نشریه مطالعات زبان و ادبیات غنایی
پیاپی 33 (زمستان 1398)

This article provides sociological criticism of characters in Nezami Ganjavi’s Khosrow and Shirin. Sociological criticism approach in the context of evaluating the components of social values, social interactions, social skills, social orientations, and social control in characters of Shirin, Khosrow, Mahin Banu, Maryam, and Shekar in a classified way, and in each case, based on poetic evidence extracted from Khosrow and Shirin, analysis and comparison is performed. The findings of this article show that wisdom and self-esteem are the gifts granted to girls and women of Khosrow and Shirin through free social space and realistic overlook the society has over women. Moreover, Nezami was under the influence of various social stimuli that is clearly manifested in developing the characters in Khosrow and Shirin. However, it should be noted that the internal process of this perspective is related to the internal worldview of Nezami as a wise poet. Therefore, in sociology of characters in Khosrow and Shirin, there is a mediate as worldview between social realities and artistic creation of Nezami.

There is no doubt, Mowlana's poetry beholden of mystical and wisdom texts. However, the answer, to this question, why Masnavi is one of the exquisite masterpieces of Persian Literature, has long considered the mind of researcher's in this area. The genius of Mowlana's tale "is one of the reasons for this effect." Probably no poet like Mowlana hasn't taken modification of story, he sometimes writes a story with brevity and he sometimes writes a story redundance, the answer to this question, why Mowlana, on the structure of stories break down on the basis of it. Is one of the main objectives of this article in paper, the authors analyzed four stories and remark Mowlana's Modification in story of anecdotes with three different approaches, the result has been obtained that brevity and redundance in story conscious and specific goals. Mowlana is thinking in fiction and writes the story. The stories are accurate and no element of it can be omitted. It is finally observed that all anacdotes are inextricably inter twined.

One of the ways to access popular literature in Iran is home-based literature based on oral literature, written and taught to students in the old home school. Since woman is one of the most important subjects in the arts and crafts throughout the universe, it is important to examine the richness of the female form in the works of home school. The purpose of this research, which is a library-based study based on a descriptive-analytical approach, is to investigate the rich aspects of the female landscape in home school literature. Accordingly, 27 home school tales in which female enrichment is visible are selected and studied. The research findings show that the most frequently enriched aspect of the female face in home school literature is her praise of physical beauty. Love is also the main theme of the richness of the female image in romantic poems. Repentance, soliloquy, hypocrisy, humor, cheerfulness, and cursing are also aspects of the richness that make up the lesser richness of a woman.

The sonnet is the best format for expressing a richly polite manner and numerous poets have used it to express their poems. One of these poets is a wild beast. He is one of the greatest poets of the tenth century who stands out among the poets of his era. The wild beast has practiced all forms of poetry, but his fame is mostly due to his burning and quivering sonnets. One of the reasons that made his sonnets outstanding is their easy to abstain. In this research, it is attempted to study the descriptive-analytic method of his sonnets in terms of ease and abstinence. This study shows that the use of spoken language, grammar, simplicity, and vocabulary, and avoidance of industrialization have made it difficult to derive wild The sonnet is the best format for expressing a richly polite manner and numerous poets have used it to express their poems. One of these poets is a wild beast. He is one of the greatest poets of the tenth

In Persian literature, song has always been a generic term that refers to a variety of music-accompanied poetic formats (especially Fahlaviat, couplet, Rubaie, and Beat). The contemporary song was written in the traditional way at the beginning of the last century. This poetic form was influenced by the literature of the return period and the impetus to imitate and revive the glorious era of ancient music played a special role in the emergence of the styles of Ali Akbar Khan Sheida and Aref Ghazvini. In the middle of the century, however, the modernist movement permeated Persian song and music and established a new kind. The main purpose of this study is to investigate the evolution of contemporary songs. A song that transcended the Islamic Revolution of Iran after the historical developments of the Islamic era, wars and peace, movements and became what we are seeing today. Ultimately, the language of today's tranquility seems to have become more intimate than before the revolution, which is due to the social and cultural developments of our society today. To better understand this concept - as needed - a brief history of songwriting and definitions of the fundamental concepts of this literary branch of music is provided. This research is a descriptive-analytic one that uses library tools to understand the history and view past research and content analysis.

In Persian literature, professing is based on breaking the norms and habits of language, both in terms and meaning, which is well demonstrated in paradox. Paradox in Hafez's poetry is often technically beautiful and, of course, elegant and amazing. In other words, from a controversial and contradictory society, it creates a marvelous, artistic and beautiful image. This article is intended to study the paradox and its variants in Hafez poetry. The method is descriptive-analytical. The main question of the research is what Hafez employed in the invention of paradoxical compounds. What types of linguistic, intellectual and literary paradoxes are in the Hafez court. The result of the research suggests that the paradox is active in the context of the poetry and it is one of the main features of his style of poetry. Literary creation creating hope and sense of aesthetics in the atmosphere of Iran after the Mongol invasion, normality to the presidential goal and pure and artistic mysticism of Hafez which are among the main factors in creating a paradox in his poetry are also considered.

One of the most important, obvious and varied characteristics of mysticism, mystical works and lyric prosaic works is hero archetype. Hero’s development is an important issue in mysticism and lyric prosaic works so that hero archetype approaches personality evolution through an intricate process. In mystical and lyric prosaic works, and more specifically in the Conversations of Shams of Tabriz, the evolution of personality is revealed in various forms. The mystical hero in the Conversations of Shams of Tabriz, like the hero of the epic genre, has a variety of tools at his disposal but at the same time, he is distinguished from an epic hero. In the Conversations of Shams of Tabriz, hero’s mystical journey complements his personality traits. He must begin this journey to reach the evolution or get to the joiner but in the Conversations of Shams of Tabriz, starting the journey is contingent to pass other stages. These stages call the hero through the inner voice in a way that he lapses into unconsciousness. After passing the aforementioned stages, the hero sets foot in a difficult journey full of barriers, while these barriers are varied in the mystical journey of hero and appear in various forms to the mystical hero. Sometimes the hero’s own steps are barriers for him; the variability of the barriers brings changes in the hero's personality. This study employs descriptive-analytical methods based on structuralism, uses the Conversations of Shams of Tabriz, and intends to study the hero archetype in the evolutional process and formulate theories of repeating the hero’s starting point at the end of the journey and moving out the stagnation of the hero’s variable character in the evolutionary development.