نشریه پژوهش های نوین ادبی
پیاپی 4 (پاییز و زمستان 1402)

The intellectual teachings and philosophical foundations of Shahnameh (Book of Kings) serve as the best example and model for constructing a desirable and refined society based on human principles. Some researchers have considered Ferdowsi's worldview the best model for creating a globally balanced world with relative happiness. "Wisdom," "Justice," and "Wonder" are the three main pillars of Ferdowsi's thought in Shahnameh. Alongside these principles, concepts such as joyful living, moral lessons, contemplation of the ephemeral world, the mystery of death and fate, freedom and liberty, and many other concepts find expression in the artistic expression of the grand palace of literature.This article, collected through a descriptive-analytical method and library sources, explores the linguistic functions of Shahnameh and the range of linguistic capacities and concerns of the enduring face of Iranian culture and literature in creating a foundation of Persian language elements, unique Persian names, and authentic Persian vocabulary, which are essential aspects of the national epic of Iran. The article also analyzes and examines Ferdowsi's artistic expression in three axes: "simplicity of language," "tone and music," and "rhetorical and innovative principles."

Abdulqahar Aasi is a poet of the new generation in Afghanistan. He is known for his poignant poetry, firm stance, and openly expressing himself. Consequently, he has often been involved with the issues of Afghanistan, rarely passing by silently amidst events in his country. Due to this spirit, Aasi wrote poems opposing the Communist regime's rule in Afghanistan, sometimes veiled and sometimes poetically direct. During the years of the Communist regime, he consistently protested and strived to depict the unresolved problems and sufferings of his people, reflecting his interpretations of the actions and behaviors of the rulers and his country through many words and expressions. The poet's life was marked by various hardships and difficulties in his country. On the one hand, the colonization by Soviet forces, and on the other, poverty and people's migration compelled him to compose socially-oriented poems. The aim of this research, conducted through a descriptive-analytical method and utilizing library sources, is to identify and demonstrate the intellectual and philosophical prominences of Abdulqahar Aasi based on his sorrows and emotions towards his country and its people. His perspectives on displacement, problems, xenophobia, patriotism, and treachery have been examined.

After the innovations that occurred in the contemporary ghazal known as the ghazal of the 1970s; Raba'i also succumbed to innovation and novelty resulting from the contemporary literary atmosphere and a new type of it emerged. Charank or mini-quartet is a group of quatrains that overcomes the specific number of stanzas in a quatrain and by keeping and accompanying the principle of internal compression and mental form, it seeks to innovate in the quatrain genre. This article, which was compiled in a descriptive-analytical method and using library sources, aims to pay attention to the types of quatrains in the published works, while examining the innovations in the quartet genre, and by analyzing and examining the types of written forms of the quatrain, the two components of compression. Examine and define the inner and mental form.As a result, these changes in the field of quatrains until the presentation of Charanq in quatrains are unprecedented and a form of heresy.

Language is considered one of the fundamental elements of writing. Many believe that there are differences between masculine and feminine language in writing. Therefore, in the radical and postmodern branch of the feminist movement, language and feminine writing have received significant attention. However, the existence of such a language is not compatible with the logic of language formation, and gender cannot be an effective factor in creating an independent language. Therefore, feminist linguistics, as a branch of structuralism, with its distinction between feminine writing, Fara-gender writing, and non-gender writing, attempts to examine examples and clarify the mentioned perspectives. This article, while examining various types of writing, including gender, Fara-gender, and non-gender, seeks to provide a different perspective on the relationship between language and gender and any pre-existing patterns that divide written language into feminine and masculine. By analyzing works by Forough Farrokhzad, it presents examples of various relationships between language and writing to demonstrate that the categorization of writing into feminine and masculine is entirely gender-biased. This research has collected the concept of feminine and masculine writing and sought answers beyond what previous researchers have presented using a descriptive-analytical method, with qualitative data collection through library sources and data analysis.

