پژوهشنامه نقد ادبی و بلاغت
سال یازدهم شماره 3 (پیاپی 27، پاییز 1401)

As much as poets have tried to elevate their words, prose writers have also tried to elevate their works by using various rhetorical aspects.The simile has been the first imagery since the beginning of the development of Persian language and literature. Every poet wanted to make his words more imaginative, sublime and fresh than predecessors, and in order to achieve such a thing, he had to redefy trite similes. Metaphor in every poet's poetry is the result of exaltation and perfect simile of poets before him. Considering the passage of several centuries in the literary life of the Persian language and literature and passing through the stage of growth and development, Saadi and Jami should have either used new similes or changed the similes of the predecessors to create a fresh and new image in order to elevate their literary works. and accompanied by metamorphosis. Considering the fact that Saadi's words for commoners and elites have often been far from ambiguity, it is expected that he and his followers have tried more to change the words of the predecessors and less to create fresh similes. In this research, we have tried to answer the question that what devices did Saadi use in the fifth chapter of Golestan and Jami in the sixth shrine of Baharestan to redefy their similes? For this purpose, by analytical-descriptive method and based on the obtained evidence, we have shown that Saadi and Jami use the devices of conditional simile, preferential simile and conditional simile, conceit simile, metonymical simile, allegorical simile, equivalent simile and asymmetrical simile, similes and additional imagery, negleational similes, the use of vehicle, and rare words of comparison have been used to redefy similes and eliminate trite. equivalent simile, especially in rhythmic prose, can be used as a device with which the poet, like the asymmetrical simile, can redefy the simile and provide an opportunity for homophony. Although Jami intended to follow Saadi's style, he was not always successful. When sensitive simile becomes rational simile, or vehicle becomes unusual, Saadi's words are always firm and unambiguous ; But Jami's words become ambiguous. Saadi is also sometimes helpless in finding a clear point of resemblance for allegorical simile or preferential simile of reference type. The process of forming  imagery usually begins with simile and the poet has to leave one of Sides of comparison in order to defamiliarization. Metaphor is the result of defamiliarization, de-familiarity with trite metaphor. negleational simile is a metaphor for familiarity, de-familiarization and a platform for creating metaphors. The negleational simile is a vehicle for defamiliarization  and a platform for the creation of metaphor. In order to keep their words out of ambiguity, Saadi and Jami have tried not to use often far-fetched or pristine metaphors, and instead have become for defamiliarization with the metaphors of the predecessors.

Persian political-ethical books are a set of policies that prescribe or implicitly shared aspects of social etiquette directly with the audience and the listener. In other words, these works are a source for a variety of customs and a model for how to regulate distance and social space among people. In this article, aspects of distancing based on the contexts and topics of social etiquette such as speech and listening, nutrition and food, covering and disguise, sitting and standing, friendship and enmity are interpreted in six important Persian moral-political works. The result shows  that all areas and topics under investigation are based on creating a distance and observing pre-established order or existing natural rules that are represented in each of the areas with specific indications/signs. In the matter of speech, the words of the upper class, such as kings and sages, regardless of the subject matter, are regarded as advice and wisdom, and listening to it is considered a legitimizing blessing. In terms of eating etiqutte, they bring examples of the elaborate dining tables of the upper class, who want to keep their distance from others as a dramatic consumption. The etiquette of covering and disguise also serves as class distinction and social distancing in a marked way. In the manners of sitting and standing, distancing is based on body management. The upper class acts with a free and relaxed body, while the lower class maintains their distance with the upper class by sitting on two knees, talking slowly, etc.  For the etiquette of friendship and enmity, which is a part of social etiquette, keeping a distance from the enemy is necessary in any case, and not observing it is the cause of loss and deterioration. According to the epistemological model of the classical world and the attached socio-aristocratic aristocracy, all the mentioned fields and subjects serve in a marked way to differentiate and create a hierarchical distance. In these works, whether prescriptive propositions or narratives, they invite the audience-listener to class discipline and assume it as a form of tradition or an aspect of rationality. Such a call would automatically tie the discipline to sources of legitimacy.

