نشریه پژوهش های ادبی
پیاپی 67 (بهار 1399)

Ecological critique is an interdisciplinary study of the collection of environmental literature and science / ethics, with the aim of drawing attention to the need for greater care for the ecosystem and its restoration. In literary texts that are dominated by environmental ethics and discourse, the physical environment plays a key role, and the story is born of the direct impact of man and his physical environment on each other; It has been descriptive and content analysis. In Dr. Datischr('39') novel, the author recounts the memories of a young dentist who chose the suburbs of Tehran for his first job experience, addressing various issues of the marginal crisis and marginal settlements, but the most pressing issues in the story are the entropy of nature and the life of marginalization and destruction. It is a living environment. The research results show that the novelchr('39')s ecological discourse, as well as criticizing and analyzing the destructive factors of nature from managerial, cultural and economic policies, also claims to be struggling in the path of naturechr('39')s revival. Ancient and epic myths have been used to explain the originality and rights of nature, as well as to strengthen the literary aspect and the emotional and lyrical burden of the story in favor of nature.

Sociology of literature is one of the systematic and scientific efforts that helps to study literature. To examine the role of social structures in the production of literary works, Lucien Goldman chooses the method of evolutionary constructivism, which discusses the effects of creative structures. According to him, the literary text shows the links between the mental structures of literary realities and social realities. The author does not reflect the pure reflection of consciousness, but there is a strong connection between the categories raised in his work and his social consciousness. In this research, relying on the method of formative constructivism, the relationship between the characteristics of the main character of Golshirichr('39')s stories and the political, social and cultural conditions of the time of their writing is analyzed. This study shows that although Golshiri belongs to the middle class of society, by entering the privileged group of intellectuals, he has paid more attention to the issues and problems in this class, including political and reformist concerns, more than the general problems of the people. This, along with his party and political leanings, has led most of the main characters in his stories to be selected from the new, educated middle class. Therefore, political ideology is more prominent in its stories than other ideologies. In this context, Golshiri provides a vivid picture of political deceivers, expedient actions, and the fear and pessimism of political repression. In social ideology, the confrontation between poverty and wealth and its consequences and the boredom of the main characters from family and professional life are prominent. In cultural ideology, the tendency of the middle class and the intelligentsia to study socio-political works as well as the tendency of deprived and rural people to superstition and popular beliefs is evident. Finally, from the point of view of religious ideology, most of the main characters have a religious nature, and the author, by creating them, shows his critical and anti-sectarian view of this ideology.

The prose of the Tārikh-e Jahāngoshā Joveini is mixed with Persian and Arabic verses that fit the subject in the text. The book has nearly four hundred Arabic verses, and Ahmad Khatami has translated them all in the Sharh-e Moshkelāt-e Tārikh-e Jahāngoshā Joveini. His translation of these verses is, in many cases, inadequate, incomplete, and sometimes completely wrong. In this paper, we divide these errors into four groups: syntactic errors, morphological errors, inadequacies, and lexical errors, and with critically and descriptively analyze, we have reviewed the verses that fall under each group. We have tried to show by referring to the Court of Poems, reference books and Persian and Arabic dictionaries how the translator made a mistake in each of these cases and what was the source of this error. The translatorchr('39')s syntactic and grammatical errors are often the result of not recognizing the syntactic role of words and phrases, not recognizing the tense of verbs, the root of verbs, and the form of verbs. And his inadequacies and ambiguities are due to his lack of reference to the Court of Poems, reference books, and authoritative cultures. We have quoted every Arabic verse from its original source in his Court of Poems or from reference books and we have expressed Ahmad Khatamichr('39')s translation of the verse and after reviewing his translation and showing his mistakes, we have provided the translation of our proposal from the verse. We have tried to make the proposed translation free from these slips and more precise and accurate.

The ratio of government apparatus to social institutions has a special place in Mahmoud Dolatabadi’s short stories which has often been overlooked due to being in the shadow of Kalidar. Accordingly, by analyzing the actions and reactions of social groups with the state institution that are the Quasi-nation of the nation, one can define and explain this two-way relationship which takes into account the legitimacy of the power institution from the point of view of society. The results of the receipt and explanation of these works reflect the fact that there is a kind of alienation, rupture, and fission between the institutional power and the community that led to the confrontation between the two institution. On the other hand, the reflection of this confrontation is based on linguistic and literary techniques embodied in fictional masterpieces. From the point of view of ideological function, it means the increasing deepening of the discontinuity. In the final analysis, it focuses on a kind of decriminalization of the dominant political discourse of the Pahlavi era.

The present paper seeks to correct some historical errors in Jamichr('39') al-Tawarikh (history of Persia and Islam), edited by Mohammad Roshan using a content analysis technique and a comparative approach. In correcting those errors, we referred to Tarikh-i Muchr('39')jam, which is one of the sources of Rashid al-Din Fazlullah in the comprehensive compilation of histories, and researchers to this day have neglected this matter. The expressions taken from Jamichr('39') al-Tawarikh were confronted verbatim with the terms in Tarikh-i Muchr('39')jam, as an auxiliary version to correct these errors. According to the meaning and significance of the expressions, the correct forms of Jamichr('39') al-Tawarikh were shown under Pishdadi and Kiani figures. Besides comparing the terms, in some cases, the ellipse of some phrases in the printed Jamichr('39') al-Tawarikh, distorted and illegible in the copy used by the editor, was completed. The result is that Jamichr('39') al-Tawarikh is not a precise correction of the final form of this book, and with the application of these corrections, later editions of this book will be more revised.

At the end of safavid dynasty, Hazin-e- Lahiji was one of the most remarkable poets. In his youth, he witnessed the collapse of the dynasty. This collapse gradually changed the political atmosphere and sequentially socio-economic and cultural status which led to alteration in the dominant discourse if arts, thus literature took a turn from Hindi style to Literary restoration. Hazin had always been recognized as a poet of Hindi style. This article by useing content analysing method (descriptive-analytical and statistical) proves that Hazin ,as an artist of this transition period, as opposed to the common theory of being a poet of Hindi style, is actually one of the artists of literary restoration style and in his prose works he has been influenced by Safavid objective and also some of constitutional perspectives. This study investigates his life and studies his works, then for determining his style more accurately, reviews the stylistic characteristics of the first circle of Literary restoration and compares them to the characteristics of Hazin`s poems. Therefore suggests that Hazin should be considered as the beginner of restoration style more than he should be seen as a follower of Hindi style.