Mirzamohammad Davari is one of the most prominent and artistic offspring of Shiraz. His most significant work that remains in the realm of Shahnameh is a handwritten Shahnameh in Nastaliq script, forever associating his name with the Shahnameh. After completing the manuscript mentioned, Davari composed a 126-verse mathnavi in the style and context of the Shahnameh. In this mathnavi, after invoking God's name, praising Ferdowsi, and addressing the stages of writing the Shahnameh, he briefly but informatively discussed the characters and characteristics of the forty-six kings of the Shahnameh, excluding Houshang and Shapour, the son of Shapour Zolaktaf. What is notable in these verses is not only the reference to the forty-six personalities among the forty-eight kings of the Shahnameh but also a very brief and helpful mention of their actions and critical issues related to them. The significance of this small poem lies in providing a concise, brief, and informative summary of the entire Shahnameh and the historical narrative of Iran. This article aims to examine, analyze, and classify this mathnavi using a descriptive and analytical approach to demonstrate the exploitation of the Shahnameh and the history of Iranian kings. The analyses show that in this mathnavi, Davari not only mentions the names of the kings but also provides a concise account of their actions and characteristics, each of which is thought-provoking in its own right. Due to the high level of familiarity of the poet with the Shahnameh and the valuable and rare references he makes to the Shahnameh's kings and significant events, this mathnavi is a unique, unparalleled, and study-worthy composition in Persian literature.

Music in poetry is a subject of particular importance that distinguishes the language of verse from prose. Extensive research has been conducted on various aspects of poetry and its four categories: external, peripheral, internal, and spiritual music. However, one overlooked aspect in the study of musicality in poetry is the dance of music in the vocabulary. This article aims to introduce this essential musical element, the fifth type of music in poetry, which elicits aesthetic pleasure and emotional response but has been neglected until now. We will explore the branches and influential factors of this beauty that enhance the enjoyment of poetry by examining the intentional expansion and contraction of elements such as syllables, vowels, and silences. This fundamental research is based on logical analysis and arguments drawn from documentary sources. The most prominent musical factor discussed in this study is the dance of vocabulary and music through the deliberate expansion or contraction of syllables, vowels, and consonants. These techniques amplify the musical beauty and evoke a more significant emotional response in the reader through the intentional expansion or contraction of a single syllable or word, along with manipulating pauses and silences between words, syllables, and consonants.

Problem Statement: 

The Roman myth of Zalmoxis is one of the most enigmatic myths in the world, with little specific research on its origins in divine/historical literature. This riddle became the focus of our work, and with Soheil Enayatollah's layered causality analysis, we have delved into the texts of Mircea Eliade and personal experiences. We aimed to unveil a different manifestation for this name that should have had another outcome: Mithra/Mithraism.

 We also explored the cultural interactions between Iran and Romania from an encouraging rather than promotional perspective.

 The research methodology employed is qualitative and applied, descriptive-analytical, and data collection is both library-based and field-based experimental. 

 We had no direct precedent for this; however, due to the multi-dimensional nature of our work, it addresses the separation and cultural interactions with the language of the soul of art. We introduced the notion that the path of the Mithraic army from Iran to the world has become crucial and ambiguous for the first time in world history.

Contemporary literature offers a rich source of studies on the subject of women, and the poems composed by women in this field require much more attention. Parvin Etesami is one of the prominent poets who, in her poetry, expresses desires, shortcomings, inadequacies, and the need for society's attention to the valuable and significant position of women and family. This research, conducted through a descriptive-analytical method, focuses on determining the position of women in the poems of Parvin Etesami, demonstrating that, according to her, the only weapon for women's struggle against inadequacies, the restoration of their rights and achieving their proper position in society, as well as the advancement and growth of the family, is the pursuit of knowledge. In other words, by acquiring knowledge and raising awareness, women become capable and empowered to fulfil their roles more effectively. Overall, this article aims to explain and examine the position of women and the family in the poems of Parvin Etesami, a prominent contemporary poet

