مجله ادبیات پارسی معاصر
سال سیزدهم شماره 1 (بهار و تابستان 1402)

AbstractSohrab sepehri, the great contemporary poet, is completely familiar with Islamic ERFAN. The influence of Islamic Erfan on him is obvious in “Shargh-E-Andouh” set. Additionally, his trips to far east temples made him familiar with Buddhism, Zen and their mystical ways; to which he mentions in his book “Blue Room”. Though Islamic mysticism, Buddhism and Zen constitute Sohrab Sepehri’s basis of mysticism; but one should say his mysticism is not a combination of these paths. Rather, Sohrab Sepehri transcends all the three and reaches his unique wisdom. The extremity of Islamic mysticism is reaching the position of observer, those of Buddhism is “samadi” and those of Zen is “Satouri”. The poem of “Vahe-EI-Dar Sokoot” is also reaching intuition. Sepehri in this poem reports his intuition. But his intuition unlike other mentioned sects, rather than being the world of divinity, is in the world of materiality (Nassout), and rather than being in skies, is in the terrain. He is sitting on the terrain, reporting his intuition. Sepehri, like any great poet, resides in his emotional world. The present paper is an analysis of this historical sanctuary, Sepehri's "settlement base"

The sources that have studied the poem Ranj-o-Ganj of Malik al-Sho'arā Bahār, have considered La Fontaine's fable as its source. This article, was found the main source of Bahar's poem among the oldest fables of Grecian Aesop, have presented it by mentioning the source. Bahār has adapted his poem from the translation of La Fontaine's "Le laboureur et ses enfants", but the main theme of the story is the Greek Aesop (620-564 BCE) who included it among his stories. Aesop wrote his stories because of the moral advice hidden in them; in La Fontaine hands these anecdotes become a tool for storytelling that is accompanied by contextualization, perspective, and dramatic dialogues with moral conclusions. Malik-al-Shoarā Bahār, with his nobleness and poetry, which he has on Iranian literature and intellectual system, while using native elements, has expressed the wisdom hidden in Aesop and Lafontaine's fables in a poetic literary piece, suitable to the taste of the children of his land. This article examines the origin and origin of Malik al-Shaara Bahar's poem Ranj-o-Ganj in a descriptive-analytical way. Presenting the origin of the Bahar system and comparing the attitude of different cultures to a single subject is one of the goals of this article.

One of the subcategories of discourse analysis is the analysis of dialogues of the work under review. Apart from the apparent meaning and the way the sentences are designed in conversations, it is possible to discover hidden mentalities from their hearts that show themselves in the form of words, meanings, signs, behaviors and movements of the conversation parties. By analyzing the interaction of the conversation parties, the beginning and end of the conversation, turn taking, feedback and correction in the conversations, aspects and effects of the conversation that are often not visible at first glance can be shown. Based on this, in this article, an attempt has been made to examine the way of using language and the way of communication between the parties of the conversation, which is represented in the form of sentences and phrases, along with other unsaid words that are placed behind the sentences and meanings. In other words, in this research, in a descriptive-analytical way, the management of people's interactions with each other and the way social communication is formed in the dialogues of two literary-narrative works, Hesaar va saghaye pedaram and Yakolya va tanhaiye ou, have been analyzed. The research results show that in both discourses, power is applied from top to bottom and one person is at the top of the power pyramid. Against the prevailing discourse, the subjects are very powerless and do not have much agency and role in the story. In his novel Yakolia va tanhaiye ou, in addition to the institution of power, the institution of religion and people also play a role in the management of society, but the institution of power and religion try to draw people to their side.

The immigrant in the experience of immigration, through confusion and dissociation from its culture and lack of belonging to the host country, seeks to achieve its true identity, various ups and downs. Considering the slippery identity and theoretical patterns of immigration in the votes of Homi Bahabha, The present study, with a comparative approach and relying on descriptive-analytical method, examines the themes related to immigrant identity in the works of "Doordasthaye Mobham" and "love in exile", in stages such as facing the "other", acceptance and refusal, widespread awareness, self-return and finally, dissociation and destiny. In these works, Eastern personalities, in conflict with Western culture and in accordance with internal developments, intertwined with painful global trends and maintaining an ideological position, gain recognition and understanding of a network of global relations and provide a platform based on historical, political and human reality to awaken the forgotten realm of the hero's psyche within the merged boundaries of "self" and to make sense of it. The results of this study show that migration with a break from the insider culture, confrontation with the host land space and understanding the place and time in the process of interaction and confrontation with the discourse space of "the other" as a productive narrative space -"third space"- in the works, It explains the differences in the world; A process that, due to psychological and sociological factors, otherness and profound analysis of alien concepts and alienation gives new importance to the concept of identity.

