نشریه پژوهش های نقد ادبی و سبک شناسی
پیاپی 9 (پاییز 1391)

Always, there have been poets and authors in poem and literature whose thought and words are affected by previous literature. This relation is one of the branches of inter-textuality, and in an inter-textual relation of a literary work, parody-making has a special position. These arrangements lead to a more complicated relation between past texts, and through it, the poet offers his addressee something beyond a mere affiliation or imitation. In contemporary literature, Shafeie Kadkani is one of the most important poets who by relating his poem to other texts (co-texts) can reinforce its content and artistic basis; and at the same time, criticizes their form or attitude by which he creates pure parodies in poem. Shafeie Kadkani's parodies offer his works an innovative face and lead to account him as an erudite parody writer. Most of his parodies belong to semantic domain, and the most successful are social-critical parodies focused on myths.

In verbal humor, especially in Kariclamatour, the artist should change his/her environment to avoid repetition and monotony, and to be able to arouse and influence the addressee. To this end, the writer employs different kinds of defamiliarization, especially semantic and structural defamiliarization, to name but a few. This article intends to critically evaluate the few past Kariclamatourists works, especially those of Parviz Shapour.

This paper discusses comparative investigation in Nezami's narrations used in Khosro-Va-Shirin with some historical works. The main aim of this paper is to investigate the extent to which Nezami's narrations in Khosro-Va-Shirin reflect the historical realities. In fact, the most important purpose of this article is to determine Nezami's uses of historical texts and his changes in narrating the historical events. The research has been done by a content analysis method and the results showed that Nezami has created some parts of his work by referring to historical texts and the others are the results of his literary reflections and changes that he has created in historical texts by his poetic imagination.

This research investigates Zola's unique adroitness in creation of heroes/heroines in his stories regarding three of his books, entitled" La Curée (Hound's share)", "Masterpiece" and "The Belly of Paris". In the second half of the nineteenth century in France, due to the swift advancements in science, the perspective of authors about story writing was changed and led into more tangible life issues. Emile Zola, as the main protagonist of the naturalism school of thought, exhibited a broad tendency towards realism. Affected by this point of view, the heroes/heroines in Zola's novels are not legendary and larger-than-life like those of the old-time stories, but rather more of ordinary individuals taken from the cross-section of his society. In this respect, Zola depicts the indulgent and decadent society of the second empire according to his observations, hearings, and experiences.

The style of a good poet can be a witness to his interest in choosing and using different linguistic properties available to him. One of these linguistics properties is a figure of speech called "repetition". Repetition, if used appropriately, can greatly enhance the language used and can play various roles in a work of literature. The current paper attempts to prove, through statistical analyses, that the poetry of three distinguished contemporary Iranian poets, i.e.Shamloo, Farrokhzad, and Sepehri, has "repetition" as the most-used figure of speech in their poems. Moreover, "repetition" has turned out to be one of the most favored figures of speech in contemporary Iranian poetry. Now the question that the current work tries to answer is what figure of speech is most prominent in the style of contemporary Iranian poetry. In order to come up with an answer to the question raised, the poetry of the above three poets was statistically investigated and analyzed. The research paper concluded that "repetition", as an important constituent of the internal music of contemporary poetry, immensely helped the development of the so-called music of poetry. The research paper further emphasizes that "repetition", as a figure of speech, used in the poetry of Shamloo, Farrokhzad, and Sepehri is more frequent than other figures of speech. And apart from its musical role, it has many other functions as well.

Realism means attitudes towards reality and it was founded as a literary movement in nineteen century and it is considered as a literary style in the contemporary story literature. Some Iranian contemporary writers have used this genre. It can be referred to Ghazaleh Alizadeh as a contemporary female writer. She has considered realism in some of her works like Khaneh Edrisiha. In this article, Khaneh Edrisiha is investigated from realism perspectives. This article indicates that in addition to the fact that the realistic elements have been employed in this novel, Alizadeh has pointed to her critical viewpoints that they are mainly in contrast to romantic and realism and she has denied romanticism and proved realism and this subject indicates her attitude toward realism.

This paper reviews the roots of theories of inter-textuality in the study of Persian rhetoric. According M.H. Abrams, Inter-textuality is obtained through the following: Direct and indirect quotes, Changing the form and content features, and Using linguistic and literary traditions and rules. Among the critics of classical literature, the concept of inter-textuality is not hidden. It varies with the specific terms of modern literature. A brief discussion of the theory has been among the creators of literary and rhetorical scholars in the Muslim world. Rhetoric scholars have addressed this issue in discussions of adaptation and imitation. In this paper, these issues are examined.

Poetry in Tajikestan, as one the main manifestations of Persian language in the third millennium, carries such features which makes it worthy of investigation in comparison to other examples of Persian poetry in Iran and Afghanistan. This paper tries to study linguistic, artistic and intellectual functions of Persian poetry in Tajikestan. By citing examples of this type of poetry, a framework for comparing contemporary poetry in Iran and Tajikestan is established. In conclusion, positive and negative points of contemporary poetry in Tajikestan are presented and ways of safeguarding this valuable cultural heritage is suggested.