فصلنامه پژوهش زبان و ادبیات فارسی
سال هفتم شماره 2 (پیاپی 13، تابستان 1388)

'Other' is a concept attentions to which were attracted through the works of scholars such as Husserl, Heidegger and Sartre (in philosophy) and Bakhtin (in literature). Attention to it provided new perspectives for philosophical and literary debates. Using Bakhtin's views, and the status of the 'Other' in his thinking system, the present article reads the stories of Shahnameh where Rostam is present, and offers new horizons to the readers. Considering presence or absence of the 'Other', the stories of shahnameh can be divided into three groups:a.The stories indicating exclusion or absence of the 'Other'.b.Shahnameh mostly consists of the stories of this typec.The stories stressing on non-absence and maintainance of the 'Other'. The only instance is the story of Rostam and Esfandyar, where the two opponents – both good and mythical – never wish the other to be excluded.d.The stories intermediating a & b types, like the story of Rostam and Sohrab containing the elements of both epic and tragedy.

'Binary opposition's is considered as one of the basic concepts of structural and post-structural critique, and theories of linguistics and semiotics. It is rooted in mythological and cultural beliefs of the humans. Binary oppositions can be found throughout Hadiqa. At the level of its surface structure, the phrases, headings, the relations between lines and their arrangements show binary oppositions. At its deep structure, there can be found such oppositions among the successively expressed contents. At the surface structure of its narratives, the characters are of binary oppositions. Their deep structure also centers on this concept.The present article first studies and analyzes the term 'binary opposition's concerning with different theories, and then classifies the origins of the binary oppositions in both the surface and deep structures of Hadiqa, especially considering its characterization

Mawlana is one of the Persian poets who has portrait the existential dimensions of the prophet in his valuable work as a good example of Islamic teaching. In this article, attempt has been made to explain the Mawlavi's special view about the prophet and to compare this view with Ebn Arabis.One of the most important views of Mawlavi in Mathnavi, is the account of Mohammadian truth. About this matter, Mawlavi has introduced the Glorious prophet as a source of accomplishments and loves and also he considers that holy prophet as source of all loves and he believes that all of status and perfections of all other prophets and saints, are a reflection of Mohammadian truth.

The present article surveys Iran's cultural identity in terms of Hafiz' poetry. It is to prove that Hafiz paid especial attention to the cultural oppositions of his time and their manifestations in his language. The expressions such as Pir-e-Moqan (the Magian Elder), Jam-e-Jam (the world-displaying cup) Manichaeism, joy, and contents adapted from Shahnameh are indicative of the historical and mythological roots of Hafiz' poems in pre and post-Islamic Iran. The article studies the signs and traces of Persian-Islamic culture in Hafiz' poetry, and analyzing the lines having these signs, shows Hafiz' attempts to establish links between these concepts and the Persian-Islamic identity which caused strengthening the new geographical borders of Iran.

One of the urgent needs of Persian language is to translate and oppose thousands of emerging technical foreign terms, entering and invading it through confronting with various branches of science and technology. It is obvious that satisfying such a need requires the translators’ knowledge and practice. In addition to coining new words, on the other hand, it is necessary for them to study the words already coined by the others so that, finding their strengths or weaknesses, inappropriate words can be abandoned. The present article follows this objective. Having introduced general theories of word coinage, it criticizes the translations of forty foreign words and finally offers alternatives for the majority of them. The revised words have been translated by the Academy of Persian Language and Literature, and the Foundation of Culture (in the time of Pahlavi regime, with the same function as the Academy of Persian Language and Literature has today).

The present research is about multiple head phrase and its aesthetic functions in Mehdi Akhavan Sale's poetry. The research has been conducted deductively. One of the linguistic introductory materials in Akhavan's poetry is to use multiple head phrase in order to extend the constituents of speech and to elaborate it. Establishing lexical or semantic relations between the two head of the multiple head phrase that has been made using ‘apposition’, Akhavan makes them function as the elements of foregrounding linguistic structures, and as the aesthetic elements of poetry. The main functions of such phrases in Akhavan's poems are defamiliarization, foregrounding, leading the referential language to the poetic one, and creating beauty. Some other aesthetic functions of multiple head phrase in Akhavan's poems are to lead the language of the poems to elaboration, to describe the antecedents of the appositions, and to create an aesthetic distance between reason and emotion. Stressing the main poetic function of the multiple head phrase - which is to create the illusion of identity between the entities of different types- Akhavan selects opposition among the set of "abstract entities, objects, plants, liquids', and coordinates them with their antecedents. Doing so, he provides beautiful images which rely on creating the illusion of sameness between the entities having features of different values such as: + abstract/ - abstract, + concrete/ - concrete, + plants/ - plants, + liquid/ - liquid, and etc.

