مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 94 (اسفند 1402)

In the middle of the 20th century, some scholars in the field of literature decided that literature should move in the direction of experimental methodology, and researchers in the field of social sciences should also recognize the vital importance of imagination and its related works. They should include this issue in their current research programs and not leave such an important issue to purely theoretical interpretation formulations. This caused different approaches to approach literary texts from the perspective of empirical science. One of these approaches was evolutionary psychology, which tried to advance experimental literary criticism with a Darwinian attitude. The present article is an attempt to explain the relationship between experimental sciences, especially evolutionary biology, with humanities and social sciences, especially in the field of literary criticism. For this purpose, after a brief report of Darwin's theory of natural selection and its impact on the knowledge of psychology, we have introduced the methodology of evolutionary psychology, then we have shown its application in literary criticism and tested it by citing examples.

This descriptive-analytical research was conducted in a library manner using first-hand sources in the field of literary criticism based on evolutionary psychology.

If we want to advance the study of literary texts in a scientific-experimental way, the closest and most efficient way is to use Darwinian ontology and anthropology and use the evolution methodology based on natural selection.

Finally, based on the aforementioned premises, we have claimed that if evolutionary psychology can provide a convincing and comprehensive account of human nature, it can ultimately replace the dominant explanatory systems in the human sciences today, or include them and place them in its heart and naturally enter the field. To create an ontological and epistemological transformation in literary criticism.

This study shows the connection between Ferdowsi and Ismailie by examining the thoughts and ideas of Ismaili and Atar Ferdowsi (Shahnameh). This connection has been made by examining and analyzing the four elements (water, wind, soil, fire) and has examined how the views of Ferdowsi and Ismaili thought are in conflict from the perspective of Akhshijan. Ferdowsi's Shahnameh has a lot of income from mixing with Akhshijan with rituals and myths older than it and has had a great impact on the beliefs and religions after it.

The current research is a basic and applied research. The work method is analytical-descriptive and the method of collecting information is library.

Ismailie thought has been deeply used in the beliefs of the four Akhshijans. Because in Ismaili belief, the four elements are repeated and each of them has a role in the hierarchy of cosmic creation. In addition to the structural kinship of the Gnostic and Ismaili religions, which in their approaches to living are limited to reason and asceticism, we can mention such ideas as the contradiction between ignorance and knowledge and the instability of the world.

Ismailie thought, inspired by older mirrors such as Manichaeism and Gnosticism, has a cosmological and fundamental approach to the four elements, as well as a commonality in the reflection of these concepts in both.

Among the poets who appeared after the Islamic revolution, Morteza Amiri Esfandaghe has a significant reputation. He often deals with religious and, of course, lyrical topics. Therefore, his poems can be analyzed at different levels. Among the various theories that have examined the category of style, layered stylistics has been used many times in recent decades of research. The main goal and issue in the current research is to examine the intellectual style of Morteza Amiri Esfandaghe's poems in four phonetic, lexical, discourse and rhetorical layers in order to answer the question, which are the most important discourses in the poet's poems?

This research is based on library sources and descriptive-analytical method.

At the phonetic level, Amiri has conveyed part of his desired mental concepts to the audience by using puns and phonetic games. In the lexical layer, the words used in the poems are mostly objective, symbolic and explicit, and their main function is to transform the sensible into the sensible and facilitate the audience's understanding process. The analysis of the discourse layer shows that Amiri has explained his ideological beliefs and has also dealt with romantic aspects. Also, at the rhetorical level, imaginary forms of simile and metaphor are considered the main literary elements.

Examining the four layers of Amiri's poems shows that he has always tried to use the capacities of words to convey religious and ideological concepts as well as romance to his audience.

This article is the first attempt to draw the aesthetic effects and images of Khansari's poems by Yusuf Bakshi, a poet of the second Pahlavi era (1919-1980) based on his poetry divan in the Khansari dialect. Among those who have been able to establish a close relationship between man and nature with the help of imagination, emotion and music, Yusuf Bakshi is the "poet of nature". Due to the fact that his poetic divan is "Dictionary of Khansari Dialect". But unfortunately, with the passage of four decades, no comprehensive research has been done on Surkhayal Bakhshi. In this article, after a brief description of the word Khansar, the biography of the poet and the Khansari dialect, all kinds of similes, allusions, punishments and original metaphors and the translation of his divan have been discussed.

