فصلنامه متن پژوهی ادبی
پیاپی 87 (بهار 1400)

In this article, we decided to analyze motifs in the fiction of "Homay and Homayon" by Khajoye Kermani. In this research, the descriptive-analytic study was conducted to investigate if the poem of "Homay and Homayon can be classified as classical Persian literature, how close it is to folk tales, and what demonstrated classification of its motifs can be offered. After investigating and extracting all motifs, we classified and analyzed them in six classes: human motif, animal motif, thematic motif, place motif, wonder motif, munificence motif. The results showed that the absence of anything essential, fundamental, mythological, and epic such as snake, dragon, cow, elephant… and such elements as plants and transformation of creatures detracted from its appeal. Saints and masters play no important role. Thematic motifs showed the highest frequency, which indicates that the system is dynamic and fluid rather than static. The writer has reported the story by using only some issues that reduced its appeal.

Nezami is one of the most influential poets in the field of symbolism. Nezami's Haft Peykar is among those symbolic and innovative stories in every aspect of which there can be found a new and wonderful mystery. This study attempts to decode sevenfold domes of the poem to achieve the linkage between realms, stories, and stars. To achieve this purpose, authors studied seven realms from prominent geographers' points of view, such as Abu Ryhan Biruni and Yaghout Hamavy. Then authors examined the linkage of the above realms and stories with the seven planets. The results of this descriptive-analytical research showed that Nezami- by his creative mind and knowledge of myth, history, and symbol- has not only been able to offer the image of the ancient man's view of Heaven and the effects of the stars on his destiny but beyond that, by writing the symbolic domes, has shown Bahram's power, hero of the story beside seven princesses of seven realms and therefore, he transformed the geographical seven realms into seven symbolic countries.

Discourse analysis is one of the interdisciplinary trends in linguistics, sociology, anthropology, psychology, and so on. This tendency has two main perspectives: first, it evaluates the formation of meaning and message in relation to the intricacies (including the physiological and structural aspects of language) and, in the second perspective, examines the exogenous factors (the relationship between language and all external features that include the knowledge of sociology, culture, etc.) Discourses are considered as the open language of power relations, and since language teaching concepts are also manifestations of cultural power, the authors of this paper have sought to criticize the concepts of second language teaching based on the second view of discourse analysis. The most important findings show that in meaning-based approaches, the reliance is on common prominent figures, for example, between Iran and Turkmenistan (Abu Saeed Abul-Khair, Abulfazl Sarakhsi, ...), Iran and Uzbekistan (Rudaki Samarghandi, Amir Ali Shirnava’i, Attar Neishabouri, and ...). Community-based approaches identify target communities by examining linguistic geography to transform communicative potentiality to communicative action. A culture-based approach which identifies common roots in literature, art, and language, and the obvious examples of which are the customs of Nowruz celebrations, Welcoming Spring and Seven Sin between Iran and its neighbors such as Azerbaijan, Pakistan, Turkmenistan and ..., refers to the creation of common cultural themes for the teaching of language learners. The psychology-based approach deals with the use of mystical literature, as well as its link with the concepts of participatory learning such as improvement of attitude in Hafez poetry and self-esteem in Saeb.

Cinema is a modern art which has combined former arts and knowledge and has presented this to the audience with abundant attraction. Reflected thoughts in the past of eastern countries and especially classical literature of our country enjoy a spiritual theme. Reflection of mystical themes of classical literature in cinema works can be a means for linking thought with national art. In this research, in addition to presenting a historical-conceptual division, there is an abridged survey on mystical and spiritual thoughts of directors in our country and presented proposals for strengthening the relationship between cinema and classic literature. This study shows that there is no complementary and extraterrestrial linkage between spiritual thoughts of our past mystical literature and the art of cinema. Various factors influence this issue. The most important points are: suspicious look at politics to Sufism in iran،existence of different and controversial attitudes towards the thoughts and lives of mystics, attitudes of mystical concepts towards the mentality and their evasion from evidence, instrumental weakness of Iranian cinema for the plausible making of fantastic works and the opposition of classical and intellectual spectrums of the critics of Iranian cinema by making mystical works.

