مجله زبان و ادبیات فارسی
پیاپی 66 (پاییز 1388)

This paper presents a new description of "Tabriz" in one verse of Mathnavi, Volume 6. The story begins with the journey of a poor man (Darvish) to Tabriz working for a loan from an official. Molana composes the poem from the point of view of this man about "Tabriz" and its residents. The poem reads: God`s empyrean mercy awarded to "Tabriz", the heaven on the earth, and whole residents. In this paper, attempts are made to examine this claim of Molana based on historical documents and religious scholars’ views through adopting a library investigation mode of research. Interpretations are based of direct meanings of words.

The anonymous Persian poet, Seif-e-Esfarangi was probably born in the 6th century (lunar year). His hometown according to the biographer's dictum, was Sfarang, one of the environs of Samarqand. With regard to this point, his poetry-book (divān) enjoys a special importance for the evaluation of the language of Māwarā-e-Nahr, just like those of Amaq-e-Bokhāri, Mawlavi-e-Balkhi and Suzani-e- Samarqandi. Although it is needless to say that Seif is not leading in poetry. Seif has considered lots of his contemporaries and predecessors and has patterned their odes; Among these, one can note to Masud-e- Sad, Amir Moezi, osmān-e- mokhtāri, Amaq-e-Bokhāri, Sanāyi, Anvari, mojir and khāqāni, but the influence of khāqāni on Seif is more striking.In this article, attempts are made to show some of the verbal and semantic similarities between the lines of Seif and khāqāni. These similarities could provide clues to the point that Seif has viewed khāqānis poetry-book.

Khaghani is one of the greatest Qasida composers in the Persian literature in the sixth century. One of the main stylistic features of this era – which is more seen in the poets of Azarbayejan- is extensive use of the terms and beliefs of different sciences in their time, including astronomy. Khaghani who was a master in astronomy has used the details of this science in creating poetic images. Sometimes he combines astronomical terms and beliefs with mythological and religious beliefs along with different types of semantic and verbal parallels and various figures of speech and thought in a way that astonishes the reader. This article aims at analyzing different ways that Khaghani’s metaphoric mind has used by means of astronomical terms and beliefs to show his wonderful power in creating new and invented images in his poems.

Identical Rhyme is one of the important factors which plays a great role in turning up the lateral music of poetry. The fact that it is placed after rhyme containing verbal and semantic unity, has been the common denominator of all the definitions given for this very concept from the beginning to the present time. Deviating from these concepts, and employing linguistic capacities such as figurative, ironic and new metaphoric meanings in the context of discourse, Khaghani Shervani (515-595 after Hijrat), has challenged all the existing definitions in this respect and more specifically in the field of semantic unity in a way that he has presented 116 different meanings for "Identical Rhyme" only in a long (145-couplet ballad). In the present study, after demonstrating Khaghani's artistic capability in this field, we have made an attempt to revise the definition of Identical Rhyme as well. To achieve this purpose, all types of nominal, verbal and adverbial Identical Rhymes and the like, as reflected in Khaghani qasaed (odes) were scrutinized.

Dominance is one of the most vital and creative key terms which bounds up with the linguistic approach to formalism. According to critics’ definitions, “Dominance” has the potential to govern the elements of structure. It is palpable to that the consistency of structure and coherence is indebted to “Dominance” so that we can argue that comprehensiveness of this element is a kind of guaranty for understanding the elegancy of form and structure of poems. This dominance rules over other elements of language poetry and locates them in the right position. We can maintain that “dominance” emerges in the exterior aspects of structure through symbols, repetition of lines, and mottos, proverbs, and other kinds of repetition. Furthermore, “Dominance” has some crucial functions which are extremely imperative for recognizing external aspect of pomes. To enrich the orchestration, making a skeleton for structure, monotone, fragmentation of structure, open end ness of poem, reasonable the verse and another important function. In this article, the functions of Dominance which is an essential element in the surface of contemporary poetry in Iran, will be fully discussed.

Currently, we can hardly find any criticism that has not paid any attention to structural functionalism. Contemporary literary criticism leads to structuralism inspired by de Saussure's linguistic theory. Structural analysis, especially, of narrative works is one of the most extraordinary achievements of contemporary literary criticism. In the stories, fairy tales and epic realm, Vladimir Propp's method is the best for structural stratification and analysis. His method is based on tales stratification and symbolic analysis of each stratum. Vladimir Propp used structural linguistic analysis for narrative analyzing. Propp, having studied one hundred narratives with similar composition, uncovered the structure of "main narrative" and by analyzing one hundred stories of Russian stories concluded that there were thirty one genres. He believed the method could be applied to other folk tales and even novels. Propp's method has been used by other scholars and sometimes was criticized too. Although Propp's system has its own defects, it has provided a proper starting point for other theorists and has influenced subsequent theorists. This article follows Propp's model and method and intends to stratify and analyze "Bizhan and Manizhe” Story, one of Ferdowsi's Shahnameh stories, The aim of this article is to probe Propp's model in this story.

In this article, fantastic genre as a literary genre which nowadays has significantly become common in contemporary literature of Russia, will be studied. "My Father is an Antibiotic" is an outstanding example of this genre, which has been written on the basis of critical conditions and abnormal events of the present world and their influence on human's life. Afterwards, through introduction of Sergei Vasilivich Lokiyanenko as one of the pioneer fantast writers in modern literature of Russia, we will examine his works and his motivations for choosing this specific genre. Sergei Lokiyanenko is a writer with a marvelous skill at portraying life in past, present and future, with the help of imagination and science. He wrote "My Father is an Antibiotic" in 1992. In Lokiyanenko's view, it is hard for contemporary man to get accustomed to modern lifestyle, numerous numbers of newspapers, increase of contacts, and new methods of communications. He believes that unprepared for facing such an attack, man's spirit sometimes prefers to sacrifice real world and sink in a world made by his own mind. In this novel, the writer tries to show that children are the main victims of abnormalities and pugnacities of adults in the present world. Through analysis of "My Father is an Antibiotic", as a fantastic work of Russian contemporary literature, we have also tried to somehow pave the way for the Iranian readers to get familiar with contemporary literature of Russia, particularly fantastic genre.