احمد ذاکری

Poetry, as the most prominent verbal art, is the link between emotion and imagination formed in rhythmic language. Examining and recognizing the most significant features of the linguistic and intellectual style of poetry in recent decades is a way to introduce the horizons of contemporary poetry. It is obvious that due to the structural changes that take place in the body of society, the flow of thought and views of the dominant poet also goes up and down.The increasing expansion of cyberspace in this decade has caused to increase poetry among different masses of people and the relationship between artists.Meanwhile, Houshang Ebtehaj and Mohammad Zohri, as the most brilliant figures of contemporary poetry, has been influenced by these crises, and changed the way of reciting poetry and turned to Nimai poetry with a load of classical literature.The purpose of this study was to identify, extract and categorize the stylistic features of the language and thought of the sonnets of Amir Hoshang Ebtehaj and Mohammad Zohri by descriptive-analytical method. The introduction of social and political themes, attention to new psychology, the influence of philosophical theories and humanistic schools were the most important intellectual components Also, both poets, especially Ebtehaj, shouted the existing anomalies in the most difficult conditions, using various poetic formats as well as appealing to symbols and
metaphors and other literary symbolic tools.

The mystics want to know their god as a result of their behavior and not through arguments and arguments, but through revelation and en-lightenment to the deepest spiritual levels. Therefore, the sages of the world and the elders of the way are trying to show the way for others to the extent of their own knowledge in order to achieve prosperity and salvation. As Khajeh Nasir al-Din Tusi, one of the scholars, sages and mystics of the 7th century, in his mystical book, Osāf al-Ashrāf, in a concise and expressive manner and with an eloquent and eloquent composition, at the same time full of brains and full of meaning in six chapters and in each chapter (to except for the sixth chapter) in six chapters, it explains the stages of conduct. He begins the first chapter with faith and ends with faith in the sixth chapter. Regarding the book Osāf al-Ashrāf, it can be said that this important mystical work is not only valid in terms of the knowledge and interpretations of the terms of mystics and Sufis, but also valuable for the knowledge of Khajeh nasir. This article is compiled in a descriptive, analytical and library method

There is no doubt that our children are the fruits of the garden of life and they are deeply loved and adored. That's why it is highly important to learn about their rights. Apart from the law literature in which these rights are set and discussed, the Persian literary texts and the Iranian cultural heritag have also addressed them thoroughly and many Iranian literary men and women havepresented invaluable insights about them. This paper, employing a descriptive analytical method. and using library resources concludes that reading and contemplating on such literary works can have a remarkable effect both on the legislation and on the enlightenment of parents. In this research significant examples of addressing child rights in the works of literary giants like Saadi and Molawi and are mentioned, from which the parents can benefit.

Beauty from the perspective of Molavi is the manifestation of the truth and the appearance of God's grace to the universe. But it is the science by which you might, perhaps, discover the advent of a miracle of abstraction to the world of testimony. Molana is in the position of a great and rare mystic, especially after meeting Shams, where his eyes were closed and his heart was opened. In all parts of the universe, he has observed the light of truth and has tried to draw a picture of his observations. This article attempts to examine part of this understanding of the notion that it contained the beauty and appearance of the universe. The data related to the article with the mode of library research is obtained, and written, in a qualitative, descriptive and analytical report. The authors' goal is to recognize Molana’s perception of beauty and the results show that he has found the connection between beauty   and the source of beauty  due to his forgetfulness and the use of intuition and illumination in an incredible degree but, indeed, the chief thing about him is that he has organized  beauty into the central metaphors of his thoughts, that is to say, the resignation and  the testimony of the unseen.

Women’s issues (implying a living creature, fertile, originally related to life), their personality, position and status in the family and society are among other issues that, similar to  other cultural and social issues, are reflected in the mirror of literature and culture of nations, embodying the personal and social attitudes of the authors and the general public to indicate the way women were treated . Do they think women have the same rights as men? Or that woman is a parasitic and second-hand creature dependent on man, who has no independence in her opinions and personality? Or what is the role of woman from the perspective of Quran and Islam and other holy books and religious leaders and experts? The present research seeks to address the aforementioned questions in various eras particularly in Qajar dynasty period to examine the status of women.

