پژوهشنامه نقد ادبی و بلاغت
سال یازدهم شماره 2 (پیاپی 26، تابستان 1401)

Humor is the art of human language, which is used to deal with individual and social anomalies. The concept of humor in classical Persian literature is different from what we see today; In classical Persian literature, humor is an evolved form of humor Smut and satire, and it does not have clear boundaries with other critical and funny themes such as: satire, humor (Smut), humor (Pleasantry), and humor (hilarity). With all these satires, comedies, satires, similes, jokes and many sweet jokes of the Persian language that have come down to us in literary works, they have satirical and critical features and it is easy to get accurate pictures of the habits and values of social life from them. The era of poets, satirists and people of the past ages of Iran has been processed and written for various purposes .As one of the greatest (eloquent) speakers of Persian literature, Saadi has paid special attention to humor and by using this linguistic and literary capacity, he has made his works more eloquent. One of the important dimensions of Saadi's speech should be considered as his humor, which has given his speech a special flavor. This color and smell, which is the result of the social nature of his speech, is most evident in his two eternal works, Golestan and Bostan. Saadi's humor in these two works is a combination of "Mataiba", "humor" and "humor in the modern sense" and while having a moral support, it is derived from his many (a great deal of  -  plenty of )experiences and his special view of man and life. Factors such as "characterization", "dialogue", "situation", "signs" etc. have a significant impact on the creation of Saadi's humor; With all this, what shows up in Saadi's humor the most; Humor is based on characterization, which is manifested in the form of "confrontation" in his two works. The analysis of humor in his two mentioned works shows that what has been the most important to Saadi and benefited from it is a method that can be called "contrast".The meaning of confrontation is the confrontation of two characters in a story or anecdote, in such a way that this confrontation leads to the creation of humor. These contrasts are abundant in human life and are the result of age difference, gender, outlook on life, social status, etc. of different people and are basically an integral part of human social life. Since humor is tied to man and his world, the world of people can be called the world of confrontation, and this world becomes a tool for creating humor. There are different types of juxtaposition in Saadi's two works, including: "Satire based on family confrontation", "Satire based on the confrontation between old and young", "Satire based on the confrontation between the king and the beggar", "Satire based on the confrontation between the king and the dervish", "Satire based on the contrast between the mastr and the pupil", "humor based on the contrast between the Devil and Adam", "humour based on the contrast between the ruler and the criminal" and "humour based on the contrast based on the situation" which are introduced as Saadi's special way of creating humor and in This article has been reviewed and analyzed.

The purpose of this article is to study the plot structure, semantic units and aesthetic elements of the end in two old and new narratives of the story of two pines in Persian books of the fourth grade of the elementary school of the sixties and fifths of today. This is a poetic narration by Mohammad Javad Mohabbat, which is mentioned in the fourth elementary Persian book of the sixties called "Two Pines" and in the fifth modern Persian book called "Kajestan". He is injured and asks the neighbor to put up with him for a few days. In the narration of " Two Pines ", the damaged pine is rejected by the neighbor, but in the narration of "Kajestan" it is taken care of by the neighbor. Now, the fundamental question that constitutes the body of the present study is how the change of plot and ending in the new narrative has led to the production of a comprehensive, aesthetic and ethical meaning? The results of the present study show that although the new version is a rewritten version of the old version, but the structure of the plot, the middle and the end of it has changed in a way that both the narration is in the category of narrations with a good ending and induction of aesthetic meaning, lasting and pleasant. aesthetic and ethical meaning? The results of the present study show that although the new version is a rewritten version of the old version, but the structure of the plot, the middle and the end of it has changed in a way that both the narration is in the category of narrations with a good ending and induction of aesthetic meaning, lasting and pleasant. With a good ending and induction of aesthetic meaning, lasting and pleasant. With a good ending and induction of aesthetic meaning, lasting and pleasant. We believe that there is a connection between "production of meaning" and "plot" in fiction. In simpler terms, it can be said: what creates meaning in a story is "how the events are arranged". In a way that can be said: the author shapes the events of the story according to the meaning he brings up in his mind. On the other hand, we are also aware of the fact that no story has consistency without plot and what makes a story shine is the plot factor.

