Persian Language and Literature

proportionality in literary criticism from GolamHossein Yosefi’s view

Alireza Mohammadi Kalesar

Proportionality as an element in history of literary criticism has a key role in GolamHossein Yosefi’s critique. The purpose of this article is to study the nature, types, and consequences of proportionality in literary criticism according to Yousefi’s works specially CheShme-ye Roshan, Didar Ba Ahl-e Ghalam, Yaddasht-ha, Kaghaz-e Zar, Barghaei Dar Aghoosh-e Bad. This paper have studied His attitude of proportionality, the types of proportionality in his works, and the relationship with other components of literary criticism. It can be said that Yousefi applies a wide range of vocabulary to refer to proportionality. For him, types of proportionality also include the proportion between character and his nature, the proportion between different parts of the text, the proportion between formal and content elements. He applies proportionality in relation with some elements such as ellipsis, periphrasis and imaging. according to Yousefi, Thus, observing various types of proportion is a strong point of a text and has consequences such as unity and coherence of the text, realism and credibility, and impact on the readers. In Yousefi's criticisms, (a) no precise definition or description of the aforementioned components is provided, as if everyone agrees on their meaning. This naturalization of concepts is one of the features of Yousefi's view of literary criticism. (b) Despite his theoretical emphasis on the necessity of proportionality between form and content, in practice, it seems that content is more important than form; as formal elements are described by content characteristics. (c) From an evaluative perspective, he considers the types of proportionality and its consequences to be the advantage of a literary work. finally, Yousefi's view of proportion is most indebted to the classical and neoclassical view of this criterion.

Analysis of the function of Iranian music officials in the poem Ta'sir Tabrizi

Aiyoub Kooshan

The poets and writers of the past eras are part of the messengers of the written history of nations and civilizations, and studying their works helps to explain more and better the prevailing atmosphere during the author's lifetime and the geography of his life. Considering the importance of poetry and music in Iranian culture, examining the lives, thoughts and works of poets and musicians of each historical period leads to a more detailed analysis of the characteristics and cultural behaviors in the society of that period and the neglected dimensions of their thought. Mirza Mohsen Ta'sir Tabrizi is one of the prominent and melodious poets of the Indian style, whose abundance of musical words in his poetry is due to his considerable interest and familiarity with this art. Part of the specialized terms used by the poet in his theme are the names of the authorities and branches of music, which are known today as the institutions and corners of the Iranian music hierarchy, and so far no research has been done in this field on the works of "Ta'sir Tabrizi". has not been In this interdisciplinary essay, we have studied the library of the poet's divan and analyzed the verses that were written using the names of the authorities and branches of music, and we have discussed the role of these terms in creating new themes and concepts intended by the poet.

Analytical Comparison of the Word "Sea" in Mystical Literary Texts and Artificial Intelligence Models with an Approach to Attar's Works

Kimia Amini

The entry of artificial intelligence into the field of Persian texts opens a new horizon for a deeper and faster rereading and understanding of the mystical literary heritage and provides the possibility of interpreting the hidden layers within these texts. The term “sea”, which in the works of Attar Neyshaburi symbolizes the infinity of the divine essence, the boundless depth of knowledge, and the stages of spiritual journey and conduct, is examined in this study by comparing its literary meanings with the interpretations produced by advanced language models (such as GPT-4, Cloud, etc.). The main goal is to examine the literary, metaphorical, and cognitive differences of this term in the two literary and machine semantic systems. Although artificial intelligence can produce poetic images and facilitate text analysis, it lacks the intuition, deep spiritual experience, and inherent mystery of these texts. This limitation creates a fundamental gap between human understanding and the output produced by the machine. This study shows that despite the similarities in similes and metaphors, AI is unable to reproduce the semantic richness found in human intelligence. This shortcoming highlights the need to reconsider the application of AI in mystical literature. Nevertheless, AI can serve as an effective tool to support the research and analysis of mystical literary texts and be used as a capable and intelligent assistant in discovering hidden patterns and meanings