The foundation of the universe is based on an aura of hidden secrets that makes the seeker face great challenges in the valley of mysticism and leads him step by step in this destination with bright lights lit by the light of knowledge. Undoubtedly, the result of his encounter with the hidden secrets of the universe will be "astonishment". His helplessness and inability in the circle of wandering until he reaches discovery, intuition and revelation, knowledge and destruction will not be achieved, and the seeker is always seeking to increase his astonishment, and the example of this famous saying of the Prophet (PBUH) is that the master of astonishment is the sixth door of mysticism. It will connect the seeker on the turbulent path of love and truth to the essence of infinite truth.Many mystics have spoken about the position of wonder and its role in creating deep thoughts in different ways. In Masnavi, Rumi has a deep and romantic view of wonder, and he does not look at it with the eyes of only one path, but considers it one of the most important paths in the mystical journey to connect with the beloved. In order to reach self-realization and God-realization, one must go through the mysticism of astonishment, and perhaps, in a sense, the thirty lovebirds are astounded by the astonishment that create Simorgh (Simorgh) in the back alleys of the seven cities

Khosravani's wisdom has a close relationship with mysticism. Irfan has the ability to communicate with the audience. In the era in which we are living, it is possible to find the influence of "Khosravani's wisdom" in the mind and language of Mehdi Akhawan-e-Sales (M-Omid) with the knowledge of mysticism. The reason is that if we delibrate on it, Khosravani's wisdom is one of the most used sources in mystical literature. religiosity, patriotism, truthfulness, bravery, antiquarianism, in other words, the idea of Iranian archetypes "Sunamun" and the idea of "Ērānšahr" are reflected in Akhawan’s poetry, as one of the prominent contemporary poets. This article aims to find and analyze "Khosravani's wisdom" which is a mixture of Islamic myth and mysticism in Mehdi Akhawan-e-Sales’ point of view. In the foundation of his thought, as one of the prominent contemporary poets, there is a special interest in Iran, his homeland, "Ērānšahr". The method used in this article is a descriptive- analytical research. Let's give a clear and new explanation of the concept of "Khosravani's wisdom" in the mind and language of Akhavan which is one of the basic foundations and important elements of his poetry.

As we know, the oral literature of each nation is the best expressive of the beliefs and minds of a nation and its ruling policies, and the history of any nation can be sought through reflection on the culture of that nation, including their songs. The songs and ballads that sometimes have been united by a state or a policy, or in accordance with certain political conditions, are born, such as the poems and songs of the mashrote period, which are in this period of thematic and thematic unity, and themes such as invitations to The struggle, the depiction of the curiosity of the kings, the expression of the crimes of the domestic and foreign tyrants and their treason to the Iranian nation, the praise of freedom and its martyrs, and the induction of hope for the future, the invitation to fight by helping with elements such as raising the level of people's awareness and commemorating the martyrs Way of freedom Hence, various manifestations of ritualistic, national and humanistic literacy were formed. In order to flourish these components, the mashrote age has contributed a lot, because it initiated new developments in the political and social arena, and consequently, changes in the field of culture and literature of the country such as democracy. In this essay, we try to investigate the poems of the mashrote era, the coordination of the poets as well as the thematic unity of the poems. This research has been done by descriptive-analytical (library) method.

Considering contemporary literary currents, the style of contemporary poetry has a high status. This research introduces one of the contemporary poets named Mohammad Zohari and examines the stylistic features in his poems.

This article is based on library studies and has been done in a descriptive-analytical manner.

Mohammad Zohari is one of the modernization poets who between the two decades of 1330 to 1350 by mastering and surrounding the old poetry and full ability in classical poetry, has modernized. The meanings of his poetry are a reflection of socio-political and popular issues. The descriptive expression is concise and short, and there are six collections of poems called "Island", "Complaint", "Night Letters and Raindrops", "Fist in the Pocket", "The Old Man Said", "... and the End" and also a few Has a lyric.

