نشریه پژوهش های نوین ادبی
پیاپی 2 (پاییز و زمستان1401)

Old age and youth are important concepts in the culture and literature of every nation and many articles have been written about them. In the Shahnameh, the characterization in relation to the young and the old and their personality traits can be clearly seen. The current research, which was carried out with the descriptive-analytical method and using library sources, is based on Ferdowsi's view of positive and negative characters, both young and old in the Shahnameh, and the change or lack of change of this view and the static or dynamic nature of positive and negative characters in the Shahnameh. Shahnameh has paid. According to the results of the research, Ferdowsi's view of the characters in the story, both young and old, is not constant and changes throughout the story. Characters who are more believable and attractive because of their positive and negative aspects.In general, it can be said that Ferdowsi attributes qualities such as patriotism, bravery and greatness more to the young, and on the other hand, attributes such as knowledge and wisdom are more attributed to the old.

In the face of the innovations that took place in the post-Simini Ghazal. Some poets also tried to find a balance between innovation and traditionalism. In fact, it takes advantage of both the potentials and the language and structure of the classical sonnet, as well as the innovations in the form and language of the sonnet. Among these ghazal writers, we can mention Seyyed Reza Mohammadi, who has chosen a luxurious language in terms of language and irony, which, like the Khorasan language, has short healthy sentences, but the frequency of words in Mohammadi's ghazal is modern.In terms of form, Mohammadi's ghazal in the 1970s, like his contemporaries, has a formal innovation, but after the 1970s, his ghazals tended towards neoclassicism. The purpose of this article, in addition to examining Seyyed Reza Mohammadi's poems, is to address the issue of whether Mohammadi can be introduced as an innovative or trendsetting lyricist or not. And has Mohammadi been able to achieve synergy of tradition and modernity in his Ghazal?The result is that in Mohammadi's ghazals, the scale of modernity is heavier in terms of innovation in form, but the frequency of these innovations is not so high that he can be called a stream-creating poet, rather it can be said that he has achieved his personal style in writing. By creating a balance between fancy language and linguistic innovations, Mohammadi has been able to create a third type of Khorasani fancy language and object-oriented language,

In examining the elements of the story, character is an element that has a great impact on other elements. The present study is "Analysis and adaptation of the personalities of the companions and elders in the narrations of Masnavi and its references based on the theory of the Raymonds" which has been done by using library resources in a descriptive-analytical manner. In the dimension of personality, Rumi uses the types of characters of the companions and elders in accordance with the type of story and its message, and the characters appear in Masnavi according to modern definitions. The purpose of this study is to identify Rumi's abilities in characterization of stories related to elders and companions according to new techniques of characterization and storytelling.Rumi is not very faithful to the sources in characterizing the stories of the elders and companions and telling the details of the anecdotes, and he has made changes in the sub-narrations according to the context of the words and the explanation of his mental intentions. The narrator of Masnavi narrations has used the tools of characterization in the best way in the form of dialogue, description and action to reflect the characteristics of the characters of mystics and companions, and usually in this regard, he has used all three direct, indirect and combined methods. Is. Indirect method, especially the element of speech and action, both habitual and non-habitual, is more applicable.

Creative misreading is a theory proposed by Herold Bloom based on the two-way relationship between literary texts. This theory is based on intertextual relations and based on it, there is a polemical relationship between the new author and the previous authors. In order to obtain an independent identity in literature and to get rid of the anxiety of the influence of past texts, the new author reduces the authority of the early poet with a defensive move and creates new works by creative misreading. The creative reading tricks free the new text from the apprehension of the impact of pre-texts.The purpose of writing this article is to examine the tricks that Rumi has used to get rid of the apprehension of the influence of past works in the story of "Moses and the Shepherd".This study uses library sources and descriptive-analytical method to study the method of dealing with the subject based on the theory of misreading the creator Bloom in the story of "Moses and the Shepherd" in Masnavi and concludes that Rumi is the dominant subject. He selects the narration from the narrations below, but in order to get rid of the anxiety of being in the shadow of the source narrations, he uses creative tricks to create new creations in creating a new narrative. He has used the elements of the story to reduce the apprehension of influence to achieve verbal superiority.

