مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 109 (خرداد 1404)

Non-verbal communication refers to the behaviors in which a person is able to convey a message and communicate with others without speaking. Non-verbal communication also includes those effective aspects of the environment that affect the interaction, such as jewelry, clothes appearance and facial expressions of people. Since non-verbal communication or body language is a more honest language due to its semi-consciousness, the present research aims to emphasize the important role of non-verbal communication or body language components in the creation of literary texts and its effect on the quality of transmitting and inducing emotions and thoughts. And the inner thoughts of the poet, he tries to present a new way of analyzing the texts to the deeper layers of the poet"s mind and unconsciousness.

The present research has been carried out in a descriptive, analytical and inductive way. The method of collecting information was also in the form of a library.

For a person, verbal communication is the same as language communication and speaking, which includes writing and speaking. But non-verbal communication has a wider scope, all kinds of the signs and symbols manifested by the states and movements of the organs, physical contact, accessories, environmental factors, space, language, silence and clothing, including all visual and auditory signs,, and has a significant role in communicating, sending messages and influencing people and groups. Since poetry is not only linguistic signs and is closely related to non-verbal communication and its signs, examining the components of non-verbal communication will provide a significant ability to decipher poems and gain a new understanding and reception of them.

The results show that, firstly by using non-verbal communication and connecting it with sound and speech, Forough has added more meaning to the performance space of her poems. Secondly, she has used visual actions and eye expressions to express emotions and feelings. The result is that non-verbal communication in Forough"s poetry is sometimes used to complete verbal communication, sometimes it replaces verbal communication, and sometimes it violates verbal messages.

The perfect human being and presenting a clear and vivid picture of him are controversial topics in the humanities, including literature and psychology. Psychological theories such as Jung"s shadow and mask archetypes, Adler"s lifestyle, and Maslow"s hierarchy of needs are some of the theories that can be easily studied and examined in some works of Persian literature, including Ferdowsi"s Shahnameh, which has a human-centered nature. An examination of the characters in this work shows to what extent Iranian man has achieved human growth and perfection in past eras and to what extent he conforms to the personality patterns of the field of psychology. In this regard, the present article aims to examine and psychologically study the personalities of the kings of the Shahnameh from the perspective of the theories of Jung, Adler, and Maslow, to clarify to some extent the reasons for some of the thoughts, words, and actions of the kings for the audience and to help the reader achieve a better understanding of the overall stories.

This research was conducted based on the descriptive-analytical method and its data was provided based on library studies.

Ferdowsi, like a modern expert novelist, while organizing the general aspects of the stories and the unique scenes of celebration, sadness, and joy, while paying attention to his speech, makes the characters of his story show the effect of human emotions on decision-making in a very wise way. With such psychological works, Ferdowsi shows us the innermost nature of the heroes of the Shahnameh. He is very precise in doing this and insists so much that it can be said that no word is uttered by the characters in his work that he has not shown us the psychological-emotional background for uttering it.

From Ferdowsi"s perspective, Jamshid and Zahhak have the archetype of the shadow and the mask, and Fereydoun and Kaykhosro have the archetype of the wise and wise old man. Also, Kaykavoos is more than any other king a prisoner of the archetype of the shadow, who eventually loses his life to his desires and greed. From the perspective of Adler"s lifestyle theory, Jamshid is an example of active and constructive kings, and Zahhak is an example of inactive and destructive kings. Also, Fereydoun"s personality, in contrast to Zahhak"s personality, is one of the most complete personality models based on Maslow"s theory. In this work, Fereydoun as a transcendent personality and Zahhak as a neurotic or unhealthy personality objectively represent the two points of the base and the top of Maslow"s pyramid.

Archetypal criticism is one of the characteristics of modern psychological criticism that is well able to act as a criterion and criterion for measuring, criticizing, and evaluating literary works. One of the most targeted theories of archetypal criticism is the theory of the Swiss psychologist Carl Gustav Jung (1875-1961 AD). Among the archetypes that Jung proposes is the archetype of the exemplary mother or the eternal mother. The main objective of this research is to analyze and examine two prominent and popular contemporary novels, namely the novel The Madam Ahou s Husband by Ali Mohammad Afghani and My Bird by FaribaVafi, based on the approach of the archetype of the eternal mother.

