پژوهشنامه ادب غنایی
پیاپی 40 (بهار و تابستان 1402)

One of Michael Riffaterre's achievements in understanding the linguistic and deep implications of the text is his theory of Semiotics in poetry. In the present study, the ode of "Al-mutanabbi" is explained in two levels of Heuristic reading and Retroactive reading by using the mentioned theory and by descriptive-analytical method. At the first level, the audience is confronted with a collection of news that does not convince the reader with literary ability;Therefore, in the second level reading, leads to the accumulation of "the caliphate of the second Abbasid period, the events of the history of Islam and critical expression and ridicule" and the descriptive systems of "The political situation in Iraq, the confrontation between right and wrong, betrayal, power-seeking" by examining Ungramaticalitis. Then, obtains the semantic and implicit meanings of the text by discovering the hypogram, and finally reaches the Matrix, which is protesting and criticizing the actions of the rulers of that time with bitter humor and mockery.Ode Hypogram are also based on a bitter and biting critique on the domination and rule of incompetent people during the history, false domination through betrayal, corruption and its dire consequences, lost Arab power, The betrayal of internal factors, and the division and defeat of the currents of resistance in the present era.

Love stories such as Lily and Majnoon, Khosrow and Shirin, Zal and Rudabeh, etc. are a rich part of the love and lyrical literature of this region. In addition to these written narrations, sometimes the narration of passionate loves is common among the general public, which has been less studied. One of these narrations is a narration narrated by Ali Hossein Alinejad, a 73-year-old narrator from the village of Romqan in Fars province. The author has tried to record this myth first in the field method and then to compare it with Ferdowsi's narrative through library method and content analysis. The main question of this research is what are the differences and similarities between written and oral narration and what are the results of these changes? The findings of the research show that the folk legend is composed of two completely separate parts: the first part is very similar to the story of Zal and Rudabeh except in some details; But the second part of the story suddenly changes and the reader is confronted with a completely different show. Regarding this folklore narration, in general, two hypotheses can be proposed: 1- Folk myth is an imitation and intercourse of Zal and Rudabeh narratives and love stories that have been made and narrated by the narrator and narrator. 2- Narrators and The narrators have established a new story by mixing a common love story among the people with the story of Shahnameh and other narrations. However, this narration differs from the narration of Ferdowsi's Shahnameh in various aspects such as the place of the story, characters, space, some narrative events, the end of the story, etc .; But in general, it has many similarities with the Shahnameh narration.

Khaghani’s elegies have a unique place in the genre of elegies of Persian literature; Such elegies are full of visual language and various interactive actions with the audience and have added to the lyrical tone and the influential aspect of the poem. A great share of lyrics in Khaghani's elegies stem from the process of nonverbal communication which has been induced by Khaghani's artistic and verbal abilities in the context of this poem; The present study aimed to examine the types of non-verbal communication in Khaghani's elegies and analyze the infrastructures of the types of these communications in making Khaghani's elegies more emotional. In order to conduct this study, descriptive and argumentative research methods were used; The statistical population of this study included Khaghani's elegies and the following results were obtained: Non-verbal communication processes in Khaghani's elegiesin the main branches of body (27%), environmental (23%), face (20%), movement (18%) and music (12%) and are often influenced by popular and cultural beliefs and myths, literary traditions, as well as the spiritual and psychological needs of human. The relationship between non-verbal communication and the text of the poem text was conducted by the methods of emphasis (50%), completion (30%) and substitution (20%), which strengthened the emotional load, animism of poetic images, linguistic dynamics and novelty, as well as emphasis and recognition of lyrical tone in Khaghani's elegies.

In the modern era, the components of cultural identity-making underwent changes and transformations. It seems that in this social and cultural mess, women were more influenced by new cultural and social values than men and they had an identity crisis. The novel “Wandering Island” and its second volume “The Wandering Camel-Rider” describes the complex political-social-cultural situation of the country in the inflamed years before the Islamic Revolution and the early years after that until the beginning of the war, from a woman's perspective which is associated with Women's identity crisis. The present study has been compiled in a descriptive-analytical manner and based on library sources and tries to reveal the process of self-knowledge and identity crisis of women with a modern approach and analysis of historical-political-social-cultural conditions in two novels by Simin Daneshvar. to answer the question: What effect has the socio-political situation in Iran, along with the arrival of modern components, had on the crisis of women's identity and their bewilderment? Studies show that the crisis of women's identity in these novels, leads to nobility and deprivation, confrontation between tradition and modernity, Westernization and Westernism, the influence of modern schools of thought, confrontation of religious beliefs and feminist views.