The use of the form of Nimayi poem is also remarkable in Zohari"s works and the most widely used prosody weight used in his poem is Bahr Ramal. The lines and rhymes in the poem are also common, and the additional lines and rhymes are less noticeable. Poisonous words are full of repetitions that increase the inner music of the poem. His similes are mostly "rational to sensory" and "sensory to sensory" and the similes of "rational to rational" or "sensory to rational" are few. Among the types of similes, the addition of similes has the highest number of statistics, and in the next rank, there are other similes such as concise, emphatic, plural and subtraction, and the lowest number of them is imaginary and illusory similes. In terms of frequency, metaphorical addition is the most frequent, and the approved metaphor is in the second place, and after that, frequency is the non-redundant Meccan metaphor. Nature and its manifestations are very prominent in poisonous poetry. Mystical terms are more or less seen in the poet"s poetry. All in all, Zohari is a poet whose people are full of socio-political concepts.

After the acceptance of Islam and the existence of verses in which the kingdom of the heavens is mentioned, the attention of the heavenly court increased among the Iranians in a way that writers, poets, and mystics used it for thematic purposes and often used the sky and related themes in their works. It is clear that in order to better understand the meanings of the verses, it is very important to know the scientific themes of the poets in different poetic periods. One of the well-known poets of Persian literature is Hakim Sanaei, who, with the knowledge of astronomy, used it in the service of mystical ideas. He made extensive use of the knowledge of the sky and astronomy in his poems, and because of his mystical tendencies, he sometimes used this knowledge to convey mystical concepts. In this analytical research, while examining the emergence of astronomical knowledge and its feedback in some mystical texts, it has been shown that Sanai is proficient in this knowledge and has used it in composing his poems in Divan

the semantic sign analysis of the Paris school examines the relationship between linguistic signs in discursive system and the study of two narrative and semantic structures in two levels of structured and profound construction. This analysis shows that a sign in relation to other discriminant signs goes through a process that has a special meaning. In the study of surface structure of elements such as the external and internal forms of discourse, the dynamic dimension of the word, the role of effective verbs, actors, action, the relationship of elements in the axis of substitution and association, features and isotopes, and the like, and in the deep study of the semantic square and its relationship with the narrative structure and the semantic role of effective verbs in theology and in the interactive level of discourse, the study of the dimensions of cognitive, action, and emotional, are effective tools in semantic analysis. In this descriptive – analytical study, we tried to examine the structure of narrative syntax in the story of “entekhab” by Simin Daneshvar by studing the elements of narrative syntax, we show discursive signs in many stories of such a process to lead to the formation of the meaning of the story.

One of the most important features of Hafez’ lyrics is to apply creatively the costumez and coverings . the main usage of Hafez is for saying beautiful mystical meaning. In his way analogies,metaphores rised out of similiesnd sometimes they’re shown in the form of zrony and imagery in the article authors are going to show some interwoven forms of analogies and metaphors and to poetry imagination in words,using words and expression related to costumes for imaginary simile of Hafez thoughts are intended. It is true that Hafez has  excelled in the  used  of   elements of imagination  formes  and in   the  arrangement of words  with  spiritual industries ,he has made  the work miraculous and this art show is not for evry one. There’s no need to mention that this research has used the method of (analytic-descriptive)which itself is sub-part of the library method to explaine the poems.

Irony is one of the explicit means of expression as well as one of the four elements of rhetoric. Tangible bodily irony is considered as an artistic and literary imagination through which the poet is able to convey and regulate difficult concepts in the audiences’ mind with a familiar and artistic statement. Mohammad Zohari, as one of the most significant contemporary poets in Persian literature, has benefited from tangible bodily ironies in order to convey his intellectual concepts; to the extent that using literary irony is the most noticeable aesthetic element in his poems. He has expressed various meanings through irony with an effective and eloquent style. This study intends to identify, derive and classify characteristics of bodily ironies in Mohammad Zohari’s poems with a descriptive-analytical approach. To begin with, the writer tends to define irony and its artistic value as well as its literary functions in poems. Afterwards, he has analyzed and assessed characteristics of bodily ironies in Zohari’s poems through examples. The findings show that Zohari has benefitted from practical ironies and his usage of tangible bodily ironies originates from his affinity with the general public and a need to use colloquial language.

