مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 88 (شهریور 1402)

All the things that exist in the world have points of commonality and difference that distinguish them from each other or connect them together. The world of poetry and literature is not exempt from this principle. Every work that is created in any subject, must have differences and similarities with the works written in that subject. Maybe the works that will be written in the future have common or different features with these works. Anvari Abiverdi is one of the most prominent poets of the 6th century and Muflaq Tehrani is one of the unknown poets of the return era. This research aims to compare these two poets in fields such as poetic forms, themes, images and prosody, and show the influence of Anvari by Moflag Tehrani.

This research was conducted in a qualitative and quantitative way, studying library resources, and using content analysis, structural and comparative analysis. At first, the works and sources related to the subject have been carefully studied, then we have examined the poetry of these two poets, and finally, a comparison has been made in terms of prosody, themes and interpretations, etc. Is.

Most of Anvari's and Moflaq's poems are in the form of odes and have themes of praise and praise. Anuri and Mufalaq are considered to be the leaders of their era with their beautiful, long and beautiful praises with new and original themes. The odes of these two often have praise, praise and immortality. Anvari and Muflaq have performed a complete artistic performance in the field of Khumrieh Sarai. Anvari satirizes with indirect language and expression and by using images; But Muflaq is very reckless and insolent, he opens his tongue to sarcasm. Citing Quranic verses and hadiths is one of the other stylistic features of Anvari's and Moflaq's poetry.

Anvari, who is one of the prominent figures of Persian literature, chooses appropriate weight in his poems according to the subject of the poem, and this makes his poems seem beautiful and pleasant. Moflaq Tehrani, who had in mind to write poetry like Anvari, imitates him in choosing prosody weights and creates beautiful poems. Also, the two seas of Ramal and Hazaj are among the most used seas in the poems of these two poets. They have used Bahre Ramal in their poems for praise and in their sonnets generally to express grief, divorce, parting, and lamentation. The choice of Bahr Hazaj by two poets was directly related to their life conditions.

 Freud presented the theory of personality in three areas: "institution", "self" and "superego", all three of which are mental concepts for better understanding and explaining the unconscious mind of man in relation to the conscious. The application of his theory in literary texts in examining the actions and behavior of the characters opens the way to know their hidden angles and the psychological course of the narrative. In this research, with the aim of psychological analysis, the story of the beginning of a woman, Fariba Kalhor, has been investigated, relying on Freud"s theory of personality in the three areas of self, superego and me.

 This research was conducted with a library study and was written in a descriptive and analytical way. The statistical population of the research of the book "The Beginning of a Woman" by Fariba Kalhor.

 The central theme of the story of the beginning of a woman is women"s concerns and emotional relationships. Each of the areas of self, superego and entity can be analyzed in this story by the actions and behavior of the main character and his relationship with other characters. Parveen"s trip to Iran, establishing an emotional connection with Bahram, performing sensual acts, freedom of instincts are his instincts that have disturbed the balance between the entity and the superego. But finally, with the help of his self, which is repeated in the text in the form of moral conscience with the association of Imam Zaman"s bench, he avoids Bahram and reduces his relationship to a social friendship, stays with his wife and returns to Canada, in front of him is his friend who has the same name He was with his classmate and at the same time they are in a relationship with Bahram, he separates from his wife and stays at Bahram"s house.

 The main character of the story is in the role of "self" who is in a struggle between the inclination to the institution and attention to the superego, and the end comes to the balance of the institution and the superego. Although he loves his wife, Unreasonable is looking for a divorce, and in his emotional relationship with Bahram, he tends towards the institution, but in the end, with his moral conscience, he moves away from the institution and continues living with his wife.

The magic of proximity is one of the methods and tricks of creating beauty in formalism, which causes highlighting and artistic expression of words. A method that pays attention to the artistic balance between the sounds and phonemes of words. Due to the hidden music, the magic of proximity increases the ability to absorb the message hidden in the words and pays attention to the phonetic harmony and balance between the words with a new look. The main purpose of this essay is to investigate the magic of proximity as an artistic technique in the book of the Hezare dovom-e- ahoo-ye- koohi of Shafi"i Kadkani.

The study method in the upcoming article is descriptive-analytical based on library studies and document analysis. The scope of the research is the collection of poems of the Hezare dovom-e- ahoo-ye- koohi.

The magic of proximity in Shafi"i Kadkani"s poetry is expressed in the form of artistic arrays, including phonemes, puns, and metaphors.

According to the results of the research, the maximum amount of use of the magic of proximity in the collection of the Hezare dovom-e- ahoo-ye- koohi is reflected in the phonology and the semantic dimension of inducing feelings and strengthening the musical aspects of the poem.

