فصلنامه متن پژوهی ادبی
پیاپی 97 (پاییز 1402)

Although it is supposed that Molana and Shams are in all consensuses, contemplation in their slants shows their disagreement in some subordination. One diverse is their slants about the mystical state and its different dimensions which causes this disagreement and its reply is because of the preference of mystical inebriation to observation by the mystical pattern of each mystic. Molana's slant is like Bayazid. Hence, the ecstasy of mystics in inebriation’s step is a symbol of being faithful and joining God, namely, a mystic with obligatory quiescent and motionless surprise God until God uses his tongue for a satisfying statement. But Shams like Junaid's mystical pattern believes that a mystic state does not have any meaning but metempsychosis, arrogance, disability, and inconsistency, achieving God knowing the reality of religion in observation level, founded beyond quartet steps of inebriation. Also, because of the new feelings of this research quality of the relation between obligation and authorization with a mystical state are their idea. In Molana's slant, mystics are despots who optionally asked God to make them compulsive and mortal in it. So, they did not accept any action and statement to themselves considering God the teller and also the doer of all deeds. But for Shams mystics are inebriated because they are just symbols of God's blessing, they have not achieved any dominance in states, stability, and observant authorization also they faced determinism plus misguidance, but, the observant are authorities who can dominate their states because of achieving traits of God's wrath and kindness deserving to get a position of headship, typical for people of observant

Transformation in fictional narratives is referred to the essential changes of human or inhuman characters by a supernatural force. The present article is intended to examine this essential transformation of the characters of folk tales in the context of Claude Bremond's narrative theory. In classifying the role of the character in the narrative, Claude Bremond proposed the "Agent" and the "Patient" characters based on the extension of Levi-Strauss's "Binary Oppositions" theory of "Actant" characters. The agent has an active, effective, and dynamic role in the story, and on the other hand, the patient is passive and impressible. The present study seeks to answer the question: according to Bremond's theory, how the transformation in folk tales can lead to change in the function of the character and consequently, the status and role of the character in the story, from agent to patient and vice versa? This study, through referring to the library sources and by descriptive-analytical methods, in four specific folktales as the case studies, intends to conclude that transformation causes the main and sub characters, to create new actions or be affected by the new ones, after the transubstantiation. And as a result, they change from an agent to a patient or vice versa.

The land is often seen by many nations as a feminine elemental, reproductive and fertile nature, and plays an essential role in creation. Therefore, it has been specially found in myths, beliefs, rituals, religions, and mystical styles. In mythology, you are the mother's land, the worshiped goddess, the nurturer of the creators, the breeder, the cleanser, the sanctity and the divinity, are the source of the existence of the abyss and other beings. In religions, the earth is the source of the material existence of man, mother, kindergarten and cradle. In most of the mystical passages, the earth is the domain of the demise and divorce of the soul; it is also a female and female element, and on the basis of which the woman, the body and the soul, which are earthly and female, have been subject to denunciation. In Islamic mysticism, in addition to many literary functions of the earth, there are two special functions which are: 1. Motherhood of the earth. 2. Life to redeem. The earth in mysticism is considered to be a mother, and creatures, including humans, are their offspring. In mythological beliefs, both the mother and the mother have been involved in reproduction and survival, and have been responsible for fertility and reproduction; therefore, the mystical perception of the earth as a mother is derived from mythological beliefs. Also, in the beliefs of the mystics, the earth (soil / grave) is the rebirth of the soul and the introduction to the kingdom of heaven.

Existentialism means "authenticity of existence" or "primacy of being". This school was founded by Soren Kierkegaard in the 1830s, although its backgrounds were already in use. The primacy of being on nature, responsibility, freedom, apprehension, choice... is a feature of this school. In Existentialism, human is stranger, because it is not been made of nature. He does not have innate features and creates his own nature. The first purpose of existentialism is a stranger man, because he is not made of nature. They are left in a place that is neither of their genders nor made for them. The first purpose of existentialism is to make a man aware of his identity and make him responsible for his own existence and the existence of all human beings. He must make his own destiny with free choice. Existentialism in Iran in the 1940s and 1950s fell on Sayyed Ahmed Fardid and Ali Shariati's efforts. Mostafa Mastoor is one of the famous contemporary story writers. His first literary work, The Two Eyes of Wet House, in 1369, and his first story, Love on the Pavement, was published in 1377. In Mastoor's stories which mostly result in Soren Kierkegaard's faith thoughts especially Kiss the Lovely Face of God and Pig’s Bone and Leper’s Hands, and some of the existentialism features such as the authenticity of existence, loneliness, lust, anxiety, pessimism, and so on which are discussed in this article.