The study method in this article is a descriptive-analytical method in the form of a library study. The statistical population of the study includes two novels, The Madam Ahou s Husband My Bird, which we will analyze and evaluate using Jung"s archetype criticism method based on the archetype of the exemplary mother.

The research findings indicate that the archetype of the exemplary mother is very influential in the personality of individuals, such that no human being is exempt from its influence; in the story The Madam Ahou s Husband and My Bird, positive and negative manifestations of the archetype of the exemplary mother can be seen.

The results of the study show that in the novel The Madam Ahou s Husband by Ali Mohammad Afghani, two main manifestations of the archetype of the eternal (ideal) mother are reflected in the character of Ahu as the archetype of the mother in the form of positive manifestations, fertility, fecundity and holiness, and in contrast, Homa is a manifestation of the archetype of the mother in the negative form, who has abandoned her children. In the story My Bird, the narrator is a manifestation of the positive eternal mother archetype, the narrator"s mother is a manifestation of the negative eternal mother archetype, and the beloved aunt is a manifestation of the substitute mother archetype. 

The enduring legacy of Islamic civilization has had a significant impact on Persian language, literature, and culture since the past. This level of development is primarily due to borrowing from the Holy Quran and its impact on the minds of scholars, artists, thinkers, and writers, to the extent that it can be said that the Holy Quran has influenced Persian poets and writers on many linguistic and content levels. The main purpose and practical field of research in this article is to examine and analyze the structural and content influence of Attar"s poetic systems on Quranic stories.

The research method in this study is descriptive-analytical based on the method of document research and library studies focusing on Attar"s main poetic works including Mantiq al-Tayr, Ilahinah, Asrarnah, Masabehnah, and Mukhtarnah.

The research findings indicate that Attar has used various methods of being influenced by the verses of the Quran in the form of lexical, propositional, report, inspiration-fundamental, allusive, interpretive, pictorial, methodical, religious references and religious themes.

The research results show that Attar has used semantic and thematic, interpretive, allusive and propositional influences the most. In using Quranic verses, Attar has tried to use more meaning and content.

Siavash Kasraei is one of the distinguished poets in the contemporary literature. In his poems, the content of loneliness gradually becomes more frequent by changes happened in his life and his emigration from Iran. In this paper, the loneliness has been examined to analyze the causes and kinds of loneliness and how the poet reacts to it. In this study, the loneliness is analyzed and classified based on Ervin Yalom and Lars Svendsen’s theories.

Through descriptive and analytic methods and on the basis of library research, the current study has tried to examine the content of loneliness in Kasraei’s poems. Statistical population of the research includes the whole collection of his poems.

Kasraei is a poet who initially composes his poems with partisan thoughts and theme of hope. Based on Yalom and Svendsen’s theories, only situational and interpersonal loneliness resulted from the separation of friends and death of beloved ones are observed in his poems. This loneliness is not deep and is integrated with the content of resistance and hope; however, after his emigration from Iran, with the sorrow of the compulsory emigration, extreme homesickness, the destruction of his political party’s desires and wishes and the separation of his comrades, his loneliness deepens and reaches isolation. Based on Yalom and Svnedsen’s theories, it seems that Kasraei suffers from chronic and intrapersonal loneliness and finally with the emptiness and despair of human loneliness in the world, he reaches cognitive and existential loneliness. Chronic and interpersonal loneliness is deep in his poems. This gradually begins after the composed poems in the year of 1362 and continues to Kasraei’s final poems.

The content of loneliness in Kasraei’s poems implies a negative approach which is resulted from the experienced separation, death of the loved ones, the feeling of homesickness, and his unfulfilled desires and wishes. Confronted with his loneliness, Kasraei initially composes his poems with hopeful spirit but, after immigration, he suffers from sadness, despair and isolation and this content becomes more frequent in his poems. Interpersonal loneliness observed in his poems prior to immigration became more noticeable in this period. With the isolation in another country and not fulfilling his desires, Kasraei reaches chronic and intrapersonal loneliness. In some cases, he turns to the emptiness and existential loneliness due to the selection of partisan goals. Moreover, with the interpersonal, chronic and existential loneliness he reaches internal isolation.

