مجله فنون ادبی
سال چهاردهم شماره 4 (پیاپی 41، زمستان 1401)

The standards and the taste for art are being constantly changed and transformed. Anthologies, as a summary of the audience's views and taste, are a mirror and a reflection of the evolution of literary taste standards in any era. The process of formation and the direction and evolution of literary taste in each period can be well understood by analyzing works in different periods. In the present study, the literary taste was determined by examining Chahar Maghale and Lababal-Bab from a sociological point of view. The foundation, social context, and criteria for selection are important factors in directing the literary taste of the time from the perspective of the authors of these two anthologies. The mutual benefit of the masters of power and masters of art in immortalizing and preserving each other's names, the artist’s colleagues, personal acquaintance of young artists with famous writers and artists, and literary criticism are considered to be the most important literary metatextual features that shape artistic tastes from the point of view of the authors of these two anthologies. The balance and comparison of poets, observance of verbal and semantic proportions, and hyperbole are among the outstanding intratextual features of the criticism of taste in the discussed anthologies. The social class of the artist, the glory of power, perfectionism, and artifice, the metatextual value-creating criteria, improvisation and conciseness, and the use of literary devices are all among the examples of intratextual beauty in the studied anthologies.

The main purpose of the current study is to investigate novice poets’ Ghazal poetry who have adopted the Isfahani-Hindi style. In particular, this study seeks to identify the most prominent elements of the Hindi style in the contemporary youth Ghazal through a descriptive-analytical method based on library research. The research questions are: Why has Ghazal that should be in line with Nimayi or the taste of the contemporary audience adopted the Hindi style in some trends? In this way, what elements of the Hindi-style tradition have been innovative? And which pattern or approach has been imitative in Ghazals? The results of this study show that in some Ghazals, superficial and blind modeling of the equation and theme of neo-composition or applying new but hasty and superficial allegory and simile has weakened the content and structure of the couplet.

Based on Fairclough's approach, narrative texts can play an important role in recreating cultural, political, social, and meaning-producing structures. One Thousand and One Nights stories have a context based on the production of meaning in the structure of the text and hypertext. The story of the Sindbad Bahri is an example of what has hidden the changeable relation of the act of discourse. In this regard, this study examines the story of Sindbad Bahri based on Fairclough’s theory of critical discourse analysis in three levels of description, interpretation, and explanation using a descriptive-analytical method. It has explored the hidden and obvious layers of meaning of the text of the story. The results of this study show that most of the verbs have a predicative aspect and negative verbs are rarely seen because the existence of positive and predicative verbs shows the omniscience and the narrator's movement in the heart of the story. At the level of interpretation of this story, it expresses the spirit of economic individualism in authoritarian societies where the foundations of Ash'arism and tyranny prevent the government from feeling the duty to maintain a minimum of economic prosperity. The explanation also shows the ideological function of determinism in order to process and produce meaning in the story. The story uses the element of fear, which is a tool of power inequality in the society governing the story and also a sign of acquittal of the ruling class in traditional societies in establishing social justice.

As the Iranian printing industry entered its modern era in the 1950s, manuals of style began to flourish with sets of writing and editing guidelines for correct punctuation and text formatting. Over time, the writing symbols have increased in number, and manual organizers have tried to make their guidelines inclusive by proposing new rules and usages for the symbols. Nowadays, a great number of such manuals are publicly accessible, but there is hardly any novelty or difference from the past in them. Besides, no attempts have been made to accurately evaluate or criticize the proposed orthographic signs and symbols and the tips on how to use them. To fill the gap, the present study examines eighteen commonly used writing style manuals through a descriptive-analytical method. The aim is to shed light on the contradictions within the individual manuals and among them, the differences in the authors’ views, and the excess and defect in their approaches. This is a just and fair task of evaluation done with a bulk of examples as proofs and evidence. Each section of the research ends up with some suggestions about how to revise the set-up of guides and manuals on writing so as to reduce the inconsistencies and eliminate the textual inexpressiveness that stems from the wrong use of punctuation marks. The number of such marks presented in this study is kept as low as possible because too many suggestions would make it hard for editors and users to discreetly select and apply the intended marks.

Denomination and ritual are subjects that have fascinated writers all around the world for many years. The denomination is a wide-ranging topic that cannot be included in concise books or writings. Poets, especially Urdu poets, express specific beliefs toward their denomination, ritual, and religious leaders. Denomination and ritual are involved effectively in human life and are evident in his speech and writing. The present study investigates the concerns and interests of the Urdu poet Iftikhar Arif. It studies his denomination and understanding and the influence of Islamic leaders. He has been able to take his name and his poems to the top of the literary sky in religious literature. His poems are full of a deep understanding of Islam, love for the Prophet (PBUH) of Islam, and his household. It can be said that he has a sufficient understanding of religion and has expressed the issues of the present age in the context of religion.

Haj Mirza Masoum Khavari Koze Kanani was a poet and religious scholar of the 13th century Hijri and one of the speakers of the period of ‘Literary Return’. His works of exquisite calligraphy have about 25000 verses, which were written in the styles of the poets of the mentioned period. This shows that Khavari considered poets, such as Abul Ala Ganjavi, Falki Sharvani, Khaqani, Jami, Nezami, and Mohtsham Kashani, in writing his poems and somehow revived their ways.To explore linguistic coordinates in his poems and investigating them at the phonetic, lexical, and syntactical levels, it is first necessary to ask which period of Persian literature (Khorasani or Iraqi) Khavari's poetry has been related to in the era of ‘Literary Return’.In this article, we showed that the poet's place of residence in Azerbaijan and Kashan had a tremendous impact on his language and expression. In fact, his speech was affected by the environment and conditions of his place of residence.Our general inference was that Khavari had used poetry and literature as a means of conveying his favorite and emphasized concepts, while taking into account his religious personality.

The most appropriate method for understanding a poet or writer's intellectual, linguistic, and literary aspects is through a style comparison. If this comparison is broad, it is necessary to compare the entire body of work produced by the two poets or writers; if it is concise, it is also possible to compare the stylistic components of the two lyrics. Using a micro-context approach and cognitive style, this article compares two lyrics (Ghazals)—one by Haydari Wujodi, a contemporary poet and mystic, and the other by Mawlawi, a classical poet and great mystic—that are identical in terms of the prosaic weight of both lyrics “Failatun Failatun Failatun Failun” and the word “narrator”. The comparison has been performed based on three stylistic levels: linguistic level, literary level, and intellectual level. The findings of this study show that both lyrics are comparable to one another and share similar language and intellectual characteristics. In addition, the intellectual similarities suggest that Haydari’s mysticism was influenced by Mawlawi’s mysticism.