فصلنامه متن پژوهی ادبی
پیاپی 94 (زمستان 1401)

Ecological critique is the study of the relationship between literature and the natural world, the origins of which are the emergence of new ideas in anthropology and environmental issues that humanist discourses play an important role in their emergence. In the story of Moniru Ravanipour’s Ahle Ghargh, the relationships of the characters such as Kheyjo, Zayer Ahmad Hakim, Mah Jamal, Madine, and Mobor men with the environment are examined in this article to show how power relations at different levels of this story are effective based on Foucault's ideas. In this story, Kheyjo, Mah Jamal, Madine, and Zayer Ahmad Hakim have a close relationship with nature as well as a transcendental view of the earth that challenges the dominant discourse of the age, philosophical humanism; the humanism in which more attention is paid to human thought and looks at man and nature through the eyes of an element or object. This is why Foucault in the age of modernity sees the presence of man in the scene of the illustration of thought and consciousness, and argues that empirical combinations should be applied in a place other than the absolute rule of "I think". In this article, considering the importance and impact of discourses in the production of the literary text, the aim was to examine the story in question with a descriptive-analytical method of the human relationship with the environment and the impact of different discourses that play an effective role in exercising power to inform man about his behavior with the environment and to reveal his relationship with nature.

Metaphor is one of the most important tools for transferring language from its real usage. On the other hand, today metaphor in the west is no longer specific to poetry and literature and tool for adoring the word; rather, metaphors have entered the realm of thought and cognitions and have been used from different perspectives in many sciences. In the field of poetry, the use of metaphor in human emotions has always been considered; because human emotions have always been used as a source of origin in the metaphorical structuring of various concepts in most languages and take advantage of the cultural patterns of each language. Khaghani is one of the most creative Persian-speaking poets who use novel and fresh metaphors. The purpose of this article is to study the frequency of usage of conceptual writings in Khaghani’s poetry with a permissible conceptual approach or conceptual metaphor and to analyze the data of Khaghani's poetry. In fact, the three domains of origin “change of state” “change of gaze” and “impatience” can be included in one domain of physical change. Finally, the field of origin “anger is in line” and “anger is outrage” are the most frequent field of origin for conceptualizing anger in Khaghani’s Divan.

By introducing the theory of individuality, Jung has opened a new chapter in literary criticism and provided a forum for the activities of many contemporary theorists, including Joseph Campbell. Campbell, enumerate one of the common themes in myths that have a similar structure to each other and follow the single target as the hero's adventurous journey and according to that brought up the monomyth theory. In this research, enlisting from the myth criticism method and according to Campbell's classification, the hero's journey in Sam Nameh’s poem that occurs in romantic adventure format was checked. Findings of research show that although the order of total pattern is not observed in this journey and all of the levels were not performed completely, the hero's journey differs slightly from Campbell's pattern. The hero at his own symbolic journey, with the discovery and recognition of the unknown and damaged aspects of his own psyche, was able to shape his shattered and unbalanced character by passing beyond the boundaries of his - limited- self and experiencing his own individuality by psychological evolution.

The translation of the novel "The Adventures of Hajji Baba Isfahani" is a turning point in the history of Persian prose literature and the history of translation into Persian; much research has been done on this novel. Ambiguities about this novel and its Persian translation have been raised and investigated, including whether the original text was written by James Murrier or did he expand the novel on the basis of a Persian text and is "Mirza Habib Isfahani" the main translator, or is it Sheikh Ahmad Rouhi as written in the First publish of this novel? This paper has attempted to make new points by relying on intra-textual cues, comparing the translation with the original text, stylistic features, and so on. This study considers the existence of a Persian text as the main text more probable. And about the second ambiguity, this article emphasizes that Mirza Habib is the main translator of the novel, also determining the contribution of Sheikh Ahmad Rouhi and Mirza Agha Khan Kermani in the translation of the novel.

Farzand-nameh is one of the most important and ancient genres of didactic literature that parents have written with the aim of teaching science and religious and moral education to their children. Advice is the most important part of this Literary genre. Because the audience of this literary genre is mostly young people - and young nature tends to be rebellious and disobedient- they may not like it. Hence, there are always Rhetorical restrictions in front of them. Hence, authors and composers of these works are looking for rhetorical tools to solve these problems. Parody can be a rhetorical tool that has a deep effect on the audience by breaking the norms of the traditions of Farzand-nameh. In this paper, the contradictory functions of this literary genre are examined by studying the case of the manuscript of the Sheikh al-Maqamerin's advice book. This manuscript is a parody of Qaboos Nameh written by Ibrahim Khorasani for his son. Sheikh al-Maqamerin criticizes the two age-old traditions in Farzand-nameh: Pay attention to the personal benefit and people's judgment. In addition, the author has used parody to describe the turmoil and corruption of his time with his son in order to turn him away from moral vices by turning him upside down.