The purpose of this research is to investigate the homesickness,childhood and adolescence in Divan of MirRazi Danesh Mashhadi, a famous poet of the 11th century during the rule of the Safavid dynasty. The dynasty that caused many poets of that time to migrate to India and experience being far away from their homeland. Although the concept of homeland in Mirrezi's poetry is beyond the city and village of the hometown, the mystical knowledge of this class is a part of our national culture, and careful observation in Anandar's works could be very beneficial in providing a clear picture of the poet's era. Homesickness as a cognitive state occurs when a person suffers from distress and psychological emptiness due to the lack of a material or spiritual element. The reason for this nostalgic feeling that is accompanied by nostalgia for past events; could be a variety of reasons, including being away from home, reminding of enjoyable pasts, youthful vivacity, losing loved ones, or other desirable life events in the past. Due to the poet's unwanted migration to India and being far from home, this emotional feeling of homelessness and reminding of his spring time has given his poetry a more emotional mood and glorified his sense of belonging to his homeland. His approach to the homeland has all aspects of individual memories and there is not any evidence of collective feelings and memories and social nostalgia in his work. What provokes his feelings are the happy memories of living in Iran and the longing to be away from his homeland and his strong desire to return to his homeland and the land of dreams. The method used in this research is a descriptive- analytical one and this case-study research is based on the quantitative evaluation. Mirrazi's way of expressing the grief of homelessness and childhood and adolescence memories were examined by studying and selecting the related poems, so the data gathering is a purposive sampling. After analyzing the data it was seen that immigration and its consequences that can be felt by anyone in the middle age and old age can be seen in Mirrazi 's poems. Besides, remembering the past is illustrated in the most attractive and beautiful way in his poem and of course he has a powerful regret that affects the audience. Finally, we can conclude that Mirrazi dedicated a significant part of his interpretation to homesickness, by addressing the grief of homelessness and regretting it. He also has reflected his individual experiences in his poetry.

This paper offers an analytical reading of Fariba Vafi's novel, My Bird. It utilizes the theoretical framework and methodological analysis introduced in Roland Barthes's influential work, S/Z. Specifically, this study utilizes Barthes's introduction of the five semiotic codes of proairetic, hermeneutic, semantic, symbolic, and cultural to analyze the novel through a semiotic/narratological approach. Through this approach, the study aims to define the 'Readerly and Writerly texts,’ to prepare the framework in order to specify whether this work is readerly or writerly, based on Barthes evaluative typology. This study employs the concept of 'Mode of writing' introduced by Barthes in Writing Degree Zero to conduct a narratological analysis of My Bird. Then, the text of the novel is divided into different lexias, which represent the significance of each chosen excerpt in relation to the question being explored. Finally, the paper applies a semiotic analysis to each selected lexia: the proairetic, hermeneutic, semantic, symbolic, and cultural codes to find which one or ones are the more dominant. By dividing the text into different units and analyzing them based on Barthesian typology, the research found that the proairetic code dominates the text, making it a readerly text. While there are a few instances of other semiotic codes, the few semantic codes are mainly similes, meaning that they do not help the reader engage with the chain of signifiers. The scarce number of hermeneutic codes shows that the text lacks an element of mystery that might make the novel interesting for active readers. My Bird offers few examples of symbolic and cultural codes. My Bird can be grouped with feminist literature because it aims to highlight a woman's experience in a patriarchal society. Vafi examines the social, cultural, and political conditions that define gender inequalities in Iran, and My Bird can be seen as a critique of these conditions. The central protagonist of the novel, Roya, is a symbol of this feminist critique, and her story represents the voice of Iranian women. The character's depiction of physical, emotional, and psychological vulnerability is an indication of what many women experience in Iran. But all these are treated formulaically ending in few symbolic and cultural codes.In terms of narrative style, My Bird can be classified as a readerly text based on its proairetic code dominance. The proairetic code is characterized as the code of action, which mostly deals with narration about what happens, what is done or said. The overreliance on this code is a significant factor underlining My Bird's readerly character. The readerly text is easily accessible, traditionally structured, and can be easily understood.The writer's intention is usually to convey his or her message to the reader effortlessly. Barthes's theory of the readerly text aligns with this idea, as the readerly text is designed for a passive reader.Although My Bird is categorically a readerly text, it does include writerly elements that allow for different interpretations. For instance, the limited use of hermeneutic codes in the novel means readers can actively engage in interpretation and potentially find new ways of understanding the text. However, this is not enough to overcome the readerly character of the novel, which is dominated by the proairetic code. Therefore, this research concludes that My Bird is predominantly a readerly text since the proairetic codes are noticeably dominant in the novel. Although the novel includes some writerly elements like hermeneutic codes, My Bird's overarching structure and linguistic devices serve to limit the reader's freedom in interpretation. The research also highlights that the lack of symbolic and cultural codes. The study's findings suggest that My Bird is an unsuccessful example of a readerly text due to its limited potential for active participation from the reader.

