پژوهشنامه نقد ادبی و بلاغت
سال دوم شماره 1 (پیاپی 3، بهار و تابستان 1392)

Focus of narration is the perspective on which the author or narrator looks at his story. Analysis of “Focus of Narration” and narrative techniques get an important role to discover consistent and accurate narrative structure in fiction. The Gerard Genette¢s theory of “Narrative focus” is one of the techniques through which one can understand the ability of an author to form and shape his work’s structure. To analyze the focus of narration، he introduces two issues of Mode and Intonation. In present article، using an analytic - descriptive method، the narrative techniques of Asrar al-Towhid would be studied on the basis of Gerard Genette¢s theory. The aim of this study is to distinguish the success of Muhammad Munawwar to utilize the focus of narration to convey his mystical thoughts، attractiveness and realism of his story to the readers and to show the greatness and dignity of his grandfather، Abu saeed Abu al-Khayr، in Asrar al-Towhid.

Maqamat-e Hamidi (by Hamid al-Din Abu-Bakr Balkhi، died in 1164) is the first Persian Maqam. Although it has adopted the manner of Maqamat-e Badiʾ al-Zaman Hamedani and Maqamat-e Hariri it has gotten a special position in the history of Maqamas. One of the important properties of Maqama is its musical and harmonic tone. This article tries to analyze pun، as one of the basic literary industries which make the speech musical in the texts like Maqamat-e Hamidi. So، after a brief introduction on the technique of pun، we concentrate on its different types in Maqamat-e Hamidi and the way Hamid al-Din Balkhi used it to process the musical tune of his work.

Several structures، themes، content and semantic elements of the poems can be described to analyze the poetry of each poet، and the quality of their pristine and pure conditions and their impact on the thought of future poets would be assessed. Depending on their artistry and linguistic creativity، Khaghani and Hafez were the poets who could create their own specific styles by making rhetoric figures especially ambiguity. This is what makes their poetry distinguished from the others’ and the secret of their poems durability in Persian literature. This paper studies Ambiguity and its different types in the Divans of these two Persian poets

Although Bidel poetry is described with the adjective of «strange»، most of his sonnets (ghazals) are considered «ordinary» from the point of meter، because the high frequency meters in that collection، which about four-fifths of his sonnets are versified in، correspond the poetic traditions of that period. Nonetheless، in his sonnets with low frequency meter، there are rare or unprecedented meters that distinguish him from the others. Bidel''s utilization of these meters can be analyzed regarding the culture of his life environment. The main cultural factors that impact the poetic meters are language and music which their phonic properties have determinant role in the quality of prevalent meters of that culture، and these properties reflect in the prosodic order of that language. The particular meters of Bidel’s sonnet has special phonic properties such as being long، double and relative multiplicity of short syllables in relation to long ones. These features are completely compatible with phonic features of Indian language and music، and، most of his special meters which are rare and unprecedented in Persian poetry seem being common in Indian prosodic order. From the viewpoint of aesthetic criticism، the use of these rare meters by Bidel، as an innovation develops the poetical properties of Persian language and highlights the role of meter and regards the correspondence of meter with strange content of the poems، is valuable.

Sa''adi Shirazi، as one of the greatest Persian poets، was also fluent in Arabic language. Despite his fluency in Arabic، he has few poems in this language; however these few poems show his high position among Iranian poets who composed in Arabic. Metaphor as an important rhetoric figure would be analyzed in Sa’adi’s poems to show how much the manner of metaphor use، both in terms of form or content، is important in his specific poetic language. Since Sa’adi makes frequent use of metaphor in his poetry، the authors، in present article، try to study different types of imagery and metaphor used in his Arabic verses. He had used several types of metaphor، such as absolute، active، complex، compound etc. in his Arabic poems. The form and the quantity of the metaphors had been used in his poems show that he sought to convey meanings rather than showing his abilities in using literary industries.

This is an article about the discourse analysis of «The Absent Hall»، a novel by Hossein Sanāpour. Depending on post-structural approach of «laclau and mouffe»، it indicates that Sanāpour has depicted the challenge of tradition and modernity in the Iranian urban society of 1980s and has picked out the issue of Identity and its retrieval among different viewpoints. This study indicates that the Sanāpour novel disregards all of the distinctive traditional discourses and simultaneously articulates them in a way that they would be against modern discourses. His text organizes and represents the traditional and modern discourses about what is the disputing point of subject identity so antithetically that traditional discourse forms on the basis of gender differences and، in a broader scale، superiority of men over women. The younger generation tendency toward modernism، and finally، its success in forming its identity based on several dimensions of this discourse means the victory of modern discourse against the hegemony of traditional one

One of the subjects that researchers are agreed on is Hafez acquaintance to music and sing. Extensive studies have been conducted on musical terms in Hafez works; there are some words in his poems that are surrounded by a musical halo، however theirlexical meanings are still considered through the context of the poems، but nobody can get a profound understanding out of Hafez’s artistic elegance regardless to the musical halos. Present article attempts to review the musical halo around two terms of Hafez’s poetry، “Hazin” (Desolate) and “Kār” (Work)، which have been neglected due to their common، non-musical terminology. It would also reveal the harmony and the rhetorical aesthetics have been created by the use of these two terms