نشریه مطالعات بین رشته ای ادبیات، هنر و علوم انسانی
سال دوم شماره 2 (پیاپی 4، پاییز و زمستان 1401)

From the period of the Ilkhans, the first illustrated version of the Shahnameh was produced, and Ferdowsi's poems became a suitable background for illustration. Even though the painting "Battle of Kay Khosro with Afrasiab" in Shahnameh Baysonghory and Tahmasabi is inspired by Ferdowsi's poems, which is the same in both versions, but the paintings have different aspects due to the change in visual expression. It is important. are.The current research aims to analyze and compare the transformations of the authors' depictions to reveal the depth of the story. Therefore, it addresses the question of how the painters, relying on the theory of Vladmir Propp, have depicted the story of Kay Khosro's battle with Afrasiab.The method of analysis in this research is qualitative and the structuralism approach is used based on the theory of Vladmir Propp. Information is collected by the library method and the tool of sampling and observation. The results of this research show that both images undergo a structural transformation in comparison with Ferdowsi's Shahnameh. In this matter, reasons such as being influenced by political, military, social and religious norms, as well as the ideological conditions governing the time and context, and the personal beliefs of the kings as clients and schools governing painting have been effective.. Also, the personal style of the painters in the emergence of the characteristics of the illustration has caused a different perception of Ferdowsi's story. This indicates a kind of structural change in external and internal factors, such as the removal

In recent decades, interdisciplinary studies in literary research have made literary research new and attractive. Considering the capacity of the quatrain as one of the forms of Persian poetry and emotion which are one of the main components of the poem, in this research, Khayyam’s quatrains have been studied and analyzed from a psychological perspective. The theoretical framework of this article is Plutchik’s theory. According to this theory, eight emotions are common to all living things. These eight emotions include Destruction, Joy, Incorporation, Orientation, Protection, Deprivation, Rejection, and Exploration. All the emotional dimensions of Plutchik can be deduced in Khayyam’s quatrains. The dimensions of Destruction were 37 items, Joy 90 items, Incorporation 107 items, Orientation 61 items, Protection 32 items, Deprivation 130 items, Rejection 43 items, and Exploration 103 items. Although the prevailing view is that the core of Khayyam’s intellectual system focuses on happiness and debauch, this psychological study reveals that in these quatrains, anguish dominates happiness and joy. The results of this study reveal a part of the dimensions of Khayyam’s emotional personality.

The current research is a comparative and interdisciplinary analysis of the concept of responsibility in Austrian psychiatrist, Viktor Frankl’s theory of logotherapy, and Rumi, a famous Iranian poet and mystic. In Logotherapy, freedom of will and responsibility are intertwined and indicative of humanity. According to Frankl, recognizing one's responsibility is one way to discover the meaning of life. Rumi also considers responsibility as the foundation of life and guides people to act responsibly in this world and for the hereafter. Similar to Frankl, he considers us responsible to God, ourselves, others, in situations and in our destiny and warns against projection. The present research draws on a descriptive-analytical method to compare and contrast the views of these two thinkers on the concept of responsibility. In other words, the paper is a comparative study of a prominent psychological theory with Rumi's mystical-educational views. The results of the research show that the sources from which the same doctrine initiates in these two thinkers are different. Frankl deals with the concept of responsibility from the stand point of existentialist psychology, and Rumi does so, from the perspective of Quranic teachings and Islamic mysticism. Frankel believes in discovering a unique responsibility in regard to all aspects of life. Rumi, on the other hand, believes in each person’s specific responsibilities as well as fundamental human responsibilities. According to Frankl, every human being is responsible for his/her choices in this world; however, in Rumi's view, one's responsibility for his/her actions is not limited to the life in this world; one's actions determine one's state of reward and punishment in the afterlife. Frankel considers evasion of responsibility as a result of the inability to discover meaning, while Rumi considers it as a result of the mastery of carnal desires and a root cause many immoralities.

The present article is a comparative study of the causes of mutiny and morbidity in the works of two modern poets Nosrat Rahmani and Henry Charles Bukowsk in the light of Jacques Lacan's theories of three registers of Imaginary, Symbolic, and The Real. The research first explores these registers in these poets’ works and then analyzes their psychological and social motivations. One form of mutinous act in the poetry of Rahmani and Bukowsk is their persona’s explicit confession to their addiction in alcohol and drugs. Their insubordination has pushed the narrators’ to the threshold of ignominy, despair and death, yet still, none of these consequences seem enough to make them leave the world of fantasy. Jouissance, or pleasure associated with pain and guilt, pushes them towards death. The study concludes that the source of these issues is the repressed feelings that arise as a result of the subject's confrontation with the Big Other. The personas have been caught up in a symbolic cycle, and in order to bring it to an end, they have no choice but mutiny and morbidity. By entering into the Real order and recognizing the lack, they become traumatized and endeavor to retreat to the Imaginary realm of the mother to soothe their pains.