The present research is a theoretical study conducted in the library research method. The scope and society under study is Yusuf Bakhshi's poetry library.

Bakhshi, following the poets of the Iraqi style and Farakhor Kalam, has used literary techniques, especially simile, metaphor, irony, and majaz in the form of Khansari vocabulary.

Bakhshi, in addition to the Divan poetry in the Khansari dialect, are also a collection of poems in Persian language in the formats It has various variations, but his fame among dialects is due to his poems in Khansari dialect.

The poems and epic works that were written after the Shahnameh and often following, establishing and imitating it in religious, heroic and historical contexts are among the sources that have received less attention from Ferdowsi scholars and Shahnameh scholars in the field of scientific studies. And while these works, in addition to the many influences in the field of linguistic, literary and intellectual style from Ferdowsi's work, are also considered a very suitable source for criticizing and evaluating the success rate of composers in imitating Ferdowsi's Shahnameh. The main purpose of the upcoming study is to examine and analyze Ghazannameh and Shahnameh Changizi as two Shahnameh poems written in the Mughal era, which were written in imitation of Ferdowsi's Shahnameh.

The method of study in this research is descriptive-analytical based on library studies. In this research, in order to present the literary style more precisely, the researchers systematically analyzed a thousand verses from each of the systems.

The poems of Ghazannameh and Shahnameh Changizi were written in close imitation of Shahnameh. Both poets have tried to write an epic narrative in the form of a historical text by choosing weight, tone, themes and to some extent epic descriptions.

The results of the research indicate that in the two mentioned poems, linguistic features such as the use of sounds, phonemes, homophones, literary features such as simile and irony, and epic descriptions to a large extent show the composers' imitation of Ferdowsi's Shahnameh, although due to the choice of historical subject (History of Ilkhans and Mughal Rulers) The use of Arabic, Turkish and Mongolian words, the use and use of similes in the form of detailed similes and little use of metaphors, it can only be said that the imitation of Ferdowsi is more prominent in the aspect of weight and music of words.

The purpose of this article is to compare the Zal myth based on its elements and archetypes; It is with emphasis on Mehr, Zorvan and Manoist rituals. Zal is one of the heroes of Shahnameh. Zal's warrior stories begin from the time of the Manouchehr kingdom. The end of Sam's family life; Shahnameh's heroic stories end with Rostam's death. Although the sources of Zal's Pahlavi story are related to ancient Aryan beliefs, its elements and archetypes show the core and origin of the formation of this story in the East, which came into being with the Scythians under the name of Parthians. The generals of this eastern story have not only been introduced in Iran; It has also gained a general reputation.

In order to conduct this research, the verses of the Shahnameh, which were related to the story of Zal in the field of study, were extracted; Then the poems were classified and analyzed based on the content structure with the help of scientific sources related to the research topic. This research is represented by reference to library sources and descriptive-analytical method.

Achievement of the subject; It shows the components, archetypes and elements of common Eastern beliefs in the adaptation of the following ritual stories: light or shine (whiteness) leaving the people or traveling, hiding in a cave or mountain for teachings and spiritual education, waiting for the people and welcoming the elders from The way of predicting the savior is the return of the savior as the king or warrior god. As a result of these beliefs; In order to nurture and elevate himself, the savior stays away from earthly people - his people - for a while and hides in the earth-mother-, like a mountain, then he returns for the mission and salvation and rule of his people.

These ancient and similar examples can be seen not only in the mentioned rituals, but also in other eastern stories such as "Be Afrid" and "Bukhtar". ancient or religions such as Mitra, Zorvan, Christ and Mani he realized the origin and origin of ancient religions and their ritual form.

Socialization is said to be a process that every person experiences during his life and based on it, he gets acquainted with a set of values, customs and norms and accepts various roles in the society. This category creates obvious manifestations in the personality of a sociable person and on the other hand, if this process is not done correctly, it creates a person who avoids society. In Iranian culture, there are various ways to socialize people, which include holding festivals and joyous gatherings. A part of this ancient culture is reflected in the books Hezar o Yek Shab and Samak Ayyar. In this research the function of shindy has been investigated with regard to the concept of socialization in the mentioned works.