In wandering island and wandering cameleer, simin daneshvar confronts the audience with a discourse in which "action" is subjected to unusual circumstances.  In this situation, the actor is always confronted with feelings such as anxiety, wandering, fear, challenging himself, insecurity, escaping the past and feeling insecure and rejecting one situation into another. For him every situation is a semantic hole that requires a jump energy to pass through. In such a situation, the actor loses the power of any action and becomes an emotional subject that wanders between too states of staying and not staying, becoming and not being. In this essay examines the existential conditions of the two wandering island novels and the wandering cameleer in order to find out what factors interfere with the process of action and passage into the existential state. In this descriptive-analytical  study, this research has been attemped  with regard to Griemas and tarasti’s theories, we examine the signs and functions of wandering, the conditions of meaning production in the wandering island and wandering cameleer and shows how wandering through the negative-assertion process causes the novel’s first character to break from his personal ‘I’. The result of this rupture is self-recovery and abstract congnition of oneself and those around oneself, and this cognition causes the first character of the story to be in a positive state, which is self-knowledge and domination, and the  ‘I’  realizes and transcends the unit of its existence.

In the present research , Bourdieu's theory of genetic structuralism has been employed so that to measure the impact of the social class and cultural production area on ferdowsi's aesthetic taste. After the general definition of the theory , part of the research we have come to know Ferdowsi's social class and because Ferdowsi was a peasant class and this class was the root of Iran during the Sasanian era, we have fully examined the peasant class.In another section, we examine the characteristics of the fourth and fifth century cultural fields of Iran. Based on the findings, by descriptive – analytical methed (library), the result was that part of Ferdowsi s aesthetic taste is due to his social class and the peasant class has given him the opportunity to learn the teachings that have influenced his taste. Also, the role of his habituses in the cultural fieldof time of discussed. Hi is pulling towards the literary and scientific teachings of Iran, which are part of the Iranian identity and so there is a strategy that goes through Shahnameh.

In stylistic analysis of text and viewpoints of the poet, it is important to examine and identify “categories of modality and syntactic voice” of the layered stylistics structure. The purpose of this paper is to understand the correlation between modality with meaning of speech, degree of certainty of lyrics, and determination of the poet's words. In order to discover the relationship between the poet's language and his insight and worldview using a descriptive-analytical method, three syntactic modality variables including verb, adverb and adjective as well as two active and passive syntactic voice were examined in two valuable collections of contemporary poetry, Arash the Archer and Derafsh Kaviani. The research findings indicated that there is a consistent and complementary relationship between syntactic structures and speech content. Indicative mood, as a dominant mood with definite degree of expression, makes statement about Arash the Archer and Derafsh Kaviani. With great interest and based on the needs of society, Kasraei and Mosadeq tried to restore those myths. Passive voice is the most frequent syntactic voice. However, in the texts of this study, as the sentences with intransitive and copular verbs cannot be passive, they work in the opposite way of diagnostic criteria so the active voice overcome the passive voice and adds to the authoritative power of the speaker's words. Four stylistic components – dynamic poetic syntax, emotional and idealistic stylistic form, two views of hope and disappointment, and overt and covert position – are created by the confluence of two syntactic layers.

Language always goes forward the brevity way, which means trying to convey its intentions by using the least number of words.The consequence of this process is contingencies such as deletion of sentence components. Poets and writers sometimes omitted some of the components of the word in order to summarize the word and, of course, to observe the principles of rhetoric, punctilios and syntactic subtleties in their poems and writings. This process (deletion), not only observe the syntactic principles of language as an artistic and influential factor in conveying the concept to the audience, but also leads to contemplation and mental activity to find out the excluded part.The present article deals with the issue of removing and reviewing its proofs in the book "Monshaat Sahife Shahi" by Mollahossin Sabzevari. Sahife Shahi is one of great works of the Timurid era. Considering that one of the stylistic features of the Timurid era is the elimination of the elements of the sentence, especially removed the verb, and this stylistic and written feature is also found in the works of most writers and writers of compositions of this period. This feature has been studied in this work and some examples have been cited.

