نشریه ادب فارسی
سال سیزدهم شماره 1 (پیاپی 31، بهار و تابستان 1402)

The correct reading of the poem has a direct relationship with determining its grammatical, rhetorical and semantic structure. According to the type of reading, some poems undergo changes in grammatical, rhetorical and semantic structure. These changes affect the type and role of words and affect their grammatical position; Some literary techniques may also change their place in this reading, especially in simile and metaphorical additions, allusion, irony, ambiguity, and pun. In terms of meaning, two different meanings may be created in the verse, and this affects other structures of the poem as well. In this research, by examining poems of Persian literature poets, this matter has been examined at the three mentioned levels, and it shows that wrong reading often leads to wrong understanding and analysis, and can change the role and type of grammar and rhetorical structure.How to read a poem affects its grammatical, rhetorical and semantic structure; This reading casts a shadow on all parts of the poem whether it is under the influence of ambiguity and confusion or under the influence of changing the tone of the words. Some poems have two types of readings and two types of interpretation for different reasons, and this leads to different perceptions of that poem. The purpose of the present research is to investigate this important matter. Another goal of this research is to show the necessity of paying attention to the difference in the reading of poems, that is, we should not read all the texts of Persian verse and poetry in the same way. Especially in poetry, more attention should be paid to grammatical, rhetorical and semantic structure.

In critical discourse analysis, linguistic concerns and connections between discourses are examined in light of social and cultural frameworks and power dynamics in an effort to uncover hidden truths in the complex production of literary works. The poems of Wasef Bakhtari have been examined in this paper using this methodology to examine social propositions, ethnic nationalism, and linguistic hegemony of the discourse of domination, representation, social atrocities, and "cultural crimes" of the dictatorial rulers of Afghanistan in the 1960s and 1970s. In contrast, using a descriptive and qualitative analytical approach, Fairclough's critical discourse analysis has been used to interpret the critical discourse of Bakhtari's poems in the field of contemporary Persian poetry from Afghanistan in three levels of description, interpretation, and explanation. In Bakhtari's poems, the 1960s and 1970s represent the bright lights in the frameworks that reflect many of the social and cultural transformations that took place in ancient Iran and Khorasan. The current study helps readers in comprehending the ideologies of the poet and analyses the prevailing discourse of Afghanistan's contemporary history during the 1960s and 1970s. The findings of this study have demonstrated that Bakhtari frequently exposed the obscure elements of the strict system of the ruling discourse and the challenging class existence of the time. The poet has harshly criticized the social structure and the resentful inaction of the people against social tyranny. He has also vigorously contested the linguistic hegemony of the time.

The interactions between languages are very common. Persian language, as one of the most important and influential languages of the Islamic world, has had a wide impact on other languages of this vast geography throughout its long history. The Ottoman Turkish is one of the languages that has received the most linguistic, intellectual and literary influences from Iranian culture and Persian language. When Divan literature, was formed, the frequency of Arabic and Persian words in the Ottoman Turkish language increased highly. This increase in Divan poetry reached such a point that sometimes only verbs were expressed in Turkish. With the beginning of the era of reforms and the increase of western and archaistic ideas in Anatolia, especially after the establishment of the Republic of Turkey, the rejection of eastern values intensified and extensive measures were taken to purify Turkish language in this country. In this way, many Arabic and Persian words were discarded and Turkish equivalents were found or created for them. Despite this, nowadays, many Arabic and Persian words, combinations, grammatical elements and expressions can still be observed in Turkish language; although their frequency has undoubtedly decreased compared to Ottoman Turkish. In this research, in addition to translating the first ten stanzas of the famous Terki̇b-bend of Bağdatlı Ruhî into Persian, we use the statistical analysis and frequency measurement method to calculate the influence of the Persian language on this sample of Ottoman Turkish lyrical poetry at the morpheme level. The findings of this research show that more than one fifth of the morphemes in this text are borrowed from Persian. There are also important intellectual common aspects between Persian literature and the aforementioned poetry.

