احمدرضا نظری چروده

Research in their epic texts shows Iranians have paid special attention to issues of marriage and family formation and raising children since long ago,. they worked hard to preserve and maintain health of family foundation. It is obvious that ancient literary texts are the important and reliable sources for obtaining Iranian views and customs regarding family issues. Certainly, the ancient epic texts written after the Shahnameh, including Banugashspnameh, Barzonameh, Jahangirnameh, Bahmannameh, Shahyarnameh, Faramraznameh, Garshasbnameh, Samnameh and Kushnameh, which are sources of present research, from These are important and influential works. studied ancient epic texts, regardless of their poetic merits and advantages and theological and rhetorical aspects, are precious treasures that have political, social, and historical awareness, as well as documents according to the study. It has been done, research and examination of the originality and compatibility of daughter and son, obtaining permission from parents, giving a sign from son to adhere to future wife and child, honoring the position of the wife making big promises, swearing loyalty , suitors participating in tests with difficult and dangerous conditions to measure strength and power, courting, yes and no, bride's adornment by Mashata, marriage planners, giving shabash to the bride and groom, bridesmaids or groom's companions on the wedding night, giving a dress to the girl From the father of the girl, giving a gift as an unveiling of the bride by the groom is one of the rituals of the marriage celebration in culture of Iran, most of them are still current.

Postmodern poetry can be considered a suitable reference for archetypal studies due to the features of revealing and deconstructing verbal topics. Considering the frequency of words, combinations, and phrases related to anger, violence, and death in postmodern Persian poetry, the present research attempts to ask the following question: “What is the reason for the exaggerated tendency of postmodern poets to express anger and violence in poetry?” The images of “social anger and violence”, “individual anger and violence”, and “death” are studied in the works of a number of postmodern poets using a descriptive-analytical method and considering an interdisciplinary approach to literature and two domains of social and psychological criticisms. The result showed the plurality of reflections on “violence towards women”, “moral corruption”, and “war”, as well as anomalies such as “drug use” in the social violence section, and “suicide” and “masochism” in the individual violence section result from the pervasive “death thoughts”. “Thinking of death” which is one of the signs of the dominance of the shadow archetype in the human unconscious mind, has become a current thought in postmodern poetry and, as a result, one of the main features of this poetic flow. Postmodern poets have tried to show the darkness and inner anger in society, using isolating and terrifying images related to “death” and also move their poetic process towards darkness and terror, so it can be claimed that among the contemporary poets, those who were unconsciously defeated by the shadow archetype have turned to postmodern poetry.

Hafez's eternal presence not only in the history and literary history of Iran but also in the minds and consciences of Persian speakers around the world, has made him an "eternal memory" and for this reason, he and his poetry have been spoken about in many different ways. But it is still open to the discussion of covertness and indirect and pragmatic expression and confusion over events and biting satires and scandalous ironies and other linguistic tricks that go back to its two sides. In the present article, the structure and content of Hafez's ambiguities prominent features of his style are examined. As a result of the sequence of thoughts and associations, the meanings of the mind are involved and at the same time it never reaches certainty, it has been studied and analyzed. This unique virtue of Hafez's poetry, which distinguishes his words from the words of others and causes its exaltation and immortality, is a framework for expressing ideas that have not been explicitly expressed without danger. It is with this tactic that Hafez stands up to the ruling power and, with its help, overthrows the dominant discourse of the government and helps to free the people from their stagnation and arrogance and dependencies. The data of this research have been provided through library studies and have been described using analytical methods. The most important achievement of this research is that its cover-ups and ambiguities, where something is thought of in the structure of India, show a kind of political structure and power in relation to itself.

