نشریه مطالعات ادبیات تطبیقی
پیاپی 54 (تابستان 1399)

Transtextualite is a literary approach that allows critics to investigate the links between literary works in a scientific and systematic way. Gérard Genette is one of the most important theorists of this approach who plays a key role in its application. This article has been formed with the aim of establishing a relationship between the theory of Gérard Genette's Transtextualite and "Istanbul, Memories and City" novel by Orhan Pamuk. And it has been tried to be analyzed based on the divisions of Gérard Genette's Transtextualite of urban space and architecture of Istanbul in the novel. The research is conducted based on deductive research method, based on the data collected by documentary studies and data analysis based on comparison and comparison. In the mentioned novel, Orhan Pamuk has been able to place the roots of previous artistic works of texts such as literary texts, prose, poetry and painting in various ways in his text and establish a close relationship with the theory of Gérard Genette's transtextualite, especially in the field of transtextualiteand hypertexuality.

Poets who wrote about the imposed war are divided in two groups; the first group of poets are influenced by the trend of the Islamic Revolution, whose literary and artistic life was formed or highlighted during the Islamic Revolution and the imposed war. The second group consists of poets who had a significant reputation before the Islamic Revolution and wrote about the necessity and sense of duty about the imposed war. Mehdi Akhavan Sales is from the second group. Before the Islamic Revolution, he was a prominent poet and with the beginning of the war, he used his epic and artistic poetic language to save the country from foreign aggression. This study examines the poems of Akhavan Sales about the imposed war and analyzes them from a stylistic point of view- based on the intellectual level. The result of the research is that Akhavan, as a pro-Iranian and pioneer poet, in spite of his religious and political differences with the dominant discourse and poets of the Islamic Revolution, is remarkably close to the desirable identity model of the governance in his war poems.

The purpose of the present paper is to study the classification of audience in the context of time in Iranian contemporary art. One of the challenges that are evident in the art of today's Iranian society is the shaky position of the audience. A position that should be decisive, but other factors that are out of the realm of art and the artist such as the view of politics and power and economics to this category are more influential. It seems that knowledge of the audience depended on the view of the elites of society to different types of audiences, but to what extent this classification of the audience, which ultimately led to the absence of the audience, was based on the correct knowledge of the top people in society or based on the top attitude to the elites of society. It can be said that various factors are influential in classifying the audience of art. According to the present study, it can be said that the audience of art in the context of time have been different based on social, economic, political and ... factors. Also, in order to divide the audience, effective and key factors must be considered at any time.

Henry James, a well-known American-British novelist, writes about women as human beings in his works and does not look at her from a gender perspective. Now in this article, art is like a painting or, in other words, a portrait that tries to draw and narrate a woman. Woman is written not as a woman but as an imitation or representation of a woman or prior woman. This theme evokes Deleuze-Guattari's interpretation of alienation to some extent. Both influenced by the poststructuralist and anti-enlightenment intellectual trend are a special form of literal writing that resists against any coding interpretation and avoids any predictable, subject-centered structure. In this research, which has been written based on analytical –descriptive method, author intends to analyze based on Deleuze's theory of logic of emotion and minority literature, women do not have a predetermined framework in James's art stories and especially in "The Future Madonna". They look forward the future and do not represent the past; So he does not seek to represent and wants to portray "Seyrurat" i,e. becoming.

This article compares the concept of "abjection" in Forough Farrokhzad's poem "Another Birth" with the thought of ​​"rejection" in "Powers of Horror" by Julia Kristeva. This article seeks to study "abjection" images based on a comparative reading of "powers of horror" by Kristeva in Forough's "Another Birth." The reason for choosing Forough Farrokhzad is that Kristeva's theory is very capable of being applied to her poems. This theory, of course, covers a wider range of Farrokhzad's poems, which is beyond the scope of this article. On the other hand, her poems as the central basis for the enlightenment of Kristeva's theory on the phenomenon of abjection are also very evident. Abjection is one of the most fundamental currents of the subject in the process: i.e, a state of rejection of what is considered other for self, thereby creating ever-unstable boundaries for self. Abjection is something that a person rejects, throws away, and expels almost completely.

