فصلنامه متن پژوهی ادبی
پیاپی 98 (زمستان 1402)

The reading of ancient Persian heritage, and especially historical narratives based on cognitive theories such as Text World Theory is necessary, because new scientific approaches provide space for accurate identification and discovery of the hidden layers of texts. In this study, with the analytic-descriptive method, we applied the Text World Theory in the analysis and study of the narrative construction of the first volume of the Tarikh Jahangooshay-e- Jowayni and figured out that the propositions related to Character descriptions are more than preposition related to scenes description also because the Deictic sub-worlds are less, so the reader does not travel much in the different, temporal and spatial spaces in a narrative, and thus does not experience and conceptualize the text worlds that differ from the original text world in terms of temporal and spatial variables. Temporal pointers are no more accurate than space pointers. The Attitudinal sub-worlds and epistemic sub-worlds are scarce, and one of the reasons for this is the narrator's unchanging viewpoint. Jowayni reports narrations more than characters.

According to Jung, the process of self-discovery or the process of individuality begins with a spiritual need or inner conflict in the person; in this process, organizing among archetypes is the task of the archetype of the "self" that if it can create unity and oneness among other archetypes, one will reach psychological growth and finally recognize the hidden angles within, to self-awareness and wholeness. Individual leads, with the growth of individuality, the person from individual integrity to connection with the world and in the next stage unity with the universe and becomes the owner of universal thought. In this research, the poems of Mohammad Reza Shafi'i Kadkani have been studied from the perspective of self-discovery stages according to Jung's theory. The result of the research shows that the archetypes of anima, shadow, old wise man, death and rebirth, and the hero are in the stages of self-discovery in his thought and are coordinated with the "conscious self". They are all compatible. Shafi'i Kadkani has gone through the inner layers of himself, the path of individuality and psychological growth, and has reached oneness with the universe after self-awareness and connection with the world.

Lyrical literature as one of the most widespread types of literature is presented in the context of the "literary and emotional" function of language and expresses the personal feelings and emotions of the "speaker". The purpose of this type of literature is to report and express the feelings of the speaker and at the same time, to please the audience. Each of the speakers of lyrical literature, according to the theme of their work, has used components that have given a lyrical color to their work and have distinguished it from other literary works. The methods of using lyrical elements in each of the systems of Persian literature are numerous and diverse. Factors such as "lyrical compositions and interpretations", "soft and delicate descriptions", "sad and isolationist atmosphere", "loving and beloved action", "inner monologues of the main character", etc. are the most manifestations of lyrical literature. This study tries to study the lyrical poems of "Badnauni's Sinner", one of the unknown poets of the return period, by using the ideational metafunction in the Functional Approach of Halliday. This lyric poet used different methods to express his lyrical thought, and it is noteworthy that he changed his attitude during his poetic period, and from his initial attitude, which was similar to the love poems of the Iraqi style house, in a period of his life he leans towards the view of the poets of "Maktab Voqou’". This study tries to answer the question that based on the paradigm of thought, the evolution of the worldview of the "Bedouin sect" in lyrical poems, what changes have caused the level of used "verbs"? Findings show that the change, decline, and ultimately degradation of the status of "beloved" as the main character of his lyric poems are shown through the reduction of the presence of this participle in "material and mental processes" and the high frequency of "interrogative clauses" which mean "reproach and exclamation".

The clothing system is one of the important systems that have a significant presence in literary texts. Molavi is one of the poets who were able to transform the system of language signs of clothing into literary signs. He creates new signs in the text of the story by using words and everyday signs of clothes. This research aims to investigate and analyze the symbols of clothing in the stories of Masnavi with Barthes’ semiotic approach, especially the theory of Doxa and Paradox. In this theory, Barthes does not limit the meaning and concept of the sign to the explicit meaning and tries to design a model to achieve the implicit meaning of the signs in addition to the explicit meaning. Analytical investigation of this theory in anecdotes from Masnavi shows that Rumi does not use symbols in their conventional meaning, rather by creating new signs as well as interpreting the stories, he achieves a new reading of the primary signs, which are connected with the entire system of signs in Masnavi.

