پژوهشنامه نقد ادبی و بلاغت
سال دهم شماره 2 (پیاپی 22، تابستان 1400)

This paper has investigated the establishing process of Ash’ari discourse against reasonoriented discourses (determinately NasirKhosrow’s Diwan and Khayyam’s Rubiyat) based on a new interpretation of access factor _the unequal distribution of discourses’ linguistic productions in society. Accordingly, by influence on people’s mental cognition, access proportion of discourses’ texts plays a basic role in establishing or undermining them. From this perspective, the research focuses on exploring social relations to affect texts access of aforesaid discourses. The sort of analysis is also the macro one and different to micro analysis in linguistic descriptions. The theoretical framework is a multiperspectival method combining of social practice level in Fairclough’s approach and process of foregroundingback grounding in Laucla & Mouffe’s theory. Findings show that, by imposing and enforcing constraints on discourses _respectively to foregrounding Ash’ari discourse and back grounding reasonoriented discourses_ powerholders kept the access of these discourses’ texts unbalanced. It means at discursive imposition level they enable Ash’ari discourses’ texts to extensively access by planning soft organization like group formation and foundation of Nizamiyyah institutes and at discursive constraints level they prevent reasonoriented discourses and texts associated with them to access in society by hardware activities like suppression and elimination. NasirKhosrow’s Diwan and Khayyam’s Rubiyat were two of these texts that discursive constraints were seriously enforced on them also because of their opposition to dominant ideology _NasirKhosrow’s Diwan for including concepts like propagation of Ismaili doctrine, strong repudiation of Sunnism and giving harsh vituperation to all contributor of contesting group from upper to lower echelon and Khayyam’s Rubiyat by challenging the society’s common sense about definite religious propositions and expressing ironic sarcasm against mullahs and the clergy. It’s also noteworthy that through software organization of Nizamiyyah institutes access to authority and credibility positions for these contesting discourses’ actor was unequally, in favour of Ash’ari discourses, distributed. This strategy was considerably facilitating the possibility of Ash’ari discourse imposition. These mechanisms ultimately led to establishing Ash’ari discourse.

Narrativity is an essential feature to ‘history’. Narrative, with such features as being systematic and structured, has a cohesive and regulatory function, as it brings together selected facts from specific innumerable historical facts under specific structures and plots. The structure and cohesion of the narrative provide the ground for semantic and even structural signification, as well as for finding ideological contexts and the predominance of particular discourse systems (and consequentially the emergence of selections, omissions, and rejections). The sum of these issues, in addition to relying on sequence, causal relations, change of status, and having an ultimate goal, are all narrative and consequently non-historical components involved in reporting historical events and could ultimately construct a ‘story’ or forms of a story. On the other hand, discourses, ideologies, and power structures play an important role in constructing the historian's historical understanding and, subsequently, in his historical narration, just as “historical narrative” is constructed in the epistemological system and the dominant valuations of the historian's life span. Tarikh-e Bayhaqi like other historical texts, is a selected narrative from countless historical events of a particular era, and Bayhaqi as a subject in his era had been influenced by discourses, ideologies, and special identity origins in his historical narrative, more particularly when we see special encounters in discourse and identity in Bayhaqi's era. Accordingly, in this study based on New Historicism, we investigate the narrative construction in Tärikh-e Bayhaqi and Bayhaqi's encounter with influential discourses in his time; moreover, we examine its impact on the formation of Bayhaqi's “historical narrative” in order to further scrutinize the subjectivity of Bayhaqi in his era. The findings of this study show the inter-constructional encounter between historical and metahistorical aspects in Bayhaqi's historical narrative, which signals a significant relationship with the discoursive encounters prevailing in his time. Among such encounters is the Iranian-oriented-identity-seeking current against the court-supported-identity-seeking currents that plays a pivotal role in the formation of these inter-constructional encounters.

Among Persian verbs, compound verbs are of particular importance. To construct a compound verb, a noun / attribute / bin / constraint (verb) is combined with a simple verb. Recipients have called this simple verb or the fractional part of the compound verb as "light verb." According to them, the verb "to" is the most commonly used Persian compound compound verb. The valuable position of this word led the writer to the morphology of the most used "co-operation" of the Persian compound verb in Khagani's dormitories. This article seeks to know: How many percent of the verbs that Khaghani used in his own words have been made with this co-author? What are the structures and components of these verbs, and which "current" has had the most engagement with this co-operative? Is the verb "to" also used to construct a simple verb? Which of the three main occurrences of the verb is the share of the application, and why? Flexibility of the Persian language against the displacement of its structures, in particular the components of the compound verb, to what extent and in what quality? To achieve a clear answer, thirty-three verses with 2169 bits and 4584 verbs (25% of Khaqani's dashes) have been carefully considered