This research investigates tradition and innovation factors in the adventure of Haji Baba of Isfahan written by James Morier and translated by Mirza Habib-e Esfahani. Whereas this book has been considered as one of the first samples of new fiction in Persian literature, analyzing the role of tradition and innovation in it can help to identify the evolution of Iranian fiction. This research studied this subject by a descriptive-analytical method and showed a balanced combination of traditional and innovative factors in it. Based on the results, this book has a balanced composition of traditionalism and innovation in terms of fiction elements. Modernist tendencies have dominance in such cases as realism and attention to details in Characterization, attempting to increase the believability of the events in the story, minor descriptions, and observance of the tone; on the other hand, traditional tendencies have dominance in the stagnation of characters, methods of the characters’ introduction, effective factors in the advancement of events, and some motives, especially in romantic sections. In the topic of the style of writing, despite the successful attempt of the writer to be innovative in the Persian language, since this innovation has been impressed most of all by Said's poetic formulas, especially in Golestan, it can be regarded as an adaptation of tradition and a form of revival of it. Criticism of the traditional society of Iran and the contrast between tradition and modernity are the most important themes of the book. The writer has criticized tradition by a balanced approach and relying on the roots of tradition.

Iran is the cradle of literature, culture, and moral virtues. Giving importance to ethics has drawn the attention of poets and writers for a long time. There were poets who had a look at their society based on moral and social issues as a sociologist community. Saadi is one of those poets who have been in the lead in this area in comparison with his peers. He has also paid attention to the social pathologies like a conscious sociologist and expresses his teachings in a simple language for different groups of people. In this study, the social rules emphasized in Saadi's view were examined from the viewpoints of Saadi-researchers. In continuing to investigate this issue, researchers consider what is the most significant social issue highlighted by Saadi? Which social rules used by Saadi can be fit with the theories of sociology today? The intellectual foundations and the rights of Saadi citizenship are based on the three principles of humanity, justice, and government. He emphasizes such ideals as peace, tolerance, justice, and equality of human rights. Saadi believed in a sort of cooperation and social participation. He persuades people to cooperate more into the affairs of the government and persuades rulers to observe the rights of people and direct them to prosperity. One of the most frequent issues in the cultural and social context is Saadi's philosophy of philanthropy and humanism.

Changes in today's world and the disappearance of the common boundaries among the sciences have left a heavy burden on comparative literature. Due to its interdisciplinary nature, this field of knowledge bears the responsibility of making a connection between literature and other arts and sciences, and from this perspective, it plays an essential role in today's borderless world. From this point of view, linking literature with various arts such as music is considered to be one of the activity areas of this dynamic knowledge. Following this model, the present study has analyzed the relationship between music and literature in the novel "Dead Symphony" by Iranian novelist Abbas Maroufi, and at the same time, it has compared the aforementioned novel with Dmitri Shostakovich's Symphony No. 5 from the structural perspective. According to the present study, the intersection of literature and music in the mentioned novel has been realized in several areas and different ways. Paratext and entitling the novel, heading the text chapters, and harmonizing the path of events in the novel with the formic nature of movements in a symphony are among the commonalities of literature and music in this novel. Utilizing the counterpoint feature of music in the literary text and matching the divisions of the second movement in the novel with music variations are the other instances of the intersections of these two arts. Moreover, taking the spread of interactions between arts and sciences into account, authors can add to the enrichment of their works by linking them with arts, humanities, and experimental sciences, hence they can double the enjoyment of reading texts for their readers.

Abu Abdullah Rudaki's Divan is one of the most important poetry Divans in the Khorasan area, from which only some scattered verses have remained in the ancient texts and manuscripts. With great effort, the late Saeed Nafisi managed to collect many of Rudaki's poems from various texts and provided a brief Divan from this highly productive poet. He used such dictionaries as Saha'a al-Fors, Asadi Tussi's Loghate Fors, and also rhetorical books such as Tarjoman al-Balaghah, and al-Mu'ajm. While praising the efforts of this respected scholar, the present paper tries to unveil and remove two shortcomings in his work so as to take a further step towards a reliable version of Rudaki's poetry. The two shortcomings are as follows: first, there are verses by Rudaki in these sources that have not been recorded in Nafisi's Divan. Second, by citing the putative sources, Nafisi has attributed some verses to Rudaki, while investigations made it clear that such verses do not belong to him but to other well-known poets. Considering the importance of research in the poetry of Khorasan, especially Rudaki's poetry, it is attempted to collect verses which are not included in Nafisi's Divan, introduce new verses by Rudaki, and reject wrong attributions by referring to the printed books and several manuscripts in this paper.

