مجله ادبیات پارسی معاصر
سال یازدهم شماره 2 (پاییز و زمستان 1400)

The sociology of literature, which studies the production and social consequences of literature, as an interdisciplinary science, is related to literature, linguistics, and philosophy on the one hand, and to the social and historical sciences on the other. . Since after the victory of the revolution, sparks were created in social poetry and the social poetry of the revolution was formed as a powerful and well-established current, this study tries to use Bourdieu's theory of character and field and qualitative-descriptive analysis method. To examine the three main components of character, field and capital in Salman Herati's poems. According to the results of this research, Herati poetry as a poet's action is the result of the relationship between his character and position in the political, social and literary fields. As a revolutionary poet, in some of his poems he criticizes and protests against the unhealthy state of society, the class distance existing at that time, and Westernism. In the meantime, poetic acts with the theme of love and affection towards the Imams, the Supreme Leader, the martyrs, etc. have been used more prominently.

In this study, based on the discourse analysis approach in the framework of the theory of "James Paul J." and "Ruth wodak", the reflection of prominent elements of female identity in the form of women's memoirs - with reference to four works of the Constitutional and Pahlavi eras - is examined and analyzed. The results of the study show that these works, by using language in situations, open a world that is a construction of the lived experiences of women and the great discourses of tradition and modernity in Iran. Hence, women's narrative in memoirs focuses on highlighting elements and components of women's identity in the modern world and marginalizing the old traditional discourse. The analysis women's memories in one area shows that a new understanding of human identity has been formed and women in terms of identity have gradually moved away from their traditional identities and found new identities that originate from the modern world and pluralism. On the other hand, female memoirists have at the same time been able to obtain a consistent combination of elements of modern and traditional life and redefine their identity based on lived experiences and historical understanding of modern-day relations.

The concept of "body" goes beyond a set of organs and functions that are regulated by the laws of anatomy and physiology. The body, above all, has a symbolic structure that provides a medium for the projection of cultural forms in their broadest forms. In this study, examples of this assumption will be followed in the study of plays produced in the Iranian dramatic literature of the Sixties and Seventies. An era that was accompanied by fundamental changes. In the mid-1970s, two-thirds of the country's population was young people under the age of 30. The country's education system also grew slightly to threefold. Influenced by the "post-colonial" discourse that flourished after World War II, this broad class at one point turned to the leftism; And turned to jihad in opposition to the regime of the time. The objection manifested in the literary / artistic productions - which are considered works in praise of the mass uprising -. This resistance is manifested in different levels of works; Among these, the "body" will be considered in the present study. Among the works of Art/Literary, an outstanding play by Gholam-Hossein Saedi, “Chub be Dast-haye Varsail” will be analyzed. In order to analyze the various aspects of the "body" in this play, first of all "gender; Appearance" is considered. In the next part, "body movements", and after that, "body stillness and creating illusion and imagination of movement" and its implications will be discussed. Finally, we will consider a topic that is specific to this play. the unique aspect of ‘body’, which has shown itself in the "Metamorphosis of the body”. Results indicate that the process of emphasis on the certain dimensions of body, helped the writer to alienate some characters. This process is possible by usage of the body's capabilities, for example by transforming shape of the body towards the animal figure.

Existentialism has been one of the influential schools of thought on the ideas that dominate the fictional literature of Iran in the 1340s and 1350s.The political and social conditions of the society at that time and the feeling of the need to change and apply new ideas as well as the nature of the school of existentialism and its special connection with literature, caused the tendency of intellectuals and writers to this philosophy.This article examined some of the works of Mostafa Rahimi (1305-1381), author and translator of Sartre's works in Iran, to show how the works of the mentioned period were influenced by existentialist ideas.Rahimi emphasizes on the frequent and purposeful use of the main components of the philosophy of existentialism such as: primacy of existence, freedom, choice, responsibility, abandonment, emptiness, apprehension and personal originality or existentialist ethics and attention to committed literature in the selected works of this study.The method of this research is descriptive-analytical and the field of study in that novel is "Accusation", plays "Tiala" and "Anahita" and an article from the collection of articles "Perspectives" by Mostafa Rahimi.

