نشریه پژوهش های ادبی
پیاپی 71 (بهار 1400)

One of the motives of the love poems is "Death of Lovers". In these texts, the poet uses his art to describe the death of the hero as a memorable event. This descriptive-analytical study answers the questions of how the basis of the death of lovers in Persian love poems can be classified and what role does each of its subspecies play in the narration of the story? For this purpose, the book "One Hundred Persian Love Poems" (Zolfaghari, 1394) was the basis of the work and it was concluded that three types of death (natural, suicide and murder) with subtypes and causes, have occurred for lovers.

Mehdi Akhavan-Sales is one of the most famous Persian Contemporary poets. His poetry has undergone significant changes over time. After he turned into Nimachr('39')i poetry, and after the dramatic climax manifested in Az In Avesta, he gradually declined in the next collections. Given the high status of his poetry, there must have been important factors in this artistic decline. The present study has turned to seek the life and poetry of Akhavan-Sales in order to find these factors with the approach of "external-based historical criticism" and by stating that there is a reciprocal link between the works and the cultural and social situation of the historical period of their creation. Therefore, The environmenal issues and factors that have affected the spirit and emotions of Akhavan have caused his poetry to change in different dimensions, under the title of “contextual factors” and as a result of which, contextual factors emerging in Akhavanchr('39')s poetry has led to declination of his poetry. The titles of the “textual factors” are divided and examined. In the end, it is clear that the environmental conditions that arise in the life of Akhavan after this Avesta, shows that he does not have the necessary motivation and power to compose poems equal to the poems of this collection with all his skills and mastery.

According to many memorizers, Hafez, influenced by the dialectical system that rules the universe, has a strong dialectical thought system and therefore always seeks to know objects and phenomena through their opposites. With this view, he contrasted two phenomena of incompatible or incompatible and created a strong dialectical background, which has led to the prominence of the content and one of the aesthetic criteria of his poetry. Since in many researches about Hafezchr('39')s poetry, its dual contexts have been studied from different perspectives, but have not been studied according to the dialectical system. In this article, the dialectical contexts of Hafezchr('39')s sonnets have been studied based on their dialectical elements and synthesis. In this study, it has been found that the most important dialectical contexts of Hafezchr('39')s lyric poems are asceticism, legislation and mysticism, repentance and breaking repentance, sharia and against sharia, praise and mysticism, reason and love, flattery and opposition to it, hypocrisy and nudity, government and poverty. , Earthly love and divine love, predestination and free will, right and wrong, mortal thinking and mysticism, the memorizer of the Qurchr('39')an and the memorizer of the court, of which, in five areas of asceticism and orthodoxy, legislation and mysticism, repentance and breaking repentance, sharia and sharia , Dialectical praise and mysticism is of the first type; That is, thesis and antithesis disappear and a new synthesis is created. In the three fields of reason and love, flattery and opposition to it, hypocrisy and dialectical blindness are of the second type; That is, thesis and antithesis do not disappear, but are promoted in a new synthesis. In the context of government and poverty, the dialectic is of the third type; That is, thesis and antithesis are necessarily paradoxically combined in synthesis. In the context of earthly and heavenly love, the dialectic is of the fourth type; That is, thesis and antithesis are considered as parts of a whole (synthesis). In algebra and discretion, right and wrong, mortalism and mysticism, the memorizer of the Qurchr('39')an and the memorizer of the court, is a fifth type of dialectic; That is, thesis and antithesis are proved alternately, but they do not negate each other and do not even reach a clear synthesis. Therefore, it can be said that in Hafezchr('39')s lyric poems, due to the dual contrasts, there are types of dialectics, and this dialectical background is one of the foundations of the aesthetics of his poetry.

Speech acts are a branch of linguistics studies of pragmatics that identifies writer goals with analysis of text statements. This approach is a suitable way for representation of writer orientation about text statements, explanation people relationships and how ideology works. In this research, speech acts in panegyric poem as the most ideological classic poem, gas classified and analyzed to be revealed how the mechanism of panegyric statements. According to results, poets have used speech acts for explanation of mamduh governmental and spiritual status as the most important people in poem. They have highlighted the mamduh station and ideological goals by using the explicit action. Poets have used emotional action to show positive emotions to mamduh and decrease the instance between mamduh and themselves. According to relationship between mamduh and poet, the frequency of motivational action is low and the most its used is about inviting mamduh to happiness or his enemies to obeying him. Poets have highlighted mamduh by focus on explicit action and use the persuation methods in mamduh description.

The present study has formed in order to determine the current errors source of Persian leaners at beginner, intermediate and advanced levels. this survey tries to give answer to this question: From what source do current errors and mistakes of Persian leaners originate at beginner, intermediate and advanced levels? To this end, some compositions were prepared from Saadi Foundation Corpus in this address: http://sfcorpus.ir. These data were recorded by foundation instructors regarding years (2015-16) on website and they belong to Persian learning courses held for Arab, Chinese, Pakistani, Indian and Turkish language learners at six levels (Basic, pre-intermediate, intermediate, upper-intermediate, advanced and upper- advanced). Given research subject, 210 compositions, belonged to 5 Persian-learners from Saudi Arabia, China, Pakistan, India and Turkey were elected in several subjects where each Persian learner gave 14 sheets with totally 70 sheets at any learning- level (Beginner, intermediate and advanced). Then, data were analyzed by descriptive method based on Error Analysis Scale (Keshavarz, 1994) and the acquired results were presented both qualitatively and quantitatively. The given findings derived from this analysis showed that the current errors of Persian learners originate from extra lingual source at beginner level and learning strategy is the factor for current error for Persian learner at intermediate level. Finally, the current errors of Persian learners are related to learning texture at advanced level. The analytical results can be addressed by instructors, authors and educational planners for non-Persian speakers so that to recognize better weak points of Persian learners to select appropriate teaching technique and provide educational textbooks.

This article has been written in a descriptive and analytical methods based on library studies. In this research, with the discovery and classification of the materials in the Religious and Mythical Figures in the Reststance Poetry of Seyyed Abutaleb Mozaffari, its relation with the poetchr('39')s idea of resistance was examined. The results of the research indicate that the poet has recreated religious and Mythical figures, and linked yesterdaychr('39')s patterns with todaychr('39')s realities of war, and in this regard, in order to enrich the literature with poetry and its linguistic implications, and to connect the idea of resistance with the suffocating atmosphere of Afghan society, it is trying to application of these characters to serve the literary subject and its identity.