نشریه پژوهش های ادبی و بلاغی
پیاپی 1 (زمستان 1391)

Like other phenomena in the world of art، the concept of character in literary works has always experienced change and evolution، with the passage of time and through the meanders of the human life، in such a way that in terms of social circumstances، and human’s scientific and spiritual development، its meaning in literary works has promoted little by little from its primitive state to a more complicated and developed level. With the commencement of the flow of “modern novel”، when the writers’ tendency turned towards the mental and psychological problems of the heroes of the stories، the element of character and the way of processing it drew the attention of the writers more than before. Following the acquaintance of the Iranian story writers with the published works of the western writers، tendencies towards the flow of writing psychological novels increased in Iran، as well. One of the writers who stepped into this ground is “Hooshang Golshiri” who discovered new possibilities in story writing. He made a fundamental change in his literary policy، and became one of the writers of the modern story whose stories are mostly based on the character revelation. Using the descriptive-analysis approach، the present article surveys the superstructural element of character in Hooshang Golshiri’s short story of “Wolf”

Among different methods of criticism applied in literary studies، structuralist semiotics is a method which seeks to decode the signs and the syntagmatic and paradigmatic relations between them and explore the structural cohesion of the text. Hushang Ebtehaj is one of the greatest contemporary poets، whose multivalent and vast perspective in poetry is indicative of his dynamic imagination. His poem “Arghavan” is replete with symbols and signs which have made it compatible with the era، effectively displaying the infelt motives of the poet while provoking the emotions of the readership. Heavily loaded with nostalgic imageries and complaint about the era، the signs in the poem “Arghavan” are socially enriched and move toward the poet’s main theme i. e. idealism. The present study mainly aims at the efficiency of structuralist semiotics as a method of literary criticism while focusing on Ebtehaj’s poem “Arghavan”.

Story telling is a universal art which humans have utilized to entertain and to teach the way of living to mankind. The emergence date of the folk tales is not properly clear، however، the antiquity of the folk tales is as long as the history itself، and it is due to this very antiquity as well as their originality that they have survived ups and downs of the history. The fundamental thought in morphology is the description of the story on the basis of its components، as well as the explanation of the relationship and coherence among these constructions. The structure and shape based on which folk tales are formed follows thirty one principles and functions. The present research aims at investigating the morphology of the story of “Fellow- traveller”، written by Hans Christian Anderson، representing the function principles governing the story، and finding the most important and most essential element of shaping it. It seems that in this story، the “helper” element and the “wicked” element، respectively، play a more prominent part than the other elements. The method used in this research is Vladimir Propp’s morphology approach.

In viewpoint of poetic stylistics، the poetry of Qajariye epoch is named the poetry of the Return Period. These appellations were useful in the onset of stylistics، but although the poems of each epoch have common features on which it has been named، we cannot attribute the same fixed specifications to the poems of all poets living in that period or to all the poems of the relevant regions. To remove this defect، it is necessary to investigate the individual and periodic styles of each region or time separately. In this research it attempt has been to consider the features the poem in that region''s in the Qajariye epoch، considering and introducing a non-printed a manuscript named Bahjatoshoara which was written in 1294 LH allocated to the description of Azerbaijan poets. On the other hand، in addition to poem stylistics، the paper can be considered as the introduction of this manuscript.

The Philosophic Theory of Ideas Universe، which existed in Zoroaster thought and “Khosrāvani” Wisdom before Plato and his theory about Ideas، has been very influential on the thoughts of Muslim philosophers and mystics such as Molavi. This theory creates a special approach in artistic aesthetics that is based on the appearance of the intelligible in the sensory and depends on descent of forms from oneness to multiplicity. This theory in literature forms an allegorical or symbolic literary structure which gives a dual theme to the work. In this structure، the allegory is a virtual successor for appearance of the intelligible in the sensory form. On the basis of the two-dimensional nature of Universe، this Allegorical idealism gives a three-dimensional phenomenology of the allegory: a narrative surface structure or Simulated story، Ideal Simile (Archetypal Metaphor) and intellectual (Because a likeness in allegory) and deep structure (Meaning) or the Simulated spiritual and philosophical theme. This structure has been represented in connection between symbolism and idealism. In Rumi’s works، we can analyze the connection between Allegorical Idealism and allegorical literature of Molavi; especially in the narrative structure of his Masnavi. In this paper، we study the evolution of the Philosophic Theory of Ideas Universe and its relation with allegorical literature and Symbolism and the origins of the aesthetics of allegory (by this theory) and analyze the structure of samples of this thought and its allegorical literary form in Molavi’s Masnavi.

Sepehri''s language، attitude، ideology and poetic style make his poetry close to the principles of Romanticism. We can discover a great deal of similarity between the viewpoint، thought and feelings of Sohrab and the principles of Romanticism. This paper shows that some of the components of Romanticism have become patterns in the artistic principles of this school and are meaningfully repeated in the visual، intellectual and linguistic system and structure of romantic works Among these components are: return to nature and primitivism، flow of emotions، imagination domination، anti-intellectualism، ego-centrism، isolationism، admiring childhood، escape from now and journey to the utopia، individuality and freedom. In this essay، Sohrab’s poems will be explained and analyzed by focus on journey pattern in the two transverse axes، focusing on the poem «Footsteps of Water» and long، «life poem». We also analyze the relationships and repetition system of this pattern in the collection of poems.