نشریه مطالعات زبان و ادبیات غنایی
پیاپی 37 (زمستان 1399)

The Genre of lyric in Persian literature both in prose and in poetry is more comprehensive than the other types. Unfortunately, most scholars' research in this area, both pre-Islamic and post-Islamic, focuses on poetry and less on prose. Due to this negligence, this research tries to show what is the reason of being unknown for some of these stories by introducing and analyzing four of these stories tries to show how did these texts survive in the post-Islamic era? Some of these stories, although they were verbally prevalent among the people, but were not written in pre-Islamic Persian languages, and only a few of them came to the next era, but the Greeks have brought them in their works. Some although were recorded in the Greek works, but the oral tradition, retained them and brought them to the next era with some changes. The story of Golnar and Ardeshir which is included in the book of Ardeshir Babakan in Pahlavi language, was later directly a reference for Ferdowsi to make it a poem. But Hezarafsan tales have gone a long way and it was important for the non-Persians rather than Persians. Arabs translated it into One Thousands and One Nights alf-Lailat and Laila with some changes.

Although the formalists' theoretical emphasis on literature and literary arrangements used in the text does not negate the importance of the content, it indicates the central points through which the literary text is separated from other works. The present article tries to examine the applications of the two main formalist arrays in the two stories of Ferdowsi's Shahnameh. The attribution of the Shahnameh to the "epic" genre has never been questioned, but this does not mean that a text of such magnitude, which has a variety of content features, is devoid of lyrical themes. Among these stories, the focus of this article is on "Zal and Rudabeh" and "Bijan and Manijeh". The goal is to discover and then combine the two important formalist elements of "de-familiarization" and "highlighting". The goal of formalists is, first, to bring about a fundamental change in the automatic and conventional process of language, and, second, to create a shocking interruption. Although the use of formalist arrays, both in the traditional novel form and in the form of arrangements that were later considered by theorists, can be seen throughout the Shahnameh, the frequency of their use in these lyrical stories is higher. The results of the discussion show that the use of such arrangements greatly enhances the attractiveness and literature of the text in terms of the attractiveness of the lyrical aspects. Combining both tricks in the mentioned narrations shows that Ferdowsi was aware of this issue and its capacities. The use of unfamiliar words, the use of indicating /ɑ/ at the end of the shutters, the exaggeration, the de-familiarization of the concept and the lexicon, and the emphasis on narrative are the most important formalistic examples used in these two systems. Also, although the lyrical burden of these two stories has been dominant, but due to their presence in the context of an epic work, some epic words and crafts have been mixed with its narration, which, through strengthening familiarity, de-familiarization and highlighting in them, differentiates them from Creates other Shahnameh stories.

Love is one of the most important concepts expressed in Divan-e Shams, where it has a human personality with specific behavioral characteristics. The human traits attributed to love, and the manner of occurrence of these features in the path of mysticism is important given Mowlavi's perception of love. In this research, the traits and behaviors of love as an acting being were extracted from Divan-e Shams, and the actions of love on the path of the lover's uprising in reaching God, were categorized in five main stages. Manifesting its traits to the lover, love moves from its most intense incarnation, which is “bloodthirsty”, to its most delicate expression which is “mother”. The most intense image of love shows characteristics related to ”pleasure” and “being loved” , and these concepts are most frequent. Then there’s “enmity” with images like “aggressive”, “bloodthirsty”, etc. The third feature is love’s being “guide”. These images, emphasizes on the affectionate aspects of love. That is in conflict with the image of love as a powerful being which is seen at the first look at Divan-e Shams.

There has been much debate about the nature and nature of love from the perspective of psychology. In recent decades, researchers have tried to study literary works by focusing on various theories; one of the theories in this regard is the theory of love. Is John Lee. In his theory, he compares the types of love with the original colors, and the three main styles of love are given: love to an ideal person, love as a game of love as friendship. Farsi, Kermani Khawaji in "Homay and Homayoun" and "Flower and Nowruz" poems, like other Ghanaian poets, deals with the subject of love and relationships of lover and lover; in this study, we have tried to find love in Khaju's poems with John Lee's theory of love. Examine and adapt. The main question of this research is to answer the following question: What are the characteristics of love in these two poems which correspond to the type of love in Lee's theory? The result of this study shows that love in these two love stories is characterized by John Lee's theory of love. It corresponds to being romantic and having a passionate style. Send feedback History Saved

Mythological narratives and myths of names are influenced by the semantic pools in which they develop over time. Hence, a text has different meanings in different periods. Literary-artistic texts are better known and more appropriately decoded in the context of their formation; This leads to a more complete understanding of the pattern governing the culture of each period. Khosrow and Shirin's romance has always been considered in different periods of Iran up to the contemporary period; It has been studied by many painters, poets and writers and is one of the most widely used myths in literary and artistic texts. The present study aims to identify the impact of contemporary factors; The time, culture of the society and the type of the creator's attitude towards presenting the narrative deal with the intertextual study and myth-mining of this narrative in different texts of the contemporary period. This research descriptively-analytically seeks the factors influencing contemporary works and how the artist uses them to answer the question: "Has he created sub-narratives?" The results show that developments, events, communications and changes in society have directly affected the creative thinking and have caused new sub-narratives in the romantic presentation of Khosrow and Shirin in contemporary Iranian art works.

In Persian literature writers and poets have had more or less a special interest in geographic knowledge and knowing regions, countries, cities, mountains, rivers and …; and have produced poetic images and themes by means of these elements. Geographic names, which are divided into two categories of general and special, have a wide reflection in contemporary poetry. One of the successful contemporary poets in the field of sonnet is Mohammad Ali Bahmani who has used these elements in producing poetic images and themes. The aim of this article, using an analytical-descriptive approach, has been to extract Bahmani’s techniques in creating poetic images and themes using geographic names and to illustrate the frequency of the mostly used names in his sonnets. The findings of this study shows that Bahmani has mainly used geographical general names among which sky, city, house and mountain have been used more than others. Bahmani has used almost all rhetoric techniques for creating poetic images and themes, while simile has been used more than others.