نشریه پژوهش های دستوری و بلاغی
پیاپی 17 (بهار و تابستان 1399)

Thomas Kuhn, the well-known theorist of philosophy of science, believes that the development of a science happens when its paradigms fail and it is replaced by the principles of its rival. According to Kuhn the development of a science is not uniform but has alternating ‘normal’ and ‘revolutionary’ (or ‘extraordinary’) phases. Kuhn’s theory is so flexible that it can be used to explain revolutionary developments in any other area including literature. Accordingly, it is viable to analyze how traditional Persian poetry changes to modern poetry in light of Kuhn’s theory. The question is whether the transformation created by Nima in Persian poetry has the characteristics of the Kuhnian revolutionary phase. If not, Should we doubt his title “ the father of new Persian poetry”? The present article investigates the revolutionary or non-revolutionary features of Nima’s poetry according to Kuhn’s theory. It is suggested that his poetry can be positioned as having the characteristics of the “crisis phase” than including those of the “revolutionary phase”.

Intertexuality is one of the modern theories in literary Textualization. According this theory there is no free text and texts is always in an intertextual relationship. Each text of is affected by previous texts and at the same time affects the recent texts. Contemporary Persian poets also have a wide intertextual relations with past texts and classic persian poets, and each of them has dealt with intertextual relations with the past within a specific framework and related in the context of worldview. In the present study,with a method descriptive analytic, the intertextual relationship between Ebtehaj, Monzavi, Shafi’i Kadkani and Aminpour has been compared and analyzed. In the beginning, the Diachronic and Synchronic intertextual relationship of these poets has been studied, and in the second step, the frequency of intertextual relationship of these poets with past poets and texts and contemporary texts and poems has been studied and analyzed.the debate about the Three types of intertextuality, implicit, explicit and tacit Intertextuality in there poems. At least, the involvement of each poet's worldview in the field of intertextual relations with poets and past texts has been studied. The results of study show the extensive Diachronic intertextual relationship of Ebtehaj and Manzavi with tradition and the balanced Diachronic and Synchronic relationship between Shafi’i Kadkani and Aminpour at the same time. also the limited range of traditional poets in Ebtehaj and wider poetry in Manzavi, Shafi’i Kadkani and Aminpour. The worldveiw of each of these poets have also been influential in their intertextual relationships.

Following Prop, structuralists attempted to present an overall model in creating different narrative in the 20th century. In this field, A. J. Greimas—the most popular narrative theorist—went beyond the limited studies of Prop, and presented his action model and his narrative chains. By doing so, he attempted to reach to the general principles of the narratives language and to analyze each narrative based on a specific narrative structure. He created his action model in a way that it can be adaptable which other narratives. Therefore, the aim of the present research is to study the narrative structure of Sandali dome story, as a sample of the amatory and lyrical poems based on Greimas theoryso This is the sixth story of the week and its narrator is the Lady of China in the sixth climate. we can analyze the structure of the original Plot using changes in statuses according to two-fold reciprocities, the narrative chains, and the action model of narratives.after analyzing the context, we concluded that Greimas's action model in analyzing the narrative of lyric poems of It is the change of situations based on the dual confrontation and the change of the process of action from one character to another, in which the story goes from an initial balanced state (beginning of the journey) to an unbalanced state by asking for Keir water from Shar. ) This situation changes until the Kurdish girl helps the shepherd and the shepherd completes his ascent towards the final balance (marrying a Kurdish girl, marrying a king and a minister, and sitting on the throne of Keir).

This paper aims at studying different aspects of archetypal criticism from traditional and modern perspectives. Archetypal criticism is the approach of finding common and unconscious roots of human behavior and actions in literature. By addressing Jung’s as well as Post-Jungian notions, this paper contends to offer a fairly comprehensive picture of the approach and remove some common misunderstandings and misrepresentations of the criticism. The problem is more aggravated in Iran as, due to insufficient knowledge of English or German, access to first rate sources is limited. Moreover, few works have been translated into Persian and that leads to improper understating of archetypal criticism. This approach, if adopted with insight, can help readers overcome at least some of the obstacles standing in the way of understanding not only literature but also dreams, dream works, fairy tales, and myths. It will also make researchers aware of the pitfalls in archetypal criticism.