migration literature has emerged in three specific streams with certain limits. In the first decade, fiction writing is dominated by political topics and concepts. With the end of the war, the political, social and economic atmosphere in Iran changes and Iran's foreign relations also expand. The changes in Iran also affect the situation of immigrant writers and their relationship with Iran. Disappointed with politics and returning to their motherland, they redefine their presence in another land where they have to live.In rethinking the new situation, immigrants search for themselves again and discover a new life between two countries, two cultures and two languages. They understand the separation from the culture and relations of their homeland and the sense of alienation enters their psychological life and they are in the position of recognizing, accepting or rejecting the new world and searching for the past. For this reason, the frequency of political elements decreases in fiction writing, and politics is gradually pushed to the sidelines and background, and many writers experience writing on other subjects as well, and their stories clearly find a social aspect.And in them, instead of politics, there are signs of past sadness and nostalgia for the homeland. The literary text also changes. Literary construction, new language, form, pictures and images, especially in the deepest layers of the text, leave a tremendous impact, and from the heart of the current of political fiction writing, a new current is born, the theme of which is issues for identity thinking.

Ecofeminism or "eco-feminism" is a "postmodernist" and "poststructuralist" approach. This approach, which emerged from the intersection of the third wave of feminism and environmental studies with a deconstructive view of "post-structuralism", tries to explain the connection between women and nature with a cultural and social approach and to analyze the reasons for the emergence and emergence of this connection. In social ecofeminism, the main premise is that women, other subordinate classes of society and nature, have been oppressed and exploited by the power structures in the domination system, and the worldview of the ruling ruler is dominated by women and subordinate types. "social" behaves the same as "natural" subordinates; that's mean; Environmental resources. Klidar Mahmoud Dolatabadi's novel is a social and climatic novel in which the author has addressed the issues of women and their ecological identity in the shadow of the patriarchal ruling discourse, as well as the issues related to the ecosystem and climate of the Khorasan region. This research, with a descriptive-analytical approach, seeks to express the symbolic and real connection of women with nature and the relationship of men with women and nature in the shadow of this connection, in Klider's novel with a social approach. The findings of the research show that the system of patriarchal domination has a homogenous and utilitarian approach towards women and the elements of nature and everything that is considered "other" in their discourse. The woman and the earth are under simultaneous domination in the sense that they provide the causes of men's power.

place as a phenomenon. In phenomenology, places do have personalities and spirits depicting themselves to human beings through architectural elements and those objects being located at certain locations. Recognizing personality and Genius Loci brings about a sense of place. Sense of place differs from one person to another according to certain individual characteristics. The phenomenology of imagination regards places in the connection they have with imagination. Analyzing phenomenology of place and imagination in prison stories focuses on the location of a prison in order to identify the way a character interacts with the prison in regard to the sense of place. We’ve been trying in this study to deal with prison as a location in the fictional works of Reza Baraheni. In the stories such as Avaz_e koshtegan, Razha-ye Sarzamin_e Man, Ba’d az Arusi Che Gozasht? , and Chah be Chah Well to, Reza Baraheni deals with the location of prisons. The location of the prison is solitary confinement in those stories. Elements such as blindfolds and voices have a conspicuous presence in the above-mentioned stories. Prison, in Baraheni’s stories, helps to bring about identity formation and otherization. In order to escape the pain they feel at the torture chambers, Baraheni’s characters call on imagination with the help of literature and occasionally by means of memories, making agonizing moments of torture somehow bearable.

First forged in the writings of French philosopher Jacque Derrida, deconstruction undermines the Platonic philosophy and dominant Western discourses to negate the metaphysics of presence, logocentrism, and binary oppositions. In this standpoint, although Derrida subverts such dichotomies as speech/writing, absence/presence, and truth/virtuality, he does not aim to privilege writing, presence, and virtuality above their oppositions; instead, he seeks to overcome the limitations of textual meaning to reach pluralism in interpretation. Shahriar Mandanipour’s Again Facing the River bears abundant metaphysical assumptions which the narrator endeavors to undermine in order to present galore signifiers and signs by constantly deferring meaning to provide the ground for new interpretations of the text. Based on a descriptive-analytic approach, this article attempts to investigate such concepts as the rejection of ultimate truth, death of the author, poststructuralist semiotics, the dominant ideology of the text by negating binaries and values, and so on.