Van Leeuwen"s socio-semantic approach is rich with diverse ideological components and uses two primary mechanisms explicitness and implicitness for representing social actors. The primary goal of the study is to reveal how the discourse of "Resistance Economy" is represented from the perspective of domestic press and how these press have presented it to their readers.

The research data were purposefully selected from the press Donya-e-Eqtesad, Tafahom, Forsat-e-Emrooz 1, and Forsat-e-Emrooz 2, focusing on texts related to the discourse of the "Resistance Economy." Data collection was conducted through library research, and the research method is descriptive-analytic.

The analysis of the data indicated that the representation of the "Resistance Economy" discourse in domestic press is achieved through the use of various ideological components. Some of these components are explicit, while others are implicit, allowing for the determination of the degree of explicitness or implicitness in the examined press.

Based on the analyzed samples in the data analysis section, the findings indicated that Forsat-e-Emrooz 1 exhibited the lowest level of implicitness, while Donya-e-Eqtesad demonstrated the highest. Meanwhile, Forsat-e-Emrooz 2 and Tafahom fell within an intermediate range and performed similarly. In other words, the degree of explicitness in the examined texts was observed in descending order as follows: Forsat-e-Emrooz 1, Forsat-e-Emrooz 2, Tafahom, and Donya-e-Eqtesad.

Stylistics is one of the literary sciences that significantly aids in understanding the characteristics of a literary work and better comprehending it. Layered stylistics is one of the modern methods of stylistic analysis that examines the prominent features of a text in five layers: phonetic, lexical, syntactic, rhetorical, and intellectual. Mirza Asadullah Javidani, known by the pen name Mahram, was one of the talented poets of the 19th century whose beautiful poems demonstrate his eloquence. This study aims to analyze the layered stylistics of Mahram Kermanshahi"s ghazals.

This research has been conducted with a descriptive-analytical approach and is based on library resources. The statistical population includes Mahram Kermanshahi"s ghazals.

Mahram Kermanshahi can be considered a follower of the literary revival movement, with the stylistic features of his poetry in terms of language, thought, and literary aspects corresponding to the Iraqi style. His language is fluent and mature, and he pays attention to the literary language and the music of poetry. He is familiar with the principles and techniques of poetry and shows great diligence in using rhetorical elements such as simile, metaphor, allusion, proportion, ambiguity, and paronomasia to express his objectives, showcasing his poetic talent and artistry. Mahram"s ghazals primarily focus on the theme of love and the significance of the beloved.

Mahram"s language and poetic elements are fluent, mature, ancient, and influenced by the Iraqi style, following the predecessors. His poetry collection mainly consists of ghazals written in the Iraqi style, following the traditions of Saadi and Hafez"s ghazals. By utilizing literary traditions and his artistic skills, Mahram creates vivid imagery, enhancing his poetic language. He is an imaginative and emotional poet who pays special attention to using rhetorical and literary devices, with "simile" being the most prominent form of imagery and the most important rhetorical layer in Mahram"s poems. The focus on love and the beloved, mystical and ascetic themes, and moral and educational themes are the intellectual features of Mahram Kermanshahi"s ghazals, with "love" being the main theme of his ghazals. 

Mind and language are two important elements of the essence of poetry that are inextricably linked to each other. The poet"s intellectual system is explained in the form of poetry using his language and organizes his poetry. Sana"i Mashhadi is a lesser-known poet among the poets of the tenth century AH who has attracted the attention of scholars and writers due to his special poetic characteristics and innovations and his special way of expression; so much so that he has been considered one of the founders of the Indian style.

The present research method is descriptive-analytical, which was carried out using library documents and resources based on the texts and poems of Sana"i Mashhadi and seeks to answer the question: What were the most important features of Sana"i Mashhadi"s Divan from the perspective of mind and language?