The roots of association of Laili and Majnoon stories in Attar's works (Psychological reading of Laili and Majnoon in Al-Tayr Mantiq- al tair, Elahi Nameh and Mosibat Nameh)

shahin Ojagh Alizadeh

The presented research is a psychological reading of the short stories of Laili and Majnoon in Attar's three important works, namely, Elahi Nameh, Mantegh Al-Tair, and Mosibat Nameh, which aims to express the mystical concepts that have been formed in the mind and consciousness of Attar. The inquire about issue of this proposition is to explore the characters, circumstances and model images of these conventions. For this reason, the conclusions of two popular clinicians, Freud and Jung, have been utilized; Based on Freud's identity hypothesis, it is conceivable to check the degree of having a place of enchanted characters to instinctual (Forman), reality (man) and profound quality (Faraman), and with the assistance of Jung's paradigm hypothesis, the typical prime examples duplicated by these characters in these conventions can be found. The main purposes of the presented research are as follow: 1- creating a new perspective for the readers of mystical texts. 2- The effectiveness of Lili and Majnoon's stories in Attar's works through the Freud and Weaving's theories.
The working method here is that first the stories of Lili and Majnoon are collected from these three works and the type of association between them is determined with the theme before it. This case is important in order to understand what mystical concepts these characters symbolize in Attar's subconscious mind and how they were created and discussed. Then they are analyzed based on Freud's personality theory and Jung's archetype is investigated, we realize that Attar's associations are based on similarity, contiguity and contrast, which is the largest volume of associations of the type of similarity. Considering the content of the stories, we found the characters and archetypal symbols of these stories.
Current investigation revealed that the archetypes expressed in the stories of the above-mentioned works have been the place of emergence of associations for the mystical theme, and the most important of them are the meeting place of love, instinct, spiritual elder and God, and their relationship with each other is exactly in line with mystical teaching is.

Redefining Literary Typology of Contemporary Poetry within the Prose-to-Poetry Continuum: A Quantitative-Qualitative Model Based on Deviation Theory (A Comparative Study of Selected Poems by Forough Farrokhzad and Ahmad Shamlou)

Amirmahdi safaeiDaryakenari

Defining typological boundaries within the prose-to-poetry continuum remains a fundamental challenge in literary linguistics. This study aims to redefine the typology of hybrid texts through a comparative analysis of foregrounding elements in Ahmad Shamlou’s Ibrahim dar Atash (as a model of blank verse) and Forough Farrokhzad’s Tavalodi digar and Iman Biavarim be Aghaz-e Fasl-e Sard (as models of Nimaic poetry). The research methodology is descriptive-analytical, employing a quantitative-qualitative approach based on Geoffrey Leech’s theory of deviation and the theoretical frameworks of Safavi and Haghshenas. The findings indicate that, contrary to previous theoretical assumptions, the frequency and quality of parallelisms serve as the primary determinant of a text’s position toward the poetry prototype, while linguistic deviation merely acts as an entry point into literary language. Data mining reveals that Shamlou utilizes "compensatory parallelisms" (such as rhyme with an average frequency of 4.86 and dense phonological patterns) to offset the absence of prosodic meter. In contrast, Farrokhzad, by relying on "conversational prosody," demonstrates a lesser need for positional parallelisms and diverse deviations. Ultimately, this study proposes that the poetic caliber and the distinction between hybrid genres are governed by a musical hierarchy derived from parallelism, through which the precise position of any text within the aforementioned continuum can be identified.
Defining typological boundaries within the prose-to-poetry continuum remains a fundamental challenge in literary linguistics. This study aims to redefine the typology of hybrid texts through a comparative analysis of foregrounding elements in Ahmad Shamlou’s Ibrahim dar Atash (as a model of blank verse) and Forough Farrokhzad’s Tavalodi digar and Iman Biavarim be Aghaz-e Fasl-e Sard (as models of Nimaic poetry). The research methodology is descriptive-analytical, employing a quantitative-qualitative approach based on Geoffrey Leech’s theory of deviation and the theoretical frameworks of Safavi and Haghshenas. The findings indicate that, contrary to previous theoretical assumptions, the frequency and quality of parallelisms serve as the primary determinant of a text’s position toward the poetry prototype, while linguistic deviation merely acts as an entry point into literary language. Data mining reveals that Shamlou utilizes "compensatory parallelisms" (such as rhyme with an average frequency of 4.86 and dense phonological patterns) to offset the absence of prosodic meter. In contrast, Farrokhzad, by relying on "conversational prosody," demonstrates a lesser need for positional parallelisms and diverse deviations. Ultimately, this study proposes that the poetic caliber and the distinction between hybrid genres are governed by a musical hierarchy derived from parallelism, through which the precise position of any text within the aforementioned continuum can be identified.

