مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 85 (خرداد 1402)

Asadi's Garshasbnameh and Banoogoshasbnameh should be considered as important epic works in Persian language. Although the dominant approach in these two works is epic, the reflection of emotional components that are linked to the basics of lyrical literature is well highlighted. Singing and boasting are among the examples of lyrical components that Pahlavan uses to meet his various goals. The purpose of the present research is that by applying the theoretical foundations of Fairclough's critical discourse analysis, the level of description in these brags and boasts has been represented in order to explore the various dimensions of these military tactics. The main question of the research is, what is the effect of boasting and boasting in the mentioned works in the representation of the discourse of "power" and in what discourse components has this category appeared?

This research was done based on library sources and descriptiveanalytical method.

Words are used in brags and jokes to start a psychological war by the wrestlers. Also, the words in the mentioned works show the approach of "shepherd and lamb" in the discourses proposed by the characters. In connection with the characters, by describing a series of actions and emphasizing their physical abilities, the wrestlers show the gap between the singer and the other person as high as possible. At the level of association, the commonality of word networks in multiple phrases and sentences is an extension of power hegemony. Pronouns in these systems have played a role in reflecting the hierarchy governing interpersonal and social relations. The form of the verbs in boasting and arrogance is often news, which indicates the certainty of the issues raised. Also, authoritarianism is one of the important messages obtained by analyzing verbs.

The analysis of idioms and boasting in the mentioned works at the level of description shows a conscious confrontation by the singers in introducing the characters. Also, alienation between the discourses of the parties is clearly seen.

Arasbaran region, in East Azarbaijan province, has many poets in whose poetry several motifs are repeated in different periods. In this article, with the aim of introducing the literature of this region and a general look at the place of poetry in it, the motifs and themes of the Persian poems of six of its poets from the return period until today have been examined.

The collection of information has been done by the library method and the method of writing the article is descriptive-analytical. The statistical community of the research includes the Persian poems of seven poets of Arasbaran region, Abolqasem Nabati, Abbas Barez, Salek Ahari Tabrizi, Morteza Mousavi, Imam Virdi Samani, Ismail Soltani and Hossein Doosti.

Lyrical, mystical, moral, and religious themes are among the motifs and themes of classical Persian literature, and social themes, patriotic poems, Islamic revolution, and holy defense are among the contemporary themes in the poetry of the poets of the region. In lyric poetry, there is a traditional view of love and the beloved. In addition to the motif of love, themes of sadness and pride are repeated. In the mystical and moral poetry, according to romantic mysticism, there are themes of Randy, Qalandari, criticism of hypocritical asceticism, condemnation of the world and advice on moral standards. In the motif of religion, the moqbat of the pure Imams, especially the manqebat of Imam Ali has found a stylistic feature. In social poetry, there is a criticism of the Pahlavi society, a description of oppression and tyranny, poverty and social disorder. The description of the homeland, the praise of the birthplace, the region of Arasbaran, the description of the Islamic revolution, the praise of Imam Khomeini (RA), the condemnation of the enemies, and the description of the martyr are some of the revolutionary poems of these poets.

In the poetry of Arasbaran region, classical and contemporary themes are repeated with lyrical, religious, mystical, educational and Islamic revolution motifs and themes. Arasbaran poets have turned to new themes along with the changes in themes in contemporary poetry, but they still pay attention to the motifs of classical poetry.

Footnote novel is a new phenomenon and a branch of literature. This contemporary literary trend has attracted people's attention and is rooted in popular literature and is a reflection of the current issues of society and reflects political, social and historical events like a mirror. As a social novel, along with the growth and richness of the literary stream, it shows the weaknesses and cultural defects of the society with simple language and general structure. At the same time as the political and social disturbances at the end of the Qajar period, writers with a sharp pen showed the idiosyncrasies of the society. First, the social footnote novel Tehran Makhuf by Mushfeq Kazemi with the theme of love and simple prose and report-like language, and then the historical novel Ten People of Ghezelbash by Masrour were written with the aim of encouraging patriotism. The purpose of this essay is to analyze the style of these two works.

This essay has investigated the narrative style and intellectual content and special style of these two novels with a descriptive-analytical method.

Popular novels because of having certain stereotypes and frameworks throughout the work, from the title to the ending, events, characters, story line and fixed theme such as love triangles and squares, falling in love between a boy and a girl from two different social classes, and plot The cover can be separated from elitist literature. All these characteristics are mainly based around a simple axis and to make the story interesting.

