نشریه نقد، تحلیل و زیبایی شناسی متون
پیاپی 4 (پاییز 1398)

Every one of distinguished poets of Persian literature has been master in some types of literary. In such a way that they have changed that type of literary into a good standard for other literary works. Furthermore, their works as a mother text have attracted poets, writers, and other artists. One of this great poets , “Sa’adi-e Shirazi “, is as a certain literary Persian master. Also many poets are influenced by Sa’adi’s style in the way that they versify. One of the contemporary sonneteers who is more influenced by Sa’adi in his style of poems, selecting the terms, composition, content, and the type of his glance is ‘Mohammad Hosein Rahy Moayeri’. This article tries to investigate Rahy Moayeri’s impression from Sa’adi in ode based on Gerard Genette’s transtextuality theory . This theory surveys all correlations between one text and other texts as well as it characterizes the quality of the influence of “pretextuality” and “hypertextuality” and analyzes the aspects of a text. In result, what we can understand includes something such as: Rahi’s attitude to Sa’adi’s ode, the use of terms and combinations in an un explicit and implicit way, and the processing of the subject and content, the type of Rahi’s look into Sa’adi’s poets in different topics, and the quality of imitation or the changing of looking into Sa’adi’s contents . These are compiled based on analytical- descriptive way and library method.

Sociology of Literature is a branch of sociology that has not spread much among the social sciences in spite of the long tradition of literary and literary works in Iranian history. This lack of expansion exists both in the theoretical domain and in the field of empirical research. In the theoretical field, sociological theoretical approaches to literary works are not very clear. In empirical research, research is also limited to only long stories, and other literary types are generally absent. In this article, it is claimed that, regardless of the theoretical approach in literature and stylistics, any literary features have to be considered when analyzing by Stylists and sociologist. In this article, we examine the social, political and style aspects of the works of ZoyaPirzad, a contemporary Armenian writer, according to the method of constructivism of Goldman. In this method, the content of the literary work and its relationship with the society are studied, the effect of which has been created and instead of describing the content of literary work, the content and its relationship with the worldview in a particular era are discussed. Therefore, this novel briefly refers to the morale and living conditions of the people and the explanation of the phenomena, behaviors, constructs and ups and downs and social and political afflictions of the life of the characters of the novel.

Historical criticism and reading of literatures for their analysis, considering the historical events, have a long history, especially in Iran. This kind of criticism about Hafez poems, according to especial and unique features of his poems, has always been faced with two approval and denial viewpoints and opposed by the supporters of the formalist criticism. Comparing the formalist and historical criticism, the author tried to reveal that, considering the components such as the poet's era, poet's look at poetry and poet's job, this kind of criticism is not worthless because a detailed examination of the Hafez poems, based on the historical documents and the poet’s book of poems, reveals that from 625 poems of Hafez, 89 poems are of his certain dated poems; namely, 14%. If we want to add his eulogistic and historical impressions, Hafez has about 169 dated poems; namely, 27% showing that Hafez poetry enjoys a temporal and spatial determination. Therefore, extracting these poems can be one of the reasons for the usefulness of a historical criticism or look at Hafez poems.

Rhyme is one of the factors influencing the aesthetic creation, and is one of the components of the compilation of the poetry, which has a prominent position in Persian poetry, and the Persian poets have long been concerned with its application. As the Persian poetry evolves, the application of the rhyme becomes more visible and the poets have gone through a variety of words. Among those that types of rhyme play a major role in the poetry of his poetry, is Sultan Walad, who has used a variety of words in rhyme position in his lyrics. This research, with a text-oriented approach, and from the angle of statistics deals with the types of rhyme and their functions in Sultan-Walad’s lyrics; thus the rhymed and non- rhymed poems and the various types of rhyme in the lyrics of the poet, which include a considerable amount of his Diwan were studied and finally It was found that the his rhymed lyrics are much more than non-rhymed lyrics, and the frequency of all kinds of rhymes also shows that the verbal rhyme are the most frequent type of rhymes in the sultan Walad's lyrics. On the other hand, the functions of rhyme in his lyrics were also investigated from the musical, inductive and rhetorical points of and we concluded that the poet has used the rhyme for his purposes, including: aestheticizing, expressing his thoughts, and reflecting his own feelings and ...in his poetry.

One of the issues that can be considered in Shahnameh and other national epic works is morality. Bahman Nama of Hakim Iranshah Ebn Abi Al-Kheir is one of the most famous epics after Shahnameh, the story of the kingdom of Bahman and his revenge from the family of Rostam for the revenge of Esfandiar's blood, that full of ethical virtues and vices. However, in all religions, they have paid Ethical requirements and non-requirements. But since Bahman Nama is related to the advent of Zoroastrianism and the Lohrasb family is one of the Zoroastrian servants, it seems that the epic saying in the statement of the ethical points of the story has affected the ethical principles of Zoroastrianism more than Islamic ethics. This article tries to examine the Bahman Nama with this view through a descriptive-analytical method. God's prayer, forgiveness, fulfillment of the covenant and ... are a part of virtues and revenge, breach of covenant, oppression, lies and anger of ethical vices in this book, each with many examples in Bahman Nama.

Fitness and coordination between poem formations and its entanglement with content and maximum use of literary capacity can in a wide range enhance emotional images from "This, not that" to "the very this one". Based on this approach, the aim of following research, is an analysis of how did Mir Seyyed Ali Hamadani present his mystical thoughts in four musical areas, literary illustrations, and aesthetically standards of Music? And how did he use expressive language facilities in the service of presenting especial mystical world viewing and expressing creative imagery, rebuilding and reopening his different criteria of his thoughts? In outer Music area (meter), according to his composition of sophisticated use of phonetic and meter, he can be considered as the poet of "Bahr Raml". In the field of music (rhyme and row), audio line and strengthening the vertical axis of symmetry are implied with exquisite imagery, highlighting the implications of closer union with the singer, trying to instill concepts. Inner music with focus on repetition, makes the echo of concepts more prominent in the minds of audience and in spiritual music concepts, with rhetorical common language, the reader is led through the understanding of literary art to literary enjoy. This research is descriptive and data are investigated by using content analysis method.

One of the main elements of every narrative is the element of time, so that narration is based on its timing. Gerard Jenet is the greatest narrative time theorist, who looks at three determinations of order, frequency, and continuity. Frequency, which examines the repetition of narrative elements, is divided into three single, repeated and recurrent types. In this research, which has been carried out through a library and analytical and descriptive method, we have examined the frequency and function of it in the works of Alawi and Sa'edi. The results of the research show that both authors use different types of frequency in their stories. The dominant frequency on their stories is singular frequency. Other types of frequency are also visible in these works, including frequent frequent functions in these stories, emphasis, expression, space and attention and pity, including the functions of concise frequency in them, the personification and expression of the definition of affairs. In general, it should be said that the operation of frequency types is more diverse in Alawi's works.

The aim of structuralism in literature is to analyze texts and literary genres, and to examine the external parameters involved in the formation of a literary genre. The structuralists have introduced guidelines to describe writers' works, have introduced aesthetic aspects of works and have compared them with other works. They have also criticized works with a focus on the power of literary figures. The classical literary works require such studies more than contemporary works. As such, this article examines Nafsa tul-Masdoor from a structural perspective, and it analyzes the external parameters (social, political values, intellectual foundations of the writer, the history will) as well as internal parameters (form, technique and content) involved in the formation of this work. The figure of speech in Nafsa tul-Masdoor is technical and the literary studies to date have been limited to description and exposition. I hope this structural work help scholars although the data are limited.