نشریه تفسیر و تحلیل متون زبان و ادبیات فارسی (دهخدا)
پیاپی 50 (زمستان 1400)

One of the viewpoint in linguistic science is systematic functional viewpoint, in which Language is a social tool for meaning transferring. Halliday is the greatest theorists in functional approach. About a role, he considers grammatical and linguistic concepts for analyzing a clause, which has three separate semantic layers (ideational, textural and interpersonal metafunctions) but connected to each other which is named metafunction analyzing different literary text like Mantiq-ut-Tayr. Among all the Mantiq-ut-Tayr’s stories, the story of Sheikh San’an is analyzed. This study with using descriptive analysis method has analyzed the problem of different processes, structural and non-structural cohesion and interpersonal metafunction in Sheikh San’an’s story. The result of this research stipulates that material process is used more than other processes in ideational metafunction, which indicates the objective and tangible actions used in this story. In textural structure metafunction, simple theme has a higher frequency than multiple theme and most clauses have embedded theme reiterated. Conjunctions in grammar cohesion, repetition element in reiterated lexicon cohesion-associational in collocation lexicon cohesion have the highest frequency in this story. In textual metafunction, declarative mood has a higher frequency than the other moods and most clauses have positive polarity.

In the second half of the sixth century AH, with the formation of small local governments, so called, Atabakan, which were the remnants of the powerful government of Jalaluddin Malekshah Seljuk and Nizam al-Mulk al-Tusi, a kind of stroke occurred in elegize, in the style of Khorasani, and in witchcraft. By the onslaught of the Mongols and the Tatars, the style of apostasy was inherited from the form of a weasel to the form of a sonnet. Thus, the content of the mystic, in the eyes of the elites, became lectures on mysticism, ethics and social issues. In the lyrical, which is rich, romantic and in the sense of the Sana'i, it was separated from the ode and transformed into a standalone form, called the sonnet, in a concise form, while expressing romantic and mystical states, it burden of witchcraft too. This style of sonnet, to Hafiz, became a feature of style. Hafiz, who is the most prominent representative of the style of the apocalyptic sonnet, has found his followers after all, though none came to his greatness. The author has attempted in this discourse, using (descriptively - analytically) methodology, to analyze and introduce the style of Hafiz's apocalyptic sonnet in its various forms and to mention the initiator of this method and an example of its followers after from Hafiz.

Amir Arsalan Namdar is one of the surviving oral story writers of ancient Persian literature. They have considered it as the intersection of traditional storytelling and novelism in Iran. Folk tales have always been the focus of structuralists and narrators. In the meantime, Todorov has found remarkable success in exploring mythical narratives, especially tales. In this article, we analyze the narrative aspects of the Amir Arsalan Namdar story. he predominant state of the propositions in the story is the Predictive and it is the time of the past verbs. In the meantime, there are more hypothetical funds. The conditional and predictive aspects are both equally in the story. Forecasts made by Ramel and Astrolabe are often correct and People prediction is probably wrong. The number of wishes is greater than the mandatory This shows that the aspirations of individuals advance stories and events more than the laws governing society. In the Todorov classification, Amir Arsalan is placed in the mythical narrative.

The sweet Persian language has its roots in the depths of history, which is the year of Iran. This language is very effective as a weapon, to protect the rich and rich culture of the Iranian people against the destructive events and damages of the time. Now, with the independence of Tajikistan, it has once again shown its strength in fighting foreign language invasion, and has been able to block the entry of foreign slogans and literature, and against the old Persian language, which is free, to a class from that region. Take off your clothes, and be replaced by a foreign language of control, embrace, and take a new path. After years of efforts and struggle to adopt the Persian language and the independence of this independent country, in the works of poets and writers of this method, love for the heritage of the past, ie Islamic culture and Persian language and literature have been clearly observed in this article. The works of contemporary Tajik poets are examined in a descriptive-analytical way.