The language in these two novels, according to the type of audience, is simple, far from complexity and difficulty. In both novels, love and homeland are two main characters. In fact, earthly love and love for the homeland are parallel to each other. Another feature of these two works is their symbolic language and irony. There are many characters in them and each one represents a certain class of society. In Tehran makhuf, we are witnessing serious criticism of women's issues, and the author's approach is more social; But in the Ten people of Ghezelbash, the main approach is historical and patriotism and religiousism are more prominent.

The present essay examines the mythological and epic characters of Ferishte in Ferdowsi's Shahnameh and uses Pahlavi books as a supplement and evidence. The purpose of this research was to take a closer look at the mythological and epic nature of Fereste and examine the conceptual distinction between the use of Fereste in the Shahnameh and in the sources of the Shahnameh. In order to deeply understand these distinctions, it is inevitable to divide the types of use of the messenger and the Minoan messengers that are interpreted as "angels" in common usage, along with the attributes and characteristics of the messengers and the motives of sending the messenger in the national epic, have been examined.

This research was done in a library method and descriptiveanalytical method based on comparison, interpretation and explanation.

The studies and investigations of this research have shown that some attributes and characteristics of the messengers and the double importance of the messenger in the epic are taken from Shahnameh sources such as Pahlavi and Avesta works.

In this article, the term "angel" refers to the supernatural beings who have been assigned and sent by Ahura Mazda to carry out both their helping and messaging actions. The characters of these messengers are a model for messengers, couriers and war ambassadors in verse epics such as Ferdowsi's Shahnameh.

Folk language and literature is one of the important indicators in the spiritual culture of any country, which has had more or less influence in Persian literature since long ago. Through the growth and expansion of Iranian fiction literature in the last hundred years and the tendency to use the elements of popular language and literature in the works created, we can see a significant growth of the reflection of popular language and literature in contemporary literature, especially in fiction. The sacred defense literature, especially the story, is no exception to this rule. The writers of the holy defense stories have also used elements of popular language and literature in accordance with the atmosphere and characters of their stories.

The present research was carried out by descriptiveanalytical method, the elements of popular literature in four stories of holy defense (Bagh Bolour, Dele Deldadegi, Zamin Sokhte, Zemesta62) were studied.

The authors of the holy defense stories, especially the stories studied in this research, were not inadvertence to the popular literature and used popular language and literature in advancing their narrative and in characterizing and creating atmosphere. In such a way that most of the slang terms, words and verses are expressed by the language of popular personalities, which shows the knowledge and mastery of these writers on the popular language and culture of Iran.

The results show that the elements of popular language and literature in the story of Zemestan62 had less reflection compared to the other three works; Because most of the characters in this story are people with university education who interact in an office environment. While the characters of the other three stories (Bagh Bolur, Dele Deldadegi, Zamin Sokhte) are ordinary people and they interact in the streets and markets, and their conversations are full of words, idioms and folk literature.

One of the best ways to introduce and introduce the cultural background of different nations and nations and their authenticity is to pay attention to manuscripts; Because these copies are part of the heritage and cultural, literary and historical birth certificate of a nation, and their introduction and correction is considered a big step in valuing and strengthening the cultural and literary foundations of a language. One of these copies is the manuscript of Mirza Taghi Sahib Ali-Abadi's Kolliat, one of the poets of the second half of the 13th century. The main purpose of this research is to introduce the manuscript of the generals of this powerful poet and to examine and analyze its stylistic features from three linguistic, literary and intellectual perspectives.

The work method in this research is descriptive-analytical and the data were collected by writing sheets and sampling the text with repeated reading and checking and selecting repetitive options. Sometimes mentioning rare cases has helped to answer and approach the research questions.

The findings of the research indicate that the content of this work has some characteristics of Khorasani style, such as old combinations and words, use of verbs in the old form, use of literary arrays, similes, intelligible allusions and exoteric metaphors. This poet has used linguistic and literary possibilities in the service of religious teachings and praising the kings and rulers of his time.

The results of the research indicate that Mirza Mohammad Taghi Ali-Abadi Mazandarani has succeeded in composing odes with a literary taste in the old style, especially the poets of the Khorasani style. The description of Mamdooh, easy-to-understand similes and metaphors, simple language and sometimes the use of Arabic compounds in a difficult context according to the requirements of the court style, mention of religious, Quranic and mystical terms is some of the features of this system.