This research was written with reference to library sources and descriptive-analytical method.

The results of the research show that in the course of holding festivals, things like: transferring culture, flourishing abilities, institutionalizing values and norms, teaching skills and roles, creating interpersonal solidarity and stability of the social system have been observed as the goals of socialization.

Although at the superficial level, festivals were held to promote happiness, but in depth, they were held with the aim of strengthening interpersonal relationships.

The ancestors of Mirza Mohammad Hassan Zenoozi Khoyi were prominent scholars and nobels of their era who resided in Zenooz and Khoy since the Safavid period. The Bahar al-'Ulum manuscript was his masterpiece of the Qajar era. The purpose of the research in this article is to introduce and analyze the content and style of the forth Bahr or chapter of this valuable work, because correcting the manuscript copies and bringing these texts to life are among the most important and fundamental sources of research on Persian language and literature.

the unique and single copy of the manuscript, our method for correcting has been analogical. And due to illegibility or unclear word, in case of recording, a more suitable word has been replaced and the erroneous and incorrect recordings of the researched version have been compared with other works left by the author with the help of thematic, linguistic and historical evidences, finally, the most appropriate word has been replaced and the proofreader in this way used the his guessing and discernment power that was developed in the work of textual analysis within the limits of historical and cultural criteria and evidence. In addition, the content of the manuscript, whether mystical, stylistic, etc., has been analyzed by the method of content analysis.

The selection, type of writing, and the variety of verse and prose works in both Persian and Arabic languages are noteworthy in this work. The reason for this is that the beginning of the book is in Arabic includes a statement by Allama Majlesi about the recognition and meaning of wisdom, entitled 'Expanding the Words to Explain the Goal.' Subsequently, the nature of wisdom and its branches have been explained." "Then, the story continues with a Persian fable about Nushirvan Adel, and later an Arabic fable by Imam Sadiq regarding human deeds in this world and the afterlife, it continues with a poem by Saadi. Thia procedure is evident everywhere in the manuscript which makes the writing style of the book to be examined in three levels.

Zenozi has used verses from the Quran, authentic narrations and hadiths, as well as poems from famous poets such as Hafez, Saadi and his followers in this work, which made the understanding of meaning easy, and in some cases an instructive anecdote from Golestan and a simple and comforting story made this possible, verbal and spiritual innovations such as rhyme, analogy, allusion, implication, and allegory, and in the field of expression, simile, metaphor, and innuendo are among the features of this version."

Iranian contemporary ghazal has its own stylistic distinctions, and contemporary modernist ghazal writers have modernized in different linguistic, rhetorical, literary and thematic dimensions. Knowing the stylistic aspectes of these poets is the result of studying and examining the aforementioned dimensions. The aim of the current research is to study and understand the stylistice aspectes of Gholamreza Tarighi's ghazals as one of the contemporary poets. Studying the linguistic, literary and thought dimensions of this ghazals has clarified his stylistic dimensions and tendencies for the audience and has determined the aspects of his modernity in these dimensions.

This research was done based on library sources and descriptiveanalytical method.

The study of the style of Targhi's ghazal reveals that he is a modernist ghazal writer and has innovated in different aspects of language, imagery, thought and theme. The language is close to colloquial language and elements of modern and contemporary language, contemporary allusions can be seen in his poetry, and his similes are urban.

Tarighi wrote a ghazal in the language of the time, and every kind of word has found a place in his poetry, and he did not divide the words into permissible and non-permissible ones. He mostly uses similes and his similes have an urban root. The ambiguity and illusion is more used in his poetry, and in lexical rhetoric pun are the most used in his poetry. He likes human love and does not consider divine or virtual love.

Every speaker seeks influence and influence on her audience and chooses a method in this direction. As one of the most capable Persian speakers, Sa’adi's works contain various instructions for expressing the meaning. In the present study, the subject of the use of directive sentences and how to combine them with predicate sentences in Sa’adi's ghazal is discussed based on Searle's speech act theory.

