جستجوی مقالات مرتبط با کلیدواژه « ادبیات تطبیقی » در نشریات گروه « هنر و معماری »

Undoubtedly, Persian and Arabic poetry and literature have long been intertwined and familiar with imaginary forms. Rhetorical forms include similes, metaphors, metaphors and allusions, and have made poets familiar with themselves in poetry for more than a thousand years. In all styles of ancient and contemporary poetry, the high frequency of the use of imaginary forms can be observed. Imaginary images or the literary image created by the imagination are divided into two categories: singular forms and compound forms. In the present study, which has been done with a descriptive-analytical approach and the use of library resources. First, a definition of comparative literature, sustainability literature, human biography of Bushra Al-Bustani and Tahereh Saffarzadeh was given, and then samples of poetic evidence related to simile, metaphor and irony were extracted in the poems of these two poets and it was found that these two poets have used the above three techniques to express the concepts of stability and resistance and other components in comparative literature.

There are common elements in the poems of Molavi and Gibran Khalil Gibran, which show the cultural and human commonalities of the two poets. In this article, in a library and descriptive analytical way, elements such as death and life, unity of existence, nature, love, music and listening, perfect human, God, conduct, mixing of good and bad, opposition of reasoning and illumination, words and speech, value of time and ... has been examined and the opinions of two poets have been extracted from their poems and compared. Rumi's and Gibran's intellectual commonalities are so much that despite the difference in language and regardless of thoughts, sometimes the words are also close to each other. The findings of the research show that Gibran and Rumi consider the whole universe to be alive because of that special monotheistic view and seeing God in everything. But discovering this truth requires reaching an enlightenment; An illumination that goes beyond geometric and dry reasoning and logic. In their eyes, all religions have their own value and there is a way to God from every heart. This view has deepened the moral virtues of these two poets; Both of them condemn blind imitation and consider worship for personal gain as the lowest level of worship. They warn a person from self-obsessions, they give respect to the present, regardless of the past and the future. Both of them consider music to polish the soul and recognize it as a noble tool for a person's conduct;

Comparative literature is one of the old and respectable disciplines. Cultural dialogue between ethnic groups has been customary for a long time and we can consider a common origin for the origin of the narratives of each nation. This field examines the intersection of literature in different languages and finds complex and numerous literary links in the past, present and its historical relations in terms of influence in the fields of art, literary schools, intellectual currents, topics and people, and it can even be called a dialogue between Knowledge of civilizations and cultures. Ferdowsi's Shahnameh and Homer's Iliad, as eternal literary epics, are among the rarest topics of this literary field and can be analyzed in three different fields from the perspective of its characters: Tehmina, Penelope-Rostam, Ulysses, and the concept of the city. This research deals with these areas in a descriptive and analytical way

The focal issue in the current research involves the discussion on the reasons for the absence of landscape depiction in Iranian painting with emphasis on the etymology of the term nature. In Iranian painting unlike western and far eastern examples, never nature and landscapes are the main subjects. Tabi’at (Nature) is an Arabic word bearing various meanings. The scope of the meaning of the word Tabi’at (nature) whether in Persian, Arabic or European languages is so vast and equivocal that in different times, places and discourses it has held wide and diverse meanings. To further clarify the evolutionary meaning of Tabi’at (nature) in the Persian culture and language, at first with a comparative look, the roots of the word was studied in the most comprehensive Persian dictionaries in the recent century such as Nezam, Nafissi, Dehkhoda and the Persian encyclopedia of Mosaheb, Moein, Amid and Sokhan with respect to their historical precedence and secondly its meaning among Islamic scholars and its reflection in Persian poetry. In studying the word Tabi’at (nature) in the Persian language, we realize that not until the last century the said term was synonymous with its English word, but it was perceived as bearing the meaning of essence and substance by literary figures and philosophers. In the post Islam Persian language and its blending with Arabic there is no general term constituting the surrounding world of nature created outside man without his contribution and the word nature with its modern application entered the Iranian language and thoughts in the last century followed by expansion of relations with the west. With that said it can be concluded that since thought is the product of language then one of the main reasons for lack of landscape delineation in Iranian painting results from the absence of the word in the language. On the other hand, with a look at the principles of semiotics and study of the relation between phonology and meaning we understand that the word nature in the Persian language according to Saussure’s theory has a signifier with a long precedence in the Persian literature and philosophy but its signified (meaning) has changed throughout time. In other words, the relation between the ancient signifier and signified has recently received a new meaning for nature synonymous with the surrounding world such as mountains, plains, seas, etc. It can therefore be said that the new meaning that creates a new sign has not been precedent in the Iranian cultural history. Based on this reasoning thinking that Iranian painters would be able to understand the universal and modern concept of nature without a specific lingual signifier is impossible. They unlike their western counterparts were naturally unable to portray the nature that they lacked in their language. This research is conducted by descriptive-analytical method, collection of data through library materials and analysis of the findings by inductive approach.

