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پیاپی 1 (بهار و تابستان 1401)

In structuralism, poststructuralism and deconstruction, the emphasis is on the accident of language and words. However, in the school of Fara-structuralist linguistics, words have multiple essences that have a multiplicity of beings in the Ma-Dar-Ma (The invented word by Arash Azarpeik-The school of word originality) system of existence, and since structuralists consider language as a subject and a subjective thing, in this regard, we will examine the subjectivity of language and the objectivity of text. The purpose of this article is to examine the question of whether words are substance or the accident and language of the subject or object. And then we will critique and analyze the views of linguists and philosophers in this regard, and finally we will examine this view in Fara-structuralist linguistics and we will find that if the word is given originality and every area of ​​language is considered a matter of logos and consider semantic essence as a Fara-dimensional, Fara- spatial and Fara-temporal matter, so language is not a study of form or accident, but a study of the types of essences of a word and can appear in different forms. Thus, Fara-structuralist linguistics accepts language as a Fara-subject, and critiques the duality of signifier and signified about words, and believes in body and soul, which is a profound truth about words.

Minimalism is one of the manifestations of modernism in the world that has penetrated into and has taken over areas of literature. For example, in Iranian literature in the seventies, several genres were formed including minimal stories, minimal poems, minimal Ghazal, Vazhaneh, and so on. The common denominator of these genres is that they are extremely minimalist. If in the eighties, with the advent of minimal Ghazal, Vazhaneh genre and the synergy of the two, a different genre of Ghazal called " Ghazalvazheh" was formed by Hengameh Ahura, which caused formal, structural, content and linguistic changes. Therefore, it can be said that Ghazal in the eighties were not safe from the influence of modernism. In this descriptive-analytical study, after introducing minimalism and minimal Ghazal and Vazhaneh genre, we examined in detail the effect of minimalism on Ghazal and came to the conclusion that Ghazalvazheh, has gone beyond being sentence-centered and has severely marginalized the healthy and even broken grammar of the grammar. Also, the structure of Ghazal is influenced by the word-citizen attitude, which is one of the manifestations of modernism transcends the “Shah beyt” in classic Ghazal and even the narration in the modern Ghazal (Ghazal-narration) and each word is a narration that ultimately organizes the narration of the Ghazal. Ghazal also follows a kind of mental form and Vazhaneh logic. During this article, the language, structure and content of this type of Ghazal will be examined in detail.

The question of meaning is the most important issue in the humanities, linguistics and semantics. Structuralisms consider meaning to be the result of propositions and text. Poststructuralists also do not have a fixed meaning for words, but believe that each signifier delays the meaning and finds its meaning in other signs. Thus, with the delay of meaning, we are practically not faced with a specific meaning in the text, and in principle, meaning is not in the word but the result of communication. In response to what makes a word or sound meaningful; So far, various theories have been proposed, including the social theory of meaning, the descriptive theory of meaning, the functional theory of meaning, and so on. One of these views is the theory of profound semantics, which considers meaning to be the deepest and broadest truth, the most abundant and fundamental essence of the word. The purpose of this paper, in addition to analyzing the previous theories about meaning, is to analyze the theory of semantic deepness in terms of the meaning of words, which considers the meaning derived from the Logos in a profound truth This research paper criticizes the existing theories about meaning and phenomena and how meaning is formed and its source, presents the theory of semantic profundity and proves that this theory is the first system of originality of meaning in modern linguistics. Undoubtedly, each of the semantic theories seeks to express systems for determining meaning, the relationship between meaning and phenomena, and so on. Accordingly, this will help us to understand the relationship between the word and the phenomena and the source of meaning.