Undoubtedly, the lyrical genre is the most widespread among literary genres. Some contemporary scholars have considered it to be the oldest literary genre and have divided it into several branches. One of the most important topics in the field of literary genres and perhaps the most important topic in the field of this type of genre is love. The purpose of this research is to study in a descriptive-analytical way, the motives of the love component in the Divan of Aref Qazvini and its various manifestations from the perspective of Aref. Out of a total of 229 poems that have been mentioned in the Divan of Aref Qazvini in various forms of ode, lyric, Masnavi, couplet, single verse and ballad, almost 106 are directly or indirectly dedicated to the component of love;That is about 46.28 percent of the total volume of the mystic court. Certainly, several motives have been effective in the application of this component in the mystic court. According to studies, the most important motivations of Aref Qazvini from the use of this component were patriotism, composition and love experiences, affection for friends and people, welcoming the love poems of other poets, lively life and political pressures.

Shahnameh is an work in which the characters appear according to their function. Among the uproar of battles and the narration of the heroism of the heroes, there are sections dedicated to lyrical concepts, among which, love is the most attractive concept. This is a common theme of lyrical stories with the needs of the psychological theory of Maslow. According to Maslow, love can cause the growth of personality. In the romances narrated in Shahnameh, women have an effective role in promoting the narration of love. In this research, an attempt has been made to analyze the concept of love in the actions of Rudabeh and Manijeh, lovers of Shahnameh, based on this theory. Rudabeh’s love is transcendent and perfectionist love and considers both physical and spiritual beauty. Love leads her to self-actualization, and through it, she is characterized by the components such as spontaneity and simplicity, unculturedness, and a clear understanding of reality. Manijeh's love, which is initially formed on the basis of physical and spiritual beauty, but then goes beyond the level of animal interests with a fundamental change in his personality. By comparing the two, Rudabeh's love is more sublime and growing and causes Rudabeh's self-construction. While examining Manijeh's personality in two stages of her life, it shows two different dimensions of love and depicts the evolution of his personality. She enters into a superficial relationship in the first stage, but later, this love takes a more serious form and leads to her personality development. Rudabeh and Manijeh are both anti-traditional and uncultured and act autonomously according to the circumstances.

Studies on determining literary genres are very important in Persian literature, and the study of grammatical genres helps to better understand and distinguish literary genres, especially lyrical genres. In this research, an attempt is made to explain the quiddity of the verb in vers by examining the subject of "verb" in the lyrical genre. Accordingly, with statistical data and descriptive-analytical study by complete induction method, it tries to identify the distinguishing features of the verb in the lyrical genre from other literary genres and examines these features in fourteen vers from the beginning to the end of the eighth century AH. This study seeks to answer the question of whether "verb" in the lyrical genre has a special and special quiddity? The results show that the verb in the lyrical genre is simple and descriptive in terms of structure. The simple verb is more useful in the lyrical genre because of the more possibilities it creates for other words in the horizontal axis of the bit. Poets have used descriptive verbs in lyrical genre to create mobility in images. Also, the lower the frequency of the verb, the slower the bit cadence, and as a result, the images are more integrated and described in more detail. Examination of the position of the verb in the verse or hemistich showed that in the lyrical genre, the verb is placed in the middle or at the end of the sentence and the rhythm of the verse Slow. This rhythm of the verse Slow the lyrical focus of the work.

The legend of Nima Yoshij is known as the new lyric & the beginning of the modern lyrical poetry. The characteristics of lyrical poetry are derived from its definitions. The purpose of the present study was to find out which of the lyrical features are present in "The Legend of Nima"? And in what features, innovations and norms have been done? In this study, using the analytical-descriptive method, by examining the lyrical components, we found that Nima's main innovation is in expressing earthly love and paying attention to the real and perishable lover. Nima also criticizes traditional poetry for sinking into the valley of abstract love and takes the side of humanism. The most important lyrical features of this lyric poem that by creating changes in all dimensions and pave the way for the development of contemporary lyrical poetry are: Utilizing tragic love, free and dramatic conversation format, expressing social issues for the first time, narrative structure, first person narrator, original and slang weight, narrative brevity, present time, objective and internal descriptions, lyrical fantasies and aesthetic elements.

