نشریه ادبیات تطبیقی
پیاپی 15 (پاییز و زمستان 1395)

Abstract Principal question of This paper is comparative pondering metaphors that illustrate the relation and similarity of thoughts rubaiyat and talasem. Theoretically, the study is based on conceptual metaphor theory that raises metaphors from a rhetorical technique to an instrument for thought and cognizance. At first the paper re-conceptualizes the foregoing theory based on key terms of cognitive linguists. then have presented the metaphors that are the same for rubaiyat and talasem. It also conceptually divides the metaphors into four groups:1)created similar of obliged captive; 2)animal similar of human; 3) world similar of building; 4) world similar of circle. Then it investigates negative metaphors and ambiguous metaphors and analyzes them cognitively. Similarly, it presents the artistic techniques related to metaphors and specifies what the poets’ techniques are in producing these metaphors. The paper ends with this conclusion that outlooks Aboomazi in talasem indicatives intertextuylity and reflexe of Khayam’s philosophical discourses

Intertextuality is a theory that connects old and new texts, and adds to the richness of literary works. Therefore, through a descriptive-analytical method, and with emphasis on Julia Christova’s theory, this study aims to conceptually review the effect of religious intertextuality in resistance poetry of Mahmoud Darvish, the Palestinian poet, and Qisar Aminpour, the Iranian poet. Intertextuality involves many areas; however, since these poets have conceived that Quran and other divine books and religious men are the main sources for man’s freedom, with the help of religious intertextuality, they have invited people to fight against enemy. Darvish has benefited from Jewish and Christian sources mostly through parallel and general negation, and Aminpour has used the parallel and minute negation. Intertextuality in Darvish poems has more specificity than in those of Aminpour. Using religious intertextuality in three areas of Islam, Christianity, and Jewism represents the two poet’s interaction with other religions, and this is something that the world needs. The religious integration mentioned by Darvish and Aminpour is an issue in the light of which governments could leave religious conflicts and reach a kind of peaceful coexistence.

To study the implications of various elegies for Imam Hussein in the poetry of Arabs and non-Arabs is of great importance to many researchers of comparative literature. In this context, the main feature of the elegies is addressing the sufferings of Imam Hussein, and crying upon his pains. Sharif Razi, a poets of Arabic literature in the fourth century AH, and Mohtasham Kashani, a poets of Persian literature in the tenth century, are among Shiite poets who share characteristics regarding elegies on Imam Hussein. This study tries to compare and contrast the elegies of these poets through a descriptive-analytical method.the results are represented in charts.

Matthew Arnold’s “Sohrab and Rustum” is a poem in English literature composed as an imitation of Ferdowsi’s “Rustam and Sohrab”. This work, typically known as a free translation and a re-composition, has earned great fame and propagation for Shahnameh in England. Matthew Arnold has primarily adapted the underlying motif from Ferdowsi. Then, he has conformed and decorated the work with the epic literature of ancient Greece. It is actually stated to be a combined poetical work. In general, we can definitely state that the work owes its inspiration to Shahnameh. However, for its mode of expression, descriptions, similes, as well as literary and epic traditions, the work is quite inspired by Homer’s Iliad. Arnold has left out most essential parts of the story such as the missing of Rakhsh, Tahmineh’s falling in love, Hajir’s captivity, Rustam’s conflict with Kavus, asking for antidote, etc. Moreover, he has made changes to some parts such as Sohrab’s being killed, Rustam’s knowing about his son’s gender, and the like. Although he is claimed to have greatly damaged the story’s main plot, Matthew Arnold has made up for some deficiencies of Ferdowsi’s Shahnameh in several cases. In both stories, maximum similarities are considered as the basis. Thus, the present study merely points to some of the differences, and instead, it mostly deals with Matthew Arnold’s inspiration from Iliad; something that has already been overlooked by critics.

Literature reflects the social status of any literary and social circumstances of his life. According to the Eastern European School of Comparative Literature, Social factors play an effective role in the creation literature. If two of the same degree of social and economic progress, this would result in the emergence of many similarities in their literature.
One of the most elemental aspects of the poem of Onsori, as the famous poem ode (GHASIDE) in the fourth century, and too Abbasid Ibn Moataz is the aristocratic nature and it’s Mentioning the effects and symptoms.
Undoubtedly, the conditions of life of both poet in the court and theirs the financial enable have important in the employ of aristocratic ingredients and marks.
This article with descriptive - analytical way and comparing poem of Both poets and proceeding to important and seminal typical of the aristocratic nature in the poem of them demonstrate that Aristocratic and royal color imagery that based on court environment is very tangible and intangible. But the shadow of praise on the aristocratic Descriptions of Onsori is dominant But the Ebn moataz less benefited from the shadow of praise in the Descriptions of real and unreal.

As a bridge between the two Iranian and Islamic cultures, Kurdish proverbs play a valuable role in the survival of cultural values. Throughout history and especially after the arrival of Islam to Iran, this language has been associated with the Arabic language, and has exchanged many cultural elements with Arabic culture and language. Given the unique role of women in Iranian and Arabic culture, this study attempts to comparatively investigate the image of women in Kurdish and Arabic proverbs with a historical approach, through a descriptive-analytical method, and based on library resources. It also expresses their common views on women and explores the roots and causes of such views. Based on the findings, the issue of women in Kurdish and Arabic proverbs has both positive and negative dimensions, and, good or bad characteristics are attributed to her each influenced by the type of government, political, social, economic, and cultural conditions, or religious beliefs. Depending on the conditions, there has been a sort of extremism in both Arabic and Kurdish cultures and languages. However, in all circumstances, the constructive role of women in the society has been reflected.