Based on the findings of the research, Sanai Mashhadi is considered a pioneer poet in the Indian style who played a prominent role in the development and evolution of this style. Many features of the Indian style can be seen in his divan. The most widely used format in his divan is the "ode". In his poems, he has been able to use the linguistic possibilities of poetry well and use them to explain topics such as praise, descriptions, romance, etc.

Sanai Mashhadi has benefited from the capacities of the Persian language for word formation, composition, and creation of new and original images. He has used the common rhythm of the Persian language and has observed the side, internal, and external music; themes such as: praise of the Prophet and the pure Imams (AS), praise of kings and commanders, boasting, descriptions, romantic and mystical themes are among the most important and frequent intellectual themes in his poetry.

In this article, the introduction of Haj Mohammad Ali Shirvani and her most important work, the book "Haqiqah-ul-Haqayq", are discussed, and the topics related to the stylistics of the work are discussed on both linguistic and literary levels.

This article introduces the author and her mystical work "Haqiqa-ul-Haqaiq" and its stylistic features in a descriptive-analytical way.

Mysticism and Sufism have always had a special place in Iranian culture. Its link with Persian literature is also an inseparable link. So that in all periods, Persian poetry and prose have been the main subject of the works of poets and writers. In the Qajar era, it is one of the most prominent topics that appear in literary works. Among these works, we can refer to the book Haqiqah al-Haqayq by Haj Muhammad Ali Shirvani, a writer, mystic and traveler of the 13th century (A.H.).This book is a text in the prose of Masjee about the complaints of animals against the cruelty of humans and their lawsuits in the presence of Malik Dadbakhsh, during which social issues and deep mystical issues are raised. The author has used many poets and writers, especially Jami and Molavi, to explain her mystical views. The reflection of the Arabic language, especially the use of the language of the Qur"an, in the work is remarkable. The use of more than a thousand verses from the Holy Qur"an in accordance with the issues raised shows the author"s mastery of the verses of theHolyQur"an. This book is one of the few works in which humans and animals play the main roles side by side, and in no part of the text can one say which role is more colorful. In this article, we try to introduce the work and its existing versions and talk about the author"s biography, which is less discussed in the books of the Qajar period and after.

Haqiqah al-Haqayq is a mystical work that Haj Muhammad Ali wrote in the style of prose writing in the Qajar period, i.e. artificial and mutakalfi proses that were created in imitation of past texts. This book has been influenced by the previous texts both in terms of the subject and the writing style. And it has influenced the texts after it.Despite the story in the book and the presence of animals as the main characters of the story, it cannot be classified as an allegorical and fable literature.

Khawajegi is one of the powerful and unknown poets of the Safavid era, whose manuscripts have not been corrected and analyzed in terms of stylistics. Therefore, the main goal of this research is to introduce and examine Divan"s manuscript and analyze the most important elements of his poetry so that researchers can get to know him and the stylistic coordinates of his poems in linguistic, literary and intellectual fields.

Progressive research, theoretical study and library method and analytical-descriptive method have been done. The studied collection is a unique manuscript of his divan, with the number of acquisition 9015 in 204 sonnets and 36 quatrains and a total of 1528 verses, which is kept in the manuscripts and documents section of the Central Library of Tehran University.

Divan"s poems are arranged in two sections, sonnets and quatrains, in alphabetical order in rhyme. The said divan has been attributed to Khawaji Shirazi, a prominent theologian of the Akbari period, but there is no evidence of it in the text of the copy. The presence of a beautiful single title and decorated tabular pages shows the importance of the copy in the time of its writing. Except for two sonnets and scattered verses in praise of the Holy Prophet (PBUH) and four consecutive quatrains, in each of which the poet described one of the rightful caliphs, Divan does not provide any information about the life and circumstances of the poet.

The examination of the manuscript of Divan Khajagi shows that the manuscript has the characteristics of the 10th and 11th century manuscripts. Both Iraqi and Indian styles can be seen in the court of Khojagi. In the linguistic field, in some sonnets, the use of new or rarely used words and compounds, popular and everyday compounds, many allusions, partial and miniature imagery, etc. It shows the influence of Indian style. From an intellectual point of view, romantic and mystical themes and Khayami"s thoughts are among the most important poetic themes of Diwan Khajagi.