In the review of literary approaches and the creation of attitudinal and writing systems, we are faced with the four paradigms of reduction-increasing systems, eclectic systems, systems of views, and additive-concrete systems. While presenting this division, Arash Azarpik considers its factor to be the discovery and presentation of horizontal, pragmatic and also problematic by this concept; Therefore, in this article, by stating and examining these four systems, we will state that the approach of ecofeminism is an eclectic approach that always tries to consider women and the earth as oppressed phenomena in patriarchal systems.The critical approach of meta-feminism, with regard to the additive-concrete system, beyond all frameworks of women-oriented and people-oriented frameworks, seeks to present the division of subject types from Azarpik's point of view, and believes that eco-feminism is only trying to change the male subject to a female subject, in a different field and with a different perspective. Feminine-centered to categorize all beings - including the earth - in a hierarchical approach. In the naturalistic literature, according to the two fundamental pillars of "absence of any dualism" and "absence of any attribution", the principle and foundation of geosynthesis in nudism is proposed. Geo-subjectivity is a critical approach to all the ideas in which man is recognized as a subject of knowledge - who is always looking for value.In this article, which is done in a descriptive and analytical manner and using library resources;

Kelleh and Demneh and Marzban Letter are from the classical Persian language texts. The two, which have been written with a technical and admirable effect, are narrated in an anecdote in an anecdote containing numerous stories. Given that the sociological approach is one of the methods of text analysis. In this article, we have tried to look at these works and examine the relationship between the social class and the ethics of women.In this paper, it is shown that there is a direct relationship between the social class and the corruption or infidelity of women. Because in the narratives of these books, most women are marginalized from the social class and are betrayed by their husbands. In contrast, women of the upper social class, whose husbands have high power, wealth and social influence, have a good morals, as well as cleanliness of the face. For this reason, in most of these works, women are corrupt, like bootmakers, butchers, dachshunds, carpenters and others. This orientation in ancient texts can be derived from the same power, wealth and social influence of the upper class. In fact, our powerful people have influenced the literature in many ways and expressed and displayed what was right in power.

Mythological and national stories, in literary, non-literary and mystical texts and other than that, have been considered from many aspects. In this research, which has been done by descriptive-analytical method and using library resources; We will examine some basic issues: Assessing the authenticity of praise and glorification of Ferdowsi and Shahnameh by mystics in the narrations in mystical and non-mystical texts; The influence of the currents of thought prevailing in the era in creating a positive or negative view in the mystical heritage towards Shahnameh and Shahnameh stories; Investigating the reasons for including some verses of Shahnameh or attributed to Shahnameh in mystical texts. The study shows that due to the popularity and prevalence of some verses of Shahnameh in different texts, these verses have probably been based on the evidence left in the texts, from the middle of the fifth century onwards to mystical sources. With the exception of a few narrations, through some mystical works that testify to the outspoken praise and bowing of a few mystics to Ferdowsi and his great work, one can understand the place of the national epic among Sufis and mystics.

At the beginning of the 1380s, Arash Azarpeyk, in the book “Jens-e-Sevom” broke all the limitations of poetic and fictional poetry for the first time by introducing the “Fara-Poetry " Genre. The existence of a concrete system, changing the path of literary method to literary truth by adopting direct communication, going forward and reaching the third genus and word-character are the components that brought a new discovery to the fore in the field of Iranian and world literature. By creating an extraordinary platform and by synergizing the fields of attitude and writing, Fara-Poetry is able to invite all poetic formats and systems of Iranian literature, including Classical, Nimaie, Sepid, Azad, etc., together to a peaceful viewpoint. And also, Fara-Poetry without negating or disparaging other literary genres such as plays, screenplays, dialogues, monologues... eagerly and unconditionally accepts them and reveals to the reader a manifestation of the endless existence of the word. This research, using the descriptive and analytical method, seeks to express the fact that "Fara-Poetry" as a main genre is so powerful that writers in the field of literature and art can create a pristine works without any restrictions And by freeing oneself from "considering the word as a tool," it can, unlike other styles and schools, pass through all the poetry-oriented and story-oriented systems and move towards being word-oriented in the world of poetry, which means the universal authority of the word and by a sublime pen and art, introduces him/herself to the world of literature and art.

