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K. Hassanli,
year 12, Issue 45 (10-2004)
Abstract
,Lexical cohesion, and ,semantic density, are genrally considered as assets of good poetry in various stages of Persian poetey.this article addresses Zolf in Hafez`s lyric along with its different realizations. Furthermore, the wide range of images and collocational exprssions artistically utilized by the great poet in reference to that keyword and its counterparts are presented. The author argues that the poet`s skillful selection of collocations in this semantic field reveals his miraculous command of poetry as well as lexicology.
Hossein Bayat, Saeid Ebadijamil,
year 26, Issue 84 (9-2018)
Abstract
One of the most important aspects of analyzing literary texts is the consideration of the reflection of the author's thoughts, wishes, griefs and regrets as defense mechanisms. In reviewing the reflection of an author's unconscious in his or her work, psychoanalytic or psychological criticism is often used, in which the critic tries to reveal the influence of the author's mental constraints on hidden layers of the work or to open textual ambiguities using psychoanalytical or psychological principles. The authors of this article have tried to investigate in a short story collection, Be Ki Salaam Konam?, one of Simin Daneshvar’s most important psychological anxieties, that is, "infertility pain"; a pain which though is not traced in Jalal al-Ahmad's independent works, it is present in Daneshvar's stories and appears in different ways. Be Ki Salaam Konam? has become a feminine narrative of Jalal’s Sangi Bar Goori. The subject of most of the stories of the former is "infertility", which is presented using child, adopted child, and grandson in the form of free or affiliated motifs. Daneshvar uses unconscious symbols such as the old women to suggest infertility. The reactions of characters in the stories to infertility can be described through defense mechanisms such as displacement, sublimation and projection. Nonetheless, throughout the discussion, when necessary, the paper will benefit from approaches such as archetypal criticism as well.
Farzad Karimi,
year 26, Issue 84 (9-2018)
Abstract
The crisis of representation is a topic widely discussed in critique and theory of postmodern literature. This refers to the crises of the present era including the crisis of meaning, the perplexity of contemporary humankind amidst a mass of valid and invalid data, alienation, etc. Literature, as the epitome of human life, is a reflection of these crises in the contemporary era. Azadeh Khanoom and Her Author or the private Auschwitz of Dr. Sharifi, written by Reza Baraheni, is among the most well-known novels of the last three decades in Iran. This novel is regarded as a noteworthy example of postmodern fiction. In the present article, the crisis of representation in Azadeh Khanoom and Her Author is analyzed based on “subject”, as the philosophical substitute for the concept of “man”. In this analysis, the crisis of representation, its consequences for human subject and its influence on Baraheni’s fictional characters are explored; consequently, crises such as identity crisis, personality crisis, etc. can be considered as complications of man’s current affliction of the crisis of representation.
Javad Dehghanian, Mohammad Khosravi Shakib, Mahnaz Tabiatboland,
year 29, Issue 91 (12-2021)
Abstract
If we admit that culture is a kind of text, we must inevitably accept that “The History of Jahāngushā” is a text that is the point of contact of different ideologies, each of which forms a part of Iranian identity and culture. Contrary to formalist approaches, an attempt has been made here to revisit the text based on those approaches of literary criticism that read the text in a dialectical and interactive connection with the material contexts of its production. Therefore, first, the ideologies in the text are introduced and analyzed, and after determining their role in shaping the ideological system of the History of Jahāngushā, their discourse contradictions are revealed, and finally, the impact of these ideologies on the text is discussed. Various factors such as historical context, social, cultural, and ideological institutions have been influential in the composition of this text and its linguistic form. It seems that more than the linguistic and expressive complexities, it is the discoursal, ideological, and cultural contradictions that have caused confusion and complexity of the text. Analyzing and retrieving the ideological currents of the text not only explains the reasons for its different readings but also helps the reader to reach a new and different judgment of the literary, historical, and cultural aspects of the text.