Throughout the history of Iranian literature, whether in the poems of traditionalist poets from Roudaki, Ferdowsi, Manouchehr Damghani, etc. to Shahriyar, Parvin and Bahar, or in the works of modern poets such as Nima Yoshij, Shamloo, Akhavan Sales, Forough, etc. Nature has a special place with all its colorful effects, but this does not mean that we consider these poems as natural poetry, contrary to what has been said so far. Natural poetry or green poetry is one of the genres of the Literary School of the Word Originality and one of the innovations of Arash Azarpeyk, the founder and theorist of the philosophical-literary school of Orianism. Land-subjectivity is the basis of the ontological narrative of green thinkers and green poets, and green poetry is the first natural biological system in the history of world literature. The result of this philosophy is nothing but the liberation of human thought from all unnatural traditions and biological styles of man, so that man returns to his natural cycle as one of the children of the earth and coexistes with all the creatures of this green planet, In which all and sundry come from the realm of objectivity and in the Fara-subjectivist view of the originality of the earth, without any human elaboration or explanation, become Fara-subjects for the understanding of natural life. This article has been done by research-analytical method by using library resources and has analyzed these two types of poetry and representations of each of them in contemporary poems and texts and the obtained result shows a poem called natural poetry outside of philosophy and green literature and it cannot be called a title other than naturalistic poetry, and natural poetry is the same as green poetry.

The theory of poetry of "linguistics" is attributed to Reza Braheni, who made him famous during the leading poetry. Language poetry has innovation and abnormality. Influenced by the Western school and Derrida's linguistics, Braheni denies the meaning and his poems live in a language game, without external reference in a text-language world. language game, word movement, and a series of meaningless texts were events that took place in this text-language world, But Dal poetry, which is one of the literary genres of the school of the originality of the word, is alive to the word according to the theory of "man-word"; Man is alive, and as long as man is alive, no field of art will be obsolete from the word. Everything that is revealed in man already exists and is present in the word, and everything that is revealed in the word already exists and is present in man, and these two are co-creators and creators of each other. Therefore, Dal-poetry is word-character and plays a role in the text. Dal-poetry is word-character. The word is alive, it is an actor and it plays a role. In this research, which has been done by descriptive-analytical method by using library resources, we intend to study "Language Poetry" by Reza Braheni and “Dal-Poetry", one of the literary genres of the word originality School, from the perspective of intellectual origins and their characteristics and differences.

Land-subjectivity, according to the view of Orianist existentialism view, introduces the approach of synergistic existence (i.e., existence beyond synergy). Existential coexistence (Existence beyond coexistence) Beyond the coherence of areas is the form of the existence of an being that transcends any dualism that is specific to humanist philosophy; Therefore, in examining the opposition between the two views of Land -subjectivity and human-subjectivity, by introducing a critical posthumanist and Fara-tradition attitude in the view of the originality of the land, the self-based and permanently oriented man who always emphasizes dualism and objectivism in humanist philosophy Is criticized. In this view, it is also stated that it is fundamentally wrong to separate the two approaches of existence and being; The existence of the earth is always dependent on its beings, and this existence would not have any meaning without the existence of a homogeneous pair; Thus, omnipresence has multiple domains of existence that believe in the pairing of phenomena, not their dualism. Also, this article, which was done in a descriptive-analytical method by using library resources, examines the attitude of ecofeminism. In this view, woman and earth are considered one. Of course, the Land-subjectivity view, with regard to the critical point of view of Fara-feminism and humanistic feminist and masculine- approaches, Of course, the geopolitical view, with regard to the critical point of view of extra-feminism and the feminist and masculine-humanistic approach, proposes existential equality, not existential analogy. It also introduces the naturalistic literature and states that the attitude of the originality of the earth (Land-subjectivity) always follows the two basic elements of no dualism and no adjectives.

Each literary work is organized from two general forms called form (external) and internal form (mental). Mental form, as one of the basic elements of poetry, is the environment in which poetry moves and progresses and brings with it objects and feelings, and the reader pays attention to the coherence and connection of its elements throughout the text. Mental form is a kind of arrangement of structure and shaping the content of any literary work, including narrative, image and meanings, which goes far beyond the form and appearance of poetry. Despite the commonality of the graphic structure of the Ghazal, different mental forms cause innovation in it. Innovation and breaking the norms in the form of poetry are among the tricks that the poet uses to create his poetry and acquires a special style in poetry. Arash Azarpeyk and Mohammad Saeed Mirzaei are contemporary lyricists who have performed in various ways to enliven their chain of speech with various innovations in the mental form of Ghazal. In this research, which has been done by descriptive-analytical method and using library resources; Various mental forms will be explored in Arash Azarpeyk's Minimal Ghazals and Saeed Mirzaei Form Ghazals, which has caused various innovations in Iranian literary Ghazals.