Vasukht (withdrawing love) style as one of the branches of Voqou (Factual poetry) style in Persian literature in the second half of the 15th century and flourished in Iran until the middle of the first half of the 16th century. In this style, contrary to the old tradition of ghazal, the lover speaks harshly to the beloved, flatters and makes unnecessary excuses, and sometimes is heartbroken by the beloved. Although in the age of Saeb, this style was no longer popular in Iran but in Saeb's poetry, themes of withdrawing love can be found, although in a small and scattered way, which shows that he was not unwilling to write such poems and he paid attention to the poems of withdrawing love. The present article tries to search and examine the term and poems of Vasukht (withdrawing love) in Saeb's poetry as much as possible.

The present research is a theoretical study based on library studies, and the scope of the research is the six-volume Diwan Saeb edited by Mohammad Ghahraman.

In this article, by searching Diwan Saeb, we have introduced 20 ghazals and a significant amount of scattered verses with the content of withdrawing love, and we have divided and separated them into different categories based on the type of theme. We have also determined whether the audience of these poems is a general or special lover.

In Saeb's poetry, " Vasukhtan " and its relatives are used at least 12 times, which shows Saeb's interest in writing such poems. The themes of withdrawing love Saeb's poems are: theoretical explanation Vasukht, warning, threat, condemnation, Failure to convert to a romantic relationship, rejection of former lover and falling in love with another. The theme of some poems indicates a real experience in Saeb's life and poetry, but in most of them, no specific lover is mentioned.

Fayyaz Lahiji is one of the prominent Shia theologians and philosophers in the eleventh century of Hijri and one of the students of Mulla Sadra and Mir Damad, who has many works in the field of Islamic philosophy and theology. Also, he is one of the poets of the Indian style in the 11th century of Hijri, who has about eleven thousand verses in various styles. According to the authors' search, no stylistic analysis has been done on his poems. The purpose of this essay is to examine his poetry style in three levels: linguistic, literary and intellectual.

This research is based on descriptive-analytical method.

Based on the findings of this research, compared to other poets of Indian style, Fayyaz's poetry does not have subtle imaginations and complex and slow-to-understand themes. His poetic language is simple and fluent, and there are no significant idioms and slang expressions in it. Fayyaz is also heavily influenced by mystics and their teachings, and the influence of mystical and Sufi teachings on his analyzes and interpretations of theological issues can be seen in several positions

The row in Fayyaz's poetry is very diverse, and puns, paradoxes, and the style of equation are more abundant among the creative arts in his poetry. Simile and its types are also at the top among expressive industries. The main theme of his poems is the praise and praise of the imams of Athar, and the theme of his lyrics is love. The characteristics of love, lover, and beloved in these poems are almost in accordance with the Iraqi school, and the lover has an unfortunate, unsuccessful, and satisfied face. Beloved is also at the peak of indifference and cruelty. Also, the mysticism of Qalandariye and the condemnation of appearances in religiosity and hypocrisy can also be seen in his poems. He has written poetry in all kinds of poetry formats, such as qasida, ghazal, masnavi, quartet, tarjieband, and composition.

It is possible to know the intellectual backgrounds of the writers of the past periods, especially the writers of the past, through studying how historical, geographical, social, economic, etc. issues are presented in their works. In this regard, the stylistic analysis of Mohammad Ibn Ahmad Toosi's work can lead to the discovery of a part of his intellectual level as one of the great painters of the 6th century.

Descriptive-analytical method has been used in this research. By studying the Ajaeb al-makhloghat and Gharaeb al-makhloghat, this research tries to examine the stylistic features and analysis of the intellectual level of the author in presenting various topics, and from this passage, to answer the question whether Tusi's style in describing phenomena is affected by his intellectual level.

Tusi, as one of the well-known wonder writers of the 6th century, has added to his writing credibility more than any other intellectual group in terms of presenting various topics and describing phenomena with authentic religious documents.

The analysis of the style of Tusi's Ajaibname shows that the author's language is often influenced by his religious thoughts. This work is a valuable source for getting to know the beliefs of the people of that period. Tusi tries to influence the beliefs of the people and maintain their intellectual connection with the prevailing thoughts of the time by introducing and explaining the strange and strange, with the validity of Quranic and scientific references. He has used a special descriptive style to deal more deeply with the topics.

One of the new topics in feminist criticism of literary works is the category of colorism. By examining the works of women poets and writers through the psychology of colors, one can understand their unconscious mental and linguistic structures; Invisible forces that appear in the works beyond the claim of the poet and writer. Therefore, in this research, the book "Baroter ez Behar" is evaluated by examining the components of color science together with the feminist criticism of Elaine Showalter. This book is a collection of poems by contemporary women poets, which the author wrote with the intention of showing the violation of women's individual rights in the form of language.

