فصلنامه شعر پژوهی (بوستان ادب)
سال پنجم شماره 3 (پیاپی 17، پاییز 1392)

What gives variety to the sonnets of Shams is the syntactic deconstruction. Defamiliarization and highlighting some special concepts are studied here, as the introductory part. This paper, then, studies some other factors such as the agreement of adjective with what it describes, disagreement of subject with subject predicate, shift of pronouns, expansion of the first part of the two-part verbs with the help of syntactic changes, word ordering, and the artistic use of compound verbs as order-making elements. These elements are very telling of Rumi's goal of employing defamilarization and artistic pauses to persuade his readers to discover his aesthetic goals of employing syntactic deconstructions, the goals such as: conveying the concept of diversity, plurality and evasion from limitations. Rumi attempts to persuade the readers to understand his artistic work through scrutinizing the role of the order-making elements. Therefore, Rumi's innovations in Divan are artistic and acceptable since they could perfectly and truly convey Rumi's ideas through different factors, such as: flexibility of Persian language, heroic language, getting inspiration from people's ordinary language and the use of unconsciousness.

The religious challenges in the modern world and the sociologist's defense of social performance of religion lead to the formation of the sociology of religion in the field of religion studies and make the researchers of this field propose some ways to make religion practical and show its practicality in social performances. Thus, from this perspective, religion is considered multidimensional. Gelak and Stark's theories are considered as influential theories in this field. Five dimensions are considered for religion in their theory: one is related to belief, another one is ritual, the third one is experimental, the forth one is mental and the fifth one is consequential. Religious experience is a common feature in all religions and is the essence of religion. In religious experience the emphasis is on emotion which is the deep source of religion. In other words, the experimental dimension of religion refers to the way one feels God in his heart. Gelark and Stark present four factors for religious experiment: recognition, attention, faith, and fear and mostly study their social applications. Hafez Shirazi, as a Muslim and a mystic poet, has religious experience. Hafez' understanding is based on intuition and love. Love in Hafez’ experience creates the most stable social system which is based on human relations leading to pray, awareness and balance in social interactions. Faith shows us how to behave and gives meaning to life. Justice and practicality are two important functions of Hafez's social religion. Fear has no way in religious experience of Hafez and he replaces it with hope, since fear associates with future while Hafez seizes the day and appreciates living at the present moment.

Most of the researchers in the fields of social linguistics, and sociology of language along with the feminist critics believe that there are phonetic, lexical and syntactic differences between the language of men and women. Some believe that these differences rise from men and women physiological differences and also their different social status along with cultural factors dominating the society. And some believe that these differences are because of men's interference in language which consequently leads to the appearance of a kind of masculine language. This paper tries to study the role of gender on the language of ten contemporary Iranian female poets. Firstly, one or two collections of poems of these poets are randomly chosen and then their poems are studied phonetically, lexically and syntactically. The result shows that because of the social and biological differences between men and women, female poets significantly employ gendered words to express the emotional concepts and to protest against the social status of women. In the phonetic level, some specific vowels and consonants seem feminine because of the female poet's employment of gendered words and the employment of romantic concepts. In the syntactic level, based on the interpersonal role which is investigated in the light of Halliday's theory of functions of language, female poets mostly employ interrogative, emphatic and grammatical sentences. Though it cannot be clearly determined for conveying what ideas and concepts they use these sentences, the female poets employ grammatical sentences when they are more concerned about the content.

In Constitution period (Mashrute), because of the emergence of modernism and the influence of western social thoughts, mysticism and mystical poems were marginalized, though many mystical poems are found in this period. This paper tries to analyze the status of mystical poems in this specific period. This paper studies the crucial factors causing the intellectual's avoidance of mysticism; this paper also studies the reasons why mysticism was marginalized at that time. Investigating the prominent works of important poets, this paper studies the changes which happened in the mystical concepts of that time. These poets are divided into three groups: sufis, religious scholars, and poets. Poets are also divided into three groups: the first group includes those who follow the tradition of classical Persian poems and create not only revolutionary poems but also mystical ones. The second group includes those who do not pay much attention to mystical poems, and the third one includes those who completely deny mysticism and criticize it. The last group opposes mysticism because of sufi's inclination towards individuality, their seclusion, their avoidance from politics, their self-centered world-view, their disapproval of reasoning, their approval of marginalization of women in the society, their propagation of succumbing and of the feeling of satisfaction, and finally their negligence to job and working. This paper shows that mystical thoughts and concepts were still in the minds of some poets, though mysticism had lost its importance at that time.

