نشریه پژوهش های نقد ادبی و سبک شناسی
پیاپی 18 (زمستان 1393)

Intertextuality is a much discussed theory in the area of Literary and artistic studies dealing with the relationship of literature / texts with one another; and inasmuch as the Persian Poetry is one of the texts that has constantly had a profound and inseparable bond with the antecedent Work in various areas of human thought and idea over its different periods of life, field of inter-textual studies about it is widespread. Khaqani-e Sharvani (b.1141 d.1216) is a great poet of personal style who has benefited from a variety of motifs in his poems, and this matter has turned his poems into an encyclopedia taking on a profound and widespread inter-textual relationship with the diversified past literature. Hence it is, an endeavor has been made so as to consider his well – known and lasting ode of Madaen Porch with attention to the bidirectional nature which it bears to the effect that it has been affected by the non-verbal sign of the majestic edifice of Khosro's arched roof on the one hand, and on the other hand it is affected to some extent by the literary works that his antecedents have created under the impression of observing this historical and magnificent palace – on the basis of the intertextuality theory while emphasis is being laid on inter-semiotic intertextuality and intra-semiotic intertextuality.

The author of this paper attempts to show the origin of hermeneutics, its definition and the difference between classic and new hermeneutics in the west. This paper also intends to describe hermeneutics in Naser khosrow's poetry and the belief of the poet about this term and also describe who can do hermeneutics. To do this, attempts have been made to use instances from his poetry.

Ideological stylistics of religious texts is a significant point, helping critics to know the text much more and revealing a set of seemingly hidden points on the ideological approach of the text. Its aim is to uncover the function of ideology, and its limits within the text, that is, in which ideological frame the text is located, and how much it is deconstructing that frame, or how much it is following or disobeying it. In the present research, studying the poems of three outstanding Ashurayi poetry, we have shown how much they have been loyal to the Islamic ideology, or they have reached the rubrics of the frame, and also considering their poetic innovations and ideological conceptualizations in the poems. In sum, we concluded that Ali Moallem Damqani is a traditional poet who sometimes reaches to the rubrics to develop his poems, producing different conceptualizations from the ideology. Ali Musavi Garmarudi, a poet who appraises the art and the beauty of his poetic devices more than the other poets, while less loyal to the religious tradition. Beside these two, Tahere Saffarzade is a poet who uses very cautiously of religious ideological concepts, and puts the ideology and content in relation to form in prior.

Bahman Forsi is one of the pioneers of playwriting and modern literature in Iran. He created a new work and experience in his play “Aramsayeshgah” with his own style, by blending the structure of classical drama and Theater of Absurdity, in his periods. Forsi’s self-made word in the title of the play, factuality of the play, dialogues and conversations which are more like monologues and more important than all, the context of the play, lead Aramsayeshgah in a way in which magnifies the chaotic changes existing in the society. In the present research, the writers are going to analyze the play’s narrative and contextual pattern in order to show that the structure of the play is based on which pattern. They also analyze the context as well as the play’s structure.

Iranian poets and writers in all ages have engaged in the expression of the realities and criticism of the rulers and the social and political situation. This kind of poetry is called protest poetry. This paper investigates the protest poetry after Iranian revolution from a lexical point of view. lexical norm-breaking in protest poetry has been realized in different forms such as traditionalism in nouns and verbs, new combinations, verbal expressions, informal expressions, and lexical borrowings. What stands out among all these is their relationship with the subject of protest.

Phenomenology, as a mental and philosophical trend, is considered as a starting point for many contemporary methods of literary criticism in a way that reader-centered critics used it as their base of theories. Hersol, the renowned phenomenologist, bases his theory on the assumption that the world phenomena are interpreted based on reader's understanding and impressions. The essence of phenomena is explored based on this assumption. Exploration of such reality requires possessing a new and innovative approach toward the phenomena. With reference to such approach, phenomena's existence of objects elevates to its realization of signs and evidence hence through the interaction with Semio-Semantics turns into a meaningful phenomenon. Upon his perfection in poetry, GheysarAminpoor, as an influential poet, reached his introversion and individual revelation in such a way that Macro epistemological thoughts became his main concerns. Aminpoor's phenomenological view generated his interpretational insight. Phenomena turned into signs in his exploring eyes. And these signs were carved into his mind to emerge into existential phenomena under the interpretation of Semio-Semantics relations. This article attempts to study the interaction between phenomenal view as a reader-centered criticism and Semio-Semantics orientation, and tries to analyze Gheysar Aminpoor's phenomenal poems so that via a new and dynamic approach, a new interpretation of his poems is obtained.

Baroque literature is a 17th century prose genre that has several distinctive haracteristics when compared to literary styles of earlier centuries. The baroque era is known for the use of dramatic elements in all art forms, and works of baroque literature are generally no exception. Writers of this time period expanded and perfected the uses of allegories with multiple layers of meaning. Smaller-scale metaphors are also frequent trademarks of this genre, and many works of baroque literature focus on humanity's struggle to find deep meaning in existence.A fairy tale is a type of short story that typically features folkloric fantasy characters, such as fairies, goblins, elves, trolls, dwarves, giants, mermaids, or gnomes, and usually magic or enchantments. Fairy tales may be distinguished from other folk narratives such as legends - which generally involve belief in the veracity of the events described - and explicitly moral tales, including beast fables. Fairy (= Pari) is found in oral and in literary form. The history of the fairy tale is particularly difficult to trace because only the literary forms can survive. Two theories of origins have attempted to explain the common elements in fairy tales found spread over continents. One is that a single point of origin generated any given tale, which then spread over the centuries; the other is that such fairy tales stem from common human experience and therefore can appear separately in many different origins. Fairy tales with very similar plots, characters, and motifs are found spread across many different cultures for example Mowlana`s Works, Fairy (pari) is personage whit several means. This Study is about layers of meaning in baroque literature and pairy personage in Qazaliyyat e Mowlana.