The literary genre of narrative poetry plays an important role in communicating with audience and is vital in preserving and transferring history and culture of a nation. Poems of The Noon of the 10th Day by Aminpour, The Tale of the Petrified city by Akhavan-Sales and The Footsteps of Water by Sepehri are the bases of analysis in this study. The present study formed on the basic enquiry as to how the syntactic and semantic role of “adverb and adjective” is in the three poets’ thoughts formed, what beliefs are transferred and what the stylistic parameters are. The current study implemented descriptive-analytical research method and by means of “modality in adverb and adjective” measured poet’s thought reflection in text and his positioning by analyzing the function of adverb and adjective in text. The outcomes of this study indicates that idealistic thoughts, realism and morbidity flow in these poems. These new genres of lyrical literature are considered as “subtype and as lyrical literature derivatives”. The Footsteps of Water and The Noon of 10th Day are “realistic and affective” in style but The Tale of the petrified City is “realistic” only. Aminpour’s orientation in poetry theme is an upfront one but the orientation of Sepehri and Akhavan-Sales are upfront and hidden at the same time.

This research is an attempt to apply Bourdieu’s integrated structuralist theory in order to examine the extent of influence of literary production field in the 4th century taken as object, and also study the impact of Ferdowsi’s disposition regarded as a subject in the composition of the most important Persian national epic.  After examining the aforementioned field and studying the impact ofsocial, economic, cultural, and symbolic capitals on Ferdowsi’s habitus, this result is reached that there exists a dialectic relationship between the literary production field in the 4th century closely connected with the political field under the Samanids rule with the active habitus which did not lead him towards the vulgar teachings, instead had led him to use Persian national narratives in order to undertake the composition of Shahnameh.  Employing descriptive analytic approach in this article it was found out that, Ferdowsi’s strategy was under the influence of collective habitus in his time which in turn emanated from the political structure of Samanids and his individual habitus was affected by the symbolic and cultural capital and also his Dehghan class.  All these factors had persuaded him to incline towards preservation of the Persian language and Persian national identity.  It was further proved that Abu Mansur Abd al-Razzaq and his companions had a great role in providing the milieu in which a project such as the writing of the Shahnameh could be realized.

Protest poetry, as one of the subsets of committed poetry, there has been existed from long ago in various forms in Persian literature. The works of the most of the prominent Iranian poets and writers from past up to now have been a full mirror of their environment and era. As many of them in analyzing and explaining difficulties of life have been far more scrutator and sensitive than the other social scientists and felt responsibility to the social issues and problems; as a result, through composing protest poems reacted to the untruths and misconducts of the ruling board and different classes of society including political, cultural, social …. One of these poets and thinkers is Maulana Jalāl ad-Dīn Muhammad Balkhi. Talking about Maulana and his political and social thoughts is very difficult and in this regard everyone accompanies him by his/her perception; while, in view of Maulana’s mystical passion though initially it seems that he has doesn’t think about his time situation and is away from policies of rulers of that time, but exploring in his works can find his political, social and critical views. Also can represent his time situation and relations governing on the terms and policy of his era everywhere in his poems and illustrate some scenes of the rulers and their relatives’ force and violence. The aim of this article that was carried out by descriptive-analytical method is to review protest poetry in Maulana’s Masnavi; to the end, the protest poems of Maulana in his Masnavi will be reviewed and analyzed.

