نشریه قلم
پیاپی 16 (پاییز و زمستان 1391)

The notion of poem as an art piece or aesthetic is the notion brought into Farsi poetry by Nima Yûshîdj. Nîmâ believes poem is the result of conscientious efforts of a poet that puts to work different elements of aesthetics to produce a well-built structure. Yadollâh Royâī the formalist poet names the effort architecture of the piece. He believes a piece of poetry, like a painting or a music piece must be an efficient collection of aesthetical elements that accordingly move together to produce an architectural piece of construction. This way poem no longer presents a collection of different and unrelated notions that each has been put together in a distich; but a collection of elements that are put rightly together so their convergence creates an art piece. The following article considers the new notion in poetical behavior of Royâī.

Henri Bosco, one of the most original French novelists of the twentieth century, deeply admired by Gaston Bachelard, is generally known as «a religious writer» because of his numerous references to religion and some mystic trends. The author of the article tried to analyze the complex characters of Henri Bosco's religious universe: heritage of rural Catholicism, impregnation of Christian theology deeply concerned with existential and moral problems, impregnation of the neoplatonist philosophy of Plotin, which is closed to the Muslim spirituality for which Bosco’s sympathy is obvious. The research results in depicting a complex position and contributes in a “literary history of the religious feeling” which is still to be written for the twentieth century.

The work of Massoud Saad Salman, a Persian poet of the eleventh / twelfth centuries, is one of the most important examples of the prison literature of the Muslim world and quantitatively the largest in the field of Persian literature. In the eleventh century, Persian experiences a period of transition, which can be traced particularly in the Massoudian work. The biographical particularities of the poet's life, especially incarceration, during the quarter of his life in mountain citadels, have greatly influenced a mid-panegyric poetry, partly personal, and at least more personal than his contemporaries. As such, Massoudian poetry, although structured around classical and predefined themes of Persian poetry, keeps extending beyond this framework to allow the prisoner to express the themes of his own obsessions. Thus, his poetry constitutes a paradoxical split between the strict and uncluttered form of the Khorasani style which precedes it and to which it would normally belong, and the lyrical content of the Araghi style to come, as well as the obsessive and personal style tackling life in prison. Sometimes prosaic, expressing with a specific restraint his conditions of imprisonment, sometimes in a way filled with emotions, his poetry continues to explore the patterns and "internal" themes of Massoud's subjectivity; a subjectivity made of loneliness, suffering, deep anxiety and aggression, as well as a life of a man consigned to oblivion in the Himalayan citadels.In this paper, the Massoudian work is tackled through a general thematic analysis which aims at determining the main patterns of this original and paradoxical poetry.

Stefan Zweig (1881-1942) is a writer and a convinced humanist who joined trying to fight the vices of society, without resorting to violence. He acknowledges fanaticism and racism as sources of creating hostility among men and the world wars as the signs of the man's return to barbarism. Through his works he tries to divulge his ideas, but it seems that the apathy of his characters in front of the social events pushes them in the margins and they are faced with a bifurcation: shrink from cruel enemy to refrain from violence and enter the war to safeguard their moral ethics at all costs. Zweig's hero chooses the first, a decision that drove him to seclusion and endangering its human values.To realize his ideal, Zweig publishes Brazil, Land of the future in which it represents a utopian society who owes his happiness to altruism and a people with a large width of spirit. But, gradually, Zweig discovered that achieving his dreams, despite the worsening international situation, is almost impossible. Resigned before the brute force of destiny, Zweig decided to leave this world that has turned all his dreams to a persistent nightmare.

The question of the modality is at the heart of narrative theories of Greimas. In fact, in the semiotic organization of discourse, the modal values of “want”, “have to”, “know” and “be able” modalise the verbs “to be” and “to do”. In order for the performance to be achieved, the subject must have these four modal values, at the beginning of his narrative path that leads him from “the lack of “to “the liquidation of the lack of”. But the progression of the narrative is often met with a modal scission which involves the absence of “to be able to do” and “to know to do”. In Maupassant’s “Fort comme la mort” the subject is facing the modal scission and it slows down the narrative course of which the final state is defined by the conjunction of the subject with his valuable object, Any. The aim of this article is to show how “to be able to do” which first defined negatively, turns into a positive “to be able to do”.

Empty Place of Solûtch (1980) is the story of a village family in the period of Land Reform in Iran (1960-1970). Apart from other versions of historical and interpretive concerning this crucial part of the contemporary history of Iran, the image that the novel designs of this socio-historical phenomenon could be useful and remarkable. Since, according to the approach socio-criticism, literature is particularly regarded as a valuable and credible witness for the representation of social reality, we will seek to check the status of agrarian reform and social mutations that it has generated, through the prism of the analysis of a major element of this novel; the description of space and landscape.