentence, also play a role in maintaining links among the parts of the texts and hence in the cohesion of the texts.

In this paper, the poem “Smoke just has different names” by GaroosAbdolmalekian is analyzed on the basis of New Criticism. In order to achieve an accurate reading of the text, New Criticism studies the relationship between the textual components and the themeof works. The criterion of evaluation in this approach is a concept called “Organic Unity” which means the functioning of all components beside each other in order to form an unresolvable whole whose four elements are: content tension, paradox, irony and ambiguity.In this approach, lexical and ultra-lexical meanings of words, symbols, images, figures of speech, punctuation marks and the poem's written formhave been studied. The result is a discovery of an organic unity between the poem's imagery components, and alsobetween the whole of the poem that has been formed upon the poem's content tension, that is, the contrast of mortality versus immortality. This content tension is reinforced by the themes “transitivity” and “identity metamorphosis” and leads to the domination of mortality over immortality. So the poem “Smoke just has different names” is a harmonious whole, madefrom components which have created a literary text through harmonious and contrastive relationships