From the beginning of Persian poetry the essence of protest and social commitment is seen in the works of poets. The protest is a category of literature in which the enlightened mind expresses dissatisfaction with the status quo in order to express the problems of society and intellectual and consciousness. The committed poets respond with indifference by virtue of the mission and responsibility they feel on their own depending on the conditions of the various abnormalities they see especially in the social and political structure.Attar is a protest critic who not only does not hide in his sharp eyes not only the least slip of people, rulers, leaders and imams of society but even sometimes he does not see the system of creation as good order and curses it clicks on it from the tongue of rabble. The protest accounted for a considerable percentage of the tales of Attar's Masnavi and has a long history in Islamic culture and each of the scholars of the Islamic world has expressed their protest in a particular way from a special point of view. One can say that the most prominent dimension of the personality of the guilty people in the writings of Attar is that they are in fact the language of social protest and social criticism of the society of the disputed age of the seventh and eighth century. In this paper, it is tried to identify the social context and factors that influence the formation of the personality of the unreasonable rationales in the era of Attar and its relation to the school of protest and the most important character of the mad wise of Attar age that is "being protesting and social critic" in some of his stories is considered as an example.

Mostly, languages have features that precise use of the word, mysticism and knowledge of the world by the people, precisely and in their place. One of the most prominent and influential aspects of the word is its interplay with parables, especially the proverbs and parables popular among literary works. Among the works written by poets and writers and scholars of this region are some of the varied works of Khawaja Nasiruddin Tusi, Adib, scholar and politician of the 7th century AH, some of which are written in Persian and rich in Persian. There are various parables and allegories that are often inspired by Quranic themes and derived from religious teachings. Khawaja's services to Persian language and culture and the culture of this land include such works as a valuable heritage and a valuable treasure. His works in Farsi such as the Nasserian ethics, the basis of al-Qutbbas, the attributes of al-Ashraf, the criterion of al-Ashar, etc., each of which differ in style and style, indicate that he used allegory based on the content of the book. In the literary, mystical and ethical works of Khawaja, especially the Nasserian ethic of allegory, it is a tool for consolidating moral principles and explaining Quranic teachings. This article has attempted to present the content and purpose of the word with a reference to the library method or the purpose of explaining the application of allegory to the expression of morality and social relations with emphasis on Nasserian ethics.

Noting and writing letters are of the routine manners in the history of Persian literature, and it’s the general title for works, and books which involve rules, orders, friendly letters, responses, kings’ charters, Promissory note, treaties, victory or defeat memories. Teymuriera, is one of the splendid and rich eras for writing notes. Writing notes and letters, in this era, is a touchstone to trade off the speech and writers’’ motives. Note of Sahife- Shahi (royal notebook) or Taghvim-al-Makatib( the calendar of letters) is one of the Notes in Teymuri era, which was written by Mullah Husain VaezKashefiSabzevari, writer and secretary at the royal court of Sultan Husain Baighara, and the author of some books such as Javaher-al-Tafsir, Anwar-e- Soheili, Rozah-al-Shohada, etc. the handwritten scripts of this book exist in Islamic Parliament’s library, central library of university of Tehran, Melek library and some other libraries. As the historical and literature importance of the book of Sahife-Shahi, this paper tries to revive one of the Persian historical and literature heritages, besides providing an introduction of Notes’ history and handwritten scripts in a descriptive-analytical manner.

“West and Westoxification “are words that intellectuals  and freethinkers  have used  in their  works following the colonization and exploitation of our country  the airm of which was to clarify  peopls mindset  about this  ominous  phenomenon  of  the 20 century .The western  cultural imperialism becomes  more threatening when  the native  poets  and  writers become  their talking voice and out of the mouth  of the friends  the speech  and demands  of the enemy be heard.      By investigating  the  works of the contemporary  poets and  writers  we find that some poets  have deliberately   changed their  stylistic and ethical methods in favor of the Westerns and some  others have pursued western  patterns  unintentionally being  influenced by the  dominant social  priorities  .    Among  them  Forough  FARROkhzad  and Simin Behbahani  are among those  in whose  works  a combination  of these two methods can be found.    In this descriptive –analytic paper  we are to evaluate some of the western teachings pervading  the poems of these two poets .