نشریه تفسیر و تحلیل متون زبان و ادبیات فارسی (دهخدا)
پیاپی 27 (بهار 1395)

During the emergence of modern poetry in Iran and the literary ups and downs after Nima’s revision in Persian Poetry, many poets combined literary genres with socio-political motifs and experienced new literary works. A few others, however, favored religious and theistic motifs for one reason or another. The focus of this research is the history of ritual blank verse in Iran as well as introducing the after-Islamic-revolution works that affected by Ashura teachings brought up a new trend in Iranian contemporary verse. This trend, as a new approach, now is very important to some poets and they are experiencing it. This research also aims at investigating the role of some pre-revolution poets in bringing up this new type of poetry and the main elements of blank verse as used by them.

As a critical approach, post-colonialism has emerged in the field of cultural studies through recent decades. It is, in fact, a representation of a kind of reaction to the colonialism and its cultural, social and political impressions. Post-colonial studies rely on the function of cultural and cognitive factors, and intend to reveal the different methods the colonialist rulers have applied to colonize societies through the history. The unbalanced allocation of wealth and population played out especially during post-colonial era has caused the increasing of emigrations, which in turns, changes the language, the residency, the demeanor, and beyond them melts one’s identity. As a new phenomenon, immigration could be studied in the scope of post-colonial studies, and the present research aims first at introducing the principles of post-colonial theory and its elements, and secondly at investigating the works of the London-based Iranian emigrant writer, Rouhangiz Sharifian.

Deviation from the linguistics norms is a characteristic of Rumi’s style. Sometimes his deviations give a very artistic aspect to his verse. The present research is to investigate adjectival and adjunctive compounds in Rumi’s Masnavi</em>; the ones which he decided to change their structure and meaning. These changes, no doubt, have been done in an attempt to give an artistic aspect to the language, separating it from the standard language. His coinages could be labeled as collocations, but their significance is that rather than being just grammatical compounds, they bear new meanings which are deviated from the common sense. Among the findings of this study one interesting is the abstract collocations Rumi has used. These compounds, which are the outcome of a creative and liberated mind like Rumi’s, are unprecedented and cannot be found in previous poets’ verse; moreover, they are encouraging for readers to relate the words of a compound and find how they make sense.

Comprehending the relationship between textual signs with the signs of the other systems is of interest for  modern hermeneutics .In the computer world today, hypermedia sites are rapidly expanding  and they can provide texts along with graphic, audio, music and speaking signs, so that a text changes – on the basis of informatics –  into a hypertext. So the idea of “dialogue by means of a text” in the background of a hypertext would be of more significance. Then, hidden meanings of a hypertext are not to be discovered once and for all, and the interpretation will continue infinitely. In future, hypermedia synthetic literature will bear non-existing aspects of the text that in due course will challenge the hermeneutics. This article reviews hermeneutics in the realms of text and hypertext through emphasizing the media-based modern literary forms.

In literature and in poetry in specific, synaesthesia and colors imagery are of significant value and help the creation of literary works. Since time immemorial, color, as the most pictorial sense, has been of interest for human beings, who have been impressed and infatuated with its power and magic. Moreover, color is an element with undeniably fancy function for everyone everywhere forever. In every culture, some colors represent the manners, the wishes and the innermost feelings of the people, and the colors in the flag of every country represent them to some extent. Today, colors are considered to be the most constituent element in artistic creation; they bring tranquility and they make the world decorated. The poets also rely on colors to express their sensibility and feelings, and use them as vital in their imagery, so that the kind of relation they discover between the occasions and the things around themselves is sometimes through colors.

One Thousand and One Nights</em> is full of fiction and magic. The fictitious episodes of the book depict the events that despite their being normal and usual in the world in which they happen, they are not simply believable. They are weird for us because we consider them as supernatural. Magic and witchcraft are really significant in One Thousand and One Nights</em>, for rather than everybody, only two groups of people exercise them, i.e. the good and the bad, and the wizards and the charmers are mainly women. The world of One Thousand and One Nights </em>is the one in which the common people live with the ogres and the fairies, and because they cannot react against them equally, they exercise magic and witchcraft to fight back the evils, the disasters and even the other common people. Now what makes us to believe in magic and witchcraft is nothing but our Holy Quran asserting them. Some verses in Holy Quran admit the possibility of magic and witchcraft while disallow people exercising them. However, exercising magic and witchcraft is common and familiar in One Thousand and One Nights</em>. The present research is to compare and contrast the magic and witchcraft in One thousand and One Nights and the Holy Quran, where the focus is verse 102 of Al-Baqara Chapter.

Criticism based on semantics and admission of meaning multiplicity results in a link between the reader’s mind and diverse aspects of a text aesthetics; this correct understanding of a text induces a reader to read more and enjoy more. More reading also is a two-way process between the author and the reader whose result is a society with an elevated culture that thinks correctly and admits criticism. Contrary to this new attitude, literary traditions look for meaning absoluteness, a one-dimensional view that modern human doesn’t tolerate it, and if this kind of criticisms and literary texts become popular, a reader becomes reluctant, and passive. Then, the reader seeks, through learning criticism stages and complying with its scientific frameworks, to read more works and enjoy aesthetic and literary pleasure. As the reader encounters with emotional conflicts and lack of a healthy criticism tone, he will search for simpler and quicker ways for enjoying and entertainment and this is a major failure for a culture and art of a nation. In deconstruction school, certain tasks have been determined for reader and author that result in dynamics of literary works production and reading and inattention toward them will result in nothing but the fall of a literary and art society. This article attempts analytically to identify causes of reluctance to read literary works through a literary criticism approach.