The presence and absence of the main and secondary elements of the sentence in the text of a literary work has a great impact on the transmission of rhetorical intentions and concepts to the addressee. Some pundits and researchers in the knowledge of rhetoric have considered the topic of removing grammatical elements as a way to prevent the speaker or writer from exaggerating in words and some others, in addition to removing additions, have introduced the ellipsis method from the text's aesthetics; This is while the method of substitution is often examined from the point of view of emphasis and its role in lengthening the sentence. Traditional rhetoricians and scholars of semantics such as Sibouyeh, Jahez, Khatabi, etc, have superficially and transiently mentioned the role of this method in rhetoric. Abdul Qahir Jorjani, due to the Evidence of Miracles in the Quran, placed the topic of "ellipsis and mention" in a regular and specific framework and introduced it as the basis of the cohesion of the word. Although he considers mentioning a grammatical element in the sentence is very important in creating secondary purposes and rhetorical meaning, but for remove the elements of the sentence, he has also considered the ability to influence and even considering the special situation and circumstances, he considered the removal of a grammatical element to be much more eloquent than mentioning it; Absence of presence that helps to approach the word in its most eloquent form. On the other hand,  Michael Halliday, a linguist of Functional grammar, describes this as "ellipsis and substitution" and considers the use of this method to be effective in text coherence. In order to be able to examine the topic of ellipsis and substitution in a literary text, a work full of abnormality in grammatical and rhetorical will be needed. The story of Bijan and Manizheh of Shahnameh and the poem of Garshaspnameh, due to their poetic and epic linguistic format, have provided a favorable capacity for various syntactic manipulations, especially the removal of elements in the sentence. The importance of the status of the elements in the sentence for conveying rhetorical intentions by Ferdowsi and Asadi Tousi, expresses the need to examine the status of ellipsis and mention of the main and secondary elements of the two literary works; Therefore, this Research, by descriptive-analytical method, examines and compares the effect of ellipsis and mention of main and secondary elements in 3000 sentences of each work in order to identify the secondary meanings. Among the main elements of the sentence, the rhetorical effect of the status of the subject, object, predicate and verb is discussed. Also, among the sub-elements of the sentence, the status of the adverb, the complement and demonstrative in the transmission of some rhetorical intentions of the poets have been examined in two literary works. The results of the research found that the omitted form of the elements of the sentence is more effective than mentioning them in terms of rhetorical value; Because the removal of one or more elements in the sentence by the poets is a sign of textual coherence and also the existence of a high level of communication between the poet and the addressee and this is the basis for the emergence of rhetorical purposes. The results also show that the ellipsis of elements is more in the context of conversations, which is one of the main reasons for the centrality of speech during the interactions of individuals. It can be said that the ellipsis and mentioning of the main and secondary elements of the sentence in two works happened for various rhetorical purposes. Persistence in the mind and creating emphasis has been one of the purposes of mention and also, low information value, brevity, avoiding unnecessary repetition and maintaining the narrative rhythm can be considered as the most important goals of poets in removing of the elements of the sentence. Generally, the method of the two poets in using the ellipsis and mention of elements in the sentence, has served to convey the rhetorical intentions correctly to the addressee.