One of the basic concepts in semantics is prepositions and conjunctions, and due to stylistic differences in the texts of different periods, they have undergone many changes and have been used with different meanings. Familiarity with the meanings of these letters and their various uses has an important role in the accessibility and eloquence of ancient Persian texts. Prepositions and conjunctions are widely used, which in some cases have different functions. Some of them are just prepositions, another group is conjunctions, some of them have been used in various uses as prepositions and adjectives, adverbs and prefixes of verbs, which are determined by the context and meaning of the sentence. The present article examines the various concepts and meanings of these letters using a descriptive-analytical method. The results of this study confirm that these letters have multiple semantic networks. Including the letters "Az", ba", "ta", ... Also, the use of simple prepositions and simple conjunctions has been much more widespread in this text, and compound and conjunctive prepositions have been used to a limited extent. The relative frequency of simple suffixes accounts for 51% of the total text. The simple conjunction "to" has the highest frequency, repeated 256 times. Doing so will solve some of the problems in understanding it.

The study of Rumi's storytelling in the form of Masnavi has neglected the study of his narratives in other forms of poetry. In this article, through a descriptive-analytic method, we study the capacity of Rumi's storytelling in poems of Ghazal, Ruba'i, and Stanza. We found that although Persian poets had the most constraints in the field of poetry, a creative poet like Rumi could have been in the same number of Persian poems, depending on the circumstances in which the narrative was viewed as a whole, to formulate the narrative from an artistic form appropriate to get help. On this basis, he chose the ghazal to represent the events that were followed by the emotional effects of his emotional revelations. With a cohesive, unique structure, he has adapted his wisdom and mystical wisdom. From the narrative of his storytelling in the form of Stanza that consists of 17 Stanza of his poem, 15 pieces in the expression of the narrative stories, the unity of the theme in these pieces, is the cause of unity in the totality of his spiritual experiences. Therefore, the specific structure and style of his stories have revealed the manner in which these stories appeared in particular story forms. Also, in comparison to 2.84%, his storytelling is in a ghazal, while he has 10.27% of the quatrains and 7.05% of the story, and this shows that after the Masnavi, Maulana has said more than any figure in the Ruba'i.

Literary works are sometimes the result of the domestication and creativity that have occurred when transferring the text from the foreign semiotic system to the domestic system. Although Farokhzad's poem Let Us Believe in the Beginning of the Cold Season was inspired by Eliot's Wasteland, each of these two literary works is unique in its own way. In spite of the fact that changes brought about by transferring a text to the target literary culture are more pronounced than domestication, the text undergoes changes in many aspects, including literary structure in order to conform to the target audience. Moreover, by shifting, increasing, and decreasing the constituent elements of the source text, the poet domesticates it according to the literary and cultural requirements of the Persian-speaking community. This study aims to explain domestication strategies when transferring the texts from meta-system (source text) to system (target text) according to Lotman's theory. Results show that these changes have substantially given a sense of indigenous and domestic literary identity to Farokhzad's poetry and led to phenomenal creativity.

Climate Literature is a type of literature that is an outcome of climatic and geographical conditions. Climate Literature, in Iran, contains a number of branches including the Climate Literature of the South (The School of Khouzestan), the Climate Literature of the North (The School of Gilan), Isfahan's Climate Literature (The School of Isfahan), Khorasan's Climate Literature (The School of Khorasan) and Rural Literature. It is essential to remind that these schools usually find their meanings through Fiction. An important part of Climate Literature is Rural Literature. The cultural and social developments of the 40s (Land Reform, arguments on Westernism, and the need to return to the simple and traditional way of rural life) made the authors take a new look at rural problems and led to a new approach which was entitled as Rural Literature. Rural Literature started seriously with the monographs of Jalal Aleahmad and Gholamhossein Saedi, but Gholamhossein Saedi was the actual leader of Rural Literature in Iran. Most of his stories have a rural theme. Azadaran-e-Bayal, Toop and Tars-o-Larz gain their themes from his journeys and research throughout different parts of Iran. Another one of such active authors is Mahmoud Dolatabadi. Although paying attention to rural issues especially the ones of the rural parts of Azerbaijan is seen in the works of Samad Behrangi and Amin Faqiri, the extensive and focal aspect of this type of literature has revealed its echos in numerous works of Mahmoud Dolatabadi.