The concept of "I" or "self" in contrast with another, in addition to formulating differences, distinctions or contrasts, deals with a deeper issue, namely the discovery of individual and social identity, which in contemporary literature and due to the proximity of literary works to society and social aspects, has a bolder effect. "I and the other" in the macro dimension is organized by the dual opposition of good and evil, and in the next layers, national, religious, ideological, etc. distinctions continue this duality. The meaning of the other is a person, group, race or class that is defined as an outsider by religion, religion, ideology, social class, political view and nationality. This research aims to find and analyze the effects of confrontation and interaction of "self and other" in the poems of Ahmad Shamloo by examining Shamloo"s poems based on Bakhtin"s theory.

The analytical model of this research is based on the descriptive-analytical model, which collected data and evidence from the example of Ahmad Shamloo"s poems with a library method, and then analyzed it based on Bakhtin"s theory of otherness.

In the past and based on the thinking and attitude that was influenced by the traditional teachings of ancient societies, people rarely heard the opposing voice, which caused a continuous confrontation between themselves and others, and this issue is reflected in ancient literary works and texts. In today"s modern world, this confrontation and monotony has given its place to findings such as interaction and polyphony, and parallel to this tremendous change in people"s thoughts and relationships, it has gradually been manifested in the writings and poems of contemporary authors. Among the contemporary poets and writers in our country who apparently benefited from the theory of this Russian thinker in his works and poems is Ahmad Shamloo.

Shamloo"s political activities and political attitude make him stand out and distinguish him from other contemporary poets, and of course, the similarity of the time when Shamloo lived in terms of the tyrannical and suffocating environment with Stalin"s dictatorship period in the Soviet Union during his lifetime and that both were political fighters. It is noteworthy. Shamloo is so immersed in his political life that he sees everything through the lens of politics, even love, and in fact he sees poetry as a tool to express political goals and serve the struggle. In a word, according to Shamloo, an "insider" is someone who has the same political views as him and fights for freedom, and "other" in his opinion is anyone who does not step on the path of freedom or is an obstacle to achieving freedom.

Every literary work uses a main and key element. The most important element of the story is its characters. The characters are actually the soul of the story and the charm of the stories largely depends on their characters; Therefore, its processing method should not be considered simple. The author is the creator of the characters of his fictional work and must have the ability to show their inner and outer layers to the reader. The purpose of this essay is to investigate and analyze the characters of the story of D’abel and Zulfa. The purpose of analyzing and criticizing the character of D’abel and Zulfa is also to achieve the meaning and structure hidden in the characters of the story in order to determine whether the processing of the character of D’abel and Zulfa has been done correctly in its structure and context, according to the author"s goals?

The research method in this study is descriptive and analytical, which was done in a library form by studying sources, taking samples and classifying the materials.

The novel D’abel and Zulfa, written by Muzaffar Salari, is a romantic novel in a historical and religious format. The main axis of the story is based on love. The tasteful and thoughtful writer has mixed the bitter memories of the caliphate of Harun al-Rashid and Ma"moun Abbasi with the spice of love to make it sweet and pleasant for the audience and describes the characters in an artistic way.

Characterization in this story is mostly done through dialogue between the characters, and the element of dialogue, in addition to playing an important role in the flow of the novel, also plays a significant role in dramatic characterization. The characters of the story play a role in the creation of the story in both positive and negative poles. In conversation, characterization through dialogue (two-way conversation) is superior to characterization through monologue. Salari has used two descriptive and dramatic methods for characterization; That is, the characters of the story have been introduced both by their actions and behavior and by the author by describing their appearance, moods, moods, thoughts and opinions, and by using the mind, one can find each of these descriptions and put them together.

In Persian literature, holiness has been formed around the word love. As a result, the concepts of lover, beloved, vesal (union) and hejran (separation) has been created, and they have been applied to all texts. This paper investigates the motifs and attributes of this issue. The aim is to clarify that, apparently, in the beginning, love was equivalent to a relationship based on sexual desire. But, over time, its concept has been transformed. To support this argument, the themes of the two poet’s sonnets in which the lover is a human being (regardless of the mystical or non-mystical connotations), have been compared in a descriptive way. The statistical population of the research is all of Anvari"s sonnets and some of Sa’adi"s sonnets, which were randomly selected.

The method of conducting this research is descriptive-analytical and the method of collecting library information.