Common literary criticisms (both traditional and new criticism) study the works from their own point of view. Obviously, none of these criticisms, due to focusing on a limited and specific aspect of the work, do not provide comprehensive knowledge of the subject under study. For example, in some approaches of criticism, non-semantic factors, including the linguistic and aesthetic elements of the work are ignored, by looking deeply into the meaning; and text-centeredness and introspection in some other approaches, leaves parameters such as individual style and spiritual coordinates of the author and the cultural conditions of his era aside. Therefore, this research wants to provide a comprehensive approach to criticizing literary works by relying on the general theory of systems in which these limitations and shortcomings are minimized.The Iranian short story is the statistical community of this article, which has a high ability to be analyzed in the framework of this perspective among the literary genres. For this purpose, components have been extracted by the integration and adaptation of the comprehensive and central features of the short story with the general features of open systems, and the comprehensive methods of the short story have been analyzed based on these components in three main parts (systemic purposefulness and correlation of variables, systemic input and output and external interactions). In the necessary cases, examples of famous short stories, such as "Kabab e Ghaz", have been cited to explain the topics more precisely. In this review, the Iranian short story is considered an open system that has emerged from the interaction of internal formal and semantic elements, as system variables, the continuation of its life within the macro-system of the world depends on the level of its interactions with external systems and subsystems. In this view, the internal coherence and strength of the plot of each short story can be measured by the fluidity and multi-sidedness of the connection of variables on the central message circuit, which leads to the artistic formation of this message as an output of the literary system. Also, the dynamic balance, as a symbol of the permanence of this system, can be evaluated by examining its effects from environmental parameters and cultural background, and comparing these effects with the quality and quantity of its functions. In summary, the sum of these studies shows:1. Systemic criticism is a comprehensive approach that can entirely provide valuable data from the inherent characteristics of a literary work and external and internal factors affecting its creation, its rise and fall; 2. Systemic "integrative and wide-viewing" approach to literary works and types significantly covers the shortcomings of the old and new approaches in literary criticism; 3. In this attitude, the quality of meaning processing and its artistic return to the environment (as the main and final output of the system) and its social feedback are considered the most important criteria for the evaluation of the literary system. The state of processing and presentation of meaning is determined by the interaction of story elements and Components (=system performance); 4. The systematic study of Iranian short stories (in particular) proves Jamalzadeh's pioneering and his fundamental role in the prosperity of this literary genre, and the tendency of writers after him towards realism, social issues and popular culture, in a systematic scientific way; 5. Systemic criticism has the ability to provide the ground for conducting similar and even deeper and broader research on other types of narrative literature, including novels, and as a practical example be generalized and spread to various fields of literature.

Imagery, which is the manifestation of the poet's thoughts and inner feelings, has a special place in literary criticism and it is one of the main elements of a literary work. Literary imagery in the Abbasi era had a high position, because the poems are full of Emotional and dynamic literary interpretations that were connected with the life of the era. Hossein Ibn Zahhak, Known as Khali, was one of the Iranian and Arabic poets of the first Abbasi era, which was influenced by the culture of ancient Iran and Greece, was able to innovate in the way of expression by using innovative images. These innovations, which have the breadth of imagination and deep feeling and image density, have a prominent presence in the poet's imagery. In the present study, descriptive and analytical method, the rhetoric of image in Hossein Ibn Zahhak's Wains has been investigated, the results of the research indicate that Hossein Ibn Zahhak uses images such as: metaphor, simile and Animation, which play a prominent role in his poetic imagery have been able to present Emotional and dynamic images of Wain by innovation and using visual and illusion aspects and by using solid and moving nature and convey her feelings to the audience without complicating her words. It is as if Wain in the poet's poem is a picture of life and life is nothing but Wain, in fact Wain is an image of the endless beginning in the poet's poetry that ends with spirituality and light, a distinctive feature that is not so evident in the poetry of other poets; Because the images of Wain in the poems of Abbasi poets are mostly reduced to sensations, pleasure and lust and are devoid of spiritual and transcendental truths. But these spiritual truths in Zahhak's poetry approach the Sufi philosophy, and the sensual and material concept of Wain turns into transcendental concepts and connects the earthly manifestations to the sky, and elevates Wain from the earth to the sky and from images. The sky, which is spread from the east to the west, is used to present different concepts of the east and the west, and to change the view of the material man immersed in the pleasures of the Abbasi era, and in this way to elevate his position from the earth to the sky, and with Using innovative and beautiful images, in addition to innovation in Khmer themes, will increase the influence of your words and present different interpretations to the audience. Therefore, considering that Hossein Ibn Zahhak was able to play a role and connect Khmer with spiritual and spiritual manifestations and create different literary images with precision and innovation in poetic expression, it is remarkable.

