نشریه نقد، تحلیل و زیبایی شناسی متون
پیاپی 6 (بهار 1399)

Banoo-Goshasb-Name is an epic poem whose subject matter is the life and prowess of Banoo-Goshasb, the daughter of Rostam, and is the only Iranian national epic that its hero is a heroine lady. In scientific research, the determination of the true value of a work depends to a large extent on stylistics studies; therefore, the style of the epic poems has always been of interest to Persian literature scholars and in many researches they have been dealing with the epic and especially the epics that have been written in imitation of Shahnameh in subsequent periods. This research, which has been conducted with a thorough study based on stylistic studies, aims to show the linguistic and ideological characteristics of Banoo-Goshasb-Name as one of the epic poems of Iran. An accurate and detailed examination of all verses of this poem, based on the narrators' stories and what was said on the language of the legacies of the Persian culture of Iran, showed that this work, whose author is unknown, was among poems that has been somewhat successful in imitation of Ferdowsi. The themes of romance and grandeur, indulgence, the influence of religious thoughts and prayers, the passing of the code of marriage by the priests, patriarchy, and the mention of some ethical points are among the most important contents and ideologies of this poem.

Surrealism, with all its misgivings and confusion, has thrown so much fire into the lives of literature that it has swept across the East like a devastating slave and has swept all over the world. Sohrab Sepehri, an Iranian poet and painter and naturalist, made his surrealistic inspirations in his poetry during his travels to the East and West, as well as his acquaintance with Eastern mysticism and Western literature schools. This article seeks to introduce the school of surrealism to examine its features in Sepehri's poem "The Water footsteps." According to the evidence in this famous poem, it was concluded that Sepehri, in his poetic style in "The Water footsteps" had surpassed many of the surrealistic principles and grounded in the realities that even the Westerners themselves They need a hand. The purpose of this study is to depict the real world in a supernatural language and to reach the supreme truth through mental and spiritual affairs, by using the school of surrealism in this poet's work.

In this article there has been an overall look at some of great women's social life in Shahnameh (Sindokht, Roodabeh, Tahmineh, Gordafrid) considering their story in the book; it shows an important and influential role they played in social, political and even military fields alongside men. The picture of an ideal woman in Shahnameh is not just a wife at home or a beautiful wife who only gives birth to the children. Great women in Shahnameh are wise and clever people who show their ability by solving social and political challenges; and even sometimes they will be more successful than men and manage the situation. In such a way that will compensate men's silliness and mismanagement. These women they are honest in their love, they never stop safeguarding their homeland even if they resort to politics, conspiring or cheating others. Finally it can be said that each of these women has special characteristics that All these characteristics together present   a perfect woman in Shahnameh. Sindokht is a symbol of wisdom and intellect in management, gordafarid is a brave person and a politician, Roodabeh typifies liveliness, freedom and honesty and Tahmineh represents love and parenting.

Based on the report of Shahnameh, “Gushtasb”, the Kiani's king, announces that his condition for giving power to his son “Esfandiar” is arresting of “Rostam”. Rostam kills Esfandiar in a battle. Before dying, Esfandiiar ask Rostam to teach his son, Bahman, the royal and martial arts. Later, Bahman returns to his grandfather and at this time, Gushtasb calls “Jamasb” and tells him that he intends to step down from his monarchy. The purpose of the present study is to investigate how power is transferred from “Gushtasb” to “Bahman”. This article examines the events that took place after Esfandiar's death which were recorded in various sources. The events is show that “Gushtasb” was ousted in a public uprising by the royal family and under Bahman's supervisor. For the Sassanid kings who extended their ancestry to the Kiani's Bahman, it was not pleasant that the others read the story of a coup against Gushtasb. Therefore, they have deliberately sought to demonstrate that it was a peaceful power transition.

Jafar Shahri (Shahribaf) is the author and researcher of public culture and literature and narrator of Tehran’s social history in a century ago. Since he is a less well-known personality, especially among the general public, the introduction of outstanding works that he has done throughout his life will help – not only better his knowledge- but also the recognition of a part of the history of oral literature and the general public the contemporary era. In this way it used his own works, including fiction and nonfiction, as well as the interview and discussion he conducted during his lifetime as well as articles published by him and others researchers in his field of work in various journals and public actions. Book that have been published on various topics of fiction, public and oral literature of the old people of Tehran, their customs and lifestyles, or any source that reveals some sort of clue about the personality trait and the writing of Jafar Shahri. Examining the works of "Shahri" and analyzing his writing style, achieving lifestyle and customs are part of the Iranian society; although it has not been around for a long time, it is gradually fading from memory and being forgotten. One of the findings of this study could be the reconciliation of the new generation with the way of life of the people of Tehran in the last century. Another it is a good guide for those working in the field of contemporary research and popular literature in Tehran.

This research investigates the function of symbolism in Farrokhzad poetry and her approach to the symbol. Symbol is one of the methods of deviation and de-familiarization in poetry. In this way, the poet alienates the meaning that is repeated to the reader. Thus it causes extending the meaning of the text and its explicability. The complexity and lack of clarity in expressing the symbol has made it one of the most artistic imagery. Poets and writers have used this feature of the symbol to express their social and political ideas. Frough Farrokhzad is a contemporary poet who has used symbols and symbolic myths to express her ideas. The present research, which has been conducted through an analytical-descriptive method, suggests that she has employed symbols in the creation of her poems for deepening, ambiguity and semanticization of her poetry. Her symbols include social themes and sociological criticisms.

From the aesthetic point of view, it is the knowledge by which the beauties of speech are revealed. Rafiq Esfahani is one of the poets whose interest in the Rhetorics spiritual industries has been used in the poetry to exert modest beauty in his poetry. In this descriptive-analytical method, the author of this study is to determine and study the Rhetorics spiritual arrays in the court of Rafiq Esfahani. The main question of the study is what are the important Rhetorics arrays used in his court?By studying the poetry of Rafiq Esfahani, we find that Rhetorics spiritual arrays have played a significant role in creating the images and beauty of his words. To express his thoughts and thoughts In addition to the imagination, he has used other exquisite industries such as: Equivoque, Apostrophe, Rhetorical Question, Verse , subtraction, Zeugma and Merismus  , Conglobatio, Allusion , Allusion,Epanados, Amplification, Congeries and ...