Extroversion and introversion, two main personality traits in the theory of personality, were introduced by Carl G. Jung in 1920. Other theorists  like Hans Eysenck have extended Jung’s ideas into personality types. Being part of every human being’s psyche, these two personality traits have been often viewed as monolithic entities.  Sa’adi  is a great author whose works have been discussed both for  highly elevated language and eloquence and for their rich themes. Many of Sa’adi’s writings can be matched with modern psychological concepts. Looking at Sa’adi’s Golestan and Boostan, the present article is going to view his personality in light of the two concepts of extraversion and introversion. It has been discussed here that  Sa’adi, based on his writings, can be categorized more as an extrovert than an introvert. Finally, according to Jung’s eight personality types and Eysenck’s  personality theory,  Sa’di can be classified as  extraverted sensing or extraverted intuition.

Tehran, city without a sky, novel can be considered one of the most important socio-political novels which can be studied in different approaches. One of the approaches is Bakhtin's polyphonic theory which discusses the indicators of dialogue and polyphony in a literary work. Mikhail Bakhtin is one of the greatest critics and theorists of Russia who expresses dialogic reading in the genre of the novel in the dialogical principle. In present research, while introducing the novel of "Tehran, the city without a sky" and expressing the fundamentals of Bakhtin's theory, we have considered the compatibility level of this theory with the novel and have examined cases in the novel in terms of qualitative analysis which as a result "Tehran, the city without a sky"has been introduced as a Polyphony novel. The research's achievements depict that while the author's voice blends with the voices of characters, but the existence of other components such as stylization, controversy, parody, voice of words, and compound dialogue make the novel a part of the polyphony novels.

The poet's artistic imagination is the most important factor shaping his poetry, but the place and time has a significant impact on his discourse. In connection with this subject, Persian poetry, especially Ghazal, is the result of a poignant sensitivity and affection in times of turbulence. Such a time has taken two reactions from the poet: to crawl into the world inside or out of the real place and to seek a place free of chaos. In this regard, two poets from two Persian literary styles, the Iraqi and Indian style, who spent a significant part of their life in travel and migration due to profound cultural, religious, political, and cultural changes, led the attitudes Different in the position and characteristics of the beloved in the ghazal, which has previously been unprecedented, Saadi's romantic lyrics and one of his followers (Talib Amoli) are reviewed in order to review the changes created by these two poets. The result of this study indicates that the main roots of the two poets' thinking influenced by the context and time of immigration or traveling to the West and the East (Iraq and Indies), the consciousness led to a change in the angle of the poet in the sense of love, The influence of the beloved and the lover and the description of their appearance, new concepts and discourse in the field of Persian poetry. Most of the changes created by Sa'di and Taliban are related to the synchronic axis and the succession of Ghazal.

Poetry, in the history of Persian literature, has either served to support and legitimize power or to defy it. How and why Hafez, in his poetry, interacted with or defied power structure are the significant issue which can help both clarify his poetry and illuminate the reason why he interacted or defied different sides in power structure. Relying on descriptive-analytical method, the present article is going to investigate attitudes in Hafez’s poetry to power structure. Hafez’s poetry, it is suggested, though not a fully political one, follows the principles of writing “Siastnameh”. Hence his focus on “farah Izadi” and “the King’s justice” and also his use of eulogy and satire in face of the ruling system. Realizing the inetevitability of the institution of power and its security and cultural functions, he has appreciated the actions and attempts of rulers in providing society with justice, security, and Sharia law.  Also like many other Persian poets, he has repudiated such manifestations of power like hypocrisy, oppression , and duplicity- being traditionally represented  in the character of Mohtaseb  and  its historical figure, Amir Mobarez- al- din Mozaffari.

Mystics have cherished and paid attention to the works of their predecessors, especially those of Sanayi and Ghazali, as a literary tradition.Composing Mathnavi M’anavi, Rumi referred to the works of Sanayi, Attar and Ghazali and retold some of their allegorical anecdotes with changes in form and content.  The story of the "True False story" (Elephant in the Dark), which expresses the deficiency and inability of human beings to know God, is first narrated by al-Ghazali in Arabic, in Ahya al-Uloom, and then in Persian in Kimiyaye sa’adat, and is later adapted by Sanayi and Rumi. This descriptive-analytical study, based on Roman Jacobson's theory of communication, examines the anecdote and the function of the "True False story" anecdote in these works, based on the French view of comparative literature. The article then tries to show their differences and similarities. The main question is, oncerning six elements of sender, receiver, message, context, code, and contact in the communication process of the " True False story ", which of the emotional, motivational, literary, referential, Has it been metalanguage and verbal language foregrounded by the orientation of each of these texts? Are there similarities and differences? Findings show that in Al-Ghazali and Sanayi's works, the direction of the message is towards the subject and the text, while the anecdote has a referential function, but Rumi returns to the audience in the direction of the message and his anecdote has an action function. All of this is also related to the recipient, the message, and the context.

