کاوش نامه ادبیات تطبیقی
پیاپی 46 (تابستان 1401)

Poets and writers, for a long time, have figuratively or explicitly uttered their emotions and feelings in their works through various colors, in such a way that significant results can be achieved regarding their personality traits if their works are examined psychologically. The present study was an attempt to analyze the use of colors in Nizami-Ganjavi’s Eskandar-Nameh and al-Hariri’s Maqamat, recruiting descriptive-analytical approaches. The results revealed that Nizami-Ganjavi had exploited colors by 380 times in Eskandar-Nameh, namely, 261 times directly and 119 times indirectly, using words such as dark, light, pitch-black, and the like. Accordingly, black and its derivatives with 107 repetitions, respectively with 57 and 50 direct and indirect cases, had the highest frequency. The use of colors had been typically employed as a simile, a metaphor, and an irony to account for the inner states of humans, which was to a great extent in agreement with the views of contemporary psychologists about different colors. Al-Hariri had also referred to 37 colors in his Maqamat, with yellow having the highest frequency (14 repetitions). In contrast to Eskandar-Nameh, the use of colors in Maqamat had been more symbolic and ironic, often stemming from the nature of colors; for example, white signifying hopefulness, black representing despondency and misfortune, or yellow indicating sorrow, ailment, and demise in one place and a symbol of delight and exhilaration in another. Additionally, the frequency of the colors in these two works is illustrated in diagrams.

Matter consciousness is a view along the lines of ontologists and modernists and the result of a series of field and laboratory research on the two categories of matter and consciousness, new dimensions of which have been considered in recent centuries. According to this theory, the realm of consciousness and perception is very wide and all objects are conscious. This theory, the main basis of which is indebted to Eastern philosophy and mysticism, has been crystallized in the works of contemporary Arabic and Persian poets, Among its followers are Mohammad Reza Shafiei Kadkani and Fatemeh Naoot. The category of material consciousness has a significant presence in the poetry of two poets and has made the minds of two poets to spread the spirit of this meaning in various events and forms today. For this reason, the readability of their poetry based on the theory of matter consciousness is one of the most important findings in the study of their poetry. The present article intends to examine the degree of compatibility of the works of the two poets with the foundations of the theory of matter consciousness. The results of this study show that Naoot and Shafi'i, while accepting the perceptibility and intelligence of the elements, discovered the relationships between objects based on systematic networks, hidden memory and intelligence, and reflected them using poetic techniques, albeit for Escape from the complexities of philosophical and mystical language have generally used tangible subjects in poetry.

Perspective is one of the most important elements of storytelling. It is the narrative through which the reader experiences the story. Based on this view two novels have been selected; Azat Hosseini's memoirs Da in related to Iran's sacred defense and Ghassan Kanfani's novel Umm Saad from the literature of Palestinian resistance. The purpose of the research was to analyze the perspective, tricks and techniques of the two authors or narrators and theireffect on the themes of the story and the research method. The structure of Da is in the form of biography, association of meanings, non-linear and documentary narrative. The structure of Umm Sa'd is based on a linear narrative that is narrated in two realistic and symbolic dimensions. The results showed that the methods of external angle of view in Umm Saad and the techniques of internal angle in Da are more comprehensive. Kanfani uses the inner vision of the first person of the author and the character of "Umm Sa'd" based on the techniques of inner monologue, hadith of the soul, fluid flow of the mind and types of external vision. While using these two tricks, Da also uses more in the field of internal vision, including dramatic monologue, and has less evidence in various angles of external vision. The common vision of the two literary narratives is the first-person view of the inner monologue, the third-person view of the narrative, or the elements of the point of view. In the present study, the authors have first dealt with the angle of view and its types, and then with the techniques of the narrator of the two stories.

Since the structure of the play is based on the story, each play must have a certain structure so that there is no gap in the story. Therefore, plays, like stories, have special elements that are important to study and analyze in today's research. The present study uses a descriptive-analytical method to compare the elements of the play in the two plays "Tengna" by Mahmoud Dolatabadi, one of the great contemporary writers of Iran, and Bae ol-debs al-Faqir by Sadollah Venus, a contemporary Syrian playwright, based on Aristotle's view. Based on the findings of this study, both authors have written their plays based on a series of principles and elements. In the meantime, all the elements of Aristotle are present in the two plays, except rhythm and song, which have no special place in the play "Tengna", but there are differences in some other elements, when in the character element, all the characters of Dolatabadi's play , Are subsidiary While the play of Venus has a central character that all the sub-characters revolve around him and also the type of expression in the two works is different and that the theatrical scene of the play of Venus appears in several scenes while the whole play of Dolatabadi in the courtyard of an old house On display.

Showghi Bazi and Manouchehr Atashi are two modern poets who have reflected nature in their poems vastly. They have applied the elements of nature in their poems with special literary goals and have taken a step into verbal and semantic modernism in their poems. The present study, according to the frameworks of comparative literature, tries to study the literary application of nature and the reflection of special names of flowers, plants, trees, and fruits in the poems of thee two poets. According to the findings of the study, Bazi and Atashi have applied the beautiful nature of their country, especially plants. They have applied names of flowers, plants, trees, and fruits for purposes like, defamiliarization, semantic exaggeration in poetry, expanding the semantic capacity of words in the poetry, and empowering the fantasy and feeling range of poetry. One of the most important features of the application of these words of nature is to apply them in the form of literary arrays, especially metaphor, humanization, and simile; it makes them to take a symbolic form. The semantic load of the words related to the natural elements in the poems of these two poets is changing between positive and negative, according to the theme and the general atmosphere of the poetry.

Stream of consciousness is considered to be a special kind of story telling in which the reader participates in the characters’ mental experience, while the writer contributes none. Jokha Alharthi and Nasim Marashi, in “Sydat alqamar” and “Paeez Fasle Akhare Sal Ast”, respectively, tried to target at weman’s concerns and problems in their societies, through the implementation of the technics provided by the stream of consciousness method. In this study, we aim to evaluate the application of this method and its level of success, in these two stories, via an analytic-descriptive method. We found that Alharthi has been more successful in such an implementation to reflect the characters’ mindsets. More spesifically, she applied the inner monologue technic through making use of the omniscient narrator capacity, in a more admirable way. She has provided ambiguities via the application of free association, frequent space-time jumps and changing the narrator’s point of view. Furthermore, her poetic language makes the story even more ambiguous. By contrast, Marashi has been less poetic in her language owing to the adoption of simple writing attitude. She takes the advantage of soliloquy to account for the feminine feelings, in comparison with Alharthi who has adopted such a method for more precious purposes to be fulfilled, such as weman’s right in traditional societies.

although the philosophy and literature each other belong to the other branches of scince and art and this two branchs have a different purpose when literature have a aesthetic fiction and philoshophy fallow the discovery of knowledge but have a some relation between these two. Literature some time be Reflection of philosophical concepts and poets for a thematic richness of his arts embellish poems with a philosophical ideas.in the other hand poets as a Thoughtful people, bring his philosophic point views in his poems. In this article in addition to above topics, will discuss about shafii kadkanis philosophic point views. And will try bring his view of points about man, existence, meaning of life, determinism and authority, philosophical release and some other related topic. In the end we came to the conclusion that this point views result to the richness of his poem.This thoughts widespread in Shafii kadkani poems and who bring thoughts about humanism, existance, freedom and etc in his poems that shows his existentialist Thoughts.