In every era, the greats and intellectuals of the time have sought to find a new solution to the problems and complexities of their world in order to get rid of the existing bottlenecks of time, and poetry is one of the important tools in the service of this though. Realism and hyperrealism are two important elements of the poetry of contemporary poets. And documenting in general, recording, interpreting and narrating the personal experiences of the individual and transforming and referring it to various social, political, economic aspects is a context of language that has been full of initiative and experience. Realism is a literary school that became popular in Europe and the United States between 1880 and 1850. The most important feature of realist works is that it presents man as a social being and seeks the root of all his good and bad behaviors in society. The school of realism is one of the schools that depict the problems of the individual and society like a mirror and the author does not include his personal opinions in it. Most contemporary poets, as writers of realism, have been able to express and depict the poverty and problems of the people and their struggle to continue poetry.

In Qajar era, due to the lack of mass media on one hand and the expansion of the general level of literacy on the other hand caused the situation of people from different classes (kings and princes, scholars and clerics, open-minded educated people, poets and writers and even the common people) to be proposed, rather, many of the current issues to be mentioned in the letters, which have been less considered in official and administrative correspondence due to security and secret issues. This period, while from a historical point of view, Persian prose has been transitioning from artificial prose to technical prose; from a cultural and social point of view, correspondence was freed from the monopoly of kings, ministers, writers and people of grace, and the general public also tended to correspondence. This research tries to investigate the role and status of letters and correspondence in Persian prose by identifying the type of writing, terms and literary interpretations used and the ideas and themes of the types of letters left from the Qajar era.

Mythical heroes are human beings who go beyond the common norms of society and become the manifestation of the values ​​of that society with their adventures and way of life. One of the prominent and different subjects in ancient poetry is myth, which has been manifested in a different way in Persian contemporary poetry. This research compares the heroic myths in the poems of Nima Yoshij and Ahmad Shamloo with descriptive methods, intratextual evidence and library method. The results show that heroic myths are more prominent in Shamloo's poems than Nima and Shamloo has considered the concept of humanism in the way of using heroic myths. Heroic myths in their poems are not only the power of ancient poets, but also differ in the style and method of myth-making; These differences are caused by the special style of poetry in the contemporary period, which has influenced the heroic myths and how they are used. The common point of their poems is the use of Greek myths.

Grimas (1917) believes that there are six positions, including the sender, the receiver, the actor, the object, the deterrent, and the assisting force, and five positions, including the initial position, the destructive force, the intermediate position, the organizing force, and the final position in each story. In the poem "Khosronameh", attributed to Attar, which is a lyrical and romantic poem, in addition to the said situations and positions, according to the role of a valuable object (Golrokh), which the main events of the story are created by his presence, except the main narrative, sub-narrative is formed with a plot separate from the main plot; As the multiplicity of characters caused numerous episodes in the story, and this is what adds to the appeal of this work. Accordingly, in this study, we intend to analyze the plot structure and the position of a valuable object in the story of "Khosronameh" based on the model of Grimas actors. The results of the present study, which has been provided in a descriptive-analytical manner using library resources, show that the existence of sub-narratives and plots hidden in the heart of the "Khosronameh" narrative, in addition to creating multiple structural patterns of plot caused suspense and various episodes.

Proverbs are important rituals and representations of human societies that represent human society, culture, and literature, their interests, tastes, and attitudes well. Baluchi language, literature and culture has always been in direct interaction with Persian language and literature, and on the other hand, Baluchi and other Iranian languages, dialects and subcultures, either directly, due to the position of Islam in this land or indirectly, due to Persian, which has been in closer interaction with Arabic have been influenced by proverbs and wise sayings and hadiths and narrations that have become proverb. In this article, we have tried to examine the prominent and remarkable examples of this type of proverbs and sayings that have become the form of proverb. One of the most important results in the middle of this research is the role of Persian language and literature. Regarding the commonalities of Baluchi and Arabic proverbs, most of the compatible examples of these two languages, the common example of them can also be found in Persian.

Extra-regularity and deviation are two major parts of literary highlighting; the use of them can be considered a turning point in the language of a poet's poetry. In this regard, in a descriptive-analytical study, we intend to examine the tools of poetry creation, especially its deviation in one of the poems of the prominent Iranian poet, Malek Al-Shoaraye Bahar. For this purpose, after a brief deviation to the pattern of linguistic deviation that was proposed by formalist linguists, especially Jeffrey Leach, the poem "Damavandieh" was analyzed from the point of view of this pattern. The results of this study showed that Bahar in his poem has more or less used all types of deviations, in which the frequency of semantic and temporal deviation is higher than other types, and this can be on the one hand, due to the prevailing political atmosphere during the life of this poet and the silence and indifference of the people towards his destiny and on the other hand, the deep study and attention of this poet to the works of previous poets and adherence to the traditions of the past.