Rhetoric in literary terms is all the methods and elements that can be effective in attracting and influencing the audience. But ancient rhetoric does not suitable for the modern era. But ancient rhetoric is not very useful in understanding the modern era, and therefore, it is necessary to review its traditional structure, especially in Persian. The scope of life writing perhaps requires a new approach more than other writings. While traditionally, these writings have been considered solely historical writings, it seems that in the modern rhetorical system, it is necessary to recognize their aesthetic aspects, aspects that attract the audience due to their beauty or emotional impact. Unlike traditional literary criticism, which focused on the superstructural aspects of texts, in modern criticism, the narrative character is considered one of the literary characteristics of the text. In examining the factors that enhance the narrative dimension, the element of description always forms an important part of the narrative structure in the text.

The research method in this article is descriptive analysis using library resources.

The importance of the book What You Are Not Strangers is not only in the narration of the author"s life, but also in his creative expression style using elements to strengthen the narrative aspect, such as description. Considering descriptive aesthetics from a functionalist perspective, this article shows the creative role of this element, how it was able to enhance the reader"s understanding and artistic pleasure by strengthening the narrative aspect. This article also seeks to clarify some of the functional aspects of the book as one of the contemporary Persian novels. So that it became clear how the author was able to take steps to strengthen the literary aspects of the work, such as its emotional, emotional, and imaginative aspects, in accordance with the cultural context, and by intertwining this element with the narrative on the one hand, and with other artistic subtleties, transform this text into a coherent and literary whole.

Using the power of memory and imagination, Moradi has intertwined his narrative with descriptions of space, place, time, and characters. The use of this element has played a number of roles in this autobiography, the most prominent of which are explanatory (cognitive), illustrative, organizational, sensory, decorative (arrangement), and emotional functions.

In this article, by selecting two prominent works: Nizami Ganjavi"s Panj Ganj from lyrical literature and Mowlavi"s Masnavi Manavi from mystical literature, the position of the ideal woman and her characteristics have been investigated with the aim of analyzing the personality of ideal women and expressing the differences and similarities in lyrical and mystical literature.

Data collection is through library study and the article is written in a descriptive-analytical manner. The statistical population is the two works of Nezami Ganjavi"s Panj Ganj and the six books of Mowlavi"s Masnavi Manavi.

In lyrical and Mowlavi"s poetic systems, in the stories of Masnavi, in fictional characters, Nizami Ganjavi has named women who have superior characteristics compared to other women in general and they are called ideal women in the term. These women are in the position of the transcendent lover, king and ruler of the city in lyrical literature and in the position of the transcendent lover, queen of the city, wife, mistress and mother who have become mystics, seekers of the path of love and symbols of truth in symbolic interpretation in mystical literature. Beauty, modesty, loyalty, wisdom, political acumen, and good behavior are the characteristics of these women. In terms of differences and similarities, appearance and beauty are not considered in mystical literature, and they are not the main criteria for an ideal woman in lyrical literature, and they are accompanied by the characteristics of loyalty, modesty, and acumen. Moral characteristics are common to both, but ideal women have a mystical character in mystical literature that is not in lyrical literature, although transcendent love can be interpreted mystically, such as the character of Leyli, who has entered mystical literature through symbolic interpretation from lyrical literature.

Despite the criticism of women, which is part of the content of literature, women are described as having external, moral, and transcendent and mystical characteristics in individual and social life in lyrical and mystical literature, who are in the position of ideal women. These women have a high social position, and examples of these are the characters of Shirin, Leyli, Mahin Banu, Noshabeh, and Mariah Qobtiyeh in Nizami Ganjavi Panj Ganj and the characters of Leyli, Hazrat Maryam, Bilqis, the mother of Hazrat Musa, and Asiyeh, the wife of Pharaoh in mystical literature.