Tudeh Party of Iran has used different literary genres for expressing their points of view and employed literature as a mean to state political ideas. Among literary genres, story has remarkable capability and it is counted as a suitable culture which both the pro-Party authors and mass folks can test their aptitudes. Investigating 14 dependent periodicals to Tudeh Party, story genres have been reviewed through utilizing Socialist Realism instructions perspective, in this study. According to findings, the used themes are more about economic poverty, cultural poverty, injustice upon poor people, call for unity and struggle against oppressors and other subjects of Socialist Realism approach. Even from style perspective, some of these stories are too amateur and have lack of narrative technique and some of them have been written so professional that their authors have been able to skillfully fit Party’s instructions on subtexts. Another part of published stories is about Pop literature which has been one of Party’s strategies in literary studies scope

Locality and climate are of frequently used terms in environmental studies which, coupled with literary notions and ecology, have presented researchers with new, interdisciplinary research goals. Local and climate studies include any experience which reflects the interaction of a poet and his/ her immediate environment in his/ her imagination, language, thoughts or feelings. Local and climate poetry is a subjective poetry with a certain structure which simultaneously displays tradition and modernity. In this study, we aim to find an answer to this question: what roles have local-climatic elements played in the richness of mental and linguistic images of Mazandaran poetry? The present research is the result of examining 225 poetry collections of 50 Mazandarani poets (1350-1400). In it, we have attempted to classify local-climatic elements based on two major geographical and socio-cultural and nine minor features. From this perspective, the role of environmental elements and geographical messages they are trying to convey have been examined in all the existing stylistic tendencies, frameworks and genres in the poetry of Mazandaran. Findings of this study, regarding statistical data analysis, indicate that frequency of local-climatic elements is significant in socio-cultural feature of Mazandaran poetry in a way that customs and rituals, beliefs, colloquial terms, tradition and modernity, music and environmental approaches have been depicted in surface and deep structures of poems. Research methodology used in this study is a mixed method (qualitative and quantitative) which makes use of reference documents and reliable Internet sites.

The present study aimed to analyze the fundamental shortcomings of the papers written on the subject of realism in the Persian literature. To do so, first the number of such papers published in the national academic journals were determined. Then, the findings of such papers were compared against the realistic fundamentals and principles and the opinions of realists. The papers under study were divided under three categories: the first category consisted of those papers that studied realism and its features theoretically. The second category was related to those papers that investigated the realistic fundamentals and principles in a Persian literary work or in a writer’s literary collection. The third category referred to those papers that investigated the realistic features in the literary works comparatively. The results of the study revealed that due to the lack of deep investigation into the theoretical and philosophical foundations of realism, some fundamental mistakes have appeared in the papers, including the reduction of realism to story elements, the societal reflection in literary works, and the lack of differentiation between the different meanings of realism (as a school, a story writing style, etc.).

The novel Chess with the Doomsday Machine, written by Habib Ahmadzadeh, represents a war-torn society through a second-person narrative that creates a link between the narrator and the audience while creating distance. The narrator presents a different and sometimes contradictory narrative of the war - from reporting concrete facts to providing a platform for critical thinking about it. This shows how paying attention to the types and dimensions of text narrations and putting them in interaction with each other leads to different and new perceptions. In the readings of the novel Chess with the Doomsday Machine, the attention to detail has led to an individualistic critique of the text and the placement of social issues in the individual sphere. In the present encounter with the text, an attempt is made to examine the socio-cultural situation depicted during the war, considering the entanglement of the narrations and considering the narration of chess with the resurrection machine in dealing with the sub-narrations. And be criticized. This view of the text is, in fact, a call to the audience to reflect on the narrative form of the world by the characters and their actions and reactions to the induced reality and, consequently, on how to reinterpret it.