Although it is the birthplace of Latin American magical realism and the writers of this region have contributed to its globalization with their works of fiction, some thinkers in the field of literature believe that this method is not unique to this region of the world and its roots can be traced back to eastern literature, especially mystical texts. Mystical texts, and specifically Sufi "assemblies", are basically imaginative because the "old man" used to tell stories about mystics during the Majalis, and because most of his audience was the general public, he did his best to make his words believable and effective. In this article, using a descriptive-analytical method, we have mentioned examples of common points of "magical realism style" and the anecdotes of "Tabrizi ancient gatherings". The important points of connection between "assemblies" and writing in the style of magical realism are dignified actions, strange behaviors, strong imagination, breaking the boundaries between reality and surrealism, and disrupting the causal structure

Poetic forms play an essential role in the division of Persian poetry. Most of the definitions of these forms refer to its form, and since in the sixth century some themes are expanding, and the form of lyric poetry has also become popular. In the works of poets such as Sanai and Khaghani, who are both poets and lyricists, the issue of classifying poems in the field of content and format has arisen. In the present study, we have examined and classified Khaghani's short poems from a linguistic point of view. We have concluded that due to the three linguistic, as well as "vocabulary selection", part of Khaghani's short poems are in the lyric poems and part of the lyric poems are in the short poems. Khaqani's short poems can be divided into 7 groups: 1. Poems all praise, 2. Poems of incomplete poems, 3. Grief poems, 4. Syntactic poems, 5. Judicial poems (advice), 6. Complaining poems, 7. Qalandari's poems. The linguistic features of some of these poems are very close to the form of "sonnets" in such a way that both very similar examples can be shown in both sonnets and poems. Khaghani is one of the poets who injected the sound of "praise" into the lyric after Sanai, and is the first poet to recite "mourning" in the form of a lyric. As a result, the line between short poems and lyric poems has blurred, making it difficult to classify his poems.

The tone is the speaker's attitude and feeling The most important factor is to create an atmosphere and influence the audience in the poem. Knowing the language and its tone plays an important role in understanding any text. The language and tone of the epic are the results of the choice of words, combinations, imagery, novelty, and the choice of weight to suit the type of epic. The purpose of this study is to investigate the effective factors in creating epic language and tone in Farrokhi Sistani's poems using descriptive-analytical methods, it has been done in a library way. Farrokhi Sistani has given his poems an epic tone and atmosphere by the use of internal and external music, vocabulary selection, and epic combinations, and using epic arrays such as exaggeration, metaphor, and numerous references to Iranian heroes, and epic and mythological characters. The results of the studies show that the poet has an epic, thoughtful mind, and it is reflected in the forms, words, and combinations used in his poems. This kind of mindset and imagination is linked to the society of the fifth century and the beliefs and ideas that govern the culture and literature of that period and of course it is effective.

One of the main axioms of eccentric criticism is the examination of the interrelationship between humans and the environment. This type of criticism seeks to understand how human attitudes to nature and how environmental issues are reflected in literary works and to analyze the impact that human beings have on nature and the physical and psychological properties of humans in literary works. In Moniro Ravanipour's Ahl-e-Ghargh, nature is not only regarded as the scene of events but as the main context of the story itself, the agent of events and the advancing events, directly affecting the characters and interacting with humans and their decisions. In this story, the characters sometimes find themselves exposed to the power of the sea as part of submissive wildlife, and sometimes it is nature that inevitably interferes with man and his power. In this story, the characters are sometimes frightened and wandering against nature, sometimes mingling with nature and resting in its lap.

Lyric includes a wide range of subjects and poetic formats. Specifically, it is a type of poem in which the element of emotion is dominant and naturally it has some components that have made it different from other types. In the present study, the author investigated the indicators of lyrics in the story of Homay and Homayoun by Khaju Kermani and the poet pays attention to rhetorical principles and the relationship with the audience. Components that this study has been written based on them are the personalization of "I" in lyrics and introspection, being romantic-mystical, compounds of lyrics, descriptions, and metaphors, investigation of battles and banquets, etc. which is matched by expressing some examples of Khaju's poems. The general purpose of the research is how these components are manifested in Homay and Homayoun? The result of the research is that; the mighty poet has paid attention to the form and meaning and the way they are used and their impact on the reader. This literal type enjoys a great deal of lyrics value due to the usage of battle and mythological elements by Khaju and ethical points(doctrinal) that are specific to other types, and the emergence of lyrics indicators is outstanding in the way that it covers epic and ethical indicators. The imagination power of the poet and using these features have turned the work into a lyric and made it a special one.

Translation research and criticism can be considered a branch of text research. The present study deals with the overtly erroneous errors detected in the two English translations of a Persian novel. Based on the findings, the challenging lexical items for the two translators did not belong to the same categories. Since the non-native translator had faced more difficulties while rendering terms categorized under linguistic items (especially idioms and noun phrases), generally, all non-native translators are recommended to fully familiarize themselves with the source-text idiomatic expressions. The native translator had revised his work three times. The findings also revealed that the non-native translator had committed three times as many overtly erroneous errors as the native had made. This implies the significance of revising the target text, the importance of considering the issue of text-dynamism, and the requirement of native translators’ more active participation in rendering the literary masterpieces of their own culture.

One of the important tools that the author of educational literature uses to explain and interpret moral and mystical ideas and to convey his content to the audience is allegory. In the allegory of the writer and poet, he first expresses general and abstract concepts, which are often rational and news-type, and then gives a literary example and reason to make them tangible and objective and to prove his claim. In the sense that their reasoned words are simple and understandable with the explicit conclusion, he has a profound effect on the reader. All kinds of allegories are powerful tools of illustration and de-familiarization and the origin of creating novel themes, and since in these literary techniques, positive images serve to convince the audience, the method of argumentative expression is superior to artistic expression. In this article, the artistic, educational, and training functions of various types of allegory have been reviewed. The research is based on the application of examples of this literary array in important educational works and Indian styles and considering the views of experts and the author's personal perception of this rhetorical art. The general conclusion of the article is that the abundant use of different forms of allegory is one of the secrets of beauty and taste and the effect of the language of educational and Indian literary works on the reader, and this has made the contents so popular that the readers accept the meanings and concepts wholeheartedly and without any question.