Illustration methods from classical to modern literature, following the human worldview of every era, have undergone fundamental changes in the type of function and semantic domains, and from a mostly marginal and superstructural element in classical poetry, it has become a central and infrastructural element in modern poetry. Nima Youshij, who is the epistemology of modernism in Persian poetry, in addition to the developments she has made in the outer building of poetry, has also made a profound change in the spheres of semantics, in addition to the developments she has made in the outer building of poetics and elements of her thoughts, which have emerged in the form of poetic images. By passing through her first period of poetry, at the beginning of the second period and with Phoenix poetry, Nima also made an important change in the field of illustration of her poetry, which most of all indicates her transition from the stage of describing and embarking on a new imagery. A study of the overall corpus of Phoenix poetry shows that in this poem, Nima has achieved an organable and coherent look at the narrative, which, despite its concise and succinctness, has not only approached the perfection of a narrative, but also in detail and in each of the images shows the poet's concern for making and addressing the images, phoenix poetry as Nima's poetic manifesto, indicating that this is The work, despite its symbolic view of a mythological story, has an undeniable affinity with the modern view of the image, the compactness of the narrative and images following the modern short story, the use of objective images despite the abstract and symbolic structure of the work, changes in the symbolic concept of the work, and the induction of political and social concepts in the poet's view, narrating many of the visual units separately and in the narrative shadow of the whole work, as well as overcoming the image. Descriptions in the overall building of poetry are among these signs.

Bahram Beizaei is an Iranian author, filmmaker, theatre director, scenarist, and prominent and stylish researcher. Benefiting from myth, epic, and historical backgrounds and folklore of Iran and the world, he has created artistic work; thus, his works are contemplative and extensively linked to intellectual topics, Persian cultural themes, and other nations. His play titled ‘Arash’ also possesses such salient feature. This point should be further noticed that based on intertextual approaches and theories, the creators of artistic works may not too rely on their own personal experiences, information, and intact subjective faculties for the generation of such works, but by considering pre-existing texts, they edit their works where these texts are assumed as the foundation for culture, idea, art, and literature of their time. We have tried in the present article to conduct a content analysis on the play of "Arash" and with reliance on librarian and documentary studies and based on the theory of trans textuality of Gerard Genette (as one of the theorists of Intertextuality). The findings achieved from this study suggest that this play is composed of Inter-textuality, hypertextuality, metatextuality, arcitextuality, and paratextuality elements which are noticed with some frequency where this has caused this work to have new conceptual potential and deserving of altered review. In the intertextual view of this work with its contemporary text, the poem "Arash" by Siavash Kasraei, Beizaei challenges the myth and Kasraei depicts himself and his society's desire; However, both works are associated with the myth of water and the demon of drought. On the other hand, in metatextual analysis, the existing classes in the play "Arash" can be considered in accordance with the existing classes in Wittfogel 's theory of Oriental Despotism, which is defined on the basis of the Hydraulic Society and the relations that govern it. From the perspective of contextual analysis, this work is related to the plays Azhi Dahāka and Kārnāme-ye Bandār Bidakhsh. In terms of contextual analysis, this play is similar to a kind of tragedy that is not unrelated to the story of Christ and Ta'zieh of Karbala.

The Akhavan's poetry, in spite of the many manifestations of despair, and despite the possibility of futility, often speaks of a kind of activism, creativity, and passionatation to life. This feature in the poetry of Akhavan is due to the modern philosophical backgrounds and deep meanings that make it suitable for analyzes beyond the usual boundaries. One of the most obvious of these meanings is the view of "master ethics" in the context of "tragic insight" in his confrontation with socio-philosophical suffering, which is the main issue of this article. It seems that after the nationalist ideals, which are the background of the Akhavan's philosophical and ontological ideals, he became acquainted with the current ideas of modern Europe, including Nietzsche 's philosophical ideas. Nietzsche was not ineffective in choosing this moral view. The possibility of this influence led us to analyze the tendencies of the ethics of servitude in the poetic thought of Ahkavan, in the approach of Nietzsche's "tragic insight". This analysis shows that the Akhavan's poetic thought in this category reflects Nietzsche's "tragic vision" approach, such as: the will to power, the death of God, the seal of destiny, the nihilistic transition, the elitism, It is the transformation of the soul and a few others that is the way to the creation of the superhuman and the joyful acceptance of the wholeness of life. The result of the research shows that the poetry of the Akhavan in a general view is the manifestation of a kind of tragic insight which, by destroying theoretical and metaphysical insights, praising earthly life and ordering the continuity and dynamism of the river of life, is an aesthetic justification of existence. It deals with elitism and the critique of tragic moral views, and thus builds its base far beyond critiques of conventional and theoretical moral systems. The research method is qualitative and the approach to analysis is a philosophical critique approach of non-conceptual philosophy and sometimes a descriptive approach based on the poetic propositions of the two