The present article is a philosophical reading of death-awareness in the Kelidar by Mahmoud Dowlatabadi, based on the thought system of Heidegger, the 20th century philosopher, in the book of  Being and time. In this essay, we first talked about the philosophical reading of a literary work, then by explaining Heidegger's ontology, we have been talking about the death-awareness in his view and the relationship between man and Being and his or her existence oriented towards death. Then, by expressing death-awareness in Kelidar, we have obtained a reading of this novel based on Heidegger's philosophy. Heidegger considers man and the world to be necessary for each other and believes that Dasein is not alone in the world and the presence of others makes the character of Dasein meaningful. A person who is under the domination of others is without authenticity. But death-awareness gives authenticity to Dasein. Heidegger considers authentic living to be meaningful and considers the thought of death as a force to break away from everyday life and the meaningful life. Choosing freely, not being subject to others, not having daily fun and giving meaning to life are the consequences that Heidegger deals with; and we can look at Kelidar from these angles. Dowlatabadi has paid attention to the issue of death and examined it. In Kelidar, death is one of the main themes. Dowlatabadi considers death and life to be cognate and considers death to be the cause of gaining the world, making life purposeful and achieving perfection. He considers the awareness of death to be unique to the nobleman, and the heroes of Kelidar welcome death. Dowlatabadi considers the nature of death to be anxiety-inducing, and characters of Kelidar turn to life and love to escape from the anxiety of death.

The concept of alienation is the discourse of the modern age and the dominant feature of man thrown into the contemporary era. This phenomenon has a meaning in the west, but due to the opposition of tradition and modernity, especially in the Pahlavi era can be significantly associated with the quasi modernity, so the alienation of the subject that leads people as an intellectual class. Drawing it’s largely to be found in sterile and imperfect design in Iran.Influenced by the current of modernism and modern Western fiction, Sadegh Hedayat reflects in various ways in his works the recklessness of fictional characters, wich is the author’s own recklessness, just as the story of the stray dog describes the alienation of the subject. As in the face of the human world around him and the value system of the story takes the audience to a world beyond the biological world of “Pot”. The leading article analyzes the “stray dog” in the form of a symbolic story based on the historical story based on the historical concept of alienation and story of the alienation of quasi-modern Iranian man(Hedayat).But the presentation of different definitions and components of the concept of alienation by the theory owners has caused that there is no comprehensive and single definition of it, this issue at first sight makes us face a kind of critical view towards the fluidity and multiple meaning of this concept. The need to rely on a comprehensive approach that can create affinity between different philosophical, psychological and sociological borders seemed necessary.Due to the multifaceted and fluid nature of this concept, we are trying to reach an almost coherent and focused model based on the genealogy of the word and its historical and developmental course among the existing theories and teachings. Such a thing could not have been achieved except in the shadow of the genealogical approach that can consolidate the existing definitions and theories in a common and reliable field. So, After explaining the phenomenon of alienation based on the genealogy of this concept in the views of Hegel, Feuerbach, Marx and fromm considering the metaphors such as”power and ideology”, “identity” and “other”in the narrative system of the story and the character of “Pat” at three levels:unity and oneness, alienation and liberation from alienation are examined and based on the analysisof the story, it is concluded that migration and alienation in the story of “stray dog” finds the role of a specific theme, which to guide it has the function of a philosophical- psychological and social system, and he organizes a resistance against the alienating power exercised against individual and social life, which expresses an important concept in Foucaults’ thought.