Poetic images have acquired a new nature and function with the transition from tradition to modernity. Until the constitutional period, fantasies often had descriptive and aesthetic aspects. Contemporary With constitutionalism, the function of images has also changed. Following the emergence of Romanticism, poets' self-awareness of their social status, the emergence of individual and social rights, the emergence of poetic individuality and some other factors, images have a tool to express individual and social emotions. New functions such as: influence on emotion, coexistence with emotion and meaning and signification were previously known as artistic features in the images of Western love poetry. Shahriyar and Ebtehaj are semi-traditionalist poets, most of whose images have new functions. The same factor distinguishes these poets in terms of the coexistence of the image with the emotion and the impact on the emotions of the audience. This research analyzes the emotional features and functions of images in the sonnets of these two prominent contemporary poets. The methodology of the article is descriptive-analytical using library resources.

The influence studies are one of the branches of comparative literature researches which have managed lots of projects all around the world. By verifying the analogy and the difference between the different authors and their books, these studies provide some information about their influence over each other. We analyze, therefore, Omar Khayyam’s influence; poet of ancient Persian literature, on Christian Bobin, contemporary French writer, by studying the quatrains’ themes in Bobin’s translated books in Iran and we apply a comparative-analytical method. The passage of time and instability, making a profit from present and importance of happiness in our life, importance of God’s presence and nihilism constitute the most principal themes in Khayyam Neyshaburi’s quatrains. Christian Bobin’s familiarity with this poet and Khayyam’s influence on French author bring about Persian poet’s presence in Bobin’s books. Despite some differences between these two literary figures, there are lots of analogies concerning the appearance of these common themes in their books.

Dynamics refers to the change in the attitude and actions of the characters things like: legerdemain, journey, material and spiritual tools, the role of fairies, superhuman powers in the story, etc. which are among the factors that cause the dynamism of the character of the lover and the beloved. In this article, the authors describe the above-mentioned factors in the twelve love stories of One Thousand and One Nights. At first, it was thought that the beloved had less action and dynamism than the lover, but we found that the beloved uses all the factors to achieve the lover in "crisis" and "Infrastructure". Therefore, the present study, which has been done analytically-descriptively, with a look at the intellectual infrastructure of the work, is an answer to the question: why the narrator sometimes has a sociological and semantic approach (attitude) to the formation of characters and sometimes to the superstructure and functions and actions pays attention to the characters? The results of the research show that in the story of One Thousand and One Nights, wherever the lover reaches a state of stagnation, the lover with a clear plan makes him dynamic and active. Besides, whenever the lover loses the beloved somewhere in the story, he tries to include a helper like a fairy in the process of telling the story in order to encourage and motivate the lover to travel. However, the lover of finds his lost circle and flourishes from inside and is freed from "individuality".

Khaghani is one of the Azerbaijani style poetsWhich is one of the shining stars in the sky of Iranian literature in the sixth century. He is considered a poet with a unique style in the literature of the following centuries. Khaghani has been very brilliant in Persian and Arabic poetry and prose. Due to the vastness of lyrical literature, Khaghani's divan also has an important place in this regard. Among the works of this Azerbaijani wizard, her Arabic poems have a special lyrical place. In this article, the author uses a descriptive-analytical method to better understand Khaghani's emotions and feelings to answer the question that Which of the lyrical themes and ideas can be seen in Khaghani's Arabic poems? Studies show that Adib Shervani, in her Arabic poems, reflects the pleasant lyrical themes better than her other works؛ Pleasant topics such as love and youth, wine celebration, wishes, bragging, praise and congratulations. Khaghani also discusses the themes of lyric poetry such as aging and disability, biography, dissatisfaction (sadness, pain, crying and wailing), illness, despair and pessimism, humiliation and insult, three types of fear (fear of enemies, fear of calamities). Time (and fear of poverty), displacement and loneliness and wandering and finally mourning speaks. Of course, he also talks about other topics such as prayer, mysticism and homeland.

One of the topics of interest to structuralists is paying attention to binary opposition. They know the foundation of existence and its cognition as the realization of these oppositions . Most of artworks are based on contrast and opposition; Bad versus good, heaven versus earth, youth versus aging, existence versus non-existence, etc. These two poles have never existed independently and are based on the opposition of two poles. This article intends to answer the question of how the two oppositions of power and love are formed in the story of "Khosrow and Shirin" by using descriptive-analytical method and also considering the combination of structuralists’ views. The results of the research show that each of the codes of power and love in the story of Khosrow and Shirin seeks their appropriate words on the axis of syntagmatic. The story begins with the balance of the codes of power and its signs, but by the formation of the codes of love, each of these codes attempts to strengthen its system of signs and rejects the codes of opposition.