فصلنامه نقد ادبی
پیاپی 50 (تابستان 1399)

Khandidani is a kind of poetry that has an inseperable connection with visual arts and graphic. Mehrdad Fallah, as an Iranian contemporary poet, has been focusing on the written / performatic aspects of poetry rather than the utterance in poetry. Fallah has introduced Khandidani as ‘’rediscovering writing and writing signs’’  which converts to a ‘’scene- poetry” In the process of reading and seeing the poem. In the other hand, the interacting of language and image, in the course of predetermined relations, makes the final form of poem on paper or monitor.The fundamental hypothesis of the present paper, is that the original idea of khandidani, was first and foremost, influenced by the world poetry, and in particular by Guillaume Apollinaire, who has paid attention to writing form of poetry, art of painting, and style of cubism. Beyond this, if we look at classical Persian poetry,we find that some Khandidani techniques, have a background in the acrostic (mesostich( as a figure of speech. In this paper, the inter artistic, intertextual and comparative ratios that have led to the formation of the idea of Khandidani in the mind of Mehrdad Fallah, will be analyzed, and also clarified how the process of reading and seeing on the both sides of  the poet/ reader will be occurred. In adition to this, the process of reading and seeing will be analyzed in Khandidan.

Will is an inner attitude that motivates one to do something. The meaning of this concept in linguistic knowledge is the fulfillment of the prolocutor will when delivering the speech. It means that the prolocutor deliver his speech consciously and is not in states such as sleep, drunkenness, madness, etc. The appearance of some rhetorical thinkers imply the involuntary exquisite techniques. The present study seeks to explain the place and function of the concept of will in exquisite processes by applying a pragmatic approach and to reveal its necessity and importance in exquisite processes. It is hoped that, in this way, a clear answer can also be given in refuting the assumption of involuntary exquisite techniques and by separating and analyzing exquisite techniques based on the concept of will, a more complete and clearer picture of the process of creation of these techniques can be provided from the emergence of the prolocutor to the stage of receiving and reading by the audience. The results of a sample survey of 6 exquisite techniques (shape, eulogy similar to blaming, blaming similar to eulogy, Uslub al-Hakim, justification, verbalism, and exaggeration) indicate that disregarding the will of the prolocutor in these techniques, their value and nature are based on questioning the person and facing serious problems in their application. It is also suspected that the"exquisite techniques" which are understood by some rhetorical thinkers have been rejected, and that "intent" has been used, not in the sense of "will", but in the concept of "pretension".

From the early twentieth century In Europe and America and then whit a few decades delay in Iran, Is provided a New definition about Literary Criticism that was needed to following Interdisciplinary theory and in association with the writer in writing meaning. In Literary History of Islam and Iran there wasn’t this definition of criticism; but we don’t denial being literary criticism in that time and also denial signs of literary criticism in literal masterpieces like historical and rhetorical books, biographical notes and collection of poets. In other hand, literary criticism in Islamic and Iranian past culture, was dependent on Theoretical action. Because essentially literary criticism is a Theoretical practice and every idea and thought about universe, make Theoretical Texture that Gives directions to critic.In this essay according to the descriptive and analytical method for reach to knowledge about literary theory in historical aspect, Naghd-ol Sher by Qodamat- ibn Jafar(260- 337 AH.) Been investigated. Firs, is better that named Qodamat- ibn Jafar’s literary theory to Rhetorical criticism instead classicism or formalism. This approach is focused on Shortcomings of poetry. Also Text-based approach and single- meaning idea, have a prominent role in literary theory Qodamat’s literary theory. Finally, for Qodamat- ibn Jafar like Jahez, Abohelal Askari and Shams Qeys Razi, “How to say” is more important than “What to say”.

Regarded as the climax of the text-narrative, the ending of a text is often seen as the resolution of the subject being represented. However, in certain ways, and depending on the dominant epistemology of the text and the status of the textual subjects, the ending can lead to special implications. Due to the mystical epistemology, the endings of some classical Persian mystical texts, including the ghazals in Dīvān-e Šams, are distinctive. In this paper, the endings of the ghazals in Dīvān-e Šams have been interpreted in a descriptive-analytic way. The result shows that the narrator-lover of the ghazals, in line with the ruling epistemology of the text and the identity or temporal subject-position which he obtains in the early and middle sections of the narrative, in the ending recourses to speech acts of silence to reject its idiomatic sense and prevent it from being consolidated. In other words, the narrator-lover in most of the ghazals, after representing the anxiety and longing for the lost presence and unity, tries to perform haal-e hozoor, according to the circular metaphor of return to the origin and the pre-linguistic world, and through performing two sets of" speech acts" of silence, including "silence as not speaking" and "silence as speaking for another one.". Due to this performance, the endings of the aforementioned ghazals do not come to closure, rather, through a circular structure, perplexes the participant-reader with an unfinished experience or allows his/her participation in that experience.

This study wishes to show narrative analysis in the selected literary works "Endgame", "Waiting for Godot", "The room", "The Blind Owl" and "The Cold Air" from the view point of Absurdity and tries to fulfill the objectives benefitng from analyzing actants compared with Greimas model. Narrotology is a feild of study that is undergoing a recontextualization and renaissance. This paper reconsiders narrative actants presented by Greimas(1966) and focuses on the concept of six new arrative actants proposed by the researchers for analyzing the narrative of the selected absurd works compared with Greimas model. Structuralist theories owed to Vladimir Propp's actantial typology, which included the villain, the donor, the helper, the sought-for-person and her father, the dispatcher, the hero, and the false hero. But absurdist theories of the self may also have inflected the way structuralist narratologists drew on linguistic theory to redescribe characteres in stories as actants.The rersearchers propose six new narrative actants that can be found in absurd works. Sufferer(antihero) for hero, recluse for the receiver, repetition for the helper, failure for the object, partner for opponent. There is the absence of donor in the absurd works. Instead, oppresive can be considered an actant in these literary works. Further, a more linguistically particularized account of actants may have significant methodological consequence for present-day analyst interested in using models to study narrative in absurd works.

Rumi is the master of the great Masnavi is free-thinking mystics who has made and introduced peace and tolerance with other thinkers as one of his intellectual and behavioral foundations. In his works, in various languages and ways, he has exhorted and promoted this idea, and has called upon all to follow this individual and social conduct. Like many of his other views, Rumi's tolerance thinking has been criticized and denied. In the present study, the critiques about  this Rumi's idea have been investigated with an analytical-critical approach and using scientific methods of text and citation analysis. The purpose of this assessment, in addition to presenting and critiquing the views of the disbelievers in the present age, is to arrive at a clearer and more realistic understanding of this way of Rumi's thinking. According to the studies, it is understood that the peaceful coexistence of the followers of different religions in the society (social pluralism) in Rumi's thinking, following the sources and foundations of Islam, has a special place. But religious pluralism, in spite of some similarities and homogeneities, is not about Rumi's acceptance and approval. It is also clear from the analysis and citation of the Rumi's anecdotes that in fact the pluralist reading of the Rumi is a flawed understanding that some intellectuals or critics have mistakenly or fallaciously acquired in the thoughts and ideas and inappropriate citations of Masnabi's quotes and anecdotes.