فصلنامه نقد ادبی
پیاپی 60 (زمستان 1401)

Recreation is the most innovative possibility in the field of adaptation: the way and the material of confrontation, digestion, transformation and appropriation of the great and previous text(s) by the author or creator allows a divergent and different creation. In this respect, the recreated text is secondary, but not second-rate. It embodies repetition and otherness at the same time. By presenting definitions, capabilities, and possibilities of new creation, this study analyzes the reasons for stagnation, inertia, and the limitation of new creation in children's and young adult literature in Iran. It shows that the perception of tradition as something outdated, the didactic-moral orientation in the creation of texts, the ignoring of various philosophical, mythological, religious, and historical texts, etc., the ignorance of the importance of the story/novel in transforming experiences, enjoyment and improving creative thinking of children and young people, and the consideration of the audience as an object of the generation, i.e. the consideration of the audience as passive and inactive, which has reduced recreation in Iran to changing the point of view, characters, place and time, tone, ending, etc. After analyzing the reasons for this stagnation and time marking, this study shows the expansion, capacity, multi-layered (nested) and eclectically intertwined aspects of western youth novels by comparing Iranian and non-Iranian youth novels. These novels have benefited from various intellectual, epistemological, and artistic texts and sources as well as from one statement, allegory, idea, or main theme.

Literary criticism and theory, due to its interdisciplinary approach, often encompasses literary, philosophical, social, and historical concepts. This makes understanding theories and applying them to literary texts complex and difficult. Against this background, Issa Amankhani's book "A New Look at Literary Theory" (1400) is an original and critical study that aims to explain and refine literary theories, sources, and also the application of these theories in literary texts with a new approach and in simple language. The main principle and premise of the book is that literary theories have emerged through "self-grounded authoritarianism" and the emergence of any "theory" is due to its "parallel work" and "opposition" with the theory. Therefore, the basic premise of the book is based on the emergence of "anti-authoritarian" theories, and based on this, all literary theories are divided into three approaches or three subgroups of author/subject-oriented theories. It divides the anti-author/subject theories and the anti-structural theories and classifies them into one of the three approaches mentioned above on the basis of the "dominant element" and "family resemblance" of each theory. However, the approach of the new foundation of the book, which, besides its value and originality, comes from the innovative mind of the writer, critic and inquisitor, suffers from frequent simplifications and reductionisms, limitations and finally "contradictions" in the course of writing. "Fundamental" that we will explain in detail the various aspects in the rest of the article. The present article, while reading and carefully examining the said book; It suggests and shows that the respected author, in the next editions, even if possible, points such as the book as a textbook, more flexibility, avoiding restrictions on categories, comprehensiveness and avoiding simplification and reduction. - Zeid's diligence.

Anti-war literature is a subset of peace literature. Peace is portrayed in both negative and positive ways. Positive peace is defined on the basis of the concept of moral cosmopolitanism, while negative peace is in contrast to the concept of war. Accordingly, the cosmopolitan stories represent the utopia and the anti-war stories represent the ruined city. The data of this research are picture books with anti-war stories of age groups B and C. This article was written using the analytical-descriptive method and based on the formalist approach to answer how common devices (common formal patterns) are in children's anti-war stories. The result of this research shows that anti-war stories are divided into three categories according to the dominant element of the story based on the part of the triple process of beginning, middle and end of the war: beginning-centered, middle-centered and end-centered. Each of these three categories is further divided into subcategories based on the devices they use. The acceptance of the emerging genre of anti-war literature and the lack of sufficient internal and external research on peace literature for children necessitates research. This article is the first to categorize children's anti-war literature using a formalist approach.

Poetry and philosophy: two producers of making truth.

Lived experience is a broad, controversial, and sometimes ambiguous term that has been used by researchers in various fields of study. While there are occasional references to this concept in literary studies, it has not yet been seriously considered by researchers. The study of lived experience and its role in the process of literary creativity is very important in explaining poetic concepts; for it is a way to better understand poetry and, moreover, can provide a criterion for examining the success or failure of a poem or literary period; moreover, the shared experience of the reader and the poet can help to better understand poetry, paving the way for reader-centered criticism from the perspective of lived experience. In this study, an attempt was made to explain the concept of experience through the Lived analytical-critical method and its modes. Then, to better understand the role of lived experience in the process of literary creativity, a systematic model for it should be defined and drawn. In this context, lived experience is divided into types such as personal lived experience, specific lived experience, and general lived experience, each of which has subcategories. The findings of this study not only explain the concept of lived experience and its role in the process of literary creativity, but also show that lived experience is one of the basic elements of literary works, especially poetry, which can contribute to the understanding of the existence of poetry, its formation, the sources of inspiration of poets, etc.

Almost all researchers have accepted that meaning is formed in the intersection of the mind of the author, the text, and the mind of the audience. But this proposition is incomplete and unjustifiable if one does not pay attention to the meaning of the discourse. This is because the author's mode of operation, the subject and organization of the text, and the thoughts of the audience are all determined by rules of discourse. This article attempts to provide a conceptual model from the perspective of Michel Foucault's philosophy and considers Bidel Dehlavi as an example. This model describes the relationship between discourse and meaning. Moreover, this model is a comprehensive system for the study of Persian poets.