Fara-text is one of the most popular genres today, introduced by Arash Azarpeyk, and is one of the non-theorized and revival genres that has become a system and a field of literature that is not classified in any genre or poetic or fictional perspective. The Fara-text is the return of the avant-garde to the transcendental aspects of all written prose texts - even non-poetic poems - in the tradition of the history of the literature of the ancient nations of the world, which, for all their artistic grandeur, have never been defined in the paradigm of literary genres. Saadi's words are both concise and a mirror of eloquence and rhetoric. Therefore, in this research, by descriptive-analytical method and using library resources, we seek to understand in which literary genre the preface of Golestan and many of its educational lines (apart from its fiction_poetry lines) belong? And with respect to the achievements made by researchers in this work, we believe that they are completely one-sided and the dignity and originality of the word has not been preserved as it should be. According to the components of the school of word originality, the texts in question have transcended the existing frameworks, and finally we see a coherent synergy that in an Orian text, frees itself from the constraints and uses each of the potentials of the word. Thus, the basis of the narrative of such texts is never in the classical and modern definitions of poetry or fiction, but are glorious, literary works which are outside the poetic and fictional ontology. Accordingly, these works are based on the proposed system of Arash Azarpeyk in the Fara-text genre and will not accept any definition other than Fara-text.

This form of Persian poetry has a long history that has been able to move parallel to the Iranian talent throughout the history of Persian literature. Of course, after the formation of the New poem and after that Sepid poem, it was believed that Ghazal could no longer have anything to say. But this format is borrowed from New and White poetry and was able to resume a new life once again. The source of Ghazal is Taghazol (The first 5 to 15 verses of Qasida which are about the states of love, the description of the beloved or the description of nature) and Taghazol which was born in the Khorasani School, gradually improved over time; It was recognized by Sanai and became Ghazal in the true sense of the word, with Saadi, Hafez and Rumi. Undoubtedly, due to intellectual independence of thought and liberation from the shackles of certainty, a new process of word arrangement appeared in the poems, and Ghazal was no exception to this rule. Finally, by minimal Ghazal in Orianism School, far from being obligatory and speaking in riddles, the poet finally gave life to Ghazal with the help of brevity of words. By using library resources and a descriptive-analytical method, this article examines how Ghazal originated, how it transformed from the past to the present, and also examines its innovations in the School of Word Originality.

What the image is and why images have similarities and differences, and the question of whether the image is produced or has a subject-independent existence, has been one of the most important concerns of thinkers in the last century. According to Arash Azarpeyk, the founder of the literary-philosophical School of the Word Originality, the image originates from the semantic and conceptual essence of the word. In Orianism ontology, the word has seven essences, including the semantic essence. Because the essences has a fixed and variable dimension, the semantic essence of a word also has a fixed and variable dimension. Since every phenomenon is a word and represents itself with the word, everything that exists is a visible word. Thus the word phenomena has a fixed and variable substance dimension. The fixed dimension of a word, if viewed from the existential point of view, forms a Fara-image and according to the different conscious-unconscious collective-individual consciences, as well as different types of human intuitions, image finds existence. Also, a phenomenon can be imagined with imaginary realms and a phenomenon can be seen as non-visual. The important thing is that we see based on the categorization of our own language. Language thinks of us as in imagery we are inherently subject to the identification and categorization of our own language.

Feminism is a naturalistic view that considers the gender to be prior to existence. Fara-feminism is a view that prioritizes human existence over all sexist views, but does not denigrate, diminish, or deny gender. That is, Fara-feminism has a feminist, humanistic perspective. In this descriptive-analytical study using library resources, we seek to answer the question of what is Fara-feminism and what does it have to do with the Fara-structuralist linguistic approach? The study found that Fara-feminism is a system based on seven collective-individual consciousness-unconscious spatial, temporal, linguistic, racial genetics, cultural, intellectual, media-individual collective consciousness and subconscious as well as psychosexual self-consciousness and the subconscious. Moreover, Fara-feminism is also a branch of the Fara-structuralist School of Philosophy-Linguistics, and just as it considers the word to transcend all textual and grammatical structures, it also considers human existence to transcend all racial, psychosexual, spatial, temporal, and linguistic structures.