The main purpose of this study is to review the sacred defense story books published for children and young adults between 1996 and 2015, which has been done using content analysis method. Statistical population consists of 97 fiction books published in the field of sacred defense, which were selected using the information available on the website of the Iranian Book House and analyzed by filling out a checklist for each of them. The results showed that 80 (82.5%) men and 13 (13.4%) women participated in writing 97 titles. In terms of year of publication, the years 2004 and 2011 had the most and the years 2005 and 2011 the least. Of the 97 books reviewed, 46 (47.4%) were published by government publishers and 51 (52.6%) by private publishers. The highest frequency is related to the works that indirectly refer to the front, and among these topics, the most widely used is the subject of the biography of the martyrs with 36.4%.

Imagination with its unique structure goes to the boundaries that take an artist to different dimensions of the universe. Gilbert Durand turns to symbolism and myth to describe imagination dividing it into diurnal and nocturnal systems. While limiting all mental images of human to the fear of time, he contends that symbolic images in the artist's mind are the result of a combination of motivations, archetypes and symbols. Finding their own symbols, the motives are the forces that stimulate the artist's mind to move the imagination. Aiming at determining the structures of symbolic imagination, the present article uses the analytical and descriptive method to discuss Sepehri's Poetry of Death. The poems in the book have been analyzed to discover both Sepehri’s symbolic imagination and the diurnal and nocturnal symbols in his poems. It is concluded that Sepehri has benefited more from the positive diurnal value system in his book. Invoking Eastern mysticism, Sepehri has an ascending path in his poetry which helps his audience, through the symbolic analysis of his poetic elements, realizes that the poet simultaneously is afraid of the passage of time and somehow embraces death.

Comparative narratology is a science that can be used to compare and contrast different narratives, with different languages, cultures and details from around the world, and to explore their similarities and differences. This research studies six similar narrations of world’s literature, whose motifs are based on accusation and exoneration. Using Tzvetan Todorov’s theory, it tries to answer this main question: Are these narrations similar; in spite of their different geographical origin and narrator’s culture? These narrations are titled: Tennes and Philonome, Cristiano and Godelinda, Hrólfs saga Kraka, Joseph and Potiphar's Wife, Yin-Kiao and Su-ta-ki, The Prince and The Bondwoman. Finally, the research findings reinforce the hypothesis that these six narratives, despite their apparent and minor differences, have the same grammar and are similar to each other.

Reading the line “The unbelievers’ hands are cut/ I will reveal the color of blasphemy  and hypocrisy”,  Rumi scholars have interpreted the word “aal” differently. These interpretations fall into two groups. The first group reads the word as the holy prophet’s Ahlolbayt (the holy prophet’s household members) while the second group take it as the mythological creature, aal. Being significant in forming and completing the meaning of a word, Gadamer’s Horizon of interpretations can be used as a useful tool to re-interpret the word aal . Using Gadamer’s  Horizon of interpretations  and realizing the significance of local culture in forming an author’s  world of being, the present article is going to analyze the word and compare the findings with those of the previous scholars’.  It is suggested that the previous researches have not paid attention to all the aspects of the horizon of interpretations. In Anatolian culture, “aal” is a black, ugly bride whose ugliness is hidden under a red scarf and is sent to her would-be husband’s home. To reveal the ugliness of hypocrisy, Rumi has used this local concept.

Maqamat-e-Hariri (495-504) includes 50 maqamah. It mainly reports Abuzeid Sarooji’s beggary using flattery and trickery. However, the author has raised other issues like abstaining from worldliness and encouraging beneficence dexterously using figurative language and devices for eloquence. Relying on Van Dijk’s” ideological square”, the present article investigates the ideological acts of the hero to explain discourse-based ideology. In fifty maqamas, the hero’s ideological acts are analyzed in a systematic way based on “the hero’s appearance”, “form and content of speech”, and “contradictory acts”. It is concluded that the hero’s discourse is magical with contradictory contents of advice and seduction aiming at fulfilling his wishes (beggary, enlightening people, and exposing the rulers), and focusing on positive traits of self while concentrating on negative qualities of the other. These discursive features, in each maqamai, introduce the hero’s acts as contradictory (half good, half bad) portraying the discourses of poverty, beggary and the ruler’s ignorance of the grassroots’ welfare and their disregard of the cultured.