The results of the research show that Anvari"s understanding of the concept of love is influenced by his life in a completely realistic way, based on sexual desire. In his opinion, love is the process of obtaining the desired satisfaction for physical enjoyment and the lover is a human being (slave or otherwise) who sometimes presents himself to another person in exchange for receiving a wage. Separation, in this regard, is equivalent to the impossibility of enjoyment (in the present time) and union is its opposite concept. In Sa’adi"s discourse, human love is often a relationship for spiritual pleasure and achieving perfection through attachment to a person (beloved) who is the manifestation of beauty. Union here is more equivalent to the sight of beauty and separation is just a stimulus for more enthusiasm. Things like praise, description, and complaint are subject to the poets" view of the category of love.

Intention is the determinant of the concepts of love, lover, beloved, vesal and hejran in the poetry of two poets and the distinguishing feature of Sa’adi from Anvari. Love, in Anvari"s poetry is close to the original perception (that is, the process of sexual intercourse). In Sa’adi"s ghazal, love has moved away from the previous lustful meaning, affected by the process of symbolic and conceptual evolution, as well as Sa’adi"s special mystical perspective. This change of attitude is caused by: the reports of ozri"s love, the transformation of the meaning of love in the Holy Quran, the mystical view of the story of Yusuf (PBUH), symbolic interpretations of stories like Mahmoud and Ayaz, and the design of the mystical love based on beauty. However, the sacred concept of love is often extended to Khorasani style erotic relationships.

Positive psychology is one of the newest trends in psychology, which by focusing on unique human talents, abilities and values, seeks to promote health and improve the quality of life, and by recognizing and classifying capabilities and virtues and discovering the hidden corners of human existence. it helps him in using the hidden forces inside and outside. Positive psychology includes concepts such as wisdom, love, kindness and altruism, happiness, tolerance, optimism, and hope and tries to consolidate and generalize them. Persian literature has always cultivated and presented such concepts. Sa’eb Tabrizi is one of the poets who also addressed these issues in his works. Based on this, the aim of this research is to investigate the components of positive psychology and their alignment in Saeb Tabrizi"s lyrical poetry with the aim of integrating modern psychological opinions with authentic psychological theories existing in Khodi culture.

This research was carried out with a descriptive-analytical method and presentation of a pie chart. In line with the purpose of the research, the six-volume sonnets of Saeb Tabrizi edited by Mohammad Qahraman (1985), scientific and cultural publications have been examined.

At the end of the review of Saeb"s sonnets and their descriptions and interpretations and the explanation of the components of positive psychology, the themes that are exactly consistent with these components were analyzed and it was determined between the concepts of Seligman"s positive psychology and these concepts in Saeb"s sonnets to a great extent. There is alignment. The frequency of these six virtues in his thoughts and words are: humanity (33 percent), excellence and spirituality (20 percent), justice (15 percent), courage (12 percent), wisdom and knowledge (10 percent), and moderation (10 percent).

Based on the findings of the present research, it can be concluded that what western thinkers have presented today under the title of positive psychology, can be seen in the literary works of Iran, including Saeb Tabrizi"s sonnets, with more attractive and beautiful evidence, which is with the coherence and daily use of The concepts of those poems can be used to benefit from its spiritual and psychological effects. In fact, the obtained results show that many modern knowledge whose roots are sought in the nascent civilization of the West, were present centuries ago in the treasure of Islamic-Iranian culture.

The investigation of literary theories in Persian literature, especially poetry, has always been new. Undoubtedly, Persian poetry has the ability to be studied and adapted to modern theories. The theory of "anxiety of influence" followed by "creative misreading" by Harold Bloom, a famous American theoretician and critic, which is proposed in the field of poetry and emphasizes the dialectical relationship between poets and the militant relationship of late poets with past poets, with poetry Persian, especially contemporary poetry, has a strong connection. Simin Behbahani"s poems, as one of the most modern and different-minded contemporary poets, can be fully examined in elements such as language, structure and meaning with these theories. The author"s goal in this article is to prove the compatibility of Behbahani"s poems with Bloom"s theory, which will be examined at the levels of language, structure and meaning.

The study method in this research is analytical-descriptive.

The theory of anxiety about the influence and creative misreading is presented directly about poetry and tries to express and prove the conscious positions of new poets against old poets. These stances lead to the birth of a new way and style, which, while having the language and atmosphere of the poems of the past, sets a new and different way. Bloom"s theories are exactly and completely exemplified in Behbahani"s poems and can be examined and adapted.

Both of Harold Bloom"s theories can be generalized and investigated in Simin Behbahani"s poems. By fully expressing and introducing the theories and presenting significant examples of the poet"s poems, the author has shown their adaptation well and documented.

