نشریه پژوهش های ادبیات تطبیقی
سال یازدهم شماره 2 (پیاپی 36، تابستان 1402)

Iranians and Palestinians in contact with modernity in the twentieth century had almost a similar condition. On the one hand, they were the heirs of ancient and complex traditions, like patriarchy. On the other hand, these countries faced the raging currents of modernity that devour everything. They also encountered colonization as well, leading to exploitation of their lands in different forms. Tradition (especially patriarchy), Modernity and colonization are three main themes of Symphony of dead by Iranian Abas Marofi and Wild thorns by Palestinian Sahar khalife. The comparative reading of these two novels displays Iranians' and Palestinians' similar historical experiences in their encounter with modernity, unveils the essence of exploitation and hegemonic systems, and finally exposes the strengths and weaknesses of modernity and tradition. As a result, the current study seeks to analyze the representations of colonizing and systems in two novels and illuminate its bonds with traditional society (family, intellectuals and business class). The findings of the present study indicate that both novels portray the tradition of patriarchy is in harmony and line with the tyranny of despots and the exploitation of the colonizers. The novelists, moreover, assume that capitalism is the continuation of colonization. They similarly pointed to the identical experiences of exploitation of colonization and capitalism in the Middle East. In these two novels, the protagonist is a young poet who resists colonization and coercion, albeit with the assistance of other characters, especially women.

Pastoral literature has not been introduced in Iranian academic research as it should be. The history of this type of literature goes back to the 3rd century BC and the poems of Theocritus, and its main theme is the praise of the peace and clean rural life in which nature is also central. Of course, it is limited by other components that have not been paid much attention to in academic studies in Iran. Most of the researchers,while repeating the works of fiction writers, have not been able to take a step towards better introduction of this literary genre and have summarized it in stories and novels; However, the pastoral poetry also h:as char:acteristics that, although it is largely shared with the pastoral story,but due to the special language of the poem,it deserves separate reviews. In this descriptive-analytical research, we have tried to introduce the most important components of the pastoral literary genre by using the sources that have dealt with this literary genre in the West, along with the pathology of the research conducted in Iran on rural literature, and suggestions. In the field of assimilation of these components, we should present according to the native and cultural characteristics of Iran. Also, according to Iran's cultural, social and indigenous characteristics,we have determined and redefined the boundaries and gaps for indigenous, climatic,rural and pastoral literature,and We have analyzed the fundamental contrasts that are involved in creating the themes of pastoral literature are appropriate to the culture and climate of Iran.

Sparks of transformation in Persian and Russian literature centered on Nima Yoshij and Alexander Pushkin. Fascinated and loving poets, who firstly love their individuality and secondly love the society in which they live. Poets who cannot bear the suffering of the oppressed people and sit quietly, are looking for a way to sympathize with the people and awaken the mass of the people, Both poets spent a period of their lives in exile because of their liberating thoughts, they are still in exile in love with their homeland and the nature of their land, Sometimes they despair, but they don't let despair stop them from continuing on their way, They try again and find a way to express what needs to be expressed. With their constant presence in their poetry, Nima and Pushkin eliminate the distance between the poem and the poet, bring the poem closer to their time, and actually become one with their own poetry, Nima combines reality with nature, and Pushkin combines reality with history, and they express what needs to be expressed with a new language.

The present study examines the image of the Pery; It is dedicated as an Iranian myth in the poem of Andrey Podolinsky (1806-1886). Paying attention to this archetype is explained by the universal nature of this Iranian myth, which reveals a wide range of cultural meanings and carries a global meaning. This goes back to the existence of fairy images in Russian literary works at different times. The image of a fairy in the poem Demon and Pery by Podolinsky is borrowed from Iranian myths: Pery is a beautiful winged creature that lives in heaven. When he descends to the earth, he mourns the separation of the abandoned homeland and carries the idea of ​​true repentance as salvation and return to heaven. The image of the demon is formed in opposition to the image of the Pery. The origin of the formation of the image of a Pery in Russian literature goes back to the poetic translation of the oriental story Lalla Rookh by the Irish poet Thomas Moore, which was done by Vasily Zhukovsky. Despite the fact that Zhukovsky's translation was a free translation, he introduced the theme of "The Pery Driven Out of Paradise" to Russian literature.

With the intermingling of the thought and culture of different nations, the transnational thought with the emergence of revolutions in Latin America and the intellectuals of the cultural elites of the Arab societies collapsed the wall of ethnicity and crossed the geographical boundaries and finally broke the linguistic boundaries. Therefore, it did not take long for the national cultures and thoughts of different countries and peoples to be integrated to a large extent. Among the categories that make up transnational thoughts are literary themes that are more visible in the literature of the Arab people than any other nation. Among the writers who have been influenced by transnational ideas more than anyone else in the Arab society are "Nazak Al-Malaika" and "Abd al-Wahhab Bayati". Since the topics of the transnational debate are very broad, therefore, the current research is trying to find out, relying on the comparative and comparative method, that the transnational approaches in the poems of the poets in question are only in terms of the issue of gender (male and female) and so that the image The woman in Bayati's poem and the man in Nazq al-Malaika's poem should be examined and the following question should be answered: How and in what Downloaded from clrj.modares.ac.ir on 2024-04-03 ]form has the transnationality of gender emerged in the poetry of these two poets? The results of the research show that Abdul Wahab Al-Bayati's poems are more influenced by the reality of life and personal experiences and the result of his imagination about women and a positive concept of women, and Naz al-Malaika's point of view is a point of view caused by unconscious psychological pressures and the social conditions of the poet's place of residence and the result of imaginations and mental concepts. He is from a man and thus they have been able to express this dimension of transnational concepts in their poems. Most of the transnational aspects of the discussed poets are caused by the atmosphere that governs the global ideology of Marxism, another part of the transnational approaches of these poets is caused by the philosophy of humanism and various elements, especially the time and place of play. It has a decisive role in creating a transnational approach.

The problem of the research is that what is the characteristic aspect of Goethe's attitude towards nature and the depiction of nature in the works of German romantic painters? Therefore, the specific aspect of their attitude towards nature is analyzed in a descriptive-comparative way. Goethe, especially in his youth, in addition to the influence he received from Rousseau, Herder and the stormy and stress pre-romantic movement, had a more romantic attitude towards nature, and in general, nature for him, in his poems and some works, means the life of primitive societies, simplicity and untouchedness in front of civilization. (Rousseau), the spontaneity and immediacy of perception of nature of nature related  to people's life and art, is beautiful nature and God, all of which are considered a kind of romantic perception of nature. Although he also defends classicism, Faust seems to be influenced by the visual point of view of romantic artists. This research comes to this conclusion from the study of Friedrich and Runge's attitude towards nature. It is more romantic. Friedrich moved from the conventionalistic symbolism of his early works to a more refined and poetic naturalism based on Goethe's mood and considered the perspective of the subject to nature in his paintings. Despite Goethe's advice, in his short life, Runge showed the romantic concept of "Hieroglyph of Nature" as an essential element of language and culture.