The significance of research in old translations of Quran is evident to scholars in various facets, ranging from the linguistic benefits in the history of Persian language to various Quranic sciences. Among numerous Quran translations that are not studied and explored yet, we identified an incredible opportunity to introduce and examine the manuscript of Hudai Afendi’s translation of the Mushaf No. 20 for the first time, which dates back to the early 7th century. In addition to the linguistic and lexical benefits within the context of Persian language, which can be found in majority of old translations, the Hudai Efendi’s version includes some additional insightful points pertaining to Quranic sciences such as counting verses, Tajweed, and especially, the variant readings of Quran. The main focus of this article is to explore and investigate how the variant readings of Quran is captured in this mushaf, and how the variant readings of Quran has impacted this translation. By studying Al-Fatiha Al-Kitab up to the end of Surah An’am as well as the beginning of Surah Az-Zumar towards the end of Quran, we point out and analyze cases that have influenced the translation, and rare occurrences of the variant readings of Quran in this Mushaf, independent of the translation, while comparing with some main references in the field. We discuss how the writing of this Mushaf has affected the translation due to employing the traditional ways of scribing Quran through choosing from different variants based on the writer’s discretion.

Hassan Farhangfar, Gilani's contemporary writer, is known in the realm of novels and short stories. Farhangfar's interest in purifying the society from class distance, cultural backwardness and the necessity of enjoying civil rights, caused him to make social realities the subject of his stories by combining the viewpoints of realism and imaginary realism, and their structure is based on confrontations. According to the dimensions and characteristics of dual oppositions in the theory of structuralism, literary works can be analyzed based on it. In this research, dual contrasts in Farhang-Far stories are divided into: 1) personality and thought, 2) place, 3) time, 4) symbolic-lexical, and the role of realistic and illusory realist view of Farhang-Far in its formation. They have been analyzed descriptively and analytically in two sets of concern and colorless buttons. Based on the results of the research, place and time and conventional traditions determine the formulation of individual ethics in realist stories and imaginary realism of Farhang-Far, personality contrast is more prominent than other contrasts in them. One of the reasons is the author's entry into the details and the psychoanalytical description of the world inside and outside the characters. Because illusory realism wanders between two things, it is more capable of creating double oppositions. In these stories, the nature of character confrontation is such that it manifests spatial, temporal and symbolic confrontations in order to provide the grounds for the emergence of realistic events and imaginary realism.

Dervish means indigent, needy and beggar. Also, the devouts, mystics and Sufis who are indifferent to the world and everything in it, and the ones who are just interested in God, are called dervish. The traits of a true dervish are contentment, modesty and satisfaction. So dervish is a person who, willy-nilly, is destitude and poor. Dervishes who willingly have closed their eyes on the mundane belongings, according to Persian texts, can win against the demons and monsters (specially the monster Az) and drive them out of the world. This research revolves around analyzing dervish's character in " The story of Nushāfarin Gohartāj " which is based on Jung's archetype theory; and it wants to present a new way of reading which leads to comprehending the instinctive, cultural and idealistic layers of the iranian society in precise/ certain aspects. Analyzing dervish's character as a key character in this story, and his psychological truth can strengthen this purpose. Moreover, it is a confirmation of the importance of folklore in Jung's view. Also, the motion of the story shows some solutions for self-consciousness and self-awareness. The research method is a quantitative and qualitative analysis, being evolved based on the library resources. In this story there are seven characters that can be adjusted with the dervish's character. Respectively, the archetype roles of these characters are " self, persona, hero, animus and shadow" .In general, the outcome shows that the dervish's character was a positive and respectable character form the overall point of view.

Yadollah Royaei is one of the poets and theorists of volume poetry or spasmantalism in whose nature nature has a significant presence. A dreamer looks at nature as an independent human being or organism that has the behavior, states, actions, and reactions of a living being. In rhetoric, this type of function is called animism. This animism has two aspects in royaei poetry, either at the level of composition and in a metaphorical way, or in the axis of companionship and by attributing human adjectives, behaviors, actions and reactions to objects and phenomena. It happens naturally. In royaei poetry, natural phenomena sometimes appear not as a human being but as an independent being. Royaei in animation-related images uses techniques and arrangements that trigger multiple perceptions and interpretations and help the audience to reproduce the work, in other words, it is the audience who recites the poem. Reproduces. In this way, the poet constantly renews his poetry. These tricks include collecting mental images related to animism, using rhetorical interference, and associating eroticism with animism.In this research, we study the techniques and royaei arrangements to achieve multiple interpretations in images related to animism based on the theory and analyze the samples, express multiple interpretations and reasons for interpretability based on We will deal with the measures taken.