فصلنامه متن پژوهی ادبی
پیاپی 82 (زمستان 1398)

Cognitive linguists such as Lakoff do not know linguistic knowledge of independent thinking and knowledge, and believe that linguistic knowledge is part of human cognition. They see metaphor as a good tool for figuring out how to think and behave language. The metaphor in cognitive linguistics is to substitute various conceptual domains; for example, imagine life as traveling, or imagine success as an abstract concept above. One of the main types of conceptual metaphors that linguists study is directional metaphors. They examine how concepts that are not tangible and tangible, and therefore cannot have a definite orientation, are in the language of orientation, and they speak their language up or down, left or right, or in such an exacting direction, and they speak about it. The Shahnameh is one of the most valuable Persian texts for cognitive linguistics studies. Because the formation of stories and expressions in the ancient periods of Iranian national history is rooted, it is possible to extract the cognitive infrastructure and many of the oldest Persian language mappings. But so far there has not been an independent study on it. The present article tries orientation metaphors - or in other words, as will be seen –or in other words some kind of image schemata- the five hundred beginnings of the Shahnameh that precedes the Zahhak kingdom; metaphors like the opposite pairs up and down, right and left, before and after , Inside and outside, and center and perimeter.

Being simultaneous with the political changes in the political geography of the Transoxanien region and turning to the Central Asia and consequently to the five-council based republics, the concept of homeland in the Tajik contemporary literature has gone throng major changes. The main issue of this research is the study of the transformation of homeland’s concept in contemporary Tajik literature from the period of acquaintance (1905-1870) to independence and national self-consciousness (1991) in the context of periodization of this contemporary tradition. This concept has experienced what changes during the 145 literature? The writer has used a descriptive – analytical method based on Literary Periodization under the theory of literature history to analyze the changes of this concept and its relations with the Persian speaker’s world and Iran. Accordingly and during this period, the formation of political developments directly affected the concept of homeland, first isolated it from religion, and then incorporated it into the framework of the city of Bukhara. Thus, throughout the period of Soviet Union the concept of homeland has had the ideological load and been tied to the notion of socialist thought and cosmopolitanism. Furthermore, it has been linked to the concept of common culture and history with Aryans after the period of independence. The research results will pave the way to take an effective step to scrutinize the literary and intellectual currents of Persian speakers in the region and are also useful to cultural -regional policy makers.

Amir Arsalān-e-Nāmdār fiction is one of the luckiest romances in popular style. Apparently, it is created by Mirza Mohammad Ali Naqib al-mamālek, the court storyteller or naqqāl bāashi of Naser al-din Shāh and written down by Fakhar al-dowleh, a daughter of Shāh. Mohammad Jafar Mahjub, the editor of the standard edition of Amir Arsalān, confirmed. Since popular literature can be considered as a window to reflect the social life of people, the messages from this type of literature are usually in accordance with the historical, cultural and ideological facts about people of the their territory and time. In this study, the author has focused on the historical, cultural and ideological background of popular literature. She illustrates the relation between the historical reports given from Amir Arsalān ibn Davood Saljouqi, Malekshāh Saljouqi’s life and the underlying subjective motives of Amir Arsalān-e-Nāmdār. Considering the most important component in historical literature and the story of Amir Arsalān, this study concludes that the historical story of Arsalān ibn Davood Saljouqi and Malekshāh has been transferred to a romance story through time while the story has been narrated, written or unwritten, before it has eventually been written in Nāseri era.

The first manifestations of the widespread and coherent use of the modernist techniques in Persian fiction can be traced to the 1960s, and the works of those authors who mostly belonged to the circle “Isfahan Gathering”. Gradually, the modernist style became the prevailing trend in Persian fiction in the 1970s and 1980s. The focus was on mental events, the markedness of individuals, and the characters’ mentality and inner feelings which were all presented by using new narration techniques. Mohammad Ayyoubi was among the most prolific modernist authors of the 1970s who has used modernist narration techniques in his works, such as Under the Devil’s Umbrella. This study seeks to answer this key question: What elements and factors have marked this novel as a modernist work? It was concluded that the elements and factors which characterize the novel Under the Devil’s Umbrella as a modernist novel include the confusion and rupture in narration, the uncommon plot, the ambiguity and complexity of narration, the character’s emotional turbulence, loneliness, and alienation, the transformation of the conception of time, the flowing state of mind, and the poeticized prose.

