فصلنامه متن پژوهی ادبی
پیاپی 56 (تابستان 1392)

"Māhān-i Gushyār" is one of the several myths narrated by Nezami in his "The Seven Beauties". In addition to its mythological and psychoanalytical features, the myth enjoys esthetic theories expressed by the poet during the narration of the story, adding paramount significance to this piece of work. Reviews written in Persian and other languages on the story of Mahan tend to deal with the historical aspects and mostly involve the symbolic and archetypal interpretation of the elements. This paper attempts to not only review the current interpretation viewpoints, but also offer a new psychoanalytical analysis of the text. According to this analysis – which borrows mainly the theories of well-known French psychoanalyst, Jacques Lacans and his followers – the story of "Mahan" has neither a mystical identity nor Jungian individuation. It rather is an unfinished and stressful story reflecting a particular ideological structure. On this basis, if there can been seen mystical themes in some parts of the story, it is the result of the narrator's attempt to match the story with a certain mystical viewpoint; one that is characterized by polarity and a rift between form and meaning.

In the 12th century, we have four literary areas of Transoxania, Khurasan, Iraq and Azerbaijan whose vastness and situation is different compared to the Khurassan area. Despite different geographic areas, neither their distance nor difference of accents was a reason for them not to notice each other. Parody of their poems is a sign of a deep relationship and bond between them. As an instance we can mention a set of poems with a radif (a word repeated in all even verses) of aftab (sunshine) which are well known as “aftabi (sunny) Poems”. One of the main poems of this type belongs to Khaqani, beginning with these statements:O’ thee, who the sun is a servant of his moon-like face,A slave of thee should be moon and another should be the sunIn addition to Khaqani, poets like Assir Akhsikati, Anvari, Seyf Faraghani, Hazin Lahiji, Bidel, Mohtasham Kashani, etc. are ones who have poems with the same rhythm, rhyme and radif. Khaqani has written this qasidah to praise Qezel Arsalan, the ruler of Azerbaijan. The importance of studying the qasidah lies in the similar poetical scope of aftabi poems composed by other contemporary and later poets. This paper studies and evaluates ten points in Khaqani’s “aftabi” qasidah in terms of comparing poetical images and music, astronomy, explanation, correction, etc.

One of the reasons for the ambiguity in the language used by Bidel is the structure of his compounds made by changing the common linguistic agreements and breaking the former literary ones. The general characteristic of such compounds is that the way the words are put together is not normal and the mixture is a product of artificial relationship between them. On the other hand, the fact that numerous words with the ability to create a specific compound are put together actually leads to abundance in compound. This makes the verses hard to read and understand. The present paper aims at studying the structure of Bidel compounds. In this research, library sources and the content analysis and data classification methods are used. The necessity to study Bidel in Persian language and literature proves the significance of this research. The result shows that making compounds is a prominent feature of Bidel’s poetic style.

Under the influence of nihilistic thoughts created as a result of philosophical, scientific, historical and social developments in the modern era, a style called Absurd Literature emerged which emphasizes the lack of logic in the nature and man’s solitude in a meaningless world and expresses thoughts such as aimlessness, nihilism, faithlessness, lack of identity, loneliness, etc. in the life of modern man. This movement emerged in Iran’s literature at the same time as the West in two periods of time. The first one was the period of the hegemony of Reza Shah, during which desperation prevailed in the society and the second period is related to the 1953 Iranian coup d’état and failure of the movement of nationalization of the oil industry, which disappointed the intellectuals and provided the grounds for their inclination towards the absurd literature. The attacks by foreign forces, colonization, hegemony, chaos, insecurity and political, social and economic crises had a great effect on the morale of Iranian writers and led to the emergence of nihilistic and absurdist thoughts among them. Sadeq Hedayat, Sadeq Choobak and Bahram Sadeqi are among the writers in the 1950’s and 60’s whose works are filled with the signs of nihilistic thoughts. This paper attempts to study the reflection of absurdist effects on the works by Sadeq Hedayat with emphasis on his three main works.

Use of some language capabilities helps the poeticization of the text particularly when it comes to creation of metaphors and ambiguity in narration in modern stories. One of the capabilities, according to Jacobson, is leading the language towards the metaphorical pole. This research attempts to show how the language gravitates toward metaphorical poles and poeticization. To this end, each one of Mandanipoor’s stories is studied at four levels. At the level of the characters descriptions, it shows how a character is replaced by another one. That is, character interference happens and the characters deviate from the human form. This interaction leads to the ambiguity in the characters replaced by each other in the story. At the level of description and time, it shows that how times are replaced by and how the present and the past are intermingled. At the level of description and place, the place emerges anywhere and gets complicated and ambiguous. Finally, at the level of description and imagery, it shows that the pictures in the story are replaced sometimes in real or imaginary images and sometimes in two different worlds. This research shows that the most substitutions occur at the level of characters creation, and the least substitution occurs at the place level.

Destinism is a belief that has begun in the Zoroastrian Period in the pre-Islamic era. In the post-Islamic era, this belief developed with a little difference but with the same nature. The influence of this thought is seen in our historic works like Tarikh-i Beyhaqi. This paper aims at studying the role of destiny in the discourse of Tarikh-i Beyhaqi and the role of this thought in the contradictions existed in this book. The paper then deals with the depiction of this book based on the religious personality of Beyhaqi, the way of Islamic history writing, censorship and linguistic freedom of Beyhaqi.In Tarikh-i Beyhaqi, destiny has diverse religious, reasonable, psychological and political functions. The focus of discussion is on the political function of destiny. The result shows how destinism led to disintegration of mechanism of rationality and consequently the mental and political backwardness in the countries influenced by this thought.

Maqamat-i Hamidi written by Hamideddin Abubakr Mohammad bin Omar bin Ali Balkhi is one of the masterpieces in the Persian prose that challenges the styles of Arabic Maghamah texts by Badiozaman Hamedani and Abolqassem Hariri. This work that is written with the style of Persian prose is filled with a large number of beautiful and delicate Arabic poems and phrases, whose sources have remained unexplored so far. This paper studies the Arabic verses and phrases in Maqamat-i Hamidi and attempts to determine their sources and references as much as possible.