In traditional, modern and postmodern literature, we have always encountered a category called woman. In our classical literature, a woman was a beloved with the same height as a cypress, eyebrows like a bow, etc., who in the best of circumstances met her lover in a pub. In the modern period and to a lesser extent in the postmodern period, women poets took critical approaches to the position of women in literature and society. It is important to note that society and, consequently, literature have long regarded women as a tool for society and poetry and have always written about them; But the approach of post-feminism in society and literature, with a critical approach to all dualisms and instrumentalists about women, presents a critical view of post-humanism in which women are seen as the romantic half of human on earth and in literature, especially in naturalistic literature, women are allowed to without denying, rejecting and humiliating the other half of human, that is the man; appear as an independent and unmediated character in society and poetry without having to deal with presuppositions, criticisms, judgments, etc. This article is a descriptive-analytical method compiled using library resources, aims to enable each of the male and female phenomena in literature to have an independent presence in the text immediately and independently of all ideological and theological views, and to narrate themselves in the world of text.The aim is to enable each of the male and female phenomena in literature to have an independent presence in the text immediately and independently of all ideological and theological views, and to flow in the text and to narrate themselves in the world of text

Fiction is one of the literary genres of the school of word originality and is specific to those whose artistic tendency is towards fiction. The first proposed components for metanarratives are given in the 1980s and in the statement of the third genus book. In literature, before the school of the originality of the word, we are faced with the title of postmodern meta-story. The difference between these two types of stories is in the type of attitude and worldview arising from these two schools. In this research which has been done by descriptive-analytical method and using library resources; It seeks to first analyze a meta-fiction text by defining meta-fiction and stating its characteristics in the school of word originality. Therefore, postmodern tomorrow has differences in terms of principles such as sounds in the text, type of narration, ending, structure of narration, and so on.In the school of originality, metanarratives are not one-dimensional and are not the result of merging other dimensions.In this research, this genre will be introduced

The discussion of the universals of language is in fact the treatment of the features of language that are found in all natural human languages ​​at all places and at all times. If a text is understood and received in the same way in all languages; it can be concluded that that feature reflects the function of the human mind, so that feature can be used as a universal feature of language. So far, linguists have expressed different approaches to these common features, but the two most prominent views are the approach of Chomsky and Greenberg. Another approach that is introduced during this article is the approach of the school of Fara-structuralist linguistics, which by presenting examples accepted by the language community, tries to express the universals that, in addition to expressing generalities, also justify and explain the development of language in the child. The purpose of this article, in addition to introducing the universals of language, is to introduce an a priori grammar that is the basis of the narrative of all languages. The conclusion is that the universals of Chomsky and Greenberg are based on an a posteriori and conventional grammar, that is, a relative matter cannot be considered as the basis of the narrative of natural human languages.

Classification and analysis of why types and genres of Persian poetry is one of the important literary debates. Unfortunately, the field of poetry of the seventies, which had the most influential contemporary poetic currents; It has been abandoned in this regard. In the seventies of Iran, we see the simultaneous presence of three independent branches of Americanists, Europeanists and return avant-garde with different origins, each of which has played an important role in guiding the intellectuals and poets of the seventies and later periods.The Americans announced their presence in Iran with Reza Braheni and the postmodern movement. Braheni's "Poetry of Language", Ali Babachahi's "Pasanimai" and the students of Brahen's workshop, as well as Mohammad Azram's "Different" poetry in the eighties are in this group. Europeanists were active in this period with two branches of lyricism and free poetry. In the lyric branch with Simin Behbahani, the founder of "New Ghazal", "Ghazal Dastan" and "Ghazal Narrative" and also the flow of Simin Behbahani's students in "Ghazal Form" with Mohammad Saeed Mirzaei, Arash Azarpik, Hooman Azizi, Amir Marzban and ..., In free poetry, the flow of "movement poetry" of Abolfazl Pasha is a follower of the Baroque school in this group. Returning avant-gardeists came to the fore with its founder, Arash Azarpik, with the beginning of the era of nudism and the proclamation of the millennium of nudism in the history of thought. The result of Arash Azarpik's attitude is a variety of genres, including "Vajaneh",