This research is based on descriptive – analytical method. For this purpose, we first explain the theoretical foundations of Searle's speech act based on the five acts of assertive, commissive, expressive, declarative and directive with appropriate examples from Sa’adi's ghazal, then we focus on the directive act and show that Sa’adi's special style in expressing directive and frequency sentences and what is their audience like.

We found that there are 146 directive sentences in 126 verses in 100 ghazals that were chosen randomly. The audience of these verses were divided into five groups. Of the set of directive sentences, 101 sentences have compound construction. Out of 101 compound sentences, 65 sentences with the conjunction express the reason or in the sense of expressing the reason Also, from the point of view of audience, these sentences are addressed to five categories of audience.

Searle's speech act theory about sentences is consistent with what Sa’adi said in his sonnet sentences. He has achieved his own style by using the structure of "base clause plus Conjunction plus follower clause" with high frequency.

Constructivist philosophers are of the opinion that the revelations of a mystic are the manifestation of his mental background - including his desires and wishes. If we look at Rouzbihan's revelations in the book Kashf al-Asrar with this perspective, by putting the evidence together, we will see that one of the most prominent desires and wishes of Rozbahan that appeared in his revelations is "the desire to be a prophet" and what it means is to repeat the experience of being a prophet based on the model of the prophet hood of the Prophet of Islam (PBUH).

This research was done with the library research method and in the theoretical framework of constructivism, which is one of the most important approaches to mystical studies. Based on the analysis of the content of the book Kashf al-Asrar, which contains Rouzbihan's accounts of his mystical experiences, this article has tried to show how he sees himself as a person who has passed the rank of Sufis and the great saints of Islamic mysticism and his status has surpassed that of the prophets before the Prophet of Islam (PBUH) and has reached a stage where the experiences of the Prophet of Islam (PBUH) are repeated about him and God treats him as he treated the Prophet of Islam (PBUH). .

This similarity and equality with the Prophet of Islam shows itself in at least eight cases in Rouzbihan's Kashf al-Asrar book, among which Rouzbihan says that he became the "beloved" of God and that God speaks to him in the "Persian language". And he calls himself the recipient of "revelation" and talks about his "ascension" experience.

These textual evidences, along with the theme of one of his first revelations in which he hears a prophetic address from God, reveal the main lines of what we call "desire to be a prophet".

The study of folk beliefs is one of the sub-branches of anthropology, and the folklore and popular culture of a land can be used as valuable documents for conducting anthropological studies. Popular culture, which is actually the traditional way of people's perception of the world and life, is in the fabric of society and its study reveals the thoughts, feelings, imaginations and aspirations of a people and shows the history of its culture and civilization. Gives. In this, the contribution of the Azerbaijani school and its poets is very high; Because Azerbaijan and the Caucasus, as one of the important regions of Iranian culture, played a significant role in the growth of Persian literature. In this research, folk beliefs and superstitions are investigated by looking deeply into the poems of these poets.

This research was done in a descriptive-analytical way.

In this research, it was shown that folk thoughts, which have a wonderful and valuable support in the heart of the ages, were able to reach us by manifesting themselves in the poetry of poets and be examined as a valuable heritage as anthropological indicators.

A point that deserves to be mentioned at the end is the high frequency of reflecting popular beliefs in the poetry of poets of the Azerbaijani school and the role and influence that their poetry has in anthropological studies, relying on folklore and popular literature.

The unpublished poem "Jamshidnameh" by Abdi Beyg Navidi Shirazi, a poet of the Safavid era, was written in 943 A.H. in Bahr Hazaj and has 3378 verses. An accessible manuscript of this masnavi, which is written in Nastaliq script and has not been corrected, printed or published so far, is available in the central library of Tehran University under number 2425. Another version of this system with registration number 3819 is not available in the archives of the Soviet Azerbaijan Academy of Sciences. This poem, which is one of Abdi Beyg Navidi Shirazi's three khamseh poems and was written following Nizami, depicts the story of Jamshid's love for Delara, the daughter of the king of Zabul. The purpose of this article is to examine the style of this work.

This research was done with a descriptive-analytical method.