Women in the Discourses' Struggle in the Novel Madaran va Doxtaran (Mothers and Daughters)

Ghodsieh Rezvanian

The novel Madaran va Doxtaran (Mothers and Daughters), by Mahshid Amirshahi, narrates the lifestyle of four generations of women in the context of common discourses of contemporary Iranian history. This research, using qualitative content analysis, combines Pierre Bourdieu’s theory of cultural capital and gender order, to examine the living and intellectual status of women in this four-volume novel. From the perspective of Pierre Bourdieu’s theory, cultural capital includes knowledge, skills, and cultural capabilities that enable women to be active and present, but gender order is a social and cultural structure that reproduces inequality and patriarchal domination and establishes women’s position as objects and subordinates. In the novel, the first two volumes show the acceptance of the gender order and women’s limited cultural capital, while in the next two volumes, characters such as Mehrowlia and Shahrbanoo, with greater cultural capital, have been able to increase their political and social subjectivity and provide a critique of ideologies and modernity. Based on memoir narratives, the novel represents the conflict between women's agency and passivity, and shows that female subjectivity is shaped by the conflict between limited cultural capital and an unequal gender order, while simultaneously creating the possibility of resistance and change. This analysis introduces the novel as an arena of complex interaction of gender, politics, and culture in contemporary Iranian history.

Conceptual Metaphor of the Objectification of Hypocrisy and Deceit: A Cultural Approach in Hafez Shirazi’s Ghazals

Zeinab Kalantari

Cognitive semantics, as a branch of cognitive linguistics, explores the relationship between human experience, conceptual systems, and the semantic structure of language. It draws on diverse theories and approaches and encompasses notions such as conceptual metaphor, which emerges through the mapping between a source and a target domain. Within this framework, conceptual systems and metaphorical patterns occupy a central role, as they are profoundly shaped by cultural and cross-cultural perspectives. The discovery and analysis of such patterns can yield deeper insight into a culture and a more nuanced understanding of literary texts. Among Persian poets, Hafez of Shiraz stands out for the intimate interweaving of his poetry with Iranian cultural consciousness—his verses are often considered the distilled essence of the cultural spirit of preceding ages. Adopting a descriptive–analytical method within a cultural approach, this study examines the conceptual metaphor of objectifying hypocrisy and deceit in Hafez’s Ghazals. The principal finding of this research is the identification of the overarching metaphor “hypocrisy is destructive.” Furthermore, most image schemas related to the objectification of hypocrisy and deceit are of a power-based type, signifying the destructive force inherent in hypocrisy. Hafez’s portrayal of hypocrisy and deceit as annihilating entities reflects his cultural and experiential worldview. Although some of these experiences exhibit cross-cultural dimensions, most of them are rooted in the intracultural context of Iranian thought and tradition, embodying the collective psychological aspiration of the Iranian people throughout history.

A Reflection on Royā’i’s Views on the Nature and Constituents of Poetry

farzad baloo

Yadollah Royā’i is one of the contemporary poet-theoreticians who holds thought-provoking views regarding the nature and essential components of poetry. This research, conducted using a descriptive-analytical method and library resources, seeks to examine the essence of poetry in relation to Royā’i’s philosophical and aesthetic thought, focusing specifically on his perspectives.The findings indicate that Royā’i, relying on Husserl’s Phenomenology and inspired by Heidegger’s ideas, views poetry not as a representation of reality, but as a “definition” and the “transcendent presence of language” in existence. In his transition from the oral tradition to the written, he highlights the role of visual awareness in the poetic experience. Royā’i emphasizes the triad of Man, World, and Language, considering poetry to be the result of the dynamic and internal interaction of these three elements. He argues that the excessive focus on any one of these elements leads to the exclusion of the other two and weakens the ‘alchemy of the word.’ Based on this foundation, poetry is not the product of divine inspiration, but the result of the conscious “invocation” (Ehzār) of language. In this approach, Volume Poetry (She’r-e HḤajm) is the field for the realization of this awareness and the intuitive experience of phenomena. He calls Form the generative essence of poetry and Image (Taṣvīr) its fundamental pillar. While he does not consider conventional meter (vazn) a necessary factor for poetry, he believes in the necessity of a kind of internal rhythm and musicality. He points out that, in addition to poems written in 'arūḍī meter, he has introduced new rhythms that had no precedent in traditional prosody. In Royā’i’s thought, poetry transcends mere linguistic structure; it is an act of re-defining existence, meaning, and human experience within the realm of language.