This essay has been done in a descriptive-analytical way using library studies based on psychological and feminist criticism.

The use of the element of color in the book "More Fertile than Spring" in order to express women's emotions and feelings has a high frequency. The colors that are used as "symbols" and "codes" are indicative of women's biological and physical characteristics. These colors can be divided into psychological, biological, linguistic and cultural conceptual models, and their use in women's works has been far more than men's works in similar analyses.

The results of this research indicate that by relying on the deconstruction of the language form, a kind of feminine language can be achieved in the lower layers of the text; A language that has a masculine color in appearance and was created under the influence of a patriarchal environment in most cases; But in fact, it has a kind of feminist view in the concept of Showalter's Jinocritisism.

Examining the poems of different periods, from different aspects related to form and meaning, can have decisive values. One of these aspects is to examine the use of proper nouns in poetry. Alam and proper names, including various and numerous details, have had an effective and pivotal presence in Persian literature, especially ancient and contemporary poetry, from the past until now. Understanding the meaning of many poems is linked with understanding the semantic and visual function of the special noun used in them. Considering this importance, the topic of this article is to investigate the function of proper nouns in the themes and concepts of Attar's ghazal; An obvious and ponderable function. This review, in addition to making us face this poet's ghazal from a new perspective, is an attempt to identify a distinctive part of ancient Persian poetry of which Attar's ghazal is one of its important manifestations. The most important mission of this trend, which started with Sana'i, is to instill mystical, romantic, socio-political and Qalandaran concepts.

The present research is a theoretical study that was carried out in a descriptive-analytical way, and the target version of Attar's Diwan edited by Saeed Nafisi, published by Mendan Aviz, was examined.

The findings show that the most use of proper nouns in Ghazal Attar is revealed with romantic concepts. In this thematic field, explaining the virtues of the beloved is the most obvious function.

Induction of mystical concepts and terms has the second position. Among these topics, mystical seeking has the most expression. The concepts of singing and playing are placed in the next place. The final frequency is also one of those socio-political functions; Emphasizing the condemnation of betrayal and hypocrisy. In Attar's Ghazal, the order of usage of special nouns is: elements of nature, animals, persons, places, objects, and divine books.

The viewpoints related to the imaginary world are based on two approaches: ontology and epistemology. The ontological approach considers the world of imagination as one of the levels of existence, which is the boundary between the world of minds and the world of matter; On the other hand, the epistemological approach considers imagination as one of the powers of human perception, which is limited to imagination. Among the mystics who have addressed this issue is Rumi, who has made indirect references to this world in his Masnavi, but unlike great scholars such as Mulla Sadra, Sheikh Ashraq, and Ibn Arabi, there is no independent chapter called the world of imagination in his works. For this reason, some think that in the Masnavi, the subject of the imaginary world is not raised as a level of existence, and the meaning of the imaginary world in the Masnavi is simply the connected imagination, imagination and mental imagination. Most of the researches that have discussed about imagination in Masnavi have examined imagination only in the field of epistemology and have considered it as one of the perceptive powers of humans, which mostly has a negative aspect and hinders the achievement of knowledge. The main goal of this research is based on the fact that the imaginary world in the Masnavi includes ontology, epistemology or both fields.

In this research, with a descriptive-analytical method, the ontology of the imaginary world as one of the levels of being and being in Molavi's thought has been proven by relying on the first book of the Masnavi.

In Rumi's opinion, imagination is not only one of the inner powers of man, but it is also accepted as a level of existence and has been conceptually discussed in many Masnavi verses.

Molavi considers the ways to reach the world of fantasy to be things such as the transformation of external attributes into internal ones, sleep and dreams, inspiration, natural death and voluntary death.

Divan Shams is a reflection of the opinions and thoughts of this mystic, many of its words have a positive meaning in both axes of companionship and substitution, and like a chain, it serves the thoughts of its creator, as one of the famous western psychologists, Martin Seligman He has turned himself from the symptoms of learned helplessness to the penetrating effects of positive emotions. The purpose of this essay is to analyze and analyze Ghazals and investigate the positive lexical chains of Rumi in Divan Shams according to Martin Seligman's theory of positivist psychology.

The current research is a basic research using the methods of rational reasoning and analysis and based on library studies, and it deals with the category of analysis of chains of positive words based on the positivist components of Martin Seligman and its effect on Diwan Shams of Tabrizi. The statistical community is also the statistical community of 3000 verses from the ten-volume book "Koliat Shams" by Maulana Jalaluddin Mohammad Molavi, based on the original edition of Faruzanfar with his corrections and margins.