War story is one of the important genres in contemporary Persian literature. One of the motives in these stories is referring to some aspects of Iranian and Arab nationalism. In this research, various aspects of this motive are studied. In this research, the ideological aspects of the representation of narrators of the stories about the Iran-Iraq war in relation to Iranian nationalism (including the Pahlavi discourse) and Arab nationalism (including the Baath discourse) are investigated. For this purpose, articulation of nationalism or challenging it in a corpus including thirty thousand pages of fictional works about the war (including works that are classified as "sacred defense stories" and works that have a different approach) is examined qualitatively in the framework of critical discourse analysis. Studying these works clarifies the link between the identity of discourse participants (producer and consumer) and their representation and interpretation methods. Analyzing these works shows that works of the revolutionary authors challenge Iranian and Arab nationalism; constructing Islamic/Iranian opposition and supporting the Islamic side, opposing modernism and Westernism in Iranian nationalism (and the Pahlavi discourse) are the important aspects of challenging this discourse. In some other works, where the authors have an Islamic-Iranian identity and do not make the opposition between Iranian and Islamic identity, the Pahlavi discourse, which articulates extreme Iranian nationalism, is challenged in terms of moderate and minimal nationalism. In some cases, some signs of extreme Iranian nationalism are articulated in the revolutionary works. In some other works whose authors' identity includes aspects of cosmopolitanism, the extreme Iranian and Arab nationalistic values are mainly ignored and authors concentrate on cosmopolitan values or moderate and minimal nationalism.

Cognitive linguistics considers linguistic knowledge as dependent on thought and cognition and introduces conceptual metaphor as a tool for how to think and linguistic behaviors. By examining it, similarities and differences of cultures can be obtained. Orientational metaphor is a form of conceptual metaphor in which abstract concepts are oriented in language. In directional metaphor, a whole system of concepts is organized in relation to another system, and since they are related to spatial directions such as up, down, inside, and outside, they are called directional metaphors. These metaphors are rooted in the physical and cultural experience of humans, and despite the fact that the polar opposites of high, low, and its components are considered physical in nature, the directional metaphors based on them are made, and they can be different from culture to culture. Accordingly, in the present study, this metaphor has been studied and compared in two novels “Shohar-e Ahoo Khanoom” by Afghani and “Never Let Me Go” by Ishiguro through the descriptive-analytical method. For this purpose, research data were extracted with 36 orientational conceptual metaphors (16 cases of Afghani and 20 cases of Ishiguro) and their differences and similarities in the fields of the source domain and their mapping were investigated. The results showed that the similarities between the conceptual metaphors based on human understanding of the category of direction in the two languages are greater than the differences. In general, it shows that the two authors pay the same attention to this metaphor. By regarding the little metaphorical differences in the two languages, we conclude that although both authors have used a single cultural model to produce a metaphor of orientation, cultural and geographical differences produce different mapping.

Collocations in the literary texts, resulting from the poet and author's creativity in choosing proper words in the paradigmatic axis, along with the presentation of novel images create a pleasant meaning and word proportionality that is sometimes considered as the style of the poet or author. Thus, the study of Collocations in literary texts is an interesting subject that provides a basis for a better understanding of the literary works and the style of their authors. In the present study, this linguistic phenomenon has been studied in Saeb Tabrizi's sonnets, a prominent poet with Indian style. The main objectives of this descriptive-analytical research are to show the most frequent type of collocations in Saeb's sonnets, and their comparisons with today's Persian language collocations. In order to achieve these goals, the Safavi classification has been used. The research is corpus-based and the necessary corpus was extracted from 50 Saeb sonnets (from 1400 to 1450) with about 573 verses.Findings indicate that although all kinds of collocation, except verb-verb, verb-adverb, and homonymy-homophony collocations have been used in his sonnets, the meaning of associative collocations and their subtype such as hyponymy is the most frequent ones. Results show that Saeb's collocation can be divided into three groups: 1-Colloctions that apply with the same form and meaning in today's Persian language. 2- Collocations that are used in our today utterances with little change in form but with the same meaning and 3- The obsolete collocations which are not used today.

Functional linguistics, which originates from the Functional school, the author's abilities and creativity in using the spoken and written language system are examined and analyzed for the rhetorical system and other functions of the language. Theorists such as Martina, Jakobson, and Halliday have listed various functions for language. Among them, the six functions: communication, referential, motivational, emotional, thought-provoking, and literary creation are the most important and famous ones which were analyzed in this article in the story "Farsi Shekar Ast" (Farsi is sugar) by Mohammad Ali Jamalzadeh. From this point of view, Jamalzadeh, as a pioneer of Persian short story writing, with the knowledge of the potential capacities of the Persian language and mastering the techniques of narration, has been able to deal with the pathology of language rhetoric by using the six functions of words to create literary attractions. In this story, in an artistic way, concretely and practically, he shows the most important and dangerous damage of the language, which is excessive and inappropriate alienness; he warns the audience and encourages them to use natural language for its rhetoric. 