Jahangosha-ye Juwayni’s history is one of the most valuable classical Persian prose texts, that is very important in both historical and literary terms. While many explanations have been written about this great work and tried to explain the difficulties and ambiguities of it, still it seems that some expressions have not been explained as they should, and some of the comments of respected commentators are inconsistent with the context of the text. Therefore in this article, we have tried to review some difficulties and ambiguities of Jahangosha-ye Juwayni’s History according to the intertextual and textual evidence to present more appropriate meaning. So the idiomatic expressions Bad bar kasi jastan, kheumeh be Sahra zadan, Ghovvad, az rahe tahatok dar keshti neshastan, az tamakkon rojoom bar hojoom emtenaa kardan, andisheh dashtan, laal e masooh, mostadfea, hasher, nefar, sader & vared, obneh, beraz, fara ab dadan, etc were analyzed.

"Nostalgia" is one of the issues discussed in the criticism of literary works in terms of psychology. This term is about a feeling of nostalgia and regret over the past and the memories of joy that have now been lost. This category has been reflected in literary works for a number of reasons, including changing political and social conditions. Among the writers in his book Nostalgic Concerns, Nasavi is the author of Nafthat al-Masdour whose audience can feel his regrets merely by reading some lines of his work. The history of Jahangosha has also been influenced more or less by this feeling. It seems that the author, Joviny, while describing his historical accounts, expresses his hatred and the community’s regrets. In this study, a descriptive-analytical method is used to highlight the most important grounds for the emergence of nostalgia in these two works. Nostalgia seems to emerge in literary works through linguistic components. This research suggests that nostalgia is more pronounced in Nafthat al-Masdour, because linguistic features play an important role in strengthening its nostalgic approach. It can be said that the author's purpose is not merely the recording of historical events, but actually what is important to him is the opportunity provided for the emergence of a succession of emotions.

Hafez is a theorist and critical critic who enters into important human and social issues with an artistic and humorous method and challenges their claimants and custodians by explanation and analysis. Hisba and Muhtasib are one of these issues. He is a critically acclaimed and humorous poet fighting with all kinds of crooks and heroes. But what makes Hafez more distinct in this particular regard is Muhtasib. Because his poor performance can damage the origin of religion. Hafez is thus confronting this dangerous enemy who directly targeted religion with his full of artistic power and poetry power through two stages of demonstration and affirmation in seven ways 1- his own critique 2- the expression of the extent of deviation 3- familiarity ignorance (the expression of the ignorance of a poet or a theologian of one obvious thing) 4- real view of the religion 5- paradoxical behavior 6- drunkenness of Muhtasib 7- killing the Muhtasib. He wants to explain the beautiful truth of religion and the ugly face of the claimants with the correct critique. In this paper, we have tried to explain this critique by the descriptive-analytical method based on rational reasoning.

Mani is among the philosophers and mystic scholars who had left the most profound effects on the theoretical grounds of Gnosticism which flourished in Iran after them. His beliefs about the divine or ancient human being, his fight against Iblis, his belief in the two bases of being (Spentä Mainyu and Angra Mainyu in the Zoroastrian religion or Ahmad and Iblis as meant by Halaj, Ahmad Ghazali, and Ayn al-Quzat), separating the soul from the body, mystical manifestation and exemplification were transformed exactly or with slight differences to the realms of ancient Iranian Sufism of which Ayn al-Quzat is a notable inheritor. The basic goal of the present study is to determine, explain, and analyze the degree to which Gnostic thoughts of Ayn al-Quzat Hamadani and Mani agree in the mentioned fields. The research hypothesis comprises the tracing of the mediated influence of Mani on Ayn al-Quzat Hamadani in the field of the two bases and also the unmediated effects of Mani on him in the field of mystical manifestation, exemplification, and the separation of the spirit from the body. This influence has been to such an extent that it can be said that Ayn al-Quzat’s Gnosticism is affected by Mani’s Gnosticism in the three different areas. The results of the study are as follows: Mani and Ayn al-Quzat both agree that every creature in the universe has exemplified alternative in the heavenly world (the Malakot), while Ayn al-Quzat believes that each action that human beings do has a good or bad exemplified reflection in the Malakot. In this research project, a descriptive-analytical method is applied to the common grounds in the mystical thoughts of Mani and Ayn al-Quzat.