Hakim Jamal ad-Dīn Abū Muḥammad Ilyās ibn-Yūsuf ibn-Zakk ibn Muayyad Nizami Ganjavi is one of the great Persian poets whose valuable works, especially Khamse have influenced the poets who came after him. Due to his importance, Nizami has attracted the attention of writers and critics, and many books and articles have been devoted to him. In order to identify areas for further research relevant to Nizami Ganjavi’s works, it is necessary to obtain knowledge on the existing body of the research carried out on his works. Nowadays, one type of interdisciplinary research is the use of information science methods such as Co-citation, Co-word and Co-author Analyses in drawing the scientific map of a given field. The differences and similarities in each of these bibliometric research methods can lead to new and different information about the discipline under study. The present study intends to analyze all articles published on the subject Nezami using social media analysis techniques. This research is of descriptive-analytical type and has deployed Co-Word Analysis Approach. The corpus of the study is Persian articles on Nezami Ganjavi, indexed on authentic databases in the period between the years 1378 to 1399. To draw and analyze the co-occurrence network of words, "Ravar Matrix", "SPSS" and UCINET and Net Draw softwares are used, and the subjects are classified using the thematic clustering method. The results show that Khosrow and Shirin, Leily and Majnoon, Hafte Peykar, Makhzan al-Asrar, Iskandarnameh and Khamseh are the main subjects used in the keywords search, and Khosrow and Shirin is the most widely used keyword in papers.

Karen Horney (1885-1952) is among psychoanalysts who have emphasized on social interactions as effective elements in the making of one's personality and has called on psychoanalysts to scrutinize the social backgrounds in which the individual has grown up. Similarly, we have analyzed and studied "Afsaneh" the main character in the novel "Heart of steel" based on Karen's views. Our descriptive analytical method has aimed to find out which neurociticism has Afsaneh been using to counter her basic anxiety. The study has found that The key to understanding and recognizing the anxiety of the Afsaneh is to understand the patriarchal system in which she is forced to live. In the proper context provided by the patriarchal system, the violent father and the gambling wife of the legend consider themselves justified in humiliating and harassing him, which causes fundamental anxiety in his character. Afsaneh's anxiety increases after immigrating to Tehran and after proving his worth to his father. Therefore, to deal with it, she uses the neurotic tendency of moving against people, but this mechanism is in conflict with the tendencies of moving toward people and moving away from people and causes the formation of a basic conflict in her personality.

The concept of comparison has been so long-lasting and durable that can be taken into account as both a humanistic and social tradition. In the present study, with a view toward comparative literature, and from the point of view of the psychological theory of “pyramid of needs” by Abraham Maslow, the authors intend to analyze some classical works such as Faraj Bad az Shedah, Kalile va Damneh, Qaboos-Nameh, Tarikh Beyhaqi, and Ghazaliyat-e Hafez. Drawing on a psycho-literary analysis perspective, the purpose of the present study is to reveal the scope and capacity of each discipline in offering new horizons for future research. The results of this study show that the ideas proposed by humanistic psychologists to represent a motivational analysis of human behavior, such as the one proposed by Maslow, have already been considered in the Persian literature in an explicit or implicit manner. This study, for the first time in the Persian literature, analyzes realistic narratives and proposes two major findings a) the effectiveness of a psychological theory in relation to literature is proven and b) a better understanding of the value of literary texts in representing mental and abstract concepts is gained.

Impressionism and existentialism are both schools of thought that consider the human and his/her existence as the center of the universe. In Impressionism, it is the individual who, as the creator and recorder of a moment, immortalizes it because he/ she is the one who experiences and then creates and represents that moment. Existentialism also maintains that philosophical thinking begins with the subject of human, not merely subjective thinking, and that life is meaningless unless one gives it meaning. The present study seeks to answer the question: why and how did both Alavi and Al-Gharbawi use a combination of impressionist-existentialist approach in their works: "The Station", and "the Only One" and "Meet" respectively? The importance of the research lies in its examination of a gap in criticism; it seems that interdisciplinary approach to criticism can offer a more comprehensive  study of the text. For this purpose, the current research makes an attempt to offer a new form of reading the text by combining the two schools of impressionism and existentialism. To do this, three short and very short stories have been selected, one from the contemporary Persian literature and the other two from the contemporary Arabic literature. This research is of analytical-descriptive nature. The results indicate that Alavi and Al-Gharbawi try to express the loneliness and emptiness of the life of the contemporary man. Although Alavi tends to associate this loneliness with gender criticism, both authors have been able to draw on impressionism and existentialism to reach an epiphanic moment of recognition and understand the feeling of philosophical absurdity.