Inserting rhymes and poetry into Persian prose has a long history. Looking at the ancient prose texts, we can see that most of the writers after the birth of Persian poetry tended to this mixture; it is as if they were aware of the effect of poetry on the soul of the audience and the persuasion caused by it. Incentives based on literary and social-political goals have caused poetry to enter prose texts. By looking at the list of old and new rhetorical science books, it became clear that so far rhetoricians have not paid enough attention to the types of poetry insertion in prose texts, which is one of the aesthetic aspects. The only term that fits this technique better than other interpretations is "Esteshhad" (affidavit); a general term that includes verse, hadith, news, and poetry in the text. Other terms such as solution, adaptation, and guarantee have been proposed, which according to the existing definitions, are not exactly related to poetry. The appearance of poetry among prose text has types and rules that have not been discovered so far, and terms for these types have not been provided. The present article tried to examine the prose texts mixed with poetry in the 8th century as an example of research, because Persian poetry has reached the peak of its development in this century, and tried to explain the types of poetry insertion in prose and its purposes by citing examples of the texts and presenting its proposed definitions to solve the problem. The suggested term of this writing is the completely Persian and literary term «شعرآمیزی»  "She’r-Amizi".

Masnavi format is usually used in composing long narrative poems and extensive topics due to the freedom in rhyme and line and the unlimited number of verses, and traditional rhetorical scholars have always referred to the length of Masnavi format poems. Nevertheless, there are very short Masnavi in Persian literature, the number of verses does not even reach ten verses. The purpose of this article is to study the course and content of this type of poem, its rhetorical aspects, and the reasons for the poet's tendency to compose them. The writing of these poems began in the sixth century and until the eighth century, nearly a hundred short Masnavi have been written on topics such as praise, short and request letters, recording the poet's experiences, and appropriate poems. Educational needs, the desire of poets to the common meanings in non-stereotyped forms, diminishing the importance of eloquent language in poems, needs and desires of audiences, increasing the intimacy of tone and popularity and Masnavi format have played an effective role in poets' tendency to compose short Masnavi.

Among the famous and reliable corrections of Saadi's Bustan, including the corrected version of Professor Gholam Hossein Yousefi, despite many merits, there are some mistakes.
Professor Yousefi's proofreading is important in the literary and academic community and is used and cited by professors and students as one of the main sources of Saadi's poetry. The author, who has been teaching Busan at the university for several years, while appreciating the valuable efforts of Professor Yousefi, considers it her duty to share with the readers of this work, the problems that have occurred to her while studying and teaching.
For this purpose, she first extracted the verses that seemed to have a connection with other verses in terms of meaning or syntactic structure, etc. Saadi and sometimes other poets chose the preferred recording.
Therefore, in this article, twenty-six examples of these problems are classified and discussed in the following order:Problems related to the meaning of the word or sentence.
Verses that do not match Saadi's speech style.
Problems that are related to the syntax of words.
Problems caused by not paying attention to the script of the text.
Problems related to the connection of verses.

In the middle of the twentieth century, the discourse of literary criticism was considered. The story of "Little Black Fish" (1347), for some reasons, including the type of text, its special structure, and the range of audiences has been faced with different interpretations. In this research, with a descriptive-analytical method and based on the approach of reader-oriented theories, the way of interaction between the reader and the text has been studied in a diachronically and synchronically manner. The results show that the readers' reaction before 1957, according to the dominant paradigm, was a critique of taste, based on ideology, and had a social approach in which the hero's action was highlighted and the readings were informative. There was no dialogue between the text and the reader and the meaning was imposed on the text. From 1957 to the end of the 80s, the receptions were combined criticism, and based on the literary expectation horizon, they had a frequency in the field of narratology. These readings created uncertainty, and the reader constructed a new form of textual object in a semi-active dialogue with the text. From the late 1980s to the late 1990s, readings were theory-based, and the semiotic approach had the highest frequency among other approaches. The readings were often dialectical with the readings of the previous period, and from the uncertainty until the receipt of correction was figured in the previous readings, and as a result of the integration of social and literary expectation horizons, they offered a wider semantic horizon.

In the definitions of poetry, three elements of emotion, imagination, and music are mentioned. Persian prose texts have used more or less poetic elements in different periods. Sufi and mystical works, according to their goals and themes, have had a greater tendency towards poetic features, to the extent that understanding the subtleties of meaning and aesthetic expressions of these texts is dependent on the analysis of their images and musical effects. Based on this importance, the purpose of this article is to examine the function of one of the key elements of the poem; that is, music is one of the most important mystic prose texts in Kashf al-Mahjub Hujwiri, so that the level and quality of its poetry can be identified from this point of view. The findings of this descriptive-analytical research show that inner and spiritual music has a decisive function in Hujwiri's prose and helps to induce more effective concepts and mentalities. The expression of inner music that enhances verbal-phonetic harmony and appeal has been more than spiritual. Saj'; especially parallel, pun; especially periphrasis, repetition of words, phonology, and contrast are among the most obvious examples of inner and spiritual music in Kashf al-Mahjub, which often appear in these positions: mentioning the names of guardians (Oulia) and describing their personalities and conditions, anecdotes and reciting the words of the sheiks and their instructions and also explaining mystical terms, including concepts related to monotheism, knowledge of the self, death, annihilation and mystical survival, levels of behavior and condemnation of the self and the reprehensible world.