پژوهشنامه ادب غنایی
پیاپی 41 (پاییز و زمستان 1402)

Saadi Shirazi is a ghazal poet of the 7th century, who plays a significant role in the evolution of the ghazal. The poet is the narrator of the feelings and words of the lover through the language of the lover. Homam Tabrizi, Imad Faqih Kermani and Nasser Bokharaei are three very influential poets from Saadi and originated from three different regions with different dialects. The reason for choosing these poets was the influence of Saadi's style and the extent of their success in this influence. The main problem of the research is to find answers to these questions, how are the words of the beloved reflected in the sonnets of the three mentioned poets? What are the differences and similarities of their expressions in quoting the lover's words? Based on this, by using the analytical-descriptive method and using library resources, the words of beloved have been classified and analyzed. The results of the investigation revealed that the beloved of the lyricist of the ghazal speaks with a sad language and body language, and sometimes he talks with the poet through words or writing a letter, sometimes the poet expresses his words simply, and sometimes he reprimands his words. The main audience of the lover's speech is the lover, and sometimes earthly and heavenly elements are addressed. A lover is a seeker and a lover wants separation. Sometimes the lover agrees with the beloved and sometimes disagrees. In order to honor his beloved, the poet embellishes his words with imaginary accessories.

Shahrashoob(City rioter)is one of the types of lyrical literature that has a masculine nature in Iranian culture and literature. Because it requires free human-social interactions that the social customs do not like for women. Mahsati-Ganjavi's entry into this arena and the invention of trade union riots in the form of a quartet brought with it different critical reactions, which are shared in one case, namely, the masculinity of the language of Mahsati's riots. The main issue of the present research was the proof of the existence of female gender language in the city of Mahsati Ganjavi riots. To prove this issue, Morris Grammon's theory of vowel induction was used in comparing the types of repeated vowels and their induction type in the cities of Amir Khosrow Dehlavi and Mehsti Ganjavi. In this research, which was conducted using a combined research method (descriptive-analytical-statistical and comparative), the gender variable, based on the traditional view and cultural stereotypes in the subjectivity of male and female roles, was measured and these results were obtained: the type of vowel induction in all Vowel groups (dark, bright, bright) in Mahsati's and Amir Khosrow Dehlavi's Shahrashoobs are significantly different and sometimes they are in opposite directions. Therefore, it can be claimed that the poetic language of Mahsati riots, contrary to popular opinion, has a high percentage of femininity.

The description of wine (and the othere names of wine such as: mey, Bade, nabiz, siki and sahba) is one of the most common themes in Persian poetry. From describing its color, taste, and smell to enumerating its properties and functions such as healing, alleviation of grief, and immortality of life. In the Avesta and other Zoroastrian texts, we find the same pattern in the praise of "haoma" in three forms: God, Plant, and Drink. In this article, after enumerating the common descriptive themes of Zoroastrian haoma and sharab (wine) in Khorasan style poetry, we will attempt to answer the question of how tenable is the hypothesis of the transfer of the Zoroastrian haoma tradition to Persian poetry. The common themes of the two mentioned textual fields are: giver of eternal life, healer, grief-reliever, brave-maker, bright, shining and good as well as description of colors. This research is qualitative in nature and was conducted using the content analysis method.

Automatic writing is very important because it is one of the basic principles of surrealists in mystical works that are the result of personal and intuitive experiences and moments of intense emotional excitement. In this kind of writing, the author is overwhelmed by his/her circumstances and does not have control over the process of creating speech due to the overcoming of emotions caused by mystical experience. This way of writing is prominent in the works of Sanai, Attar, and Rumi, for example, whose words are usually the result of passionate moments and romantic madness. Therefore, in this research, the most important principle of the surrealists, i.e., automatic writing, is investigated and analyzed through a descriptive-analytical method in the Seir al-Ebad elal-Ma'ad by Sanai, The Conference of the Birds by Attar, the third book of Masnavi by Rumi. It seems that all three poets expressed their emotions under the influence of love, passion, and inspiration in their moments of intense emotional excitement, which is considered as pure surrealism experiences. It is a proof of their true genius and deep emotion and attitude, which, with all their dissociations and disturbances, originates from a single soul.