Phenomenology is a philosophical approach to review the quality of phenomena intuitively and spiritually. This approach has been existed in philosophical debates since ancient times, but first it was introduced as a scientific and noble manner by Edmund Husserl in Germany (1895-1938). In phenomenological approach reality of phenomena is stated without prejudgment and presumptions as authors’ first experience in a way that poet and author recognize phenomena and concepts by applying philosophical doubt and suspension of presumptions, by activating thoughtful “I” as they are appeared for him and his work is a kind of mental perception. In this study, Nafthado Almasdur written by Shahabaddin Mohammad ZobdariNasavi – novel masterpieces of technical prose of half of the 7th century- is analyzed based on phenomenology votes. Investigation of behavior and mental structure of “Nasavi” shows that there are components of phenomenological attitude in his thought such as thoughtful Ego plan, empiricism, emphasis on perceptions, personal experiences and feelings and commitment to critical thought. Therefore, in Nafthado Almasdur we face with literary text rather than history. It means that the author experiences phenomena with his own view facing with chaotic situation in the country and he describes his mental view in a different and creative definition from history.

The current study aims to survey a discourse about the Iranian nomadic people within the Critical Discourse Analysis framework using the advantages of Van Leeuwen's model of representing social actors. For this reason, Dar Boyer-Ahmad, written by Mohammad Bahmanbeigi, has been studied to identify how the writer uses the representation of social actors to express his own ideology and viewpoints. The results show that the representation of social actors in this story is purposeful, and serves the writer's social and conceptual attitudes. The writer, using the advantages of spatialization legitimizes the rebellions occurred in Boyer- Ahmad and shows the unity of Boyer- Ahmadi's people. The writer activates all of the Boyer- Ahmadi's social actors from the students to the rebels but passivates the female actors to foreground the oppression of women in nomadic societies. On the one hand, the writer categorizes the social actors to demonstrate them as people engaged in common complications and on the other hand, he nominates them specifically and individually to both picture them as distinguished persons and indicate the cultural norms dominating the nomination of children in the nomadic societies. Avoiding the nomination of female actors, the writer shows the respect the nomadic people consider for women and the appraisements and symbolizations of the text serve to portray the social actors as brave people with long family and historical background.

Subculture, which is part of the culture, on the one hand is in on junction with culture and society and, on the other hand, is in conflict with it in some detail; however, this conflict is not so far to lead to a counter-culture or cultural deviation; but the deviation from the original culture is to get privileges of the community dominant culture sometimes obtained by the bargaining. Youth subcultures are referred to in sociological theories, and many sociologists believe, differences in behavior, dress and even speech and thinking with the general culture and persistence on differences by a large number of young people should be studied as youth subcultures. In Shahnameh by Ferdowsi, in the section on Manuchehr Kingdom, Zal and Roudabeh trying to marry can be seen as the most important youth subcultures in Shahnameh. Both face serious objections to the marriage in society and culture, to which they belong. The current paper investigated how Zal and Roudabeh deal with objections, and how they benefit from the culture of their community from the perspective of subculture theory.

Irony has always been a controversy among rhetoric thinkers and scholars. This figure of speech has been used in the works of different poets, but it has been manifested more clearly in Hafez works in such a way that the meaning of many of his poems cannot be understood without considering this figure. One of the resplendence of aesthetic of his poems is its artistic amphiboly. Different reasons such as his rebellious and deep critical soul and his divergent thoughts caused his opponents manifest their sin deception and he could ridicule them through irony. He has used such ironies in words and sentences in his Ghazals that we can understand his poems just through knowing these artistic figures. In this study, it has been tried to study briefly ironies through ridicules, the state of intensity, beauty of demand, wish expression, encouragement, boasting, exaggerating, ridiculous, punishment, disagreement, humiliating in his works. The reasons of using irony beautifully and its diversity in his poems have been studied as well, while its writing style has been manifested through language and associative and paradigmatic relations among the present signs in language chain and missed signs in Hafez’s verbal texture.