Abdullah Pashew and Mofdi Zakaria are contemporary poets who lived during the reign of Ba’ath in Iraqi Kurdistan and the colonization of Algeria by the French, respectively. As committed poets in such situations, the two have turned their poetry into a mirror for reflecting the suffering of the colonized Kurdish and Arab peoples and by emphasizing the necessity of decolonization, they consider revolution as the only path to freedom from the clutches of colonialism and occupation. In addition to the suffering caused by the occupation of the lands, feelings of humiliation and frustration as the main reasons for these poets' revolutionary tendencies, deprivation, cultural assimilation of the colonized people and other crimes have pushed Pashew and Mofdi to take action in the form of rejectionism and revolution. Due to a lack of independent research on the causes for Pashew's and Zakaria's tendencies for revolutionary action, the present paper intends to do a comparative analysis of this phenomenon as reflected in these poets' works. The main questions to ask are, how and in what forms the underlying factors for revolutionary action are manifested in their poetry and to which concepts these factors are tied. To do so, the author has used a descriptive-analytical and comparative method based on a sociological study of their motifs. The study shows that issues originated from the hegemony of colonization and occupation have forced these poets towards rejectionism and revolutionary action. The scope of Mofdi's revolutionary poems is much wider than Pashew's, but Pashew's poems express a much deeper anger, which is at times mixed with cursing and eruptions of rage and hatred.

Mysticism, as a universal concept, has different definitions and manifestations in the east and the west. But they all consider the presence of a pious and exemplary Pir necessary to guide the person in a spiritual journey. The present paper examines the concept of Pir from a mystical perspective in two Iranian and non-Iranian adolescent novels (Arman Arian’s Ashvazdangahe and J. R. R. Tolkien's The Lord of the Rings). Many researchers have considered mysticism in literary works written for adults, but few work have exclusively investigated this topic in adolescent literature, especially in a comparative manner. To do so, the present paper, first provides a definition for Pir and its characteristics, and then, studies its representations in the above mentioned adolescent novels using a descriptive and analytical lens. The paper compares the character of Pir in terms of his abilities and knowledge, the issue of submission and authority, the method of guidance and education, and the purpose of this spiritual journey. Based on the findings, we recognized that cultural and linguistic differences cause a significant difference in representations of this central concept in mysticism. Such differences arise from the differences between two God-centered and human-centered worldviews in mysticism. These two novels, then, can be seen as representations of Islamic mysticism whose ultimate goal, after self-knowledge, is self-devotion and reaching God, and postmodern mysticism (new esotericism) whose purpose is to cultivate the inner forces of the wayfarer to overcome the dark forces within.

The World Wide Web has created a new arena for Google as one of the most widely used brand names in the last two decades, which has designed more than 4,000 examples of Doodle logo appropriate for its advertising strategies from 1998 to 2022. Among the doodles, the celebration of artists in various fields, especially painting, has a special place. The present paper, studies Google’s Occasional Logos as perfect examples of referencing based on Gerard Genette’s transtextuality. This French cultural critic and thinker developed a coherent theory for explaining intertextual relations by presenting the idioms of transtextuality. The paper draws on a descriptive analytical method to examine the extent to which Genette's typology is applicable to the design of Google logos (doodles) celebrating artists. To do so, the paper discusses the influence of hypertext on the hypotext of works of artists from different countries. The "hypotext" is the original text and the source of inspiration, and the "hypertext" is the second text derived from an earlier one. Hundreds of doodles have been designed to honor painters so far, and from among which, 11 paintings were selected as the corpus of the study by purposeful sampling. The results of the study indicate that different types of Doodle Googles in honor of painters revolve around four types of hypertext (except for charge and Travestissement), and most of them might be categorized in several types at the same time. A number of logos have been created based on pastiche (imitation of an artist's masterpiece), but most of the doodles are in the category of parody (comprised of a combination of elements from different works by the same artist). Many of them are categorized as forgery and transposition.

According to Roland Barthes, every narrative is interwoven with multiple codes and the reader has a central role in decoding signs and creating meaning. This article deals with the semiotics of fashion theories using Barthes' layered analysis approach. In this approach, textual analysis is done by using five codes, that is, hermeneutic code or question code, proairetic or action code, semantic code, symbolic code, and cultural code. The present research is developmental and applied in its goal and descriptive-analytical in methodology. The research aims at decoding the meaning hidden in fashion theories to provide a clearer view of fashion products, especially clothes to researchers, producers, designers, and fashion consumers. The findings show that the fashion system is a writerly text and all five types of codes are in it. The connection of these codes leads to the formation of economic, social, and environmental harmful effects, and therefore, this research emphasizes the necessity of the formation of a sustainable fashion system.

Geocriticism, Real and Fictional Spaces is a book by Bertrand Westphal, Professor of Comparative Literature at the University of Limoges in France. He is the theorist of geocriticism and has written several books to explain the importance of adopting a geocritical approach in literary studies. The book is an interdisciplinary study and was translated from French to English by Robert Tally who has written a preface to the book. The book is comprised of an introduction, five chapters, notes and an index. The chapters are entitled as follows: Spatiotemporality, Transgressivity, Referentiality, Elements of Geocriticism, and Reading Spaces. The first chapter is about temporal metaphors and spatializing time. In chapter two, the focus is on a characteristic element of contemprary space. Chapter three is devoted to theoretical speculations about links between the world and the text and between the referent and its representation. Chapter four describes the geocritical metodology. The final chapter examines the importance of the text in the construction of a place.