مجله فنون ادبی
سال ششم شماره 1 (پیاپی 10، بهار و تابستان 1393)

Yusef aziziyan Taghi pournamdariyan Abstract Mohammad reza Shafi''i kadkani (M. Sereshk) in the field of contemporary poets of our literature review and correct the texts of poetry and literary research is mighty handy. Hestudiedpoetryand culturalheritageanddiversityMeditationhehas ledinthelastwe seeofher poetry. Thiscollectionofheritagestudies-thathave shapedhismental structureandmentalreservesprolifichas givenhim-consciousandunconscious، is reflectedinhis poetry. This written is only responsible for part of the domain Image in scope and antonomasia andphrases، themes in the inheritance of the ancients and some modern poetry has been used occasionally.

Who''s noofel in Leili and Majnun? Noofel transit character of the event is responsible for what role? Which he belongs to the class? This research in order to answer these questions، done in library manner and performed in two parts: In The first place، One of the extents that it''s necessity and importance was neglected in literary works، is Ayyāri and Humanity''s independent course which roots returned to Iran PreIslamic era، but in fifth century، the first works of this course was displayed، by writing and genesis of Humanity works that called «fotowwatnāmeh»; and then Ayyāri and Humanity rituals in the works like: Sammak e Ayyār، Darabnameh، Hamzenameh، Abomoslemnameh and Amirarsalan and…، displayed It''s literary aspect in extent and dynamic situation. Authors of this essay، first have studied Ayyār phrase and then have recognized course''s fotowwat writings and have studied ethical and social this group''s traditions and orders. First، Ayyārān have formed in Iran and then outspreaded to other geographical districts and have called by titles like as «Akhiān» and «Fetyān». secondly،The authors after general understanding about Ayyāran and Fetyān، have read and recognized about Noofel character in Leili and Majnun; although the many surveys have done about Leili and Majnun، but noticing about Noofel''s character-because the existing research poverty about Ayyār''s literature- wasn''t a research necessity، but these questions always asking that، why and for which aim Noofel go to help Majnun? Whose he in fact and what''s he''s aim and in the end، why Noofel after beating Leili''s tribe، despite that; didn''t want to obtain Leili from his father by cruelty and injustice، and introduced his manner، gentlemanly. This article endeavored، by reliance to existent and apparent and relevant Noofel''s character، habit and ritual''s signs and symptoms in Leili and Majnun and comparative them with Ayyār''s samples; Authors have answered all the mentioned questions and other complex things too، the general conclusion of this research is that; Noofel in Leili and Majnun related to Ayyār and Fetyān''s group.

of ((of same entrance to plagiarism)) Dr. javad mortezaei Associate professor Ferdowsi university of mashhad In rhetorical texts and literary criticism discussions of past to today،plagiarism categorized and beyond that the same entrance subject became appear. it seems except the ((in relating to)) that with more confidence could show it as plagiarism and analize it،other cases because we can not demonsrate the plogiarism subject، we shoud mention more on affect same interanse and unconscious sense. in this article after researching in some samples of complette same ore somewhat same in some texts of the affects and same entrance subject or recalling unconsiously،some plagiarism and in ideas and opinions of some literary criticis and rhetory men،some ideas about the judje mode when seeing the sameness of texts with each other in any size and kind presented. Key words: literary criticism،affect،same entrance،share،plagiarism،unconscious sense.

There is a kind of storytelling in Attar’s ghazels which is inherited of the former poets which Attar extended it later. Attar has presented 62 tales in 872 ghazels (one tale in every 14 Ghazels) which are mostly related to from his spiritual and mystical moods. In this research، we are going to find out wethere these ghazal-stories of Attar’s have unique story structure،based on which we could come to a general judgment about Attar’s storytelling in ghazal or not? Does the chain of actions in above-mentioned stories، follow specific models? To what special system of thought of Attar، these samples are leading us? The main goal of this research is to recognize the prevalent system of thought on Attar’s mystical mood in order to interpret and analyze his works better. To accomplish this، the tales were interpreted and analyzed according to Vladimir Prop’s style and other famous narrotologists of morphology of tales; and it has been clarified that all of the tales have a unique story structure which is constituted of three parts: primary، middle and conclusive parts. The sequence of actions in these tales follow four different samples which usually starts with the arrival of one of the main characters of the story and leads to the meeting of the two main characters. There are four kinds of actions that may happen after the meeting which are drinking wine، strange and unexpected actions، conversations and doing an ordinary action by the second character (the minor character)، that all lead to some conclusions that indicates the mood of the Attar.

Sonnet، despite all the ups and downs، is the only form of Persian poetry that in every era finds its audience. Now، sonnet is one of the most serious forms of Persian poetry، and have been associated by many poets. In poetry and especially In recent decades lyric، particular form of narrative is seen، that despite the similarities with fictional narratives، is similar to narrative of the film. This Article، within defining the Narrative، and addressing its previous in persian lyric poetry، verify the narrative methods in contemporary poetry، especially sonnets; and tries first answer this question that narration in narrative lyrics is like the story narration، or like the narrative of the film? Within this study، Similarities and differences in the narrative sonnets and each of this two modes of narration is considered، and examples of contemporary lyric are expressed and some specific expressions of cinema، in today''s sonnets are noted. Also، in this paper، results of narration in lyric and characteristics of this poem has been investigated.