مجله ادبیات پارسی معاصر
سال دوازدهم شماره 2 (پاییز و زمستان 1401)

The present study seeks to analyze the mythological views about the category of the soul and the phenomenon of animism in the novel "Bad e Nuban". This novel contains many popular beliefs in the southern regions of Iran; among them, the “Zar” ceremony, which is performed on the occasion of curbing the destructive influence of spirits in people's lives. In folk beliefs, the spirit as an active entity in human life is able to be beneficial or harmful. For this purpose, tricks have always been considered by people to avoid these possible damages. This novel is written based on these beliefs. In this article, the relationship between spirits and the living in the novel is explained by using the qualitative content analysis method, by examining the mythological insight. One of these beliefs is the belief that the spirit and the wind are the same, which has a very ancient history. This belief is also reflected in the language and popular beliefs. Also, the relationship between the soul and the mirror and the reason for the danger of reflecting a person's image in any object are shown. The spirits of nature, such as the spirit of the sea, play a prominent role in this novel as one of the foundations of animism in folk beliefs; also, the way of communication of elders and qualified persons with spirits, which is rooted in shamanism, is another important element in the narration of this story that has been discussed.

The literary style of realism without any judgment in simple language familiarizes people with the contradictions, beliefs and realities of society. The content of these works can provide useful and practical information for the mental development of individuals and societies. Swiss psychologist Carl Gustav Jung's archetypal theory also familiarizes us with collective unconsciousness. Collective unconscious contents are ancient constant and repetitive archetype that are activated by external actions and flow from the unconscious level to the conscious level. From Jung's point of view, literature is one of the sources by which archetypes can manifest their nature. According to this theory, Carol S. Pearson, an American researcher, introduces twelve archetypes. Orphan is one of these archetypes. This archetype is activated in the collective unconscious part of the psyche by people facing oppression, discrimination and frustration and ultimately brings realism to them. In this research, five realist works of 1960s and 1970s of Iran’s realistic literature were investigated by descriptive-analytical method from the perspective of orphan archetype. Based on the obtained results, the realism literary style which represents oppression and injustice in societies, is a suitable platform for displaying an orphan archetype. An archetype that is activated by rejection and oppression and emphasizes realism.

The poetry of the socialist realism of Afghanistan, in terms of the quantity of artistic production and attention to ideological issues, modernity, and social-socialist commitment, is one of the most fruitful currents of contemporary Persian poetry in Afghanistan, and the poets of this current have become various types of visualizing elements, socialist concepts, and cultural symbols. They have benefited from the frequency difference. Mythological-epic symbols are a part of the themes and images of the poetry of this trend that the selected poets of the socialist realism of Afghanistan have used these narrative symbols in their imagery and creating themes. Based on this, the present research, using the descriptive-analytical method, based on Gerard Genet's intertextual opinions, explores the process of recreating mythological-epic narratives and themes in the poetry of the socialist realism of Afghanistan, relying on the poems of " Sulaiman Layeq, Bareq Shafiei, Dastgir Panjshiri, Asadollah Habib and Azim" Shahbal", examines and analyzes. The results of this research show that the poets of socialist poetry of Afghanistan have recreated mythological and epic themes and narratives often for political and ideological reasons. They have recreated mythological and epic symbols in the form of allusions, allusions, ironies, similes, and explicit intertextuality, or they have rewritten myths and epics in the form of explicit intertextual references, and they have used the content and aesthetic capacity of myths in reflecting social political thoughts. have used themselves.

The Symbols manifest role in creating images and conveying poetic concepts. Colors find a symbolic form in poetry to express emotions viz, anger, fear, and love. Poets use colors in the real sense to sensualize beauty. Sometimes, considering their symbolic aspects, they draw abstract concepts. The movement of socialist poetry in Afghanistan, poets, with a deep look at the phenomena of existence and awareness of the diverse and symbolic concepts of colors, have used different colors to express their ideals and desires. Present study, actualizes descriptive-analytical method to analyze the symbolic position of color in the said movement. The results show that the symbolic use of colors is prominent in this poetic movement. The color, red: is a clear symbol of freedom and communist thought; black is a symbol of suffocation and tyranny ruling the society. Poets of this realm have found a way out of the black symbol in red color. The white color is a clear symbol of peace and victory while other colors such as green, blue, and yellow, which have the highest frequency among the main colors along with other colors, are considered important elements of symbol creation in the movement of socialist poetry.