Although literature originates from the contents and ideals of a nation, but it is not limited to its mere use, and creative actions in this field lead to the creation of a new world. Thus, in addition to being influenced by its cultural and historical context, each literary work also can the ability to influence it. New History is an approach that aims to convey this idea and Emphasis on "Text is considered as history and history is considered as text". As the first experience of the horror genre in the field of Iranian children and teenager literature, the khon asham story collection, by moving imaginary characters on the real world stage, makes the audience watch the real life and its existing discourses in order to increase their level of awareness of the surroundings, It prepares them for face the dangers and threats that awaits them when they first enter. Thus, using a "new historicist" approach, the khon asham story collection has a lot of remarkable capacity for review. This research seeks to explain by qualitative analysis method and using library studies based on complete induction, can reveal hidden or silent meanings or weak voices of the text in order to reveal the power relations in the text by highlighting the existing discourses and show that how the text of the discourses of its time is influential and reciprocally effective in creating new discourses. As a result, the study states that destiny and patriarchy and the unequal gender distribution of power in the family are the dominant discourses and the discourse of "love", especially love of land and homeland are also among the main discourses of this work.

The criticism of fiction in Iran began with basic moral criticisms which reduced art and fiction to a means of refining morality. With the rise of the Tudeh Party and the specific historical circumstances of Iran, it gradually moved towards ideological criticisms and a kind of almost homogeneous Stalinism. From the 1960s and with the advent of avant-garde magazines such as Jong-e Isfahan (The Isfahan Anthology) and the translations and writings of such individuals as Abolhassan Najafi and others, Western literary theories were introduced in Iran. Reza Baraheniwas one of the few academics who managed to distance himself from the traditional atmosphere of the university and apply modern criticisms and theories in his articles and research books as well as in his creative works. However, unlike Najafi and Golshiri who managed to create a coherent system of humanistic commitment and form, he stood somewhere between social commitment and formalism at least in his book entitled Story Writing. By elevating the concept of ‘sacred art’ in the post-revolutionary years, some religious intellectuals sometimes encountered the same theoretical contradiction on issues related to aesthetics. Nevertheless, the more the passion of the revolution was reduced, the more Braheni turned to the theories of structuralism and formalism and distanced himself from the combative commitment of the 1960s which inevitably led to a conflict of form and content in his Story Writing. Therefore, it can be said that as one of Baraheni’s most prominent books, Story Writing is an instance of the criticism which formed in the transition from the paradigm of ‘committed literature’ to the paradigm of ‘art for art’s sake’ and consequently formalism.

After organizing prosodic feet and presenting so-called Najafi’s circle, Abolhasan Najafi managed to classify most of the Persian poetic meters, provide a criterion for their pleasantness or unpleasantness, and divide them into muttafiq al-arkan (i.e., each consisting of a repeated foot) and mutanawib al-arkan (i.e., each consisting of two types of feet alternately repeated) meters. Nevertheless he found some meters adopted by Persian poets since Rudaki which could not be placed in either group of meters, but, towards the end of his life, he found a way of including these meters in his classification. According the rule he called “tafarro‘-e vazni” or “metrical branching”, all meters of both groups which started with a foot of ᴗ - ᴗ, the foot could be changed into - - ᴗ, bringing about a new and distinct meter. Re-explicating this rule in this paper by introducing some of Simin Behbahani’s poems versified in this meter, we rename the rule into “qa’ede-ye Simineh” (“Siminegi”) or “Simin’s rule.” There are three reasons for calling the rule in this way. The first is that no one has taken advantage of this rule as much as Simin, and the second one is that the scansion of the word “Simineh” reveals exactly the same foot appears in the new meter (- - ᴗ). Finally, it is possible that Najafi was partly led to this rule by investigating part of Simin’s poetry written in this meter.

AbstractAbstractToday inviting epic characters into novel is one of the main means for writers to express personal and social concerns, the concerns which are directly related to the metatextual context of producing of the work. The purpose of this study is to investigate how and why epic characters are called to this novel, the connection of these elements with the context of the hypertext and also to examine the author's position. Thus in this research, we first analyze the socio-political context of the time of writing the novel (mid-seventies and early eighties in solar calendar). Then, by using the method of qualitative content analysis, text coding and categorization of codes, we have clarified the author's position for or against the contexture of his metatext. It is worth mentioning that we have used the 2020 version of Maxqda software to analyze and extract tables and graphs. Findings of this research show that Mohammad Ali evokes epic characters to his work so that some modernist discourses of the Reform period; including attention to women's rights, their independence and different kinds of social, economic and cultural activities, and in return weaken traditionalist discourses, such as patriarchy, mere motherhood and the lack of independence of women.