نشریه مطالعات زبان و ادبیات غنایی
پیاپی 40 (پاییز 1400)

The poets of narrative poems have used description to character settlement and space making, to create attractive narration. Genette has analysied description and its relation between narration and Narrative. He has accepted three Functions about description: Decorative function, Explanatory function and Symbolic function. In this research, in Descriptive - Analytical method, Functions of descriptions have analyzed in Jami's three systems, Josef and Zuleika, Leili and Majnoon and Salaman and Absal to Determine Quality and use of descriptions with different functions and make an answer that which functions lyric systems have? The most common idea is that Symbolic function is just for Erfani systems but this function has many Concepts in systems but to understand concepts should study historical, geographic, Religious, Ethnic, National areas so should use Semiology. Prologue is one of Explanatory functions  in   Leili and Majnoon  and  there is  no Symbolic function in  Salaman and Absal.

The subject of literary genres and Persian poetry is one of the important debates that has not yet been properly represented or scientifically examined and analyzed. Lyrical literature is the most widely used type or genre in Persian poetry. In the twentieth century and following the profound changes in the foundations of contemporary Persian poetry, lyrical poetry appeared in another form called the school of Romanticism. Then, with the loss of old lyrical genres, it has acquired new aspects and structural and content types. Therefore, this qualitative research has reviewed and examined the definitions of lyrical literature and its evolution with a descriptive-analytical method. In another section, the course and extension of lyrical literature in the form of the all-encompassing and "extended" school of Romanticism has been studied and represented. Also, the way Iranian and Western critics and experts perceive this type of literature and its changes have been analyzed in this research. Moreover, due to the change in the view of this type of literature and the elimination of its classical types (satire, riddle, conundrum, habsieh -prison letter, praise, etc.) in contemporary poetry, it is worth researching the connection between the emotional mind of contemporary poetry and romanticism with this type of literature. It is good to know what a new look Romanticism has given to lyrical poetry and what dominant and repetitive developments has created in this type of literature. On the other hand, since Persian ghazal has been considered as a full-fledged mirror of the type of lyrical literature, by studying the lyrical mentality of the new lyric poetry, new and different components should be found in contemporary lyric poetry.

Khajeh Abdullah Ansari is the creator of outstanding works that have formed a new style of prose, but the works of Khajeh are not all in the same style and The difference between "zaban_e Ebarat" (allusion language) and  "zaban_e Esharat" (expression language) can be seen in the two categories of his works. Some of Khajeh's works, such as "Sad Maidan" were written with the aim of teaching mystical principles, and others such as "Elahi Namah" are of the type of lyric literature. This article has tried to make a comparative comparison of the Rhetorical style of these two groups of his works by comparing the Rhetorical features of these two outstanding works of this author in a library method with the aim of showing the difference of Rhetorical features in the between expression language and  allusion language. The results of this research show that most of the Rhetorical techniques are used more in " Elahi Namah", other than" Tazmin" that Khajeh has used more to prove his Sayings in " Sad Maidan ". Also, the frequency analysis of the Rhetorical features of these two works proves that This eloquent mystic dominates the form and meaning and has reached two Style in mystical language by observing the proportion and connection between them.

The narrative system of "Farhad and Shirin" by Vahshi Bafghi's, tells the story of love between Shirin (lover and wife of Khosro Parviz) and Farhad (artist and idol maker) and is one of the poems that has a narrative and theatrical structure. The method of narration and storytelling in this system is such that the poet using the elements of the story; They create a different atmosphere, including narrative plot, character, dialogue, perspective and description. This research has been done with the aim of analyzing the elements of the story in this system in a descriptive-analytical manner. This narrative system expands based on the linear time of the narrative And events occur one after the other in a chain; In such a way that first a balanced situation is established, Then, with an accident, this situation changes and an unbalanced situation prevails in the poem. After mentioning the incidents, the narration reaches a balanced state and ends. In fact, this system consists of a chain and five narrative elements, which ultimately determine the fate of the main character.

Abdurrahman Mushfeqi Bukharaei is one of the poets of the tenth century AH who was familiar with composing sonnets and odes and was proficient in satire. Although in his time, unlike the fifth, sixth and seventh centuries, when the use of concepts of various sciences and knowledge in poetry was common, knowledge such as astrolabe and astrology was no longer considered and the poetry was close to the general language of the people, but Mushfeqi used astrological concepts in his poems. In his poetry, we not only come across common astrological concepts and words among most poets such as astrology and fortune-telling and the names of the septet planets, but also the topics and words that specialize in astrological knowledge such as south node, predestination, conjunction, honor, the concept of seeing lucky and unlucky hours we also see during his verses.

In wandering island and wandering cameleer, simin daneshvar confronts the audience with a discourse in which "action" is subjected to unusual circumstances.  In this situation, the actor is always confronted with feelings such as anxiety, wandering, fear, challenging himself, insecurity, escaping the past and feeling insecure and rejecting one situation into another. For him every situation is a semantic hole that requires a jump energy to pass through. In such a situation, the actor loses the power of any action and becomes an emotional subject that wanders between too states of staying and not staying, becoming and not being. In this essay examines the existential conditions of the two wandering island novels and the wandering cameleer in order to find out what factors interfere with the process of action and passage into the existential state. In this descriptive-analytical  study, this research has been attemped  with regard to Griemas and tarasti’s theories, we examine the signs and functions of wandering, the conditions of meaning production in the wandering island and wandering cameleer and shows how wandering through the negative-assertion process causes the novel’s first character to break from his personal ‘I’. The result of this rupture is self-recovery and abstract congnition of oneself and those around oneself, and this cognition causes the first character of the story to be in a positive state, which is self-knowledge and domination, and the  ‘I’  realizes and transcends the unit of its existence.

The mythical critique or the archetype debate is one of the forms of the critique that results from the work of Carl Gustav Jung which is welcomed by a broader scope today. The water archetype is the most obvious achievement for the natural characteristics in the literatures and the mythology of different nations which has a huge presence in a Kurdish literature. This vision can be seen in one of the most important literary poems of contemporary thought. The presence of water images in Sherko Bekas's poems is a sign of the solidity and the fixation of water in collective memory, which has been represented in literature. Water is one of these archetypes that has not been focused yet in the Kurdish literary product in terms of archetype. The new and innovative side of this course is reflected firstly in coming back to show water’s archetype and the study of Sherko Bekas poems. This study, which is being carried out in an analytical and descriptive way, relies on the mythical-psychological view of the appearance of the water image in Sherko Bekas poems to make it clear to us how much it is with archetypes principles. The results of this study show that Sherko used a number of global symbols to express the value of his criticisms and understandings, and many times we can see the important characteristics of Yung and other researchers of this field of archetype in Bekas’s poems which is manifested in different way. The most important work for the symbol of life being it which manifests itself in his poems.