One of the important achievements of structuralism in the field of literature is issues related to narratology, and researchers try to determine the relationship between actors and characters. Vladimir Propp, the Russian formalist, created a turning point in the analysis and study of narratology. According to him, the character has no existence apart from the text and is only a part of the technical structure that must be subject to predetermined events. Germas, one of the semantic theorists, presented the activism model with the aim of showing the role of characters and the relationship between action and character: an actor is someone or something that performs an action. The actor plays the role of the characters in the narrative. However, it has two differences with characters: first, several characters can play the role of a single actor. Second, the actors play a role in the deep structure of the narrative, but the characters play a role in the superstructure of the narrative. This article, in a descriptive-analytical way, analyzed the narrative-oriented epic of Arash, composed by Siavash Kasraei with the narrative-oriented theory of Garmas, and it was determined that all six actors of Garmas model are present in this poem. As Garmas considers contrast as the most fundamental framework in which the human mind gives structure to the world and understands its meaning, and to understand the structure of the text, one must first understand contrasts, In the legend of Arash, we are also dealing with the confrontation between Iran and Turan, which is the basis of Kasra's narration of Arash's epic, which is expressed in three double actors in opposition to each other.

In Western civilization, the genre of the novel has turned towards mythologism, which was previously often negated and concealed due to the ideological functions of myths. Even in its early stages, the return of myth to Western novels signifies an undeniable aspect. In this process of transformation and grand narrative, fundamental backgrounds and stirrings that have significantly influenced the intellectual transformation of Western civilization and served as the triggers for ancient myths and constructs are observed within the realm of the novel. Firstly, there is a clash between the essential nature and the negation of myths. Secondly, there is the distortion of narrating events and the attainment of self-centered perceptions. Thirdly, there is the inclination towards divinity over identity rupture and accepting resulting transformations. Fourthly, there is the pursuit of justice by opposing movements (such as feminist totality and radicalism) and efforts to reform the intellectual infrastructure of Western societies. Fifthly, there is the reconstruction of ancient myths and the retrieval of constructs. The sixth stirring involves abstract references combined with tangible perceptions. These hermeneutic stirrings unveil the Western response to contemporary historical realities. Along this path, adherence to self-reflexivity and the expressive role of ancient myths is also felt.

One of the prevalent themes in contemporary poetry is the issue of opium addiction. Many poets have openly fallen into the trap of this deviation and, ultimately, "lost themselves in the dust." This article, compiled using a descriptive-analytical method and library sources, first explores the emergence of this phenomenon in contemporary poetry and then examines and analyzes its reflection in contemporary poetry. This topic is not only the result of familiarity with European poets but also the consequence of the August 28 coup and the failure of the national uprising. After the August 28 coup, intellectuals were mentally shattered and disillusioned, considering everything as lost and seeing nothing but darkness and destruction. Consequently, they sought remedies to alleviate their pain and momentarily alleviate the sorrow of defeat. It is worth mentioning that this issue can also be observed

The relationship between philosophy and literature connects thought (rationality) and speech (articulation). Literature encompasses the breadth of all human questions, from love to philosophical issues, power relations, economic matters, personal suffering, and human relationships. Therefore, literature is full of philosophy. It often addresses issues that are also raised in philosophy. The main question in this research is to what extent philosophical concepts are reflected in Attar's poetry and how Attar's perspective on philosophy is shaped. Attar's works have deep philosophical, theological, and mystical concepts. His language and discourse carry profound meanings in these areas. In addition to his familiarity with various sciences such as mysticism, astronomy, psychology, history, and more, Attar is also a philosopher, albeit of an anti-philosophical type. This article, relying on two of Attar's works, namely "Mosibatnameh" and "Manteq al-Tayr," edited by Professor Mohammad Reza Shafiei Kadkani, has been compiled and edited using a descriptive-analytical method based on library resources.