فصلنامه ادب پژوهی
پیاپی 9 (پاییز 1388)

A multi-faceted book, Mathnavi of Mowlavi has the capacity to be studied from the point of view of psychoanalysis. Carl Gustav Jung is a famous psychoanalyst and psychiatrist whose theory of personality and archetypes is well-known and has some affinities with the ideas embedded in mystical and mythological literary works. Jung, for instance, the same as Mowlavi gives great value to Self-consciousness, Perfection, and the nconscious aspect of mind.This article, through adopting a symbological approach towards the tale of “A Poor Man Who took a Jar of Water to the King”, analyzes the paradoxical viewpoints of the poor man (Dervish) and Mowlāna about he character of the former’s wife. This paradox might have its origin in the conflicts between anima and animus, hidden deeply in our mind. The article also deals with other symbols which have something to do with mental mechanisms.

Along with Iran’s Constitutional Revolution, poetry, more than ever, was used by the public and the poets conveyed their revolutionary messages by simple language of ordinary people in order to encourage them in their socio-political struggle. The same trend was followed by Nimā and his followers specially Farrokhzād who created a poetical diction very close to the everyday speech. In fact the so-called “colloquial poetry” has its roots in the late works of Farrokhzād. The believers in “colloquial poetry” claimed that its making use of ordinary language and natural music creates a kind of poetry that addresses the readers with a contemporary taste. But some poets of this group, following the poetic principles of the two trends “New Wave” and “Poetry of Dimensions” (Space mentalism) used the common language uncommonly. For this reason it is possible to categorize the “colloquial poetry” into “conceptual” and “non-conceptual”. Meanwhile the “colloquial poetry” is not that much distinct from the other contemporary trends to be considered as an independent poetic movement.

The article explains the basic principles of the epistemological developments of postmetaphysics (or poststructuralism) and accordingly presents a systematic study of textual understanding and interpretation per se. The developments and the study are mainly considered as some part of a wider academic change called The Linguistic Turn in methodological studies of the late twentieth century. The focal point is the fact that textual understanding and interpretation are purely linguistic acts – no matter what approach is appropriated to interpret the text. Meanwhile, it is also deduced that the meaning is a combination of signifiers which belongs neither to the author, nor to the text nor the reader, but to language. This knowledge helps the appreciation of recent methodological developments in the field of methodological studies.

In recent decades, psychological criticism has proved to be one of the most inquiring and applicable of contemporary critical approaches. Freud, Jung and Lacan were the most important psychologists of the twentieth century who, through using the fundamental concepts common in their theories, introduced a great change in reading literary texts; nevertheless, Iranian literary critics while neglecting the psychological approaches to some extent, have limited their studies to certain introspective works such as Hedāyat’s Blind Owl. In this article using the two fundamental Lacanian concepts “other” and “gaze”, we have distinguished and explained the narrative levels of Shāmloo’s poem “Hamlet” in order to show how the voices of the two main narrators (Hamlet and the player) are intermingled and why they are disjoined. Another concept to be discussed is the archetype of fratricide as the structural axis which makes possible the paradigmatic relations of the poem.

Myth is among the elements which constitute the language and sense of the modern poetry. Despite its belonging to the ancient world, mythology has a vivid presence in our modern rationalistic world. Poets, due to their creative imagination, are affected so highly by the fancy of the myth that they sometimes reproduce them. Every poet according to his/her cultural background is interested in some specific myths. Siāvash Kasrā’i, based on his politico-ideological mind as well as the circumstances of his time made use of the myths which had special functions and in cases changed their structure and even gave mythological functions to some historical figures. This article deals with the reasons and ways Kasrā’i reproduces the myth.

In Mowlavi's viewpoint the noumenal has a deep connection with objective world. While the noumenal has an abstract form we can see it's signs and effects in the visible world. Unbounded scope attends in the area of noumenal, and it's every phenomenon contains the invisible dimension and earns its own perfection and validation from the same noumenal dimension. Mowlavi demonstrates the noumenal dominance over objective world as well as the connection of both of them by allegory. The value of Human as the noblest of the whole creation owes its existence to noumenal powers like reason, soul and conscience. Mineral kingdom contains noumenal dimension too. and no quantum of the subjective world is out of the influx of invisible world. The Quran, Hadith, Ash’ari's theology and mystic experiments, are the major sources of Mowlavi's thought on the noumenal. In fact the concepts like predestination, determinism and free-will, annihilation, contentment, absolute trust and the like in mathnavi have their origins in Mowlavi's belief to the existence of noumenals in objective world.

The recent technical advances in cinema as well as the lack of original and attractive narratives, are the two essential reasons of a need to make the cinematic application of the rich and dramatic literary works. This article, considering the significance of cinematic adaptation both in Iran and other countries, demonstrates that Seirol-Ebād of Sanā’i enjoys the characteristics to be dramatized as a movie. This work, due to its fictionality, picturesque narrative, original images and the distinct but organized episodes has the capacity to be turned out to a three-act screenplay. Meanwhile, the rich content and the moralistic dimension of the work which are in harmony with its atmosphere and images can be a great support for an invaluable adaptation.

This article, after its introduction about a selection of twenty Children stories, studies the most important narrative elements such as plot, character, theme, viewpoint, atmosphere and setting in them. These stories have simple plots and apart from one with two sequences, all the other stories experience one sequence. The characters are one dimensional, allegorical and static. The stories, through images and words, present a histrionic atmosphere which is conventional and moves towards its happy ending.

One of the problematic shortcomings of lexicography is that many lexicographers are not expert in their work. Borhān-e Ghāte’ is a dictionary that faces various problems of which the researchers have so far focused on those dealing with equivalents and have rarely paid attention to compound words mostly extracted from the classical works of poetry. This article is an attempt, firstly to prove that there are problems in Borhān-e Ghāte’ which originate from misreading of important poetical texts specially those by Khāghāni, Nizāmi and Anvari; secondly to introduce the correct forms of misreading as far as possible.