The effect of extra-text on the images of the poem "ghaside barae ensan e mahe bahman" by Ahmad Shamloo based on Norman Fairclough's theory of critical discourse analysisNorman Fairclough studies the discourse in 3 levels "description, interpretation and explanation". In this article, the effect of extra-text on the images of the poem "ghaside barae ensan e mahe bahman" by Ahmad Shamlou is investigated based on Farklough's theory.The formation of images is based on the centrality of simile and then paradox, metaphor, exaggeration, hint and irony.The images of the poem fit with the experimental context and strengthen the central image of the poem, that is, the fighting man. The situational context of the images includes some social-political events close to or at the same time as the poetry. Hints have an intertextual function and prove and strengthen the poet's attitude. In the process of ideological displacement, Shamlou delegitimizes the official and dominant discourse. And as an intellectual, who has discursive agency, he presents his alternative ideology in the form of socialism and in opposition to the government. In this poem, discourse practice is obtained from the coexistence and coordination of individual images (discourse event) with each other and with the situational context of the poem and is related to the social practice of poetry (social-political situations).

The travelogue can be studied and analyzed as one of the types of narratives. Nim Dang Pyongyang's travelogue by Reza Amirkhani is the result of his two trips to North Korea. In this travelogue, unlike conventional travelogues, field visits and descriptions of places and anthropological experiences, etc., have not taken place. It focuses on the discovery and understanding of North Korean man in the form of travel writing.The answer to the question of how a travelogue can be formed without field visits and the conventional method of travel writing should be sought in the narrative method of this travelogue. Different perspectives can be opened from the perspective of different theories on the narrative method of this work. After examining the characteristics of this travelogue and the active role of the author, adapting and analyzing this work based on Jaap Lintvelt theory (based on "point of view" and "functional confrontation between narrator and actor"). Focuses) was found appropriate.The result is that the narrative in this travelogue is the same and the narrator, as the actor or the main character or the main hero, is the center of the narrative; The perceptual-psychological, temporal, spatial, and verbal foundations all indicate that although the author also pays attention to the contemplative narrative, the dominant method is the active narrative.

In stipulation of language and narration as amongst the most expressive devices, the war literature evinces appalling and suppressed concomitants of confrontations in the collective perceptions. Nonetheless, certain of these literary works, particularly those who have discretely detached from the years of warfare have been adroit in providing more distinctive and effectual explications of this communal authenticity. The novel of Divar written by Alireza Gholami perhaps remains in this category. Divar demonstrates an all-out war novel, an account of expressing a realistic view, unconventional and altered to the issue of the Iran-Iraq war, which maintains inconsistent with and occasionally contradictory to what is occurring in the domain of war theme in the society. In this study, Divar has been analyzed through the method of qualitative-quantitative analysis and according to Freud's individual trauma and Jeffrey Alexander's collective trauma. The components of violence, destruction, shouting, death and discipline have correlated with the most important occurrence of traumas in the characters of, Divar, respectively. In this novel, the objective implications of traumas have been illustrated in the states of shock, anxiety, coldness and indifference, numbness and isolation, disordered behavior of children, aggression, retrospection of embittered memories, and destruction of human relationships.

This study tries to deal with the effect of political, social, and ideological currents, and power relations on the discourse of selected satirists' works, and the degree of their words' explicitness and implicitness. These satirical works were written between 1953-1978. Moreover, this study aims to analyze the effect of various events and currents of this period such as coups, the spread of the discourse of absolute Pahlavi modernism, the expansion of political restrictions on Satire's discourse, and the words' explicitness and implicitness of mentioned satirists. Using components of Van Leeuwen's model such as categorization, impersonalization, nomination, etc., this article examines the methods of representing actors in satirical works and explains and analyzes their relationship to the prevailing powers and ideologies. The research results show that the implication of categorization has the highest frequency in all works; as satirists represent most actors based on their occupation, social status, gender, etc. By applying the exclusion component, they avoid criticizing the institution of the monarchy and clericalism. This can be justified by factors such as the prevalence of the discourse of absolute Pahlavi modernism, Shiite resistance, lack of political development, fear of the danger of excommunication of clericalism, and the precautionary thinking of these satirists. Furthermore, the explicitness and application of the nomination component are often reflected in the field of cultural, literary, and social satire.