The formal and content structure of this work in three linguistic, rhetorical and intellectual levels is based on the fundamental political, social and cultural transformations of Iran at the beginning of the 10th century of Hijri and the changes that took place in the style of poetry and poetics, content and worldview, the way of imagination and imagery. It came, it was formed and in fact it was a step towards innovation and creating a style between the Indian style and the Iraqi style.

In Abdi Beyg's poetry, there is no mention of complex and abstract compositions of Indian style poets, and his compositions are made according to the simple and fluent language of his poetry. At the literary level, the presence of all kinds of imaginary images and beautiful images, creative themes, thin fictions, and all kinds of verbal and spiritual works in Abdi Beyg's words proves his proficiency in rhetorical techniques and the use of artistic language. What is important at the intellectual level of the poem is the historical and religious references and allusions to their stories in various places in the divan.

In the fifth and sixth centuries, romantic poems had become one of the important aspects of Persian literature. Every romantic story is formed in the social background of its era and it is impossible to analyze the romantic story separately from the factors, beliefs and social traditions of the time and place of its occurrence. Pact is one of the beliefs that are placed as romantic, political and social contracts between the characters and moves the story forward. This article examines the role of covenant in the structure and systematization of these poems with respect to prominent love poems such as Zal and Rudabeh, Vargheh and Golshah, Weiss and Ramin, Khosrow and Shirin, Sheikh San’aan and Christian girl, etc. The importance of the agreement in the communication and relationships of the characters, its effect on the flow of the story and the changes it brings about are also examined.

Using text analysis and stylistic methods, the present study examines the role of covenant in the structure of romantic poems in Persian literature of the fifth and sixth centuries and confirms and interprets the results of the research.

The frequency of covenant's presence in creating stories and maintaining romantic, political and social relationships is very significant. A major part of the plot of the investigated poems is indebted to this social and internal belief, and the contract and breach of contract have the function of unraveling knots, conflicts, throwing knots, etc. in the story.

Covenant is very important in the structure of Persian romance poems of the 5th and 6th centuries. This concept establishes the structure of the story, shapes the relationships of the characters and contains important moral and social messages. The poets of the mentioned two centuries have benefited from the importance of this belief in the social context not only to keep the main characters of the story alive and to create interactions and relationships, but also as a tool to show personality changes, story developments and maintain story order have been used. As the fulfillment of the agreement has an effect on the structure of the poems, the violation of the agreement by the fictional characters in the stories causes tangles and conflicts with contradictions and inconsistencies and the complexity of human relations due to the emergence of ambiguities, lack of trust and a decrease in emotional connection. It happens between the characters.

Ghazal is one of the most common formats in Persian literature and it is rare to find a poet who has written a ghazal. Esmat Bukharai is a poet of the Timurid period and one of the lyricists of this period who wrote beautiful romantic and mystical lyrics. In this article, we have analyzed two hundred sonnets of Esmat Bukharai from the three perspectives of linguistic, literary and intellectual style.

Considering its theoretical nature, the current research has been conducted based on library and electronic studies and in a descriptive-analytical style, and the target society and scope is Diwan Asmat Bukharai by Ahmad Karmi.

Based on the findings of this research, Esmat Bukharai's poetry, compared to other poets of his time, does not have thin imaginations and complex and slow-to-understand themes. His poetic language is simple and fluent and there are no significant slang terms and interpretations in it. In his sonnets, he has used mystic and Qalandran themes.

The poet has used calm and heavy weights and brook like (Raml and Hazaj) which are suitable for pleasant romantic themes and express the feelings of the poet in sadness. He has shown special attention to rhyme and lines, and his sonnets are almost free of rhyme defects. He has refrained from bringing heavy and abandoned Arabic expressions. Ismat Bukharai has used sensory to sensory and intellectual to sensory similes a lot. Metaphors of innocence are not far from the mind and can be seen in ancient poems. Hints also have a special place in his poems, but innovation is not seen in them and it is repetitive. The main theme of his poems is love and the separation of the beloved, and the burning and burning caused by this love. It also contains lyrical and mystical themes and it is like the predecessors in war and controversy with Zahad the hypocrite.