پژوهشنامه مکتب های ادبی
پیاپی 18 (تابستان 1401)

In the field of mysticism, there is a huge volume of literary works, in prose and poetry, in Persian or Arabic, the content of which is diverse, ranging from wisdom, philosophy, interpretation of the Qur'an to hadith. The theory of Sufi beliefs and terms, and the expression of love, knowledge, and the critique of reason, and the proof of the agreement of the way with the Shari'a, ethics, customs, monastic customs, and the history of the elders, and the expression of dreams, revelations, and eloquent words are ecstatic. One of the branches of mysticism is the school of semantics, which has seven major literary indicators. Mir Abdul Wahid Ibn Ibrahim Ibn Qutbuddin Ibn Mahro Bilgirami (1161-1095 AH) is one of the most experienced and mystical scholars of India whose mystical school is Chishtī and the book "Sabaa Sanaabil" is one of his works. The aim of the researcher in this article is to introduce and study the customs, beliefs and ideas of the Chishtīyah sect in "Sabaa Sanaabil" by Mir Abdul Wahid Bilgirami with an emphasis on the school of semantics and its indicators, through a descriptive-analytical method. While introducing Bilgirami, authors criticize the intellectual and mystical foundations of his works. Findings indicate that intellectually, the author is greatly influenced by the intellectual mentality of the Chishtī sect, such as the veil, the etiquette of the disciple, the dhikr, meditation, listening, ‘Shariatmadari’, etc., so that he has discussed and referred to the ideas and intellectual foundations of the Chishtī sect.

"Urban filth" or "dystopian" literature contrasts with utopian literature. The future imagined for human society in this genre is a sinister, pathological, and filthy future. The main concern of the novelists of dystopian literature is to pay attention to the social and political critique and the reflection of the visible and hidden social problems of the modern era. The grounds for the emergence of the dystopia are works that have looked with extreme pessimism at the reality of human life in the contemporary world. Modern fiction has a corresponding capacity for the genre of dystopian literature because it deals with the problems that have emerged in complex and new forms in today's society and have plagued our contemporaries. Sociologists are not able to clarify the psychological dimensions of these problems with their statistics and study questionnaires. Authors seek to answer the following questions: what is the genre of dystopian literature and what are its characteristics? Which components of the genre of dystopian literature do Mandanipour modern stories address? According to the study of modern works by Mandanipour, it became clear that cases such as suicide, identity loss, betrayal, loneliness of modern man, violence and cold behavior, passivity and submission, increasing the spirit of savagery among human beings, mental confrontation with self, disintegration of human relationships, severance of romantic relationship or emotional alienation in couples' relationships are the most important components of dystopia in Mandanipour’s modern stories.

Influenced by European literature, constitutionalist intellectuals began to critique past literature in a revolutionary way; moreover, in order to establish "literary democracy," they called for literature that would serve to awaken people and bring about political change. Confrontation with Europe is the main cultural issue in the constitutional period. The attitude of the traditional Iranian society towards the European civilization caused the intellectual awakening of the intellectuals and the adoption of a new attitude towards politics and culture. Fascination with Western civilization and uncritical treatment of its effects made the humiliation of Iran's cultural heritage seem like a kind of modernism. With the arrival of Western culture in Iran, some believed that moving towards Western models could elevate Iranian society and return it to its former greatness. Imitating the West, they made reforms (Westernization) because they believed the prosperity of Iranian society could result from a comprehensive imitation of the West, so they tried to follow the example of the West in form/content (Westernization). But the third group, by emphasizing the system of indigenous values, Islamic-Iranian culture, etc., found a principled solution to achieve progress. In this study, we have tried to identify the discourse of "westernization" in the novel "Dog and Long Winter" by Shahrnush Parsipur, with political, social and ideological issues, and to explain the production of each discourse. Also, the complex structure of textual production, linguistic features and metalanguage effective in creating this work have been examined based on the method of Fairclough’s critical discourse analysis.

Forough Farrokhzad’s attention to the style of Moshiri's composition has caused the poetry of the two to be similar in terms of language and emotion. The simplicity and intimacy of the language of Moshiri's poetry was highly regarded by Forough, and on the other hand the emotional richness of Moshiri's poems is beyond the emotion of a man's poetry; if one reads or hears his poems without knowing his name, it is possible that they think they are written by a woman. In this article, the authors, using a descriptive analytical method, examine their written and virtual sources to provide a convincing and reasoned answer to the question: "What are the most important aspects of lyrical-social poetry in the poems of Fereydoun Moshiri and Forough Farrokhzad?" Authors emphasize that if Forough had had more opportunites, she would definitely have been in a position beyond her current status in contemporary poetry. Her poetry promised a poet with a special genius. Although Moshiri is a sensitive poet and to some extent committed to the issues of humanity, he has radiant differences in the way he expresses his views. Findings of this article indicate that Fereydoun's lyrical-social poems revolve around three major issues of general humanity, natural disasters and a personal view of social issues, but Forough's lyrical-social discourse revolves around four major issues of resisting the patriarchal society, criticism of diminishing moral values, criticism of passive people and the unhealthy situation of the country.

Realism refers to the specific literary current of the nineteenth century which is also used as a style of storytelling. Realism reflects life, as much as possible, in the world of fiction. Instead of dramatizing or making the story more romantic, literary realism tries to tell it as realistically as possible. Many features of the school of realism are also evident in the works of the first generation of Iranian novelists, including Simin Daneshvar. As the first Iranian female novelist, Daneshvar has written three novels called "Savushun", "Island of Wandering" [Jazire-ye Sargardāni] and "Wandering Cameleer [Sāreban-e Sargardān]. The aim of this research is to examine the details and elements in the novel and to deduce its exact aspects to discover their realistic components and how they are adapted according to the social reality. In the present article, an attempt has been made to reflect on the components of realism in the fictional works of Daneshvar, in the two sections of sociopolitical, economic and cultural issues of Iran and the personal life of the author. In these stories, features such as the use of slang (appropriate for social class), accurate staging and realistic characterizations are examined. Attention to the abovementioned points has led Daneshvar to be known as a realist writer; an author who in her works has depicted the individual and social life of Iranians in decades of Iranian history.

In the midst of the Constitutional Revolution, the promotion of ideas such as freedom, oppression, respect for the rights of the people, accountability of officials, and the establishment of parliament was considered to be one of the most important demands of various sections of society. In the meantime, the poets of the constitutional era, with their political literature, became one of the most important sources of people's excitement, awakening, and oppression. In this article, the authors have tried to study and analyze the poems of Adīb-al-Mamālek Farahani, Vahid Dastgerdi, and Malek osh-Sho'arā Bahār by using a descriptive-analytical method. The hypothesis that the authors have examined in their poetry emphasizes that first, the most important political component of Vahid's poetry is patriotism. Second, the most important political component of Bahar's poetry is criticism of the general state of society, and finally, the most important political components of Adīb 's poetry are pieces of advice to rulers accompanied by criticism. Findings of the article show that political thoughts of these three poets revolve around the seven axes of homeland, unity, constitutionalism and parliament, anti-authoritarianism, denial of colonialism, freedom, and justice.