The movement of translating masterpieces of Persian literature, which began with the translation of Saadi's "Golestan" in 1644, attracted the attention of the French literary centers of criticism and forced them to study the historical sources of Iran. Among them, great poets and writers such as Victor Hugo, Marceline Bradwalmer, Henri de Mousse, Lafontaine, etc. are among the French romantic poets and writers who, under the influence of Orientalist views, are among the pioneers of literature in this field. In this article, Saadi's influence on Victor Hugo and its manifestations and effects are examined and criticized. In addition, it has been shown that Iranian literature has influenced Victor Hugo so much that he has written a significant number of his works inspired by Persian literature, especially Saadi's works. The article deals with common concepts and issues in the works of Saadi and Victor Hugo and seeks to show the different dimensions of Hugo's influence from Saadi.

A comparative study of society and its reflection on the political thought of Saadi Yousef and Abolghasem Lahouti from a political and social perspective requires understanding the specific conditions of the society in which these two poets lived. Since the concept of freedom has taken a political color during the constitutional period, this concept appears in Lahouti's poetry as a revolt against oppression and support for the working class and the suffering, and in Saadi Yusuf's poetry as a struggle against empty and false promises. Saadi Yousef and Abolghasem Lahouti have used various literary techniques such as symbol, humor and contradiction, adaptation and guarantee to express the influential social situation in their poetry, for example, to indicate the existence of enemies and colonizers, symbols such as black, red, city and Villages, palms, rivers, etc. have been used, with the difference that in Lahouti poetry, the use of a symbol is more tangible. These two poets have also been able to use other mentioned techniques to have a good impact on the political and social situation of the people of their land and to fight against oppression, exploitation, imperialism, westernization and the invasion of Western foreign culture.

Death, as one of the greatest mysteries of human life throughout history, has always been considered by thinkers. Abul Ala Moari, an Arab poet, thinker, and Khayyam Neyshabouri, an Iranian poet, philosopher, and scientist, were among the characters who thought a lot about death. According to them, there are different perceptions of death. Positive and negative perceptions that are rooted in the philosophy of creation and the meaning of life, and without achieving the philosophy of life, it cannot have a correct perception of death. As a result, there is a deep connection between the meaning of life and death. With God's help, in this article, while presenting a biography of the two poets' life, we intend to study and analyze the thoughts, ideas, and aspects of similarities and differences between them, and to examine the views of these two people on the category of mortality and death.

Samih Al-Qasim and Hossein Israfili are prominent poets of the Palestinian and Iranian resistance who have common themes in their resistance poems; Both have written many poems about their homeland and have used myths, symbols and codes in their resistance poems. Israfili and Al-Qasim have used the myth of Angha in their poems and both of them have considered themselves obliged to perform their duty in the field of resistance well. Using descriptive-analytical method and using the American school of comparative literature, the authors of the present article have compared the poems of the resistance of the two poets and examined the commonalities between the two poets. The two poets consider the stone to be a symbol of the Palestinian resistance, and both have used this symbol in their poems. The poem of the resistance of the two poets invites to strength and endurance and cohesion of ranks and mobilization of national and world forces against the evil enemy and the declaration of his crime; Writer that by stability against the conspiracy of the evil enemy and non-acceptance of defeat to the last detail considered struggle against oppression and corruption as their task.

Invitation to national unity and cohesion is one of the main themes in sustainability literature. Therefore, one of the most important discourses among the poets of the Islamic awakening in Persian and Arabic contemporary poetry is the issue of unity and public invitation to solidarity and the formation of a single line against the enemies. This important socio-political category, the main sources of which are the guidelines of Holy Quran and the hadiths of the Prophet (PBUH), is widely reflected in the contemporary period and in the poems of bilingual poets; In a way, these poets consider the factor of unity in religious and national fields as one of the main factors of victory and success of Muslims in their political and social arenas. In this article, we will examine and analyze their views on the issue of unity by passing over the poems of the most important Persian and Arabic contemporary poets in the field of sustainability literature. The approach of this research shows that these poets, while enumerating the dangers of division, consider unity in its two Islamic and national spheres as the basis for achieving goals and defeating the conspiracies and plans of the enemy.