Image is attributed to the set of mental activities which occur through one’s imagination power in the course of creation. It relates the nature’s unrelated elements together, and creating a common perception and understanding, raises the relationship between the nature and human from the level of “This is not that” to the level of “This is the same as that”. Such a level of imagination grasps a poet only the time when he finds the common logic of dialogue and persuasion incapable to express sensibly the intuitive abstract meanings or contents and the idiosyncratic experiences. Therefore, deviating artistically from the norms of the logic of written or spoken communication which is based on the referential function of the language, the poet reconstructs the language at the level of its poetic function. Only the intentional deviations from the norms and rules that govern the language, are relevant. Regarding the deviations from the norms of imagery, the present research is to study the changes in the aesthetic figures of the contemporary poetry so that it will explore to what extent the contemporary poets defamiliarize the objects or phenomena and make their works poetic by using literary imageries and aesthetic figures. Iser who is considered as one of the theorists of the perception theory adopts the view of conscious emphasis on the aesthetic aspects of a work, which results in the extended meanings and deviations from the norms of imagery.

Being attributed to an especial and autonomous style, every literary genre – poetry, short story, novel, and prose – is considered as a writing system, that relies on the structural relations and expectations, linguistic arrangements, and in general, its own backgrounds of literary theories. Obviously, any style owes its newness to the autonomy and newness of the pre-structural theories which guarantee its reality as a special stream of the capability to be followed and continued. To offer an autonomous structure with mature and innovative ways of expression and a world-view capable of receiving new dimensions is basically a presupposition and a precondition for every new style to attain its autonomy. Contemporary poetry under the leadership of Nima and his followers – Sepehri and Forouq – relies on the ontological and aesthetic features conveying its reality as a deeply rooted stream of the capability to be followed and continued, and the most important of all, as a stream of autonomy and identity. The present article evaluates the structural sameness of the poetry of Nima, Sepehri and Forouq which distinguishes their poetry from the classical one. Demythologizing of the constructions, centralism in formal systems, innovative endings, innovative realism, avoiding the meaning totalitarianism, abstractionism in language, agitation through language, and commitment to humanity are the evidences of structural sameness of their poetry.

Style is a writer’s or a poet’s specific way of expressing their intended concepts in literary works. Style has been defined in various ways. Today, it refers to the methods that are used to analytical study of literature by using linguistic devices. It also studies the point of view, linguistic features, the ways of characterization and formation of the theme. The main characteristics of Mahmoud Dowlatabadi’s works, especially his novel ‘Jay-e Khali-ye Solouch’ is giving importance to the language, and the poetic structure of the text. For instance, employing the region & ethnic-specific words and expressions in this novel reveals the main feature of his archaic language adapted from the works such as Tarikh-e Beihaqi. The authors of the present article attempt to explore the stylistic features of the novel ‘Jay-e Khali-ye Solouch’, studying its linguistic and poetic structures, including lexemes, imagery, variations among the sentences, rhythm, repetition, cohesion, emphasis, and so on.

Mirza Mohammad Farokhi Yazdi is considered one of the famous poets of Persian proletarian literature. In the present article, we analyze Farokhi’s ideal governmtal system, show the changes of his political thought in different periods of his life, and study his ideal constitutional government, its foundations and principles, and the causes of its failure from the view of the poet himself. This will be followed by a survey to the motivations of Farokhi’s inclination to the thought of Constitutional Revolution, and his critical standpoint against authoritarianism or ‘authoritarian government’ and introducing republicanism. At last, we evaluate the causes and motivations of his advocacy of communist ideas and its various dimensions by reference to his written works, specially his poetrry. To show the depth of his political thoughts, we also study and analyze his use of the national-religious symbols, and the way he employs them in line with the realization of his thoughts.