Mojtaba Doroudi, Hamid Fadayi,
year 30, Issue 92 (5-2022)
Abstract
The present article is an analysis of a couplet from Ferdowsi’s Shahnameh, about which scholars have expressed various opinions so far. This couplet, which was also recorded by Saadi in Bustan, begins with the hemistich “mayazar muri ke danekesh ast” (Don’t harm an ant that is seed-carrying). Later, according to the recorded form of this couplet in the Florence version and two other versions containing the hemistich “makosh muraki ra ke ruzikesh ast” (Don’t kill a small ant that is daily-bread-carrying), Khaleghi Motlagh based his revised version of Shahnameh and stated that it was the closest version to the original Shahnameh. The researchers have since expressed their opinions on rejection or acceptance of this revision. While investigating other views, this study focused on Avestan and Middle Persian texts and considered the frequency of some words of this hemistich and concluded that the phrase “mure danekesh” (seed-carrying ant) is an ancient and descriptive compound that has its roots in Old and Middle Persian texts and its domain is extended into New Persian. The two other phrases “makosh” (Don’t kill) compared with “mayazar” (Don’t harm) and “muri” (an ant) compared with “muraki” (a small ant) have superiority, which correspond with one another in each hemistich. However, the phrase “mayazar” can be regarded as one of Ferdowsi’s poetic innovations.
Javad Dehghanian, Dr. Saeed Hessampour, Sedigheh Jamali,
year 31, Issue 94 (6-2023)
Abstract
In the republishing of the Adventures of Hajji Baba of Ispahan, Jamalzadeh made changes so that the language, expression, tone and writing style of Mirza Habib Isfahani were altered. His changes in the “fragments of old phrases” and “morphology and syntax of sentences” aroused the reaction of the literary community of that time. While Jamalzadeh retained the main framework of the book, his method does not correspond to any of the technical terms for critical correction of texts. In order to understand the whys and wherefores of his method for republishing the book, the present study compared and analyzed three works: Mirza Habib Isfahani’s manuscript, Phillott’s edition, and Jamalzadeh’s reprint. Twenty percent of the volume of the book was selected for analysis: the author’s preface and fifteen chapters (five chapters from the beginning, middle and end of the work). The results indicate that the changes can be subsumed under three categories: 1. reduction through deletion or replacement; 2. expansion and finding equivalents; 3. transposition of parts of speech. The largest volume of changes in the text were created by expansions and finding equivalents for words, phrases and sentences and transpositions of parts of speech while deletions and replacements were used the least. These changes serve two main purposes: 1. strengthening the fictional elements of the book and 2. bringing the story closer to the understanding of the common people based on the capabilities of the popular language, in the continuation of the simple writing movement of the Qajar era. However, Jamalzadeh inflicted irreparable blows on the prose rhetoric of Mirza Habib’s translation.
Fatemeh Toobaie, Mohammad Yufof Nayyeri,
year 32, Issue 96 (4-2024)
Abstract
Searching about the beginning of Sufism in different regions of Iran is an important issue that has received less attention. Due to the division of Sufism into two currents of Iraqi mysticism and Khorasan mysticism and paying attention to the Sufis of these two regions, Other Sufi attitudes were neglected in the rest of the regions. Fars and Shiraz was one of the areas that was neglected. It seems that the presence of more than eighty sheikhs of Sufism in Fars and Shiraz before the appearance of Ibn Khafif and the remarkable growth of Sufism in this region, shows the necessity of investigating about the beginning and development of Sufism in this region. In this research, the names of forty-three Sheikhs of Shiraz who lived before Ibn Khafif or are his contemporaries were extracted and their mystical worldview was analyzed as much as possible based on the little remaining information. From the analysis and explanation of the mystical attitude of these forty-three Sufis, it was found that four main Sufi currents can be seen in this period: First, the flow of asceticism and seclusion, which is the primary form of Sufism, second The flow of the Iraqi school of mysticism, third movement of the Khorasan school of mysticism, and fourth The flow of creators of the Shiraz school of mysticism.
The analysis of the numbers shows that in Fars the sheikhs of the Shiraz school predominate and other currents play a lesser role.
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