نشریه پژوهش های نقد ادبی و سبک شناسی
پیاپی 14 (زمستان 1392)

This essay is a section of a comprehensive study which discusses stylistic elements of twelfth and thirteenth century poetry such as imagery, language, rhythm, and social and rhetorical elements. The poetry of this period, which is known as Literary " Bazgasht period, was generally represented in lyric. The lyric of this period, more than other poetic forms, was impressed by the cultural and regional atmosphere of the twelfth and thirteenth century and is more genuine. It is better to call this poetry "Anjoman" poetry. The Anjoman poetry exploited imagery deservedly like other poetry of Persian poetry. Simile, metaphor, trope, and irony in Anjoman poetry depict the eager and fond spirit of these period poets in the direction of the simple and fluent style. The spirit that seeks love and is very interested in its manifestations. The quality of being realistic provides sincerity of word and poetical images and reader's fascination, that is to say, in the direction of "voghue gooee" movement of the poetry before "Hindi style", "the first poetry of Literary" Bazgasht poetry (Afshar and zand period was full of simplicity and devoid of any artificiality in all poetical fields such as imagism and atmosphere.

In literary criticism, different aspects of the script, such as historical, social and aesthetics, besides hidden ideas in the base and latent layer of script is evaluated. The feminine criticism is also one of the literary criticism branches in which the relations between literary script and feministic ideas, thoughts and views is studied, and it shows how the demonstrated image of women is close to the real image of them. Marzban-Nameh is one of the most precious literary works of this country that in some of its stories, the personality of those specific women are described by analyzing their role and position and explains the dominant thought over social thinking in that historic period when this precious work is created. The feministic stories of Marzban-Nameh can be divided into two groups of misogyny and phylogeny. The second group stories are valuable ones as the feministic criticism point of view, since it is mentioning the good attitudes of esteemed women and mostly is demonstrated by dynamic and active images of this group of women. In this paper, by investigating and analyzing on these two type of stories, it is attempted to explain the women situations in the period of creating of the work as possible as it could be.

Mustafa Rahmandoust has started composing poems for children since 1351 and is actively working in this field. Because of the quantity of his published materials and cultural activities related to children and young people he is known as one of the most discussed and most significant poets in this area. Due to the impact and place of Mustafa Rahmandoust's poems on children's poetry, it is essential to study and examine the elements of his poems scientifically in order to understand his poems more precisely, and to assist and provide a context for development of more comprehensive children's poetry. This paper examines the use of poetic elements in two collections of Rahmandoust's poems (100 Ruby Beads) and (Light Source) in which the first one is written in age group (A and B) and the second in age group (C and D). His poetic skills in different age groups have been assessed and the differences and similarities in how the use of elements such as music (outer, side, inner, spiritual), image, language and emotion have been found inthese two collections, and generally the strength and skill of the poet in each of these age group's poems has been detected.

Element of the plot is the most important character in the narrative. The story focuseson the events of people's lives, Thus, the type of the novelist writes a novel that creates its own fictional Character. Mahmoud Dowlatabadi is the greatest realist writer in Iran; He creates in the novel Klydar more than one hundred and twenty men,women and children Too many characters in this novel has become the best source for the study of fictional Characters. This article is based on methods and techniques of the characterization of various characters in the novel Klydar.

Among the various Genres of contemporary Persian poems, postmodern Ghazal is the newest version. This style is distinguished because of some special reasons such as deviation, polyphony, word play (clinch) etc. It is important that we have not done serious research on postmodern poetry. Also there have been extreme comments by commentators regarding different aspects of Ghazal but to date there has been no academic research devoid of prejudices. This is the major objective of this study and the motivation to do it. To understand Postmodern Ghazal language features, one must realize how language norms and aesthetics are explained.

The present research studies Marzban Nameh tales considering personification and its role on narrative texts, according to the votes of those who are narrative mastered. The aim of this research is to show that what elements and tools are used in personification of narrative texts. Can we compare personification methods of Varavini to votes of contemporary people who are masters in narrative? In the main body of this research, we tried to explain personification, its importance in fictional texts and the relation between Roland Barthes theory and personification element. Then different methods in personification with a focus on Marzban Nameh tales are studied. After studying the tools and methods of personification in Marzban Nameh tales, the writer concludes that Varavini has benefited two personification; but, frequency of direct description is higher. Direct description considers action and speech of characters, environment and their external properties; and indirect description, "naming people" specially their "semantic features", "title of stories" and "element of comparison" are paid more attention and introduce characters of its anecdotes through it.

Semantics is a very complicated subject in the literary criticism. The literary critic considers the signal as a significant part that should be considered on the basis of semantic and cultural orders. On the whole, the final aim of semantics is discovering these interpretations of the context. The main subject is that we can consider the context as an order of signals that knowing them especially in the modern fiction help to understand the narrative better. One of the most useful kinds of signals is symbol. The aim of this article is to briefly illustrate different kinds of symbols in the fiction and the practical criticism of the fiction lakkeha (Spots) from the category of Tame gase khormalu (the acrid taste of persimmon) the work of Zoya Pirzad with paying more attention on her symbols. It is important to consider that our aim is not to give the same pattern for all of the fictions because each fiction by considering the way of associating its signals has an especial pattern. In conclusion, it was found that the writer can reach a significant innovation in narrative of fiction with conscious use of Semantics & symbols.

In this paper, different types of dialogue and their significance were studied in the realistic novel the song of the killed. The novel is significant in the depiction of social political conditions of the era in which it was written and emphasizes the troubles and efforts of a generation of political activities. Dialogue plays a key role as one of the most significant elements of the fiction, an element of structure and a way of creating and introducing the characters in the novel. Baraheni has artistically made use of different types of dialogue and their specific function to reflect the events of the novel and attract the reader's attention. In the majority of cases, dialogues are in harmony with the personality of the characters and the reader reaches the mind of the characters through their words. The function played by dialogue in this novel can be used as a model in latter works.