نشریه کاوش نامه زبان و ادبیات فارسی
پیاپی 52 (بهار 1401)

The story of Rostam and Esfandiyar, as one of the most widespread and rich epics in Iran, has been the subject of numerous researches and has been studied and interpreted from various perspectives. Each of these researches, for their part, have shed light on this story and sometimes, have clarified some aspects of the Iranian culture and history. The present study, which is descriptive-analytical research based on the historical research method, tries to re-read the story of Rostam and Esfandiyar from another perspective and to test the hypothesis that this epic is the product of the analysis of the wise Iranian historians of a phenomenon that has occurred many times in the history of Iran and other countries. This historical phenomenon is a constant conflict between the central power and the local powers, which centuries after the emergence and spread of the story of Rostam and Esfandiyar in Iran, Ibn Khaldun formulated it in the form of his famous theory of how states emerged and fell. While confirming the above hypothesis and presenting a new understanding of the story of Rostam and Esfandiyar, the result of this research is also a light on the characteristics of historiography and the historical perspective of ancient Iranians.

The story of Mehr & Mah is the story of oriental love of Mehr's for the western Mah and his departure to reach his beloved. The story is an extended pattern of Sonnet(Qazal)that adapts to the narrative structures and episodes of folk tales. It is a frozen discourse that has become a stereotype through repetitive use over time and has found its reconstruction and revival in combination with another form. which can be separately defined despite their entanglements. In other words, the sonnets within the narrative are separated from the story, but the homogenates that have derived meaning from abstract data on the surface of discourse have complicated the relationships between the signs. The narrative plan is based on plan-oriented action, and the sonnet is an emotional flow that pervades the entire discourse. By distinguishing the sonnet, as an emotional flow, and narrative, as a plan-based system, the semiotic analysis examines the function and interaction of both in the whole discourse. How have the metaphors of the sonnet changed the syntactic layer and the base layer by formulating the basic categories of semantics? Has the emotional genre been able to produce new indices by breaking language norms? The use of indices and metaphors of sonnets in the narrative has objectified the discourse of the sonnets, but this sensitization is inconsistent with the poetical and literary criticism of the Timurid and Safavid eras, which claims to be devoid of myth, because the central core of discourse is still based upon mythology.

The way love is expressed, like other emotions, is influenced by cultural factors, and by changing culture, attitudes toward love and the way it is expressed change. In Iran, following the acquaintance with modernity and the formation of new norms and values, attitudes about love changed and this led to the formation of different patterns about it. In order to recognize these changes and patterns, poetry Especially humorous poetry plays an important role. Accordingly, in this research, an attempt is made to study the subject of love in Nasrabad's Zarwi poems with a documentary method and to answer these questions: what patterns of love are represented in this poet's poem and what is the poet's attitude towards it? Have. The results show that the three patterns of modern, traditional and distilled love are reflected in Zarvi's poetry. To describe modern love, Zarvi has used the conceptual metaphor of "modern love as a commodity", which shows the effect of the consumption component on the attitude towards love in Iranian society and its reflection in the poetry of this poet. The presentation of love in colorful models, its portability and transferability, the lack of commitment in a romantic relationship and the desire for diversity in love are the most important features of modern love in Zarvi poetry. This satirical poet has pointed out some of its shortcomings, such as having a morbid attachment to the beloved and having a bitter end. According to him, distilled love, that is,

In the new critique of the author's dominance of the text. Roland Barth was a prominent structuralist And put forward the theory of the author's death. Barth rejects the traditional view that the author is the source of the text, the source of meaning, and the only person competent for interpretation. In this theory, the author's death is equal to the birth of the reader Because meaning is not at the source of the text And at the text destination. So if we consider the source as "author" and the destination as "reader" Meaning is formed at the destination. Thus, in this theory of creator work, the focus is no longer influential. Rather, it is the work itself Which at any time, being read or seen, means production by the audience. In the present study, the novel "The author does not die" by Hassan Farhangi has been investigated based on the author's "death theory". The results show that the author in this novel, as a postmodern novel of tricks the power of authority and choice to give to the reader, disobedience and character conflict with the author and finally finding the power of the character, emphasis is placed on storytelling, intertextuality, integration, and the blending of the author's real life with the fictional life of the characters. And introduce the novel as a postmodernist novel with an emphasis on the author's theory of death. All of these tricks reduce the text's central author And emphasize the role of the reader.

A heroic scene is a kind of folk tale that depicts the exaggerated battle of real, historical or imaginary heroes and heroines along with their adventurous and romantic adventures. Many of the characteristics, traits and actions of the hero of the stories are rooted in the heroic traditions of ancient Iran, mythological ideas and the system of nobility and chivalry. They had popular literature with Shahnameh. This study aims to identify the characteristics of the hero of folk tales in comparison with the hero of Shahnameh in terms of birth pattern and related principles, military and political actions, and the characteristics of modesty and chivalry. The results of the discussion show that the hero of popular literature has a lot in common with the hero of the national epic in the pattern of birth, quality of upbringing and education, warlike character, using fine tricks and adhering to the requirements of chivalry ethics; But according to his popular origin, in political actions and the type of dealing with the institution of power, he acts more freely and independently than the hero of Shahnameh.

Nima yushij is a pained and aware of Suffer Poet who, in addition to personal and inner suffering, is both aware of the pains of society, and is capable on the language, tools and poetic techniques. The present research by a descriptive-analytical method seeks to answer the question that Nima has used which linguistic and literary techniques and devices to transmit grief and influence the audiences of his poetry. This study shows that Nima has been able to use literary and linguistic tools to transfer the suffering and sombrous experiences of his own individual, social and intellectual and his community too. From a literary view point, he has based his similes and metaphors and generally imagery system on dark and bitter images; so the components of imagery in his poetry are generally sad, Furthermore Nima leads the reader to a sad atmosphere by using some language games and setting on the background of musical context of his poems. The novelty device of "repetition" and its types, the usage of heavy and calm metres, the usage of long vowels and the conscious use of sorrowful complexes and words, are Nima's linguistic techniques in order to present and visualize the concept of sorrow.