In love mysticism, the issue of encountering the systems of signs and the act of signifying in a special way has led to the representation and organization of the macro-sign of the world unity or the state of presence. That is the way that the referential and arbitrary function of language turns to be absent, and the signs acquire symbolic functions and deeper layers of meaning. The signifying aspects of allegories and metaphors reconstructing the atmosphere of presence in the world before the annihilation dates back to the pre-language stage. Based on this, the experience of presence in line with the experiencer's lived time, and the time split in the place dimension with a different structure and passing from an active and physical place comes out in atmosphere in the field of intuitive experience in a different surface structure, and passing over an actional and physical place. Among the mystic writings, Rumi’s sonnets, from semiotics’ perspective, are allegories and metaphors reconstructing presence atmosphere or diverse and multi-layered unity. The main question in this article is that how the artistic reconstruction of the author-narrator of Shams-e Tabrizi’s sonnets in representing the atmosphere of presence existent in the lingual-narrative codes of the text is organized? The research methodology is descriptive-analytical, and properly in line with the epistemology that governs the text. The result demonstrates that, through narrating based on the presence, the author-narrator of Shams-e Tabrizi’s sonnets has utilized each of the allegories and micro-macro metaphors with signifiers of biological and epistemological domains so as to explain the nature of the mysterious, ambiguous, opaque, devouring, indeterminate, inseparable, infinite and extended atmosphere of the unity world.

One of the main aspects of Veis and Ramin poem is its attempt at reviving ancient Iranian culture, what we can also observe in the story of Samak-e- Ayar an Iranian story written in the time of Seljuk Empire. The two works borrow certain cultural elements such as the type of governing, drinking custom, war, swearing, entertainment, hunting, among others from the pre-Islamic era. There are some mentions of Veis and Ramin in the story of Samak Ayyar which shows that the author was aware of this former work. However, Samak-e- Ayyar is considered an epic work and thus far, no intertextual analysis of these two works has been done. As Veis and Ramin is written in poetry, and Samak-e-Ayar in prose, the former lyrical and the latter epic, this study aims to provide an intertextual reading of the two works. The findings suggest seven intertextual elements: the folkloric origin, common reference to sun-king, the negative role of nurse maid, letter writing, role playing of women, the role of music and different types of swears.

This article explains the differences between various works of Ganjavi in terms of their suitability for psychological critique and investigates the employment of diverse psychological theories to critique Nezāmi’s works qualitatively and quantitatively. It is a library study and employs descriptive- comparative analysis method. 32 articles are examined based on analysis of each of Nezāmi’ works and the psychological aspects of them are examined in four areas: Lacan-Freud's theories, Jung-Campbell's hypotheses, general psychology, and psychology of colors. As time goes on, the investigators' interest in criticizing the psychology of Nezāmi’s poetry increased. Haft Peykar has been criticized more than other works psychologically, which indicates the intentional or unintentional Nezāmi’s attitude towar the psychological characteristics of the story characters. Of the four mentioned areas of psychology scholars have used Jung's theories far more than other approaches, which may be due to the greater appropriateness of this method for studying Nezāmi’s poetry. Nezāmi in ​​his Haft Peykar provides the most suitable ground for psychological studies, and Jung's theories provide the most appropriate method for the psychological critique of Nezāmi's works. In some cases, the authors have suggested pseudo-psychology as a psychological analysis of Hakim Ganjavi's works that has no research value.

Populism and imperialism use similar forms of domination against women who are considered subordinate and different, which are similar and parallel to each other in many dimensions. The novel "Dancing in a Broken Mirror", written by Mehri Yalfani, an Iranian immigrant woman writer, tries to convince the traditional society of Iran and the modern society of its host, Canada, to listen to its opposition. He, who was always considered a second-hand, alien, Subaltern and other element by his family and society throughout his life, deals with this category in his novel and has a critical approach towards both traditional and modern host societies. In this article, the answer to the question of the manifestation of "otherness" and the identity of immigrant women from two general perspectives in this novel has been analyzed interpretatively and descriptively, and it shows that not only in the traditional patriarchal society, the man is the main decision-maker in all matters. It is for women and women lose their human identity as Other, but also in the modern host society, immigrants, both men and women, and women in particular, are viewed as inferior and they must be subject to the system and culture that It is approved and emphasized by the western society, and it is among these other ideas that the dual character and identity of migrant women is formed, which leads them to a kind of inevitable regret from migration.

