نشریه تفسیر و تحلیل متون زبان و ادبیات فارسی (دهخدا)
پیاپی 36 (تابستان 1397)

Bozorg Alavi is among those great Iranian writers who play a significant role in the evolution and development of short story writing in Iranian contemporary literature. Taking a critical realism approach in his stories, Alavi writes about the society and lets his readers to know about the community in which he used to live. Dezashoub</em> is among his stories which reflect the changing milieu of his time. The present research has tried, via a descriptive-analytical approach, to consider the story of Dezashoub</em> based on the sociology of content theory to unveil how the social life of people may change. The research revealed despite the fact that after modern social developments rural girls have found the opportunity to leave their village for big cities in order to enjoy schooling and higher education, they never go back to live in their villages, because the huge difference between the rural and urban facilities as well as the altered culture and lifestyle make them prefer the new urban life over their previous rural one.

One of the main features of Nimayi-style poetry (blank verse) in comparison with classical poetry is the change brought to the music of poems, and internal music in specific. The present research is to study, via a descriptive-analytical approach, the use of different types of internal music in Nima Youshij’s modern and semi-classic poems. To do so, the researchers have reviewed briefly the importance of internal music in poetry first, and then have examined and analyzed the different forms of internal music, including rhyming rhythm, pun, repetition, alliteration, and words. The results revealed that the use of assonance and consonance was more than other devices, and “A” (as pronounced in Persian /a:/) is repeated significantly more often, that associates the howl and outcry indicating the awakening and provoking spirit of the poet. On the other hand, while the repletion of clauses, phrases and homophonic puns have been less abundant in his poems, recursive puns appear frequently. Then, it is clear that Nima Youshij consciously has used internal music in his poetry as a way for compensating lack of meter

The World of Images or in away the purgatory is a realm of existence which is the partition between the material world and the intellectual one, and it has been discussed and analyzed from the time of Plato up to now. On the one hand, the said world is similar to the material one, as it has quantity and form, and on the other hand, it is similar to the intellectual one, as there is no material or physical body inside it. The world of images is the vehicle and a place for the advent and formation of imaginations, the imaginations which are to imagine the imaginary forms without any changes in their nature, and it is only possible in the world of images. Imagination is a subject mentioned in the Holy Quran and Hadiths and consequently the mystics have been engaged with it. Ayn-al-Qożāt regards imaginations highly significant, and considers different functions and uses for it. In fact, imagination is an excellent method to know God and the facts of the world of existence.

The first consensually accepted theological, philosophical, and mystical principle among all Muslims and followers of Ibrahim’s religion is monotheism, and the belief in this unaltered principle, is undoubtedly the product of the truth of monotheism that governs all the existence. However, it should not be ignored that ultimate knowledge about this solid and integrated principle is hardly achievable and rarely attainable, and according to the beliefs and sayings of all distinguished mystics of Islamic countries the perfect manifestation and the most justified form of monotheism is merely in the authority of the Perfect Man ever, who is the Excellency of the Master of Prophets, Mohammad (PBUH). On the belief of Islamic thinkers the knowledge about the boundaries between oneness unity and multiple unity is out of the toleration and understanding of all human beings; and what the knowledgeable masters believe as the “annihilation in God”, is indeed drowning in unbounded ocean of oneness unity; the unity that its only God will not let a twin whatsoever. The present research is undertaking the study of the monotheism in Farīd-al-dīn Mohammad Attār Nīšābūrī</em>’</em>s works.

Comparative literature concerns literature universal, and plays, undoubtedly, an instructively important role in enriching the literature of nations. The value of the literary works of any nation is evident through comparative literature, showing its magnitude and impression on the literature of other nations and consequently the perfection of better and more accurate world literature. The swap of Persian literature in the lands of Iran and India is long lasting. Regarding Iranian Poets, it is important to note that the influence of Hafiz on poets and literati of India is remarkable and unparalleled; specially his influence on Ghaleb Dehlavi, the great poet, thinker and prophet of peace. Although Ghaleb lived about 500 years later than hafiz, and despite the differences between the lands and cultures of the two territories of Iran and India, the two poets share a lot in common. The present research is an attempt to show how Ghaleb’s ghazals has been influenced by the thoughts of hafiz. To do so, the researcher has tried, through a descriptive-analytical approach and by giving objective evidences, to compare and contrast the common ideas of the two poets.

This article is to study Fariba Vafi’s novel of A secret in the Alleys</em>, applying a critical stylistics approach in order to find an answer for the fundamental question of “how the covert ideology and discourse behind the lines of the novel can be reveal by means of examining its stylistics?” The research was conducted via a layer stylistic approach, i.e. at first, the outer layer and situational context, and then the narrative and textual layers have been examined. The purpose of this descriptive-analytical study is to show the interpretation and deep understanding of the novel; because, from the perspective of critical stylistics, the covert ideology, authority, power, and discourse prevailing the story can be better understood. It also can lead the readers to find out how the language reproduces those social implications. At the end, this article concludes that, the contrasting characters and discourses, as well as the negative aspect of the language used in the narration, could be the manifestations of the stylistics that lead the reader to discover the ideology behind the lines of the novel – which is here the suppression of women in a patriarchal system and their passive reaction toward it.

Parinoush Saniee’s My Share</em>, published in 2003, is an Iranian bestseller of recent years. A page-turner, the novel displays the atmosphere and milieu of Iran’s 1960s and afterwards, as well as the social condition for women during those days. The present research is to find an answer for the question of how the political, social, economic, and cultural factors have brought about the production of this novel. Considering the sociology of literature, in which the relation between political, social, economic and cultural structures and a certain literary work is studied in order to reveal the connection between literature and society, the researchers have tried to base the research on Lucien Goldman’s theory of ‘Genetic Structuralism” to discover the impression of social grounds and instigations on the writing of My Share, and also the role of women in social changes as pictured in it. To do so, the novel has been studied through two steps, i.e. firstly understanding the narration via the analysis of the characters, and then interpreting the story throughout the analysis of the then society. While the sociological structure of the novel is compatibly based on the social structure of the community, many elements of Goldman’s theories are true about it.

In Persian literature and annotated editions of Quran – like Atib Al-Bayan Fi Tafsir Al-Quran, Translation of Tabari Annotations, Kashf Al-Asrar – eight different paradises are talked about, while in two narrations by Ibn-e Abbas seven paradises have been mentioned, and Imam Baqer in Kafi has reduced this number to four. This is not, however, the matter of numbers, the names for them are various too. The present research, which is based on library resources and references, has investigated various types and names of Paradise as mentioned in Quran and in Persian poetry up to 8th century (AH). The results revealed that despite common beliefs, there are only four Paradises in Quran: Garden of Eden, Garden of Bliss, Garden of Abode, and Garden of Firdaus, which are titled as Dar Al-Salam, Dar Al-Qarar, Elliyin and Khuld respectively. However, it is a misbelief in common sense and Persian literature that they are altogether eight paradises.