Sohrab Sepehri (1307-1359), the Iranian poet and painter collected his poems in a book entitled Eight Books. His view towards God, nature, good and evil, fair and foul has attracted the attention of critics. "The Green Space" and "Us Nil, Us a Look", the two last volumes of Eight Books, are more important since, in the development of his poetic process, they are considered as his mature works. The aim of this paper is to analyze Sepehri's "The Primeval Call" based on Lacan's psychological theory. The analysis of "The Primeval Call" shows that Sepehri has tried to recognize the truth with the help of not only the Oriental Mysticism and Zen Buddhism but also the western philosophy and psychology, especially of Lacan's psychological theories. Language represents Lacan's symbolic order and the combination of "wordless expansion" representing the beginning and the narrator's end represents the pre-language period, which very well corresponds to Lacan's theory. The emphasis of the narrator of the poem to go to the "wordless expansion" implies that word or language is a hindrance in the way of recognition; thus the narrator tries to remove it.

Studying Rostam's actions-Rostam is the hero of the heroes in Shahnameh-one recognizes a paradox. In the third stage, the valiant kills a dragon with the help of Rakhsh while a picture depicted on his flag is a dragon and also in a battle with Isfandiyar, he boasts of his maternal ancestors, (Aži Dahāka). Since dragon is an ominous symbol of drought in Iranian myths, Rostam's boasting of his ancestors and his dragon-like flag is very surprising. In this paper, this enigma has been demystified. This study shows that Rostam's dragon-like flag and his dragon killing both have Aryan roots and the incompatibility of these two is not fundamental; since each of them is the symbol of special tradition:1. His Dragon-like flag is the legacy of his ancestors, Garshasb. Garshasb killed a dragon and in memory of his bravery, he portrayed a dragon on his flag. Consequently, other heroes of Rostam's family chose this flag. Thus, a dragon-like flag is considered as the symbol of the hero of the world, since, as Ferdowsi and Asadi Tusi say, only the world heroes deserve this flag. The dragon depicted on the flag of the world hero is not ominous but auspicious, because it is the symbol of the hero's triumph over the dragon. 2. Rostam's dragon killing is the symbol of fight with corruption, and drought.

Tahmina is one of the prominent female figures of Ferdowsi’s Shahnameh playing an important role in Rostam and Sohrab's story. However, in Shahnameh, there is no reference to Tahmina's fate after Sohrab's death and this is the reason different stories have been made about Tahmina by different storytellers and epic narrators in later epochs. These stories are divided into two categories: based on the first category, Tahmina mourns Sohrab's death and after a year, she dies because of her deep sorrow of her son's death. Based on the second category, Tahmina, avenging her son's death, invades Sistan, though she eventually reconciles with Rostam and the fruit of this union is a son, Faramarz. Two narratives have portrayed Tahmina's attack to Sistan; one is long and the other one is short which are respectively entitled "long epistle of Tahmina" and "short epistle of Tahmina". This paper studies "long letter of Tahminah" and her duties in Iranian epic narratives.

Sleep and dream are two prominent features which are frequently mentioned in Divan, so they are worth studying here. Hafez, in two hemistichs, artistically and concisely refers to the similarity of death and sleep which is reminiscent of one of the holy Prophet's (PBUH) hadiths. Hafez allots the beginning lines of two of his sonnets to his dawn dreams and their interpretations, which are very telling of the importance of dream and its interpretation in his view. The dream of a bowl, an elf, the sun and rising of the moon are mostly dawn dreams in Divan, which are interpreted as wealth and state, madness, a king and the late friend. These interpretations are in accordance with the interpretation of these dreams in other Persian books and letters of Sleep.