Shortness of the published novels is a major problem in modern Persian fiction writing. Modern Persian novelists usually write about thoughts but the thought expressed in these works is not broad enough to create multivolume works such as Proust’s Remembrance of Things Past. In the novel Zemestan-e-Bibahar (Winterless Spring), Ibrahim Younesi uses the various capacities of narration to write a novel that not only benefits from his life experience but also contains hidden meanings which allow readers to discover for themselves. Place, time, and other elements in the novel Winterless Spring are extended, and the language and ideas used in it, are in proportion to this breadth. They are varied and harmonious. In this article, we have tried to analyze and evaluate the author's choices of paratext, including book title, preface and cover design, and the text of the novel such as narrator and narrative techniques and the harmony between all of these elements. The author uses the possibilities and capacities of novel writing such as humor, contradiction, meta-fictional elements, intuitive and ideological functions of the narrator, conscious use of time appropriate to the narration of the novel, choosing a specific place in the story, postmodern view of history and parallelism of past and present. The author's collection of tricks proves that the novel is beyond personal experience and biography; it is a rebellion against time at the height of despair. The narrator, disappointed with the narrative, battles with time and finally finds himself defeated by it.

Human beings confront so many hardships in their life, and these hardships affect their life and personality. Some basic hardships of childhood, such as parents’ improper behavior, lead to sufferings that have a fundamental role in a person’s life and actions in the maturity period. These important and influential sufferings result in abnormal behaviors in one’s different periods of life. Karen Horney, a German psychologist, has an important theory about human psychological sufferings known as “Neuroticism.” She discusses the causes of neuroticism and considers some mechanisms as defensive behaviors or structures that the neurotic person uses to relieve their pain and reach relaxation. One of these mechanisms is “moving toward people”. Horney believes that all of the mechanisms, especially the mechanism of moving toward people that neurotic person refuges in, are not treatments. Not only they do not provide security and comfort for neurotics, but they also exacerbate their neuroticism. Rumi as a great mystic, poet, and thinker that has used the Quran, Islamic and Iranian knowledge in addition to a great deal of the common knowledges of his time, and compiled so many universal works such as Masnavi and Gazaliyyate Shams, according to his mission i.e. saving people and bringing them to the prosperity, was not indifferent to the inner and psychological sufferings of human beings. He has had deep thoughts and reflections on human psychological issues and has presented many valuable ideas in this regard. Rumi has competently pointed out the causes of the tendency to the mechanism of moving toward people and its complications and consequences in his stories and allegories. This paper will investigate the different manifestations of the mechanism in the anecdotes and allegories of Rumi, clarifying the position of this mechanism in the actions of neurotic characters of his stories and allegories

Proverbs, originates from religion, culture, theological and philosophic beliefs and conventions of a society. They show the popular beliefs. The Ashaereh theological sect, which is one of the most important theological sects in the field of Islamic civilization, has played a pivotal and fateful role in creating the Islamic dimension of Iranian thought. In the present research, the authors have tried to analyze and show the different dimensions of the Ashaereh ideas in the mentality of the Iranian people through Persian proverbs.The Ashaereh considered freedom and divine will free without any conditions and did not consider any matter of goodness and righteousness and grace obligatory on God. According to the "Wisdom of God" component, they believe that God wills the good of man from wisdom. They believe that although it is not obligatory on God to do a righteous deed, it has been proven that God's deeds are based on wisdom and expediency, even if one is not aware of its wisdom. The Ashaereh, like the Mo'tazeleh and others, consider only God as sustenance and attribute this attribute exclusively to God. Also, they consider "haram" as sustenance and believe that God gives both "halal" sustenance and "haram" sustenance, and the meaning that God makes "haram" sustenance for man is that it makes the body consistent and stable. In addition, they believe that sustenance is predestined for the rest of their lives and nothing is reduced or added to human sustenance. Also, they believe that although God has decreed sustenance, it is obligatory to earn a living. The Ashaereh, believe that the victim dies on his own death, that is, when it is predestined for his death. They believe that the Creator of the universe is one, because the concept of obligatory existence cannot be true except on a single essence. They believe the Resurrection and its accessories, such as "the truth of the resurrection of the dead", "the truth of the question", "the truth Letter of deeds", "right of weight and measurement of deeds" and "Bridge being right". We see all of these beliefs in Persian Proverbs.