The expression of an experience beyond the ordinary experience of life gives the writing a real but indefinable nature, which can be conveyed to the audience only with the help of the infinite world of words and the capacity contained in the semantic circle woven around it and such indefinable words are nurtured in the symbolic space and become expressive. With a brief look at the religions, traditions, beliefs, and literature of different nations, we see human life full of symbols and symbolism; since the work of art can’t be imagined separately from its surroundings, the widespread use of the symbol in literature, which depicts various aspects of human life, does not seem far-fetched. Although Tavallali and some scholars strongly believe that symbols are not used in his poems, the present study, by expressing the functions of symbol and symbolic words and through the lens of symbolism reveals how he makes use of symbols in his poems in the collection titled Nafeh. The current research discloses the clear signs of symbolism in Tavallali´s poems by highlighting symbolic uses. In so doing, this study opens new and ignored horizons for those readers interested in his poems. The approach applied in the present research is descriptive-analytical emphasizing the socio-political issues as well. Accordingly, the study uncovers that Tavallali has used symbols in expressing lyrical concepts. As a result, the researchers believe that the decision to use symbols in the literary texts by the authors is not always made consciously. In other words, using symbols by the authors is inevitable. Thus, Tavallali and his works are no exception, and this is confirmed when the readers have a look at his poems, especially, the personal and private symbols which exclusively belong to the poet and his mind, and at the same time express his pure thoughts and ideas that have unintentionally taken on symbolic forms

“Woman” is one of the most pivotal social issues and also one of the main subjects of story literature in the post-constitutional Era. In the traditional discourse, a fixed identity was defined for woman, which was challenged, especially in the second Pahlavi era, after the arrival of modernity to Iran. Introduction of new issues such as equity of man and woman, woman freedom, the necessity of being modern and playing social roles, created a serious challenge in the traditional and ruled-by-man Iran society in regard to the redefinition of woman identity. In the present study, using  Laclau - Mouffe discourse analysis method, by considering the traditional aspects of woman identity, the challenge of traditional and modern discourses in the new definition of desirable woman, based on Golshiri Shazde Ehtejab, was investigated .The results show that ruled-by-the-man discourse defines the freedom and modernity of woman in such a way that instead of leading to women active social role, it leads to social nudity and in order to fix the nudity aspect, equated it with adornment and beauty of women. And being educated and having literacy was redefined in such a way that instead of increasing thinking and knowledge of women, it can simply result to more desirable service to husband and family. In the whole, the new mixed discourse, by emphasizing the traditional sex roles and keeping aspects based on the inferiority perspective and instrumental view to women, redefined and used fluid signifiers in such a way that practically followed a more exploitative approach compared to the traditional discourse. In the end, it can be said that a desirable woman in this discourse is a woman who is maidenly, made-up, mannered and literate. And all these characteristics are worthwhile only when they are used in the service of man for playing better the traditional sex roles. Confrontation between these two discourses eventually leads to symbolic death of Shazde Ehtejab and Fakhronesa. Also, in Shazde Ehtejab story, there is regret for the past hierarchical regime, a regime in which there is a fixed place for everybody and everything. This regime was destroyed in Shazdeh's time; his wife, Fakhronesa ridicules his identity and power and challenges and questions the facts arising from previous discourse. Reflection of the confrontation between traditional and modern discourses in redefining the woman identity can be investigated in the form of the story. For instance, although masculine discourse for controlling everything is reflected in Shazdeh's viewpoint and perspective throughout the story; the story took a polyphonic texture due to constant hearing of women's voices through Shazdeh's mind. The story's anachronism and flashback between past and present events represents the narrator's ramble and wandering between the traditional and modern discourses.