Allusion is one of the linguistic techniques which, like many other literary techniques, have been neglected by researchers and critics in different periods of history of rhetoric so that only one aspect i.e. alluding to a hemistich, a line, or some lines from another poet. For this reason, this study intends to look at the history of allusion as a figure of speech and its status in Arabic and Persian rhetorical subjects, and, while describing and interpreting rhetoric attitudes it refers to its types and names and finally gives a new definition and title for allusion by resorting to the principle of semantic extension to release it, to some extent, from semantic limitation of traditional rhetoric. Result of the research shows that the definition of allusion in all rhetoric books refers to some types which, in the more comprehensive fields as eloquence, rhetoric, prosody and plagiarisms, are referred to as esteghbal, tatabo, tamlit, esteaanat, idaa, tafsil, etc. Therefore, considering this mixture and the mismatch between the meaning of allusion and its types, it can be defined as participation and exchange of verbal and semantic elements − including a line, a hemistich, a verse, or a parable − between the speakers which is performed based on the circumstances or to embellish and emphasize meaning and which results in highlighting, referencing, creating meaning, and creating artistic ambiguity and brevity.

The literary technique of repetition has a remarkable role in rhythm induction and text coherence. This rhetorical device has more functional role in contemporary than in classical poetry because in contemporary poetry the elements of revealing emotions and internal feeling and also creating dramatic rhythm are amongst features added to functions of repetition device. The present study attempts to investigate various types of repetition used in two books of poetry ‘Rasā’il Min al-Zaman al-Jamīl’ by Soad Sabbah and ‘No Plant and Stone, but Fire’ by Nader Naderpour. It was found that the repetition of syntactic structures is manifest in these two poetries at consonant, vowel, word, and syllable levels, and also in combinations, and declarative and compositional sentences, in a manner to concentrate the readers’ attention on the implication, to sustain an action or situation, and to highlight the theme of poem.

Yousof-al-Azam, the contemporary Jordan poet, and Mahmood Shahrokhi, the contemporary Iranian poet, have regarded Palestine and Quds and composed numerous poems on the issue. Both poets praise Quds and address it with a variety of titles such as the first kiblah, altar, temple, pearl, Kosar and Paradise. They portray with sorrow the occupied Quds, the exile of the Palestinians, murder and loneliness of people in the disaster.
This study, through a descriptive-analytical method and using library resources, tries to examine the poems of Yousof Al-Azam those of Mahmood Shahrokhi in order to indicate the way Quds and its related issues are portrayed by them. The findings suggest that, through reminding the divine status and the spiritual sanctity of Quds, both poets call people to struggle and resistance, and give them hope as to the assistance of Allah the final victory. They utilize words and meanings of the Holy Quran, adding to the beauty and richness of their words and conveying their message.

Narrative time is highly important in the structure of short story for the conciseness of the genre and the impact on characterization. In the present comparative study, Alice Munro's "Runaway" and Zoya Pirzad's "Perlashez" have been analyzed based on Gerard Genette's narratology theory in order to show that the technique is highly crucial in short story and characterization. This study answers the following questions: To what extent the narratology technique is important in short story? What is the significance of Genette's narratology in characterization? The significance of this comparative study is that the works of both writers have common characteristics in style and content such as focus on women characters and their problems and the their social inclinations. It seems that Prizad has been affected by Munro’s stylistic features due to the contemporaneity of her writing and the heyday of the genre and the translation of Munro’s works into Farsi.

Studying the work of male writers and comparing their discourse and mentality with that of women in their work is one of the most important trends in feminist studies. In the poetry of Ounsi el-Hajj and Ahmad Shamlu, one faces a particular image of women; an image which is sometimes compatible with modern world standards and shows women in the equal status with men. Sometimes, influenced by the historical mentality of two authors, women fall from their modern position to a traditional status.
Based on feminist criticism and the French school of comparative literature, this study compares “Al-Rasoula Be-Shareha Al-Tavil Hata-l Yanabie” by Ounsi el-Hajj and “Aida in the Mirror” by Shamlu. The most important conclusion achieved are: - The two works have a similar entirety, and their poetic expression is masculine which, at times, contradicts the norms of feminism.
- Portraying the female figure in the two works has been influenced by mythological motifs and historical and cultural issues.
- In the some parts of the texts, Ounsi el-Hajj and Shamlu have been influenced by modern social thoughts including western feminism and humanism.

To have a definite term for a special expression seems to be one of the most important problems in Persian literary criticism. Although Naghizeh is considered to be accepted as an equal term for parody, it assumes different names in various researches, at times quite irrelevant to Naghizeh. On the other hand, the relation of some expression like pastiche and grotesque to parody has, sometimes, been disregarded. This study is a comparative examination of the terms Naghizeh in Farsi and parody in English. The aim of this comparison is to determine the boundaries, to find proper synonyms, and, finally, to arrive at a consensus regarding criticism and analysis of literary texts. Relevant texts are briefly presented to exemplify each term.