Majnoon is one of the most significant figures of this lyrical story, who has a role, action, or, in the expression of grimace, the actor is found in this story, which are1_ sender,2_ Acceptor3_ Subject4_ The goal5_ Helper6_ RetainerAccording to the results of this research, in the story of Lily and Majnoon, the sender of love has an abstract concept, not an objective character, who accepts Lily and Majnoon and is the subject of Majnoon. The father is insane and he acts as an obstacle and restrainer of Lily's fatherAnd then Ibn Salam, who plays the role of the rival in the story, is more active than anyone and anything, and he is a prominent and active role. He leaves the desert and becomes a companion of animals and beasts. Majnoon is the subject of the list and has a key role. His actions throughout the story show his colorful and essential role in this story. Majnoon and the character of the story "Magnoon" will be discussed, which depicts the most central discussion of love in this poem. Majnoon is Lily's own suitor.His actions throughout the story show his colorful and fundamental role in this story. In this essay, it has been tried to briefly describe the relationship between Laili and Majnoon and the character of the story "Majoon",

One of the most frequent topics in the collection of Diwan contemporary poets, of course, with a special and fresh flavor; It is love and its relations that the examination of its angles and dimensions with regard to the topics of ontology, cosmology, anthropology, etc. in contemporary poetry requires a large and comprehensive research. From this point of view, Forough Farrokhzad is one of the prominent and influential poets in the current of Persian contemporary poetry, who in the aforementioned field with a new approach in the fields of essentialism, existentialism, teleology and conscientiousness in the field of love; Whether in terms of quantity or quality, he has written many poems. In this article, which has been done by analytical-descriptive method, the author has classified, analyzed and reviewed the collection of poems of this poet in the four mentioned sections.With a comprehensive look at the topic of love and the approach of this poet, it comes out that in the field of the causes of the emergence and emergence of his love in the first period, the creation of Satan and his expulsion from heaven, and in the second period, familiarity with mysticism and revelation concepts. introduces the most important factor in the emergence of love in the discussion of the ontology of love.

Contemporary ghazal, especially post-Simin's ghazal, underwent many changes in the seventies. And after that, it continued with post-modern sonnets in the eighties. Until in the 90s, with the emergence of many streams of ghazal, it moved with the mixed ghazal, which is a combination of formats, and finally with the maxi-mal ghazal (extended) by Arash Azarpik, who is one of Simin Behbahani's students, and in the 70s with the minimal ghazal. And speech is considered one of the forerunners of Ghazal - he accepted the non-normative side. Because the classic sonnet with a specific number of verses and a specific theme has been considered a popular writing format for centuries. The Nima revolution breathed the first innovative attitudes into the spirit of poetry and especially the sonnet, which Simin Behbahani initiated and later continued by his students according to the appropriate time and place.Maxi Mal's ghazal, with direct connection with the spirit of the ghazal, has moved from that traditional form to new perspectives. The classic sonnet that carried lyrics and romantic discourses between the lover and the beloved. With Nima's revolution, he accepted the social side, and with Maxi Mal's sonnet, he has opened various windows towards new contents, fresher emotions, and finally, transformation in the form and structure of a form. In this article, we intend to list the components of the maximal (extended) ghazal and examine it while introducing this genre.

Music and weight is one of the areas of the word that has been expressed and developed by emphasizing the essence of speech, writing and meaning, although the main emphasis is on the essence of phonetic-speech. Weight and music were written according to classical ghazal until Nima revolution. But with Nima's revolution and Simin Behbahani's movement in contemporary ghazal, the prosaic weight and music of ghazal also underwent changes. The current article has been compiled and edited with the general aim of investigating the level of innovation, appropriation and combination of prosody in contemporary ghazal based on the music of Arash Azarpik's poetry. Considering that none of the post-Siminian poets have innovated in the weight of prosody and music; and have often benefited from brook weights, Arash Azarpik is one of the successors of Simin's path. He has often composed ghazals in his innovative weights and has also started to innovate.In this article, the widely used, innovative and classic weights that will be identified and mentioned; has been analyzed. In the end, according to the evidence, we come to the conclusion that Azarpik is one of the few post-Seminian ghazal poets who is creative and innovative in the field of ghazal weight and music.