پژوهشنامه مکتب های ادبی
پیاپی 8 (زمستان 1398)

The present paper discusses the impact of two European philosophical schools- nihilism and Marxism- on the formation of modern Iranian literature in the post-World War I and World War II periods. After World War I nihilism and after World War II Marxism influenced on an important part of contemporary Iranian literature. The author of this study believes that the literary texts reflect a particular historical situation which by relying on them, the spirit of the time can be recognized. If some writers in the early years after World War I were frustrated, then in after the World War II era, some hope for a better future would have dominated upon literature. Therefore, this paper from a global perspective by establishing a relation between the historical situation and the European philosophical and literary schools, examines the impact of that schools on the contemporary Iranian literature.

Kalbasi was one of the founder of Isfahan Corpora (Jong) as well as a member of Sa’ib literary society. He followed the school of Isfahan . He only published six short stories. His works affected by such writers as: Bahram Sadeghi and Boorkhas. The present research aims to explore the aspects of modernism in Kalbasi’s short stories .To this end, required data collected from searching in library. Collected samples chiefly related to kalbasi’s works analyzed descriptively. Kalbasi was an introvert writer and deeply gets into the mind and soul of the characters. Affected by modernism in his works , Kalbasi gets his main protagonists to subdue in the world around. He displayed them as people who could not overcome the challenges they face with. Using symbolism let him to bring amphibology in his stories. Solitude of a modern man represented in his stories via such elements as: point of view, first person singular, and stream of consciousness. Kalbasi is the narrator of human being’s bewilderment. That is to say, those ones suddenly face with one feature of death and those protagonists who never realize why such events come to them. Velocity of time pronounced in Kalbasi’s stories. This feature of time represented by short phrases in well-formed structures .Generally speaking, all Kalbasi’s stories cannot be regarded as modern works, but his style of description follows the principles of modernism.

One of the controversial indicators of Novel of Kelidar by Mahmoud Doulatabadi, is its language that seems incompatible with language of the novel and the realist novel. In this article according to watt (1957) on characteristics of the novel and distinctions of this emerging literary genre in 18 century with all genres before, the compatibility of Kelidar has been studied with six components, including the consideration of the details, the narrative, the description, the character, the time, and the place, in short, and the component of the language in more detail. This study indicates that the application of the literary role of language in Kelidar is so much that this work can be considered as a reflection of poetic language in the Persian novel. Also, Kelidar is in the middle position in terms of its compatibility with the other six components of the novel and consequently It can be said that he has not fully respected the pre-modern traditions of Persian scriptwriting, and not entirely follows the patterns of the novel and, in particular, the realist novel. Considering the ending time of the kelidar writing (1362 ) and publish date of the first volume (1357) and welcoming of this novel by the various sections of the Iranian society, which has been suspended in the midst of tradition and modernity, it could be concluded that the suspending structure of the kelidar depends on the Iranian society and represents it and so it can be interpreted in conjunction with realism.

The beginning of the formation of literature, and especially contemporary poetry, was accompanied by some opposition to this modernist current from the traditionalist professors of academia.Contradictions that sometimes led to the "Western" and "alien" reading of the movement, such as the romanticism, symbolism, or surrealism of modernist works; The works, according to traditionalists, were created in imitation of Western literary schools. Subsequent generations of masters of Persian literature, consciously or unconsciously, accepted this alienation as the obvious principle, and as a result, the currents of contemporary poetry and prose were written and analyzed under the headings of Western literary schools.Part of this attribution and application is due to the weakness of Persian literary criticism in the areas of principles, methods, and conceptualization. conceptualizations, and clear terms, regardless of the background of these attributions that arose from otherness. This study shows how the use of Western literary schools in the analysis of contemporary literature began with the modernization and marginalization of the modernist current, and in the following decades the weakness of Persian literary criticism stabilized and continued this trend. The knowledge gained in this way from contemporary Persian literature is an incomplete knowledge that considers the formation of modernist literature to be sometimes an imitation of Western literature; As a result, he does not acquire a deep genealogy and deep roots of this movement, and only considers features of contemporary poetry and prose that bear some resemblance to some Western literary schools.

Having adopted an analytic-descriptive approach, the present study aims at comparatively reading the dialectic relationship between two elements including “imagination” and “individualism” in Percy Bysshe Shelley’s and Farokhzad Farokhzad’s poetry. Imagination and individualism have been extremely highlighted in the works of romantic poets and were also frequently used in the works of the aforementioned poets .However, the obtained results revealed a dialectic relationship between the two elements which clarify the necessity to examine it. Examining the dialectic relationship between the phenomena and concepts originates in philosophy and history which is as long as the history of thought. Dialectic refers to discovering the relationship based on the internal conflicts which commenced following the philosophy of Socrates and Plato and reached its climax following Hegel’s thought. In Shelley’s and Farokhzad’s poetry, imagination originates from the inside of the society although it ultimately changes into something characterized as being an individualist. Nonetheless, the present study shows that contrary to Shelley’s poetry in which individualism and imagination forms only one dialectic relationship with no ultimate synthesis, in Farokhzad’s poetry, this relationship leads to a new “synthesis” which is the poetic making of a kind of “Social Ego”.

The post-feminism tendency in postmodernism, with the aim of denying gender differences and proving women's right to liberty and awareness, has rejected the principles of traditional ethics, which have an absolute view of moral and immoral behaviors and attribute some of these behaviors to women according to gender. Instead, this tendency believes in relativism of moral principles.Having entered literature and consequently poetry and postmodern sonnets, the same idea, with a relative look at ethics and in an attempt to break away from traditional beliefs about women and feminine ethics, has led to the emergence of erotic literature, which emphasizes the sexual and physical aspects of love.Postmodern lyricism paved the way for poets to protest against the traditional view, and encouraged female poets to,by mentioning erotic issues,free themselves from the barriers that custom and tradition, in the name of morality, had extended around them.The present study, which has relied on library research through a descriptive method, tries to comparethe post-feminist perspectives with the approach of moral relativism in postmodern sonnets and shows how erotic and sexual-oriented views toward women can leave negative effects on the thoughts of society.