Saeed Biabanaki is one of the contemporary poets of the field of sustainability literature, whose poems are full of sustainability issues. Therefore, the present study aims to investigate and analyze the poems of Saeed Biabanaki in terms of sustainability literature with a descriptive-analytical approach and relying on library resources and to show the audience what role did he play in awakening and informing the people and provoking them to fight foreign enemies and oppression? To what extent did the national and Islamic values of the poet help the poet in terms of effective expression of resistance poetry? The findings of the research show that the thought of Mahdism, the love of the homeland, thepraise of freedom and liberty, the invitation to fight, stability and unity, hostility, support for the resistance of the Palestinians and the oppressed peoples of other countries, reflecting the uprising of Ashura, Hosseini, and other important subjects. Sustainable Literature in Poems by Saeed Biabanaki In addition, he shows that his poem reflects human pain in a simple, unpretentious language. Poetry of Saeed Biabanaki is, at the same time, a vivid, committed and influential poem, in which the victory and hope for a bright future will be on the rise.

Behaghi has created a magnificent story of narrative in the history of the Ghaznavi era, with the benefit of the actual scene over again. The readout of the discourse of this narrative can be with the signs that lead to the validity of the negotiation-the semantics of get Greimas's theory in the discourse factors, be consistent and proper understanding of literary genres based on aesthetics in the context of a narrative. In the discourse of Greimas for understanding why some thing in common can be found only in one of them, involved factors organization and the representative of a whole component, Review one of the narratives and use the exact indications created by Bayhaqi it reveals the discourses of action that lie behind the signs. In this essay, we are going to study the narrative of Behaghi's narrative in the field of library research and in a descriptive-analytical approach. The Tarikh-e- Beyhaghi incorporates components of discourse systems related to the modern science of literature and by establishing a link between the construction and understanding of deeply constructed linguistic meanings in this historical process, the signs that have brought about different semantic boundaries for the main actor and the way of understanding action discourse. Greimas creates literary criticism for the reader in modern readings. And shows that classical literature texts and Iranian historical writings provide the perfect ground for semiotics and discourse studies.

Fatalism is one of the major discourses in the field of literature. In many of his actions, man accepts the free will consciously and unconsciously, but when he fails to resort to fate and believes in and speaks of the supreme will that has finally subjugated him. Whereas, based on the theories of theorists such as Yule, Brown and Fairclough, discourse analysis is applied to language, it cannot be limited to describing linguistic statements that are independent of the purposes and functions that these statements are designed to address in human affairs. , Given the high frequency of words like "fortune" in the books of many poets and writers, these words should be regarded as "signified" words that carry the meta-semantic and transnational concept, rooted in the subconscious and ideology of their speakers. In this article I will attempt to examine the relationship of these words in "Eghbalname" and "Makhzan -al-asrar” ‘s Nezami poem with Zurvanian fatalism thinking and to analyze the discourse based on Norman Fairclough 's theory of analysis. In this article, while discussing these vocabulary, the persistence and effect of Zurvanian -Mehri fatalism on the thoughts and works of writers and poets, as well as the transmission of this thinking to later periods are discussed.

In this article we intend to bring joy and happiness form the perspective of the eighth method of references and punishments of ibn sina the great scientist of Islamic iran and the world ( science- philosophy and logic- medicine and wisdom) with the poems of rumi the great poet of iran and the world lets examine and compare him as a mystic and thoughtful scholar in Islamic thought and hafez the great lyric poet of the eighth century. Given the importance of the issue and the influence of all three nobles in the discussion of Islamic science philosophy and mysticism research in this regard is essential. Assuming that ibn sina mystical language in the eighth method is significantly similar to rumi language in divan shams and masnavi and hafez lyric poems in his divan we answer the important question of how rumi and hafez language in their poems with ibn sina about pleasure and happiness? We came to this conclusion by bringing documents form the eighth method of ibn sina allusions and punishments and rumi poems in divan shams and masnavi and lyric poems form hafez divan rumi poems are mentioned in two great works and hafez lyric poems have significant similarities with the concepts of the eighth method of allusions and punishments about pleasure and happiness and its synonyms.

In Kelileh and Demeneh, in the Lion and beef clubs, characters such as Kelileh and Demeneh reveal political-organizational behaviors. In the political system, this story of law and order does not have a stable place, and it is based on the use of a force-based instrument. The will of the king and the ruling classes as a general rule is the criterion for evaluation and implementation, and changes according to the views and opinions of the governing body. The lack of a set of well-defined rules of conduct and lack of meritocracy in the selection of individuals provides grounds for spreading rumors and conspiracy against others. Political behavior is not always bad at the organization. Therefore, it must control and control the destructive political behaviors. Organizational-political behavior empowers people to understand the complexity and organizational issues of the organization. Whatever the manager or ruler knows more about the features and special events of the organization, his reaction and reaction will be better and more open. Power in the hands of different individuals in an organization seeking their own interests results in unusual political behaviors and people react differently to power bases. In general, one can say that certain political attitudes and culture have influenced the behavior and thought of fictional characters. In this research, the methodology of library-political behavior in relation to human organization has been discussed in terms of status, mistrust, rumor and pessimism.