In myths based on Douboni"s beliefs that creation is formed on the basis of two identical and opposite gems; Wisdom, which is the source of thinking and reasoning, is divided into two parts: Ahura"s benevolent wisdom and Ahriman"s wisdom. Deceit is a tendency towards demonic wisdom in order to do ungodly and reprehensible things. Also, choosing the best type of thought and deliberation for sinister and wrong purposes is called wisdom. The purpose of the present research; The discovery of similarities and contrasts in these three magnificent epics has been universal.

This research was written in a library method and analytical-descriptive way based on the comparison of the concept and examples of dezhkheradi in Ferdowsi"s Iliad and Odyssey and Shahnameh. and has tried to show the types of this reprehensible and demonic wisdom by giving similar or different examples of wisdom in three epic texts, Iliad, Odyssey, and Shahnameh.

In Ferdowsi"s Shahnameh, which is based on the centrality of wisdom, the wisdom of the heroes and kings and the results of their tendency to misguided wisdom have been examined, and in the Iliad and the Odyssey, the wisdom of the gods of Olympus, which should be the basis of wisdom, has also been found and examined. Is.

In the beliefs and beliefs of ancient Iran that appeared in Ferdowsi"s Shahnameh during the stories; We find this kind of negative wisdom that is harmful to good people only on the part of Divan and demons and evil-minded people, while the adoption of such reprehensible wisdom in the Iliad and Odyssey both on the part of snakes and warriors, on the part of ordinary people, and on the part of goddesses and Divan. Heaven and gods are seen.

In formative constructivism, we can understand the author"s individual worldview from the worldview presented in the text, and from the author"s worldview, we finally reach the worldview of the social group in which the author is located. Formative constructivism is a dialectical method that reaches from the text to the individual and from the individual to the social group of which the individual is a part. The arena of the novel is the arena of manifestation of the author"s understanding, perception and recognition of the whole flow of existence and human society, or at least the arena of the author"s effort to understand the world and human life, and perhaps an arena for the revelation of life and the rediscovery of man and the relationship between man and life. While emphasizing Goldman"s formulation of the form and content of the novel in three categories, the most important issues of the protagonists in the two novels "Fear" and "Nina" by Shiva Aristoui and "My Bird" and "Dream of Tibet" by Fariba Vafi Been paid. Addressing problematic heroes and describing their characteristics is one of the main goals of this research.

This research has been done with the descriptive-analytical method and by using the views of Lukacs and Goldman with an emphasis on the theory of critical realism.

Most of the characteristics of the problematic personality expressed in the theories of Lukács and Goldman are found in the novels "Fear" and "Nina" by Shiva Aristowi and "My Bird". and "Dream of Tibet" by Farbaba Vafi have also appeared. In these novels, Aristowi and Vafi narrate the lives of characters who understand the distance between themselves and the problematic society, have no future and protest the current situation. In these works, the female characters have a kind of emotional breakdown, which was formed under the influence of the society"s view and its ruling ideology.

Identity crisis is one of the basic components in the formation of problematic characters in all four works; Social issues, emotional relationships, irreparable gap between the hero and the society, commitment and struggle against destructive mediators are among the dominant features of female characters in today"s novels.

This article proposes a solution to the text"s hidden ideology in a novel within the layered stylistics framework.Two famous novels of the revolution"s first decade, The Winter 62, written by Esmail Fassih, and the Crystal Garden, written by Mohsen Makhmalbaf, have been studied as case studies. This solution is based on a hypothesis that by extracting repeated words belonging to major ideologies, the word with the highest frequency and is probably the ideological center of the work can be reached. By discovering this word and examining its usage in the text, it is possible to get to the ideological orientation of the work.

In this research, by focusing on The Winter of 62 and the Crystal Garden books, using the library method and within the layered stylistics framework, each of the words that belonged to or were close to the proposed ideologies or their frequency was significant, were extracted and categorized. Subsequently, the usage of the highest frequency word was examined in terms of ascribing adjectives, the halo of words, confronting opposite words, and checking the verb form in the sentences with that word in the books mentioned.

The central word in the novel The Winter 62 is the word "Iran," and in the novel, the Crystal Garden is the word "woman," and how they are used is meaningful.

Considering how the central word of the two books under review is used, it is clear from different perspectives that the authors of both books have been biased toward the central word of their work. In this manner, it is practicable to evaluate the author"s orientation of The Winter 62 apropos to the word "Iran" in the nationalism ideology framework and the author"s orientation of The Crystal Garden apropos to the word "woman" in the feminism ideology framework.

