نشریه نقد، تحلیل و زیبایی شناسی متون
پیاپی 20 (پاییز 1402)

Intellectuals and great scholars ofphilosophy and literature have always tried to define poetry and express its characteristics as their understanding permits. Poetry is one of the manifestations of intellectual human life. Through the analyses and interpretations of critics and poets about the identity of poetry, recognizing it as one of the fine arts, from the point of view of the poets themselves, is an important and significant category, opening undoubtedly a new worldview in poetics for us. This perspective on poetry, which in recent years has been called "Farashiʿr " and "Al-mitashiʿr " in Arabic and "Metapoetry" in English, is a poem that deals with the subject of poetry. Whether the poem is "a child of a poet" or "a product of human impatience" or "a product of life's events" or "an incident in language" or "an imaginative word..." or anything else that critics and literary people define, is an externaland non-poetic view to poetry. The charm of the poem becomes more apparent when the creator of the poem, the poet, tells what the poem is from within the poem. In this paper, we have tried to investigate the metapoetry in Arabic and Persian poetry with a descriptive-analytical method, relying on examples of some well-known poets in each of the two languages.

Author, audience, meaning and format form the four sides of a literary work. The author puts a concept in the channel of the format that the audience decodes. Therefore, a literary work can be examined from the angle of each of these four sides. In the current research, we are looking to look at the meaning side from among the sides of a literary work, and in this way, we will look at the flow of thought in the poetry of the Akhavan Sales. For this purpose, the poems of Mahdi Akhwan sales in six periods have been analyzed with an analytical-descriptive approach. Based on this review, we come to the concept of pessimism. A relatively new concept that appeared in the poetry of contemporary poets. The poetry atmosphere of the Akhavan before the coup d'état on August 28, 1332 was completely hopeful. But under the influence of the poet's personal background and personal life, this hope fades. After the coup d'etat of 1332, he suffered from social and political defeat, social despair and ultimately philosophical despair.

The school of surrealism, one of the greatest literary schools in the world in the 20th century, tries to recreate reality by giving originality to dreams and imagination; The present study examines the hypothesis of Forough Farrokhzad's use of the elements of the surrealism school in the poem "Let's believe in the beginning of the cold season" and seeks to answer the question that the descriptive compositions in the poem "Let's believe in the beginning of the cold season" are compatible and related to surrealism. has it,For this purpose, first, using the content analysis method, the descriptive compounds used in this poem were extracted and classified based on the components of the school of surrealism. Then, by presenting a surrealist interpretation, it became clear that the language of Forough's poetry was affected by the characteristics of surrealism: 1- unreal things, 2- love, 3- idealistic point, 4- black humor, 5- death thoughts, 6- invalidity of dimensions. Also, the analysis of the frequency of each of the mentioned components by the statistical analysis software revealed that more than 90% of the images in the poem "Let's believe in the beginning of the cold season" have a surrealistic basis. In the meantime, thinking about death has the most frequency and paying attention to love and disrupting the real dimensions have the least frequency.

Bijan Elahi is one of the "other poetry" poets who in the 40's turned to a type of white poetry in which mystical concepts and influence from the verses of the Qur'an are abundantly seen. If mystical symbols, metaphors and images in general are not interpreted in his poems, a huge and important part of the content in divine poems will be neglected. Of course, sometimes the Divine Vision refers to the verses of the Qur'an directly and only through the lexical level of words, and sometimes the divine references to the verses of the Qur'an depend on the interpretation of the images and the relationship between the components in the axis of coexistence and succession. In this book, the authors intend to analyze all the influences and also the divine attitude towards the verses of the Qur'an in the order of his poems in the two collections of poems "Youths" and "Seeing" in a descriptive-analytical way, as well as the process of the formation of meaning to The means of using Quran by Bijan Elahi is also of interest to the authors in this research. From the results of this research, it can be pointed out that in the poetry collection "Seeing" the lover is often real, and in the poetry collection "Youths" the lover is virtual and the type of love is often carnal.

Country is one of the terms and concepts which were paid attention to by patriotic poets from the beginning of Persian poetry and literature. There have been some events in each period of every nation which make the borders of that nation to be under threat by aliens. This threat can be in fields such as cultural and national values. Constitutional period in Iran was one of the period in which alien countries were looking forward to plunder the property and wealth of our country. Poets who tried to guard our country against aliens were one of the effective agents in awakening and awareness of people in Constitutional period. Sayed Ashrafaldin Gilani was one of them who notably tried to look into different aspects of "country" in his Divan. By using this term in his Divan, he wants to make people to be aware of negligence, to show his love to his country and to protect our national values. Since the term "country" has an important position in Persian poetry, the researcher through analysis of Nasim-e shomal'poetry and his knowledge in this field tried to have a brief and thorough look into it.

Transcendental relationships of text are one of the new literary approaches that Mikhail Bakhtin with the subject of text dialogue is considered the basis of this theory. Other theorists such as Julia Kristeva, Laurent Jenny, Michail Riffaterre, Barthes and Gerard Genette evolved this theory. In his theories of Transtextualite, Gerard Genette has proposed the relationships of influence and influence of literary texts, including the works in which this influence is observed, the introductions of epic texts. The present study, with a descriptive-analytical approach and the use of library resources, has analyzed the Introductiones of National Epics of Iran based on the Theory of Genette Transtextualite. The results of this study show that national epics as more texts have been influenced in self-old ageing, elimination, reduction and expansion processes. In the hypertextualite relationships of national epics with Shahnameh, transformation and homogeneity are relative and are meaningful in relation to each other. The Introduction of Garshasbnameh indicates the influence of Shahnameh on the themes of Garshasbnameh, Bahmannameh indicates the influence of this work from Garshasbnameh, and Iranshah's Kooshnameh have been influenced by Shahnameh and Gershasbnameh. The main and minor titles of epics from the perspective of the paratextualite relationship indicate their influence and influence from the original texts. The creation parts of the universe in Farmarznameh and Shahnameh, based on the relationship between Genette's Arcitextuality, show the roughness with the unified subtext.