A realistic utopia is a utopia in which cognition has an empirical basis. In this utopia, unlike its other two types, i.e. divine and philosophical utopia, mankind, relying on empirical science and objective observation, wants a realistic utopia rather than an idealistic one. This type of realistic thought is the result of human failure to achieve two types of divine and philosophical utopia, which can be seen abundantly in recent decades and in contemporary literature. Ahmad Mahmoud is one of the authors who is looking for a way to achieve such a utopia throughout his works, especially in Madar-e Sefr Darajeh. In this study, an effort has been made to analyze and examine this type of utopia and its characteristics in Madar-e Sefr Darajeh with the descriptive-analytical method in order to determine what the most important characteristics of Mahmoud’s realistic utopia are. Finally, it is concluded that the characteristics of Mahmoud’s realistic utopia include various areas that can be divided and described under five general categories: 1. social, 2. economic, 3. security, 4. political ,5. cultural. It can also be concluded that Mahmoud’s utopia is not an imaginary and illusory world, but mankind may achieve such a realistic utopia by applying empirical science and its sovereignty.

The historical novel is a general outline of the influence of a historical period, ‎and the author's knowledge of history can strengthen the author's internal ‎power to create a social or political narrative in the midst of history. Reza ‎Joulayee is one of the writers who writes based on history and real events. In ‎his novels, he puts real heroes and characters next to fictional characters. The ‎novel "An Old Case" is a story of the linguistic communication of people who ‎gathered in a historical period to pursue a goal. The hero of the story, who is ‎one of the political figures of Mohammad Reza pahlavi's era, is killed by ‎some people. In this novel, truth and history together make a narrative so that ‎the reader can search for the cause of the events in the discourse that prevails ‎in the story. This article, which is written in an analytical-descriptive method, ‎seeks to extract the ideology and society of that historical period and the ‎relationships between those in power and those who Submissive to power, ‎based on Lyotard's views based on language games and the sublime. In the ‎end, it has been concluded that the author was able to convince the audience ‎with each sub-narrative to understand more of the historical events that were ‎transferred to the next generation in the grand narratives by written works, and ‎put him on the path of the realistic sense of the story.‎

The purpose of this article is to investigate the process of metaphorization in the rhetorical layer of the contemporary social sonnet style and to investigate the ideological functions of this process so as to be able to achieve the dominant pattern of metaphorization in this literary genre. Also, this article seeks to analyze and explain the use of this rhetorical technique in terms of its role and functions based on the ideological view of poets, by reading and analyzing samples within the target statistical population. Investigations show that the majority of metaphors used in these poems are explicit metaphors. The creation of metaphors is primarily based on visualization, and above all, they are made based on animism, focusing on vegetation and zoology, and poets have created metaphors based on the similarity they have found between their intellectual foundations and mental beliefs with the phenomenon in question. . From the point of view of role and function, exaggeration, praise and praise or minimization and reluctance and humiliation of examples of these metaphors are among the most important intellectual and ideological foundations of poets of this literary genre.

In contemporary literature, especially new poetry, the field of connotations and the transfer of meaning has expanded from vocabulary to extensive systems such as sounds, the type of writing of sentences and fragments, visual signs, etc. Among them, virtual applications of Punctuation are one of the proposed options in this field. In the meantime, the Ellipsis Dots has been and still is more popular among contemporary poets due to its high potential and semantic inclusion. Therefore, this research tries to extract possible and common meanings of poets in the practical field of three points with an analytical view and achieve a comprehensive analysis of it in the statistical category and by examining the collection of works of Shamlou, Ebtahaj, Mossadegh, Baraheni, Royaei and Gros Abdul Malikian, define eight common and special meanings in contemporary poetry; In the results of this research, each of them is more prominent in some of the works of poets and they have the ability to combine and combine with each other. On the other hand, each poet in his tendency to use one or more Ellipsis Dots, has reached the characteristic of his style, which is presented in the form of statistical data and its interpretation. Also, the type and course of use of this sign is directly related to the transition from modernism to postmodernism in contemporary poetry.