فصلنامه نقد ادبی
پیاپی 22 (تابستان 1392)

Clarifying New Historicism through a Critical Look at the Papers Applying the Approach in IranAs an approach to the relationship between literature and history، new historicism has been highly received in Iranian academia. This reception was concomitant with some misunderstandings. A part of these misunderstandings is the result of the elusive nature of the approach. Moreover، lack of theoretical works in Iran has led to serious problems. Even though this approach is not a very recent one، it is a novelty in Iran. One of the reasons behind this novelty is lack of sufficient theoretical source in the field. A glance on the practice of new historicism reveals the interest in the field along with the lack of sufficient theoretical source has led to some misunderstanding. The present paper tries to correct some of the misunderstandings surrounding this approach. Keywords: New Historicism، History، Literature، Pathology، Power، Discourse، Greenblatt، Foucault.

Since the second century AD Sufi-es have entered the concept of «love» in his speech،and so they defined a new relationship between themselves and God، Although initially this relationship met with opposition from scholars and speakers، but gradually found its place in Sufi-es discourse Finally، in the beginning of sixth century attempt of Sufi-es in along four these centuries to define and describe of «love»، Sufism enter in new stage which saw its glorying in the centuries from 6 to 8th. In this study author wants to analysis of basic and secondary cosmological viewpoints of Sufi-es about love. Author with this goal، by study and analysis of ontological and structural metaphors in conceptual metaphor theory has searched these viewpoints and finally has approved that metaphorizing of Sufies since the beginning show their viewpoints to this concept. These two standpoint aroused of two basic structural metaphor: GOD IS SULTAN and GOD IS BELOVED.

It’s been a long time that advertising dialogue tends to refer to the advertising message more implicitly and indirectly than explicitly for achieving to their goal. The connotations to the advertising objects can confront the interlocutor with the different surfaces of the system of visual sign and can make more interactions. The goal of this article is to study the applications and displaying of the metaphors in the different surfaces of the system of visual sign and to comprehend the capabilities of it to signifying the posters describing the Ashoura’a as an advertising media. Therefore، here، some of the different posters describing Ashoura’a created in the recent years have been studied. In this research، we are facing with two principal questions: Firstly، can analyzing the different surfaces of the system of visual sign have any application in designing the posters describing Ashoura’a? Secondly، how can the visual and verbal elements and also the interactions between these two create the various displaying of metaphors in the posters? Based on this study it is concluded that methapore has the ability to display in any of the three levels of system of visual sign and the different functions of metaphor in any of these levels created due to the dispositions of the elements and their nature can make the different lectures and it results in appearance of various displaying of metaphor and perception of the dialogues existing in the advertising object for the interlocutors of the posters describing the Ashoura’a. Comprehending any of these concepts can make the possibility of comparison between the different aspects of displaying the metaphor in the different surfaces of the system of visual sign and study the capabilities of any of these surfaces for signifying the art works and the metaphor dialogues.

According to the theory of intertextuality: a text is not created in isolation and cannot be read or interpreted without making references to the other texts. In reading the story of Paykare Farhad the influence of Boofe Koor is clearly noticeable. In fact، there are some signs presented in Paykare Farhad، which can be utilized to find the sources of intertextuality in the text. This Research by using comparative Methods based on the theory of intertextuality and analyzing the evidence attempts to prove the hypothesis، that the Commonality between Paykare Farhad and Boofe Koor that in some cases has got imitating nature is not accidental. And this reflects the influence of Boofe Koor in creating Paykare Farhad: Similar plot، same narrative style (stream of consciousness)، the belief in reincarnation، the use of common symbols such as the blue Lily and… are some of the features that Paykare Farhad shares in common with Boofe Koor. The main achievement of this essay is investigation and analysis of these similarities، in order to demonstrate the intertextuality of these two texts.

After the published of the symphony of the dead (1989)، many of critics pointed to influence the Abbas Maroufi''s novel of The Sound and the Fury William Faulkner. Twenty three years after the publication of this novel، today، some of critics repeat the influence to various forms. Perhaps with publish of the eternity to eternity (Analysis novel «symphony of the dead»)، especially the essay «Is the symphony of the dead influence of Sound and the Fury?» by Elham Yekta and of the Sound and the Fury to symphony of the dead by Javad Eshaghian and other essays that describe comparative study of these two novels، does not need to study again. Furthermore، Nader Ebrahimi (1936-2008)، in an interview as «Soak in the story» (1997)، without any reference to the symphony of the dead، author of the novel imputed to «plagiarism»، it''s not about the Sound and the Fury، but Another time، i was loving the city (1966). In this paper، with attention to the principle of «angoisse de l''influence»، as the conscience of writers، with emphasis on polyvalent، we answer to imputation the of Nader Ebrahimi about symphony of the dead and why and how the Abbas Maroufi influence of Another time، i was loving the city.

Myths in throughout of world، have many similarity together، therefore we can clarify all myths in some sample. There are very festival which contains myth. KUSE، a celebration that carried out before NOOROZ in Persian، has a various form، that ARUS GULEY- one of the Fertilization Festivals of Guilan is one of them. This paper is an attempt to descript the story of ARUS GULEY، ISIS، (the Egypt myth)، PERSEPHONE، (the Greek myth)، and to say that the Guilanian celebration has very sings to verify similarity with them، thus it is appropriate to serious study. This article contain several segments: introduction of the Egypt and Greek myth، description of tow narrative of ARUS GULEY، semiology of these narratives، and the comparison SIYAVASH and RAPITHVIN with ARUS GULEY is another part of this article.

Certain Arabic classical manuscripts were accompanied by illustrations to contribute to more objectively representing them. To do so، illustrators، by taking advantage of the pictorial potentialities of literary manuscripts، attempted to depict them in a more concrete manner. As such potentialities vary، the aforementioned manner (s) would differ، accordingly. The present paper makes an analogy between the narrative elements of Maqamat al- Hariri and the technical features of the illustrations. Our main question is thus، whether Maqama، with its peculiar stylistic features، calls for a specific type of illustration، and، further، how these features could influence the type of the illustrations. In answering the question، having made the analogy، we come to two major categories in the illustrations: 1. similar drawings for different maqamas 2. Dissimilar drawings for different maqamas. The result of the research reveals a peculiar style of illustration in Maqamat al- Hariri which can be introduced as the genre''s pattern of depiction.