Ferdowsi's Shahnameh, due to the simultaneous existence of signs and elements of ideology Rituals and various myths in it, is a place place of intersection and intersection of various discourses and semiotic systems. Among these discourses, the presence of Mehri and Zoroastrian discourses in Shahnameh is remarkable and noteworthy; In fact, the importance of these two ideologies in ancient Iran and the inclusion of Shahnameh in the characteristics and elements of the intellectual, belief, social, cultural and political system of Iranian society on the one hand and the formation of many contexts and events in post-Zoroastrian Iran in the context of relations between these two religions. Many of the stories of Shahnameh in their depth or superstructure reflect the wide and varied relations between Mehri and Zoroastrian discourses. According to the theory, Goshtasp and his gens were Mehri before Zoroaster turned to them and entered the Zoroastrian religion and had the gods and organizations of Mehri associations. Using a range of critical approaches and analytical-critical method and library method, the present study, while proving Goshtasp's bias  to zorhraism, seeks to analyze the Mehri-Zoroastrian discourse relations in the story of Goshtasp in the Shahnameh. Ask the question: what kind of interaction, confrontation or combination is the relationship between Mehri and Zoroastrian discourses in the text of Goshtasp story?

Fire is one of the fundamental elements in the creation of the universe and also the most important manifestation of life in nature for human beings. The element of fire has been of great sanctity and importance among all human beings and religions since the beginning of life. This element has always been of special importance in the thoughts and poems of two great poets of Persian language and literature, namely Ferdowsi and Rumi and has been manifested in various forms and species in their works. Ferdowsi described fire as the superior fire, and in her view fire is the source of other basic properties such as heat, cold, dryness and wetness. The mythological features of fire in Shahnameh, such as test fire and purification fire, are very vivid and symbolic. Fire is used in Rumi's poems in the form of allegory, allusion, permission, metaphor, symbol, etc. Fire is seen in Rumi's poems as examples of the fire of truth and his manifestations, the fire of the prophets, the fire of love, the fire of hell, the fire of the soul, etc. all of which have been used to explain knowledge, love and the manifestations of creation and evil. In this article, in a descriptive-analytical manner, the images of fire in Ferdowsi's Shahnameh and Rumi's poems have been studied.The functions of knowledge, love and fire purification are mainly influenced by myths and have many points in common with Ferdowsi's Shahnameh in terms of approach. But in the analysis of the mystical approach of Rumi's poetry and his images, we find that he has found his way into the most abstract realms of his existence and expresses the content of his conscience symbolic.

Romanticism is one of the most complicated and at the same time the most attractive literary schools in the world. Its emergence in France in the eighteenth century was against the tradition of neoclassicalism. Nader Naderpour, as one of Nima Youshij's disciples who is the source of romanticism in contemporary Persian poetry, has used many of his features in the Romantic school of poetry, and their comparison with surreal poetry such as Paul Eluard is attractive, Because romanticism itself later opened the way to surrealism, and the poetry of the surreal school effectively utilizes romanticism in their poetry. Especially Paul Eluard, who sometimes romances so much in his poems that the poet's audience is skeptical about his surreal thoughts. In this essay, we try to discuss the elements of romanticism in his poetry with the poet Paul Eluard, a French poet who later became the founder of the school of surrealism, which aims to find common doctrines between two poets from two lands and two cultures from the school's point of view of Romanticism is that the literature is universal and epidemic by  this common vision of poet and writer. This speech was conducted in a descriptive analytical manner (library research).

As Identity is connected to individuality, it is one of the most important topics in the field of humanities. Because it is only in the shadow of identity that man is released from invisibility in society then he reaches the individual and prepares to play its human role in society. Therefore, in all human societies, national identity has more social value than other identities. The subject of the present article is the study of national identity in the poetry of two great contemporary poets, Akhavan and Shafi'i Kadkani. To understand it, we first briefly study the issue of identity, cultural identity, social identity and national identity and then, we have found, categorized and analyzed the objects of national identity in the poems of these two poets to show its impact on their poetry. The data of this research have collected in a library and documentary manner and then we analyzed them using a descriptive method. As a result, both poets are prominent in identity and have stopped in their journey of life and poetry, more than anywhere else in the home of national identity.