Every writer is obliged to pay attention to their psychological stability in the treatment of fictional characters. A character who is a set of special states and thoughts at the beginning of the story must have these characteristics until the end, unless he undergoes psychological changes due to logical reasons - which include influential events and incidents. "Theories of personality" is one of the topics that many theorists have addressed. The story "After the End" is one of the stories that has a lot of similarities and harmony with the personality theory from Jung"s point of view. The question of this research is whether the characters of the story "After the End" have psychological stability according to Jung"s theory? If the answer is no, what is the logical reason for this instability?

This article is done with descriptive-analytical method, using library sources and emphasizing Jung"s personality theory.

In choosing the characters of his novel, Vafi chooses a variety of types so that the reader"s identification is realized while reading. On the other hand, the use of four personality types along with four examples of psychological approaches shows his mastery of character development and the appropriate and harmonious selection of dialogues with the desired types.

This research validates the stability of the psychology of characters by presenting evidence and justifies the cross-sectional transformation of some of them with logical reasons. The harmony between Vafi"s selective approach and the performance of the characters in his novel is undeniable.

The poems of children and adolescents have a wide range of themes, among which, religious themes due to the sensitivity of religious education in childhood, have been given more attention by poets of children and adolescents, especially after the revolution. In this article, the themes and the way of expressing religious ideas in the poems of children and adolescents are examined.

This article is based on library studies and has been done in a descriptive-analytical manner.

After the victory of the Islamic Revolution, the religious poetry of children and teenagers experienced a remarkable quantitative and qualitative growth, and poets addressed new religious topics such as the Qur"an, prayer, fasting, praise and lamentation of the imams.

In conveying religious concepts, poets have used indirect methods such as prayer in the language of animals, reminiscence, question and answer method, conversation, riddles, religious stories and stories in the language of animals. From the perspective of frequency, the concept of God is one of the most widely used themes in Iranian children and adolescents" poems. In addition to this theme, child poets combine many religious themes such as praise of God, acts of worship, etc. with nature and its elements in order to be effective through indirect education and the use of the element of nature that children are well acquainted with. Increase these concepts on children.

Manouchehr Atashi can be considered one of the poets of contemporary literature, but various aspects and angles of his poetry have not been researched yet. The study and analysis of Atashi"s poems from the point of view of psychological criticism based on contemporary psychological theories, including Karen Horne"s theory, which can clearly reveal the close relationship between the literary work and the poet"s spirit and social environment, is the main goal of the upcoming research, which in other scientific studies about poems Fire has been neglected. Examining this issue will open a new window for the lovers and critics to know and introduce the works of this outstanding poet.

The descriptive-analytical research method is based on library studies and the method of sand analysis, in which the analyzed samples are purposefully selected from the collection of Manouchehr Atashi"s poems.

Based on what has been discussed in this research, fear, anxiety and defense mechanisms against it in the form of isolation, seclusion, seclusion, taking refuge in an ideal world and creating an ideal self-image, philosophical bewilderment and protest according to Karen"s psychological theory. Hornay can be seen in Manouchehr Atashi"s poems and compositions.

The social environment and the surrounding world and human relationships with the surrounding people can be effective in creating feelings of fear, anxiety and failure; Emotions that are considered in Hornay"s psychological theory as fundamental anxiety. The findings of the upcoming research show that the contemporary world, manifestations of industrial progress, the death of loved ones and failure in love are all effective factors in creating a sense of anxiety in Manouchehr Atashi"s poems.

Narration mostly occurs in the form of place, so narrative and place are two integrated concepts. Place has an important discourse function because it causes semantic clarity of discourse factors, better and clearer interpretation of the narrative space, deeper understanding of the behavior and action of narrative elements, and finally the transcendence of meaning in the narrative.

The present article tries to use an inductive method to study the type, extent and frequency of different places in the narrative discourse of Azerbaijani folk narratives, based on the semiotic approach of the Paris school. The selected narrations are Mahi Siyahe Koochooloo, Kachal Mam Siyah, Koroghloo, Pesarake Labuforush, and Yek holoo Hezar holoo.

Findings indicate that most places in Azerbaijani folklore have features of continuous placeless, objectivity and directness. Among the triple places, the “source” has the lowest frequency and the “destination” and “fixed place” are almost equal and there is no significant difference between them.

The predominant approach in these narratives is maximal use of concrete place compared to abstract place. Continuous places also have the highest percentage of presence. However, metaphorical places have only 7% of the total, which indicates the explicit and non-metaphorical use of the narrative text and its distance from the literature. 15% of the places used in these narrations are of the transcendental type, which shows the place in the thought of the actors. Other used places, such as “spiral” or “network” locations, are very limited. It should be noted that so far such a comprehensive study of place has not been done not only in Azerbaijani folklore, but also in other existing literature, and this is one of the distinguishing points of the present work from other studies.