AbstractIdentity is a sociological concept and the central question of modern man about himself and others, and gender identity is specifically the result of women's rethinking in order to move from traditional restrictive perceptions and an effort to enter public arenas Women's rights activists have faced this problem in various forms with the aim of proving difference, creating equality and gaining superiority. This process has had its ups and downs in Iran, and it is one of the fields of crystallization of that novel, which can be evaluated through following the role of fictional characters. The purpose of this research, which was carried out with a qualitative method based on description and analysis, is to analyze the content of best-selling novels three decades after the revolution in the framework of traditional and modern understandings and related concepts. The findings show that there is no significant difference between the gender of writers and characters in women's issues, but the adoption of a new position is more evident in women's works. The difference is that male writers think in the framework of modern approaches to women's rights, but women have tried to design a native reading of their rights in accordance with the historical background, but this way of interpreting tradition does not lead to the production of modern content.Key words: identity, gender, women, novel, after the revolution

In this essay, dreams of three short stories by Simin Daneshvar have been discussed with the approach of Jungian psychology and views of Clarissa Pinkola Estes, the post-Jungian psychoanalyst. Dreams have always been a source of wonder for human beings. Since the most ancient times, man has looked at the strange and mysterious images of dreams with awe and astonishment, and has pondered about their meanings. In addition to inspiring many scientific inventions, dreams have found their reflections in artistic creations. Literature, as a major mirror of human life has benefited the most from the images of dreams and has used them as one of the most important ways to advance the story line and show the mentalities of the characters. In contemporary Persian literature, Simin Daneshvar is one of the writers who used this method abundantly and included all kinds of dreams in her stories. This article has examined the dreams of three Daneshvar short stories: “Border and Mask”, “Ask the Migratory Birds”, and “Savaki”-and has tried to unlock the meaning of their symbols and show their importance in the overall story line on the basis of Estes views. In the end, it becomes clear that all these dreams are integral parts of the above stories and give important clues about how and why the events unfold, so that none of these storis can be imagined without their dreams.Keywords:Post-Jungian psychology; Clarissa Pinkola Estes; dreams; Simin Daneshvar; short story

The entrance of the Marxism’s’ left-wing idealism in the early 14th SH in Iran, has been the source of extensive changes in all cultural aspects and particularly in literature. The fruit of such thinking stream was a newfound literary school which was based on Marxism-Leninism perspective that due to some factors, evolved and developed swiftly. To such a degree that the majority of authors, poets and translators got interested in such school of thought and a great number of significant literary works that shape the body of the Iranian contemporary literature, were created under the influence of Marxism ideas. In order to answer the question that what factors caused the development and growth of the left-wing literature in Iran this writing suggests two general factors of social backgrounds and intellectual infrastructure and with regards to historical documents tries to outline components such as The social backgrounds arising from the constitutional revolution, the victory of October 1917’s revolution, the alteration of Iran’s relationship with the mighty neighboring country and the extended activity of left-wing parties, provided the opportunity for the emergence and the development of the Marxism-Leninism ideology as the infrastructure of the left wing literature in Iran. Additionally, based on literary works we would try to prove this claim that the elements of left-wing literature like realism, protestation, modernism etc. were in alignment and with correspondence to the needs of the Iranian society which required a new and a pioneer literature for the process of its’ structural change and provided the backgrounds for growth and expansion of the left-wing literature in Iran.

The shadow archetype is one of the driving factors of unpleasant feelings in human beings. This archetype seen as a dominant pattern in the postmodern poetry. the present study describes this feature as a stylistic feature in the postmodern poetry that this feature creates a dark atmosphere and expresses unpleasant and disgusting feelings along with social and political anomalies by the poets in the contemporary poetry. To prove this claim, ten collections of works by seven postmodern poets were studied and evaluated using a descriptive-analytical method. The result indicated that the heavy shadow of the archetype of shadow has unconsciously spread so much on the mind and soul of these poets that it has dimmed the positive aspects of other archetypes and thus reflects fears, failures, frustrations and external manifestations such as murder, betrayal, rape, protest, etc. in the works of such poets and has been able to turn poetry into dark and full of shocking and along with continuous death thoughts.