The dominant approaches in the study and criticism of myths are often based on a kind of presupposition regarding the neutrality of the discourse. In the meanwhile, it is possible to provide a new understanding and reading of them by moving from such views and by removing myths from suspension and then binding them to power structures. On this basis, first in the present article, the myth of creation and its parallel mythologies are separated from the suspension and placed in the framework of a type of power structure; then the current logic in the process is explained, and finally, the function of such a matter is discussed. The results of receiving and describing some selected works in the Greek-Iranian tradition indicate that the function of these mythological narratives is aimed at the production and reproduction of essentialist ideas related to deterministic traditions, which has flowed in a range from an ontological approach and function to an ideological organization for suppression and deprivation of agency from the subject. From this perspective, mythological systems based on the logic of essentialism have formed a center of power and conservatively suppressed the exposure of human subjects to these centers in various ways.

Nasir Khusraw is one of the great and influential figures in the history, culture, and literature of Iran. But because of his political and ideological activity in the dominant religion, some have sometimes deliberately ignored him, and beyond that, some have sometimes insulted him the worst. Nevertheless, the Iranian literary friend taste has always praised the eloquence of his poems, regardless of the religion of the poet, and some of those poems have been remembered and preserved over the centuries. This article intends to examine and analyze the extent and manner of his presence in the long-term written memory of Iranians by collecting any mention of Nasir Khusraw's name from the time after his life until the year 1000 AH. This research has been done by a descriptive-analytical method. According to the findings of this study, there are three different approaches to Nasir Khusraw in the texts: he is often referred to as ugly in the Islamic sectology texts. In some texts, regardless of ideological point of view, his poems are praised and his life is discussed, and the approach of some texts to his character is more mythical than real. The hostile mention of Nasir Khusraw's name has diminished since the military and propaganda activities of the Ismaili sect declined, and Nasir Khusrow's image has changed from a religious preacher to a Sufi that has miracles.

Nima Yooshij's theories about poetry and poet are in his previously published collections and the process of his poetic developments can be drawn from them; moreover, there are many other poems of Nima Yooshij in the last two books, which are very important in the analysis of his poetic developments. In the current research, we have examined these two collections by considering the most important theories of Nima, including paying attention to symbolism, declamation and the natural process of speech, descriptive and narrative pattern, objectivity and subjectivity, harmony, and transubstantiation. The results show that Nima has a great interest in classical literature in addition to western literature in order to achieve symbolism. In addition to the dramatic structure, Nima uses the capacity of "narrative" and "story" to express the content and tries to blend with nature and provide an objective and external description of it, unlike classical poetry. Nima does not see classical poetry as having a body-like unity and puts all the elements of the poem in the direction of creating a harmonious composition, which he calls "harmony" and "form".

Satire is a kind of literary discourse or sub-discourse because it uses a specific language for the purpose of criticism, protest, and indulgence. Critical discourse analysis is a trend in the field of discourse analysis in linguistic studies that deals with the relationship between language, power, and ideology in society. One of the famous models in discourse analysis is Van Leeuwen's sociological-semantic model in which the analysis of texts is promoted from a descriptive level to an explanatory and justification level and also the relationship between society, culture, power, ideology, etc. is represented in Satire discourse in poems. Shamloo is seen in the field of social, political, and philosophical issues and analyzes his work from the perspective of a worthy Van Leeuwen's model. From the perspective of Van Leeuwen model of critical discourse analysis, this article follows Satire in Shamloo's poetry to determine how Shamloo portrays social agents and, given the critical function of Satire, how to produce and represent discourses with sociological-semantic components. The components of critical discourse analysis in Van Leeuwen's model are based on two elements of explicitness and obscurity, which themselves have different linguistic subsets. According to the results of this research, Shamloo has used the hidden components in the discourse of Satire in his poems more. He conceals the identities of activists related to power, domination, deceived people and traitors, and at the same time emphasizes the activities of freedom fighters and fighters at the same time as activism and direct reporting. Contradictions in linguistic, emotional, and thought contexts are among the characteristics of Satire discourse in poetry.

Parrot is a well-known bird in Persian poetry, and various features of it have been implicated to form literary themes and poetics. Scrutinizing literary works represents how Persian poets living in different geographical regions, knew the natural and biological features of parrots closely and utilized them to create literary images, similes, and rhetorical associations. However, the bird has not been native to Iran. In this article, by examining Persian poetry, we show how much the natural features of the parrot are helpful to study poems, enlighten their elegance and minutes, and help to unravel the text difficulties. Perusing cases found in Persian poetic texts shows that among the natural features of parrots, physical and visual ones play a significant role in constructing rhetorical images based on similarity. Meanwhile, the green color has created one of the strongest and most diverse networks of associations around parrots.