In Persian literature, for every work there is an ecstasy of body and texture, especially in fiction and poems, whether lyrical or epic or didactic and mystical, the poets of the poems have quoted the story, equal to that body and structure. The external and internal aspects of the poems, which can be named as the structure and texture of the story, are different according to the artistic taste of the poet, especially in the texture of the poems, which regulates the relations of the components, The Art of the Poet. Of course, the literary type of the work also has an effect on the internal structure of the work, which we called it "texture". For example, the context of Ferdowsi's Shahnameh or Nezami’s Khosrow and Shirin, or Attar’s Manteq al-Tair, differs from one another, although it may be somewhat the same as the construction of the preface or the ending, or the beginning or the end compose. In this discourse, the authors try to examine the exterior and the inner texture of the love story of "Nell and Daman of Feizi Dakani" with a (descriptive-analytical) method.

One of the most important features of Hafez’ lyrics is to apply creatively the costumez and coverings . the main usage of Hafez is for saying beautiful mystical meaning. In his way analogies,metaphores rised out of similiesnd sometimes they’re shown in the form of zrony and imagery in the article authors are going to show some interwoven forms of analogies and metaphors and to poetry imagination in words,using words and expression related to costumes for imaginary simile of Hafez thoughts are intended. It is true that Hafez has  excelled in the  used  of   elements of imagination  formes  and in   the  arrangement of words  with  spiritual industries ,he has made  the work miraculous and this art show is not for evry one. There’s no need to mention that this research has used the method of (analytic-descriptive)which itself is sub-part of the library method to explaine the poems.

Abolhassan Mawardi is a fifth-century political theorist who played an important role in shaping the foundations of the Islamic State's political power. The political ideas of Muslim policymakers have also found their way into historical texts over time. In this study, the authors have tried to examine in a descriptive-analytical way the similarities between the political views of Mawardi on the requirements of government and the duties of rulers in the book Al-ahkam al-soltaniyya wa al-welayat-e al-diniyya and the religious provinces in the Tarikh-i Jahangosha. Findings show that the main components of common political views in the two books "Al-Ahkam Al-Sultaniyya wa alwelayat-e al-diniyya" and "Tarikh-i Jahangosha-ye Joveyni" in six main areas of rule, duties of Imam and ruler, removal of Imam and ruler, rulers of domination, suppression of opposition, bureaucracy and nine can be checked. In the writings of both authors, the attainment of power and the permanence of government for the ruler is a matter of divine will and approval. The three main duties of the ruler are to help religion, jihad and justice.The caliph and the sultan, in obedience, have equal rights and duties, and the suppression of political enemies is interpreted as jihad, and efficient government agents and institutions increase the longevity of the state.

The subject of this analytical and descriptive article is the study and analysis of the patriotic poems of the famous Tajik poet, "Gol Rokhsar". Patriotism, in the last century and in the newly independent countries, was a common phenomenon and attracted the attention of many speakers. In fact, addressing the issue of the homeland is a social and political necessity for many countries that see their independence as vulnerable and endangered. Because these nations suffer from a lost identity and consider the praise of the homeland and the reliance on its history and background as a means to achieve their national identity. To achieve this lost identity, Gol Rokhsar had no choice but to rely on the ancient culture of the Tajik people, who were all under attack. Since the ethnic Tajiks are Persian-speaking and part of the body of the great Aryan and then Iranian-Islamic culture, the shadow of this ancient Aryan culture is felt on the glorious homeland of Gol Rokhsar. In any case, this Tajik poet, after fierce struggles with the opposition to the formation of the Republic of Tajikistan, given the fragile political situation of his country, not war; Rather, he considers peace, reconciliation, and dialogue to be the most effective, and for this reason he turns his bow into a pen, so that he can spread the voice of the deprivation and oppression of his people to the world. The information in this article was collected by the library method and then described analytically. The most important achievement of this article is that Gol loves his homeland more than political issues.And he honestly expresses his emotional understanding of his homeland and his countrymen.