Hakim Nizami Ganjavi is a poet with a style and creator of the literary movement in the creation of lyrical versified stories in the history of Persian literature. Khosrow and Shirin is the first lyrically versified story of the poet, the story of affection, love, and lust, and a brilliant example of body pleasure composition in Persian poetry. This article analyzes the use of euphemism in Khosrow and Shirin and seeks to answer the following questions:  euphemism has been used to express and represent what themes in Khosrow and Shirin; What kind of literary and rhetorical tricks has been reflected in Khosrow and Shirin through euphemism, and what factors have provided the ground for the formation of euphemism in Khosrow and Shirin. The author has extracted research data from the text of the story by complete inductive method and has explained the use of euphemism in the versified story by the descriptive-analytical method. The results show that themes such as words and concepts of taboo, death, and descriptions of making love and lust in the text of the story have been expressed using euphemism and the poet has used rhetorical techniques of simile, metaphor, and irony in expressing forbidden and challenging concepts, and by this way has tried to maintain his image and that of the actual and potential audience of the story.

Absence as an inherent feature of language has two levels. The first level, the absence in the normal level of language and the second level, the double absence which is related to literature. By using rhetorical techniques and tricks, poets use some themes either to create beauty or because of the moral limitations they place on themselves or the moral and political prohibitions and controls that exist in the society. They take absent. Nizami is one of the poets who skillfully, according to the content of his romantic poems, has used absence from the simplest level to the most forbidden form to represent the physical matter in his poetry. The statistical population of the present research is Khosrow and Shirin Nizami, in which the verses which the physical aspect is absent, They have been collected in a library manner and have been analyzed by analytical-descriptive method and using the content analysis technique, then they have been classified based on the epistemic-behavioral domains used by the poet. In the following, it is clear that the poet has used fifteen cognitive-behavioral domains. The highest frequency of verses has the absence of unquoted matters and taboo matters related to agriculture with 25% and stones and precious stones with 15% of all verses. Among the fields used, the fields of horse riding and spices and food have the lowest frequency of verses with 2% of the total number of second and third level verses.

considered as a new field of study in story criticism that its history goes back to recent decades when it was Eileen Baldeshweiler, who used the topic of lyric story in her essay (1969) for the first time and for some stories that contain the especial elements of lyric novel. After that, some other eminent scholars such as Ralph freeman and Jonathan culler have expanded the horizons of this study and thus today there are some more exact and scientific criteria for the ones who are interested in studying the domain of lyric novel. the present essay is going to study the novel of shabhaye Tehran of Ghazale Alizade on based on jonathan culler theory of lyric story. Cullers theory includes five main emotions with their subdivisions. In the present study, this question was answered: what elements and factors have characterized the shabhaye Tehran novel as a modern lyric story? The results show that shabhaye Tehran can be considered as one of the best examples of lyric novel in Persian literature because the most important features of lyric story raised in Jonathan culler are found in it with high frequency and considerable quality.

In the poem of Keifar, by using rhetorical devices, Shamlou has described and highlighted other defects and fixed these defects from himself. Among these cases, we can point out the secondary purpose of the textual coherence being an indefinite, which is made indefinite in order to humiliate and show the importance of the indefinite, thus highlighting the flaws and negative characteristics of the other, and one of the characters The killer portrays himself in the narrative. In the description of another murder, he even describes the character of the victim with the ironic phrase "round teeth" in order to highlight the flaws of one of the secondary characters in the narrative, and in this way, he projects and absolves himself of those flaws. The poet introduces the dream of other prisoners as a place of killing and terror and compares his dream to a mountain in order to eliminate the negative characteristics and defects that he puts forward about others and emphasize it. By using rhetorical devices and using Sanate Estekhdaam, the poet intends to use the word "hated" to have two meanings, so that this word in connection with the soil also evokes the meaning of the devourer.

Minimalism is the result of the social, political and cultural developments of the last few decades, which has been manifested in visual and non-visual arts in a significant way. In the field of fictional literature, the emergence of minimalism, in addition to the influence of political and social conditions, has been considered the result of formalists' efforts to innovate and create new methods, considering that the origin of short stories and short stories, according to formalists, is anecdotes, the tales of the Thousand and One Nights as one of The most important works of lyrical literature provide a suitable platform for the explanation of the minimalistic foundations of Kalam. In the present research, the social levels of the narratives of this work have been discussed with the analytical descriptive method. The main goal of this research is to investigate and explain the basics of lyrical literature in the stories of the Thousand and One Nights based on the characteristics of the school of minimalism. The results of the research show that each of the stories, with a short structure, tries to express the events of people's daily life by relying on the thoughts, beliefs, foundations and customs of a period, and the social and moral relations of that period by relying on superstition elements and well-known symbols. In a society, they are criticized. The main research question in the present study is how the art school of minimalism and its characteristics explain the themes of the lyrical stories of the Thousand and One Nights.