مجله زبان و ادبیات فارسی
پیاپی 70 (بهار و تابستان 1390)

"One Thousand and One Nights", like many other literary works of the world, is a mirror which reflects the archetypes that are the product of different mankind’s repeated experiences left at his unconscious. The psychoanalytic study of myths which are a repository of mankind's aspirations and thoughts shows the presence of “collective unconscious” as denoted by Jung, revealed in archetypes. This study aims to analyze one of the stories of the book "One Thousand and One Nights", named "Jozar", in the light of Jung's findings in the realm of psychology of myth. The findings show that in this story there are some other secondary archetypes other than the major archetypes such as Anima, Animus, Wise old man, Shadow and Mother. The archetypes are classified into three categories: Archetypal situations, characters, and symbols. In this study, different types of archetypal situations are journey, visiting the self, and visiting anima. Different archetypal characters include The wise old man, Anima, Animus, Shadow, and Mother. The archetypal symbols analyzed involve numbers, animals, objects, etc. The present study confirms the high potentials of "One Thousand and One Nights" to be studied as mankind's common collective psyche along with history which includes stories and legends as well.

In the novel Savushun, the subjects and social, historical, and epic aspects are expressed with a poetic language in the form of a fiction. The epic aspect of the novel is so strong that qualifies it to be in the rank of epic artifacts. The manifestation of national spirit, the existence of an abstract value, representing the public beliefs, necessity of kindness and enmity, the existence of an undefeatable person or a superman, and sharing borders with history are elements of epics, which are present in this novel. The author intends to show, through such a hero, the undefeatable nature of Iran at the time of industrial and military invasion of the west, neutrality of the press, internal turmoil, dependence of the government, ignorance of people and the clergy and the opportunist nature of the parties which pave the way for threatening the country΄s independence. The purpose of the present paper is to indicate similarities of this novel with other epic works and to examine the features of epics in the novel and finally to explain its epic aspects.

The word "fancy" was one of the most frequently used expressions of the theologians before the 8th century and was not among the common expressions in the texts of Sufism in this period. Ebn-e-Arabi was the first to borrow the term from Ebn-e-Sina and Sohrevardi in order to describe his specific thoughts on the universe and the human relation with God. He uses the term to refer to whatever beyond God and the phenomena which do not have more than imaginary existence. He also uses the term for the Limbo world which is the intermediary between the World of Nature and the Heavenly World. Prior to him, however, the word "fancy" was used exclusively in the texts of Sufism and was realized through fantasizing like dream trips, legendary events, heavenly creature's observations, mental mastery over future and distant happenings, and callings of the spirits and individuals all of which make the source of a lot of Sofistic narratives and miracles.

Language is a collection of conventional symbols. Although these symbols do not have any natural connection with what they their purport, their constant usage has made rendered them natural symbols. So the authors of literary work, in order to attract their listeners, resort to this strategy and change the ordinary form of language. This change can be implemented in the structure of sentences or words; like manipulating sentence structures; deleting part of the phrase or repeating the other parts or making changes in meaningful bases of the word such as applying them in an unusual and awkward position. Sometimes, changes are materialized ignoring the principles of language use. Irony is also one of the noticeable language devices. Irony makes natural language structures unnatural by making changes in the field of implications. Predominating via use of irony is done by displacing the known structures and changing valuable bases of words. So the message is narrated by a part of the text which is not implicitly said. In other words, the author relies on the listener psychic suggestions. In Farsi eloquence, the word”irony” is not applied, but its definition is vastly used in Farsi language; although this usage is sometimes like the usage of other Farsi figures. All in all, it is known as a single type and different from the other eloquent figures. Since, in Farsi writings, these differences and similarities have not been examined yet. Accordingly, this paper addresses the similarities and differences of irony with other eloquent figures. Irony can enter Farsi eloquence with the same subject; of course not as an imported array because ironic words and methods have already been common in Farsi literature. In most cases, however, no title is determined for it. So, it is argued that irony is a kind of dichotomy in word and meaning or face and content which is based on opposition or antithesis and is built on an unexpected and sometimes ridiculous form.

Modernist novel and short story have played a significant role in modern retouching of mythical narratives and in their recreation in the contemporary narrative literature. One of the major reasons for the particular attention of these novels and short stories to mythical roots is the necessity that the recent authors feel due to alterations in social conditions as well as the fundamental transformations in human’s intellect and attitude. The disorder in today’s chaotic world, the discourses of which are full of contradictions, irregularities, and rule aversion has intrigued today’s man in incoherent, nonlinear and discontinuous narratives abundant with temporal disorders, a characteristic which has a rich background in mythical narratives. A prominent writer in contemporary Persian literature is Shahriyar Mandanipour, the works of whom can resemble mythical narratives in terms of both the structure and the processing of some elements of story, specially the element of time. This study attempts to demonstrate that just like in some mythical narratives, in some of the stories by Mandanipour, 1- time is qualitative and mental not quantitative and objective; 2- time takes its validity from the narrated event or phenomenon; and 3- time is circular and cyclic not linear and straight. Of course, confirming these resemblances does not necessarily imply that Shahriar Mandanipour has consciously been influenced by mythical narratives.

The pertinence of a poet’s imagination in ordinary concepts of life and their relationship with nature is due to his or her insights and knowledge of natural phenomena as well as the outside world. In the collection of works of every poet, all various types of imagery being attributable to figures of speech (i.e., metaphor, simile, synecdoche, and irony) represent moments that deal with the poet’s inner world; in fact, they are the reflections of the poet’s soul, personality, and inner characteristics. The current study was an attempt to scrutinize figures of speech and their frequency of use in Aminpour’s and Monzavi’s poems to find out the poets’ thoughts, emotions, and ideology towards the world and life. The common shared imageries or the central poetical imageries of these two poets were around love and the issues surrounding it. Although, more or less, a reflection of the society and the social issues could be seen in their writings, their subject was mostly about love. Their poetical imageries were vivid, dynamic, and visual. Although even little imitations could be discernible in their poems, their imageries and figures of speech domains were not just limited to the imageries of traditional poetry, but innovations could be observed in their poems. Similes were mostly intense and intuitive-intangible, and metaphor and simile were used more frequently than the other figures of speech.