All the components of Martin Seligman's positivist psychology have been observed in Koliat Shams. The percentage of Seligman's positive virtues in Diwan Shams is as follows: excellence has taken the first rank of virtues with 42.43%. Wisdom is in the second place with 20.61%. Shujaat ranks third with 17.28%. Altruism with 14.10%, moderation with 4.62% and seeking justice with 0.96% have taken the next ranks. The abilities of love with 74.54%, leadership with 65.38% and perfection with 53.96% are the highest, and the abilities of humor with 0.78%, seeking justice with 0.96% and stability with 7.92% are the lowest.

The use of such positive concepts and words in Diwan Shams, in addition to bringing the audience to the city of Rumi's love, is effective in creating psychological transformation and changing attitudes and improving the quality of life of the audience. The adaptation of Rumi's positive linguistic and intellectual elements in Divan Shams with the opinions of Martin Seligman; Today's psychologist and psychotherapist, these two spiritual and human capitals, with a gap of eight centuries, are the main result and product of this research. Seligman's thoughts and components as the subject and the brain-made world of Rumi in Divan Shams, as the example and the compass hand of the sublime human life, have created a wonderful and irreplaceable alliance that is reliable and fruitful from the two scientific and artistic points of view of literature and psychology.

This article was written with the purpose of architextuality reading of Hafez's poems based on Gerard Genet's theory of transtextuality. Genet calls the long-term relationship between a work and the type it belongs to as architextuality. For this purpose, considering the importance of the typology of Hafez's poems, this issue has been investigated in the context of architextuality reading.

This research has been conducted as a theoretical study in the form of a laboratory study. The scope of the study is Hafez's Diwan Ghazliat edited by Ghasem Ghani and Mohammad Qazvini. In this research, an attempt was made to analyze Hafez's poems based on Gerard Genet's theory of transtextuality in a descriptive-analytical way.

According to Genet's concept of transtextuality, the results of the research indicate that the main text of Hafez's poems can also be classified into the following types in terms of type and form: "political, didactic, eulogizing, appropriate, boastful, satirical and Satire, philosophical-mystical, prayerful, calumny and reproach."

Based on this, the results of this research have shown that the main text of Hafez's poems includes critical political poems, political praise poems, political resistance, political satire and political epic. Praise poems can be classified into types such as laudatory praise, descriptive laudatory, elegiac laudatory, descriptive laudatory, boastful laudatory. After the type of "prayer" and "humor and satire", the main text of Hafez's romantic and mystical poems can be classified under the philosophical and mystical type. On the other hand, the reprimanding poems of Hafez have titles such as "giving oneself over to blame and not being afraid and not angry at the slander of those who appear, avoiding the worldly world and thinking about goodness and expediency and disregarding name and shame, avoiding asceticism and ascetic sellers, avoiding hypocrisy, a critical view of It is classified as formal institutions, avoiding the claim of discovery and virtues, covering up flaws, avoiding self-righteousness and selfishness, fighting with the ego, and seeking salvation in love.

To what extent a text is related to previous, contemporary and later texts and is influenced by those texts in the linguistic, semantic, etc. fields, depending on the importance and value of that text, it is often investigated by commentators and scholars. Critics are placed. What is more important and emphasized in the criticism of modern texts is the type of communication and dialogue that is established in the shadow of intertextuality and intersubjectivity to create dialogue networks with previous, contemporary and future texts. The term intertextuality and intersubjectivity, etc., should be searched for in the thoughts of Bakhtin and his fans. However, examining the types of dialogue and its applications between the author, the narrator, the text and the audience is important to determine the grading of the texts; A text like Mantiq al-Tair as a valuable Persian mystical system can be the middle link of many of these conversations. In this research, the writer aims to observe the types of methods of the author/narrator in the creation of a conversational network and intertextual communication in the target text.

Since this research is based on the text of Mantiq al-Tair, the authors will try to examine the concepts of the theories presented in the text, using the library and sampling method.

The text of Mantiq al-Tair throughout is a scene of intertextual dialogue and connection with past texts and holy books.

Attar creates a network of dialogue between generations and between different strata of society by using human characteristics, symbols and using communication tools. The existence of common narratives between Mantiq al-Tair and earlier and later works, including the Masnavi of Rumi and later texts, confirms the existence of dialogue relationships in the text.