Ammar Basri Nestori, one of the Christian prominent theologians during the Abbasid period, lived in Baghdad and Basra in 800 to 850 AD and worked to propagate Nestorian Christianity. He has two important theological works: one is the book "Al-Borhan Ala Siyaghat Al-Tadbir Al-Elahi" and the other is the book "Al-Masael Val-Ajuba". In these two books, he describes Christian thought with philosophical thinking and religious thought. In essence, it provides defenses for the word of Christianity and responds to the criticisms of opponents (especially Islamic theologians), and in fact, it tries to defend Christian beliefs with rational and narrative arguments. "Al-Burhan" book is known as one of the oldest Christian defense books in this regard and is unique in this respect. In this theological work, he deals with twelve main topics, especially critical ones (such as the Trinity, the Incarnation, the Unification, the distortion of the Bible, the crucifixion of Jesus Christ, and the sacrifice).

Monographie is a research that is (usually) done by an author on a single topic and the result, which is accompanied by a description and details, is presented in the form of a book, article or dissertation. Monographie research was first used by Frederick Lopele in the nineteenth century to describe workers' lives. He published the results of his research in a book entitled Workers of 1855. In Iran, monographie first began with the publication of the book "Orazan" by Jalal Al-Ahmad, then the writing of monographies took a new form. The subject of this article is also dedicated to the monographie of Mohammad Ali Eslami Nadoshan. In this Islamic article, Nadoshan is introduced, his works are classified, and then his most famous works are examined.

Khosravani's wisdom is an unreasonable charter and a great legacy of the teachings of ancient Iran, which shows a wide range of wisdom and philosophy, poetry and literature, and even mysticism and Sufism in a frame. This study aims to compare the views of three great Iranian thinkers Ferdowsi Hakim, Sheikh Ishraq and Najmuddin Razi to answer the fundamental question that how is it expressed the eternal myths of Khosravi wisdom in the thoughts of Sheikh Ishraq, "Shahnameh" Ferdowsi and "Mersad Al-Ebad" Najmuddin Razi? The method of conducting the present research is a library study and in a descriptive-analytical and comparative method. This issue is the heritage of Iranians for thousands of years to institutionalize love, light, goodness and beauty. Among the important results of this research are the myths from Ferdowsi's "Shahnameh" to Sahrurdi's "Wisdom of Illumination" that always carry mystical and heroic messages and symbols, and many of them are derived from the long-standing wisdom of Fahlavi scholars. These ideal heroes, by defeating the evils and the blacks, are the manifestation of the eternal opposition of good and evil.

The story of Leili and Majnoon is originally one of the old stories of nomads of the land of Najd in the Arabian Peninsula, which was narrated by Abolfaraj Isfahani in "Al-Aghani" by providing a document. The most famous story of the poem Leili and Majnoon in Persian is the military poem of Ganjavi. In this article, the environment and its influence on the two poets, Nezami and Qais Ibn Molawah, are analyzed in the composition of their poems, the characters of both stories are matched and differences and commonalities are represented. It seems that despite the fact that Nezami has used many of the themes in the Divan of Qais Ibn Molawah, but he has made very beautiful modifications in the story by using the taste and art of poetry, so that he has succeeded in building a school in love to be compatible with taste of many readers and Leili and Majnoon causes world popularity of this story. The story of Leili and Majnoon is not just a failed love story, but it is the image of a closed society doomed to the brutal domination of the traditions and dry laws of the tribe. Throughout the story, Nezami shows that it must obey the law of God, I,e morality and chastity, and, contrary to the Arabic narrations, Leili has been preferred in the image of story.

Ghada Al-Saman is a Syrian contemporary poet that wife, love, discrimination and anti-prejudice are the main themes of most of his poems. He is best known around the world as a writer. Parvin Etesami is an Iranian poet whose poems express love for humanity, freedom, social justice, science, art and love for the deprived and suffering strata of society. This study examines the biographies and poems of two women poets and enumerates the similarities and differences in themes and concludes how two poets in two close periods of time can be so similar and through the lens of emotion of these two women look at the world and the issues in it, and achieve the new and innovative ideas in the adaptation between Persian and Arabic literature.