فصلنامه شعر پژوهی (بوستان ادب)
سال هفتم شماره 4 (پیاپی 26، زمستان 1394)

Regarding the structural similarities of myths and ancient narratives, Joseph Campbell has depicted a single pattern for all stories. In the conclusion of his ideas, he benefited from Jung’s archetype theory and elaborated on his own proposed pattern, the hero’s journey. Although this pattern is subject to change due to the differences in periods and cultures, its foundation is always fixed including stages such as the call to journey, passage through the threshold, test, reward, and Return.
As the Maneli poem by Nima deals with deep layers of human thought and psyche and employs symbols, it depicts a paragon of the mythological stages of the hero’s journey. The stages of Joseph Campbell’s the hero’s journey pattern is accomplished without any deficiencies in this poem. The hero of this poem, Maneli, accompanies love and achieves a new knowledge of the world in his social and theosophical conduct while passing barriers and tests.In creating the Maneli character, Nima considered his own personal life experiences. In fact, Nima has created Maneli based on his own life pattern and has talked about his own concerns and everyday problems of life in it.

Line breaks is one of the lesser known aspects of music of poetry . The musical intervals AmongThe verse of a poem could be increased If this technique is used properly as well as Fore grounding the language and resonance of musical poetry
.shafii in His most recent collection of his poems have been widely used this technique.The aim of this study was to investigate the Line breaks in Shafi's poem.By this study was clearly Determined the distribution of these categories are not the same in poem collections .For example,in collection of “dar setayesh e kabootarha” this technique has been used 96 times and as well as used 85 times in “sarve kashmar”This study also revealed the Line breaks have been made with three goals in his poetry. The fore grounding of Syntactic structures, the increase of rhythm of music of poetry, However Some of the line breaks fall among the unites of verse to give poems a particular appearance and to create visual images.

As the title suggests, the main subject of our article is the clarifying the role of Sanaee in Persian Qaside evolution; the role that if not more important than his role in Persian Ghazal evoloution, not less important. The scattered researches allusion to this topic but the vacancy of the article that pay to this topic independently was clear. This article is effort in this direction. For this purpose, we assesed his Qaside in two levels: the formal structure and discursive order. The result showed that Naser Khosrow and Sanaee are milestones in development of Persian poetry. We split the Sanee’s Qasedes formly and contently into three groups: Traditional Qasedes, Middle Qasedes and New Qasedes. His committment to the tradition in first groups was high and his innovation in these groups was low. contractly, this ratio in the third group of his Qzasedes was antithical. so we can considered her as inventive poet of mystical poetry.

The correction of literary and historical texts is one of the valuable works in recent century which has provided the basis for the revival of many classic poetry and prose. This has paved the way for the accessibility of scientific, literary, historical and religious texts for those interested in Iran’s history, literature, and culture.
The history of Zolgharnain written by Khavari Shirazi, one of these historical texts, is one of the first-hand sources of King Fathali Shah Qajar in which the author has written many of the historical and social events of that period.
This book is published in two volumes corrected by Naser Afshar containing an introduction by him in which there are around two thousand couplets with different subjects which are of especial importance. In this article, we, first, investigate the defects in the corrected introduction and the text footnotes, then, we attend to the criticism of all the poems’ correction in terms of content, text readability, techniques of correction and writing.

This study poses a literary-psychoanalytic theory based on the Freud's opinions. In short, the basis of this theory is based on the answering of this question that whether by a psychoanalytic criticism of Siavash's Story it would be a link between the events in the middle of the story by changing the moral precepts of the Iranian people? With this approach, a modern literary- psychoanalytic theory in line with the above question is raised: Siavash is the victim of a moral transition of Iranian people from the Instinct - based Provisions of the King. A theory that its producers benefit from the psychoanalytic Criticism of Siavash's story as a tool to prove it. Based on this theory, events like Siavash's life and death challenge some parts of beliefs that were embedded in the mind and conscience of the people. The most important of these embedded beliefs in conscience was that King's verdict at any time and order is moral and it was because the provisions of conscience on that time were influenced by royal provisions more than anything, a topic which is challenged during the story of Siavash and prepares a condition of crossing from the king's conscience of Iranian people to the post-royal conscience of Iranian people.

One of the most outstanding characteristics of Hafiz is the inferential relationship that joins two sentences or two hemistiches of a line of verse. This pattern is so commonly used by Hafiz that it can be considered the stylistic feature of his poetry. This structural pattern is sometimes made of two independent sentences and sometimes of one compound sentence; one of the sentences acts as a premise or cause for the other sentence which is the inference made based on the premise. In this paper, we try to show in what form the premise and inference appear (Imperative, Interrogative, Informative, ...), what the order of their appearance is and what changes occur if the premise and inference shift their positions.

because of some of the major problems in the freudian psychoanalysis as well as psychoanalysis criticism, for example Intense individualized and reduced , this theory was criticized by many psychologists and critics.
french post-structuralize philosopher and psychoanalyst, Jacques Lacan, to the amendment the contradictions, put against all a new approach, to these Freud findings and upgraded The psychoanalysis of restricting bottleneck of Individual to the scope a community and established order.
This article tries to At the same time the major role of the father / law in identification of the subject represent different reading from The passage of these ideas, different reading and interpretation of the open text of Rostam and Esfandiar threnode to readers and through its expose Internal contradictions and illusory like of The legislator's father (Goshtasb is a example for it In this story) about sense of pleasure abduction and transfer this feeling to the subject until Finally reload hidden aspects and the main causes of its from new comment.

Dramatic adaption of Persian old texts is one of playwrights’ concerns. Mantegh-o-Teyr as one of this text has been liked for adaption. But these plays are lack of characterization and dramatic action because of different between Persian and west literature.
Using Greimas’s theory about action of character basis on three factor: wanting, knowing and ability, can be approach to create an activist character and adapt form texts like Mantegh-o-Teyr.
In this paper, it has been selected those female characters that can be classified at Greimas’s theory. In Mantegh-o-Teyr, there are a little women that can be a heroine in a play, but it needs a dramatic pattern that is based on Greimas’s theory.
As results of this paper, a few tales of Mantegh-o-teyr like sheik sanaan and Christian girl can been recommended as a story whit classical and lineal structure and other tales are lack of dramatic aspects like characterization. Hence, Christian girl is most important character in this significant book of Persian literature and other characters have mainly mannish attributes and they are non-storied.

Imaginations in the most of definitions which have heard before, is the mostaxialelement; and many people believe that there isn’t any poem withoutit. In the first vision, as if this element is the Couse of attractiveness and affection of some poems and nondependent couplets. But if we see exactly to different periods of Persian poetry, we find that many of effective couplets of any period are couplets that affect ongeneral and specific addressees, without using imageries. Thehesitating problem is that what conditions and reasons in this kind of verses, cause to affection and eternity of them.we can divide causes and reasons of this couplets effectiveness to two sides of external (form) and internal (content) of language;in external dimension of language, causes (element) such as music (prosodic rhythm, rhyme andetc.), high frequent of verb,short sentences, relative to conditions and situations, grammaticalfigures (technics)which connected to hermeneutics of text,diction of special words, their hide connection,using of public language, andetc. And in internal side we can count, sensationand affection, atmosphere and scene, plainness and logicality of meaning, notice to the situation needs, effective descriptions,dialog, vast and extreme thought, closeness of the poet experience to the addressees’experiences, special and rich of addresseethemes and etc.
We can tell that from formal and contentelements, thataffection has the most important and determiner role. Affection is, in aloneness and with the other elements, the main factor of effecting of these kind of verses, and withoutit, the other elementshaven’t so affection.