Comparative literature, is a research on relations between world literature and review of all intellectual and literary transactions that moves from territory of ethnical language to near or far ethnicities. In this article we compare and analyze the tragic story of Rostam and Sohrab by Ferdowsi and William Butler Yeats “The Death of Cuchulain”. Shahname by Ferdowsi is one of the precious works in Persian and world literature that can be reviewed from various viewpoints and has immense effect on world literature and “Cuchulain” is an epic Irish play is an important examples of Shahname’s effect. Since there have been many research in comparative aspect of these two works, in this article by use of interdisciplinary approach which is a new step for align comparative projects with other majors and with aim of increasing research in this area these two works has been reviewed. Due to importance of psychology in epic and mythological literature, in comparative review of these two epic works, psychoanalysis was used and the results were remarkable. In this article we aim to have closer look to psychological context in these two works and by reviewing characters behaviors we find this conclusion that how concepts like Oedipus complex, ambivalence and also unchangeable faith exist in these two epic works and can be analyze and compare with each other.

Amongst all traditional puppet shows of the whole world, the Iranian puppet show “Pahlevan Kachal” and the Turkish play Karagöz are two samples that have various similarities, in spite of their significant differences, the most obvious one is their techniques. Pahlevan Kachal is a hand puppet, while Karagöz is a shadow play. The current article takes an analytical approach, based on the French school of comparative literature to study the structure of two plays also through the character analysis finds the bases of Pahlevan Kachal and Karagöz’s popularity in the origins of their societies and compares them with each other. Both characters are born and lived in the context of the mass society up to this moment, and both try to find a way to the future. So according to their numerous resemblances, it is possible to discover common cultural roots in the Iranian and Turkish audiences. Pahlevan Kachal and Karagöz are two national heroes who both develop religious-moral, political-critical, and cultural-social teachings in addition to their behavioral and outward similarities. They are aware that irony, either in speech, face appearance or in music, and eventually in creation of happy atmosphere is the method to use for building a connection with the audiences. The methodology used is a mixture of descriptive and analytical methods, and is benefited by library and internet research, in addition to the personal experience of the author regarding a number of “Pahlevan Kachal” shows through several years and attending various Karagöz plays which both add an experimental method to the two other methodologies. In the end, the research studies the contemporary audiences of the shows in order to suggest an evolution for their future, since both plays are in a similar state of disregard and eventually “failing to remember” by the audiences.

Spanish dramatist, Federico Garcia Lorca, is famous not only for his amorous plays but also for his impacts on later playwrights, in particular Iranian writers. Lorca initiated his works with writing poems; however, some years later he created his masterpiece “Bernarda Alba′ s House” using poetic prose. Accordingly, this research has concentrated on Lorca′s impact on Iranian dramatists and tries to answer the main question how Lorca′s drama affected Iranian dramatic literature while discussing the reasons of such effects.To obtain this goal, “Bernarda Alba′ s house” will be compared with two Iranian amorous plays: “Death in Ordibehesht” written by Mohammad Charmshir and “Last Mermaid” written by ChistaYasrebi. These plays are compared and analyzed with regard to dramatic structure.Accordingly, research findings, based on analytic-descriptive method and library sources, show that all mentioned cases in this research are rather similar in various aspects such as narrative model, plot, theme, character and setting structure which all represent the fact that the two mentioned Iranian plays were affected by Lorca′s play. All cases also depict an opposition between convention and freedom through some revolutionary circumstances; that is, if Lorca′s play is accepted by Iranian dramatists, it is largely due to the cultural and social resemblances existing between these plays.

In this research, a comparative analysis is presented between characters of Attar’s classic book “Conference of Birds” (Mantegh Alteir) and characters of Beckett’s “Waiting for Godot”. An analytical-descriptive method is employed with the aim of offering a descriptive analysis of the characters’ objectives and the way their behavior and attitudes develop through time. In Attar’s book, written in verse, a large number of different birds, lead by the Hoopoe, make a long journey across inhospitable terrain, enduring great hardship in order to reach the legendary Simorgh, a mythical bird known to have supernatural powers. In this long journey, the congregation of birds passes through seven symbolic stages. At each stage some of the birds either lose heart or change their minds until finally only thirty birds reach the final destination. In Beckett’s play, several individuals eagerly await the arrival of a hero named Godot who may deliver them from misfortune and strife. A boy delivers messages indicating the imminent arrival of the hero, but Godot never comes. The question is raised in the present study as to whether it would be possible to logically make a comparison between Attar’s text which is essentially mystical-moral in nature and Beckett’s “absurd” play. By offering a comparative analysis of various characters, the main challenge faced by the present study is to determine the existence and lack of meaning and spirituality in the lives of the characters of the two literary works and to consider how these two great writers view the world which is faced and challenged perpetually by mankind. In addition to this, after reviewing the works and in order to test research hypotheses, several key words in the two works are gathered and statistics are presented in the form of tables and graphs. Attar’s characters are active in all stages, but Beckett’s characters are passive. It seems that they passively depend on the deliverance by another person in order to gain freedom and happiness. Beckett’s characters are divergent and unsuccessful while Attar’s characters are successful and convergent. Ultimately, Samuel Beckett invites mankind to Unity by showing the emptiness and materialism which result from lack of truth-seeking and self-recognition. Attar, however, abhors dependency on materialism and emphasizes the goodness of truth and the significance of achieving and maintaining Unity.