The manuscript of Mirza Baqer Hosseini Natanzi"s Divan is one of the surviving literary works of the Indian style and the Safavid period, which includes about seven thousand verses in the form of ghazal, masnavi, rubai, ghazah and couplet. In addition to being valuable in terms of literature, this work contains rare or rarely used artistic compositions. In this article, we have tried to analyze and study the artistic compositions in the Divan of this Indian style poet based on his linguistic non-normativity.

This research was conducted using a library method and a manuscript study of Mirza Baqer Hosseini Natanzi"s Divan. The scope of the study is the entire work, which has been corrected in the doctoral thesis of Ms. Fatemeh Chehrazi at the Islamic Azad University, Shahr-e-Kord Branch.

The research findings show that composition as one of the creative techniques and one of the types of linguistic non-normativity has been considered in the Divan of Mirza Baqir Hosseini Natanzi. The compositions constructed by the poet are mainly simple and fluent, and grammatically most of the compositions are in the center and of the type of additional compositions, and although Mirza Baqir is a poet of the Indian style era, there is no trace of the difficulties of the poets of this style and the elusive, obscure and complex composition in his poems.

In the Divan of Mirza Baqir Hosseini Natanzi, one of the poets of the Indian style, examples of non-normativity with the help of composition are found, which are sometimes very rarely used and unique. Vocabulary in the process of composition in Mirza Baqir"s poetic language has gained prominence and created new images. Mirza Baqir has used colloquial language combinations, combinations in maximum brevity and brevity, and the original images resulting from these new combinations well and in complete simplicity, understanding, and ease of meaning.

 Layered Stylistics is considered as one of the new approaches in linguistics, which can be used to determine the frequency of literary works, especially poetry. As one of the important elements of an ode, the condition plays an influential role in the creation of odes and is considered one of the main elements of the ode structure. Examining the rhetorical stylistic layer and aesthetics of the condition in odes is one of the approaches of researchers to examine the worldview of poets and also to understand the different intellectual angles of the ode.

The present study, using a descriptive and analytical method and using the tool of library study, examined the rhetorical layer of the expression of conditions in the odes of praise of Persian poetry by six poets, Saadi, Fakhr al-Din Iraqi and Kamal al-Din Ismail in the seventh century and Salman Sawji, Ubaid Zakani and Ibn Yamin in the eighth century AH.

The sharitha, which are one of the main elements of the ode, have rhetorical-declarative layers, and during these sharithas, poets in the seventh and eighth centuries used literary art and beauty to better demonstrate this element and used various rhetorical techniques such as simile, metaphor, allusion, and alliteration to convey their words.

The results of this research show that poets in the seventh century paid less attention to sharithas and used fewer expressive elements, but in the eighth century, poets have more laudatory odes and used many expressive techniques, especially simile and allusion, to describe their praised person in the sharithas of odes.

Archetypal (mythical) criticism is one of the main approaches in contemporary literary criticism and an interdisciplinary study that interprets the literary work and its themes in terms of its prototype or archetypal deep structure. This method was first formally proposed in the findings of contemporary psychologist Carl Gustav Jung regarding the collective unconscious and archetypes. One of these archetypes is the process of individuation, in which, during the process of spiritual growth and transcendence, the center of the personality is transferred from the conscious part to the unconscious part, and the personality achieves balance, stability, and spiritual integrity. In this article, with emphasis on Jung"s archetypal theory, we will examine the process of individuation in Manouchehr Atashi"s poems.

The research method in this descriptive-analytical research is based on the method of document analysis and library studies and the use of Jung"s archetype criticism based on the process of individuality. The statistical population of the research is the poems of Manouchehr Atashi.

The research findings show that the path of self-discovery or the process of individuality as a spiritual need in the unconscious angles of Atashi"s poetry from the shadow to reaching the self is worth considering and examining and is in accordance with Jung"s archetype of individuality.

The research achievement shows that the archetypes of the shadow, anima, and wise man to transformation and oneness with the universe are noticeable in the different stages of self-discovery in Atashi"s poetry. By passing through his inner layers, the poet has gone through the process of spiritual, psychological, and individuality growth to achieve his self, self, and individuality.