In the Archetypal critique of postmodern poetry, we can see clear signs of the Collective unconscious mind. Among these signs is the archetype of the anti-hero. The archetype of the anti-hero has appeared in postmodern poetry in different forms, especially "Anima", "Animus" and "Self" so boldly and diversely that sometimes it makes the reader feel doubtful and confused in distinguishing the hero from the anti-hero. The current research, using the descriptive-analytical method, has tried to determine the position and function of the archetype of the anti-hero in the course of postmodern poetic narration. The results of this study showed that postmodern poets are praised as long as the archetype of the anti-hero protests against the social conditions, and he is praised among the heroes, but when this role causes damage to one's own archetype or other positive archetypes, it is no longer supported.

The shadow archetype is one of the driving factors of unpleasant feelings in human beings. This archetype seen as a dominant pattern in the postmodern poetry. the present study describes this feature as a stylistic feature in the postmodern poetry that this feature creates a dark atmosphere and expresses unpleasant and disgusting feelings along with social and political anomalies by the poets in the contemporary poetry. To prove this claim, ten collections of works by seven postmodern poets were studied and evaluated using a descriptive-analytical method. The result indicated that the heavy shadow of the archetype of shadow has unconsciously spread so much on the mind and soul of these poets that it has dimmed the positive aspects of other archetypes and thus reflects fears, failures, frustrations and external manifestations such as murder, betrayal, rape, protest, etc. in the works of such poets and has been able to turn poetry into dark and full of shocking and along with continuous death thoughts.

Īhām is among the most pleasant literary devices and the best way to express social woes and a medium through which to express discontent, albeit conservatively, in societies under authoritarian rule. Hafiz extensively employed this rhetorical embellishment to criticize the tumultuous situation, not least in his Ghazals. Relying on the descriptive-analytical method, this inquiry delves into the īhām-loaded poetry of Hafiz aimed at social and political issues. It will shed light on the influence of Mongol invasion of Persia and the dominance of Genghis Khan’s successors in the Hafiz’s poetry. It also identifies the most prominent instances of īhām with socio-political function in his poetry. The results suggest that the best part of social and political īhāms is aimed at the corrupt establishment, principal among them the hypocrite Mongol rulers. As well, two types of īhām were used more frequently than the other ones: tanāsub and mujarrad.

In tyrannical societies and authoritarian governments, opacity is the best way to express social pains and is a channel for protesting and of course, it is prudent; This means that the inappropriate social conditions and the suffocating atmosphere of the lands lead the artist to conceal and express his beliefs in the envelope of opacity’s literary array: An indirect and effective statement that raises the awareness of the audience, and in a way, it can be considered as a way of the writer's or poet's pen struggle against the rulers and the deceptive and hypocritical people. In the 7th and 8th centuries of AH - which is one of the darkest periods in Iran's history - our land was attacked by the Mongols and their rule. The tyranny of the rulers during these two centuries resulted in heavy social suffocation; as it has been very influential on Persian poetry and especially the form of Sonnet and has caused the introversion of Iraqi style poets. In the current study - which examines the literary industry of opacity and its relationship with critical issues in Hafez's sonnets - data has been collected through document analysis and described in a qualitative manner. The result of this research shows that the use of idioms in order to criticize the actions of oppressive kings and hypocritical Sufis and ascetics in the court of Khajeh is a characteristic of the poet's style, and among the types of opacities, the frequency of opacities of proportion and singular opacities are more than other types.

For conceptual metaphors, Lykoff considers the two domains of origin and destination, which in the metaphor of "love is war" is the origin of war, which is used as a destination domain to give meaning to the concepts in the category of love. The aim of this study was to investigate the conceptual metaphor of war and love in Simin Behbahani's poems by descriptive-analytical method with the aim of recognizing the concepts related to love. The results showed that Behbahani has considered the attributes and actions for the lover and the beloved, some of which are specific to one party, some of which are common between the two parties and some of which are necessary for each other. These attributes and actions include psychological, material, and physical consequences. In this metaphorical realm, although in most cases the lover is the victor of the field and the lover is the loser, but in some cases Behbahani, by deconstructing his style, puts the lover in a weaker position and this causes a higher frequency of common themes between lover and Has become more beloved than other actions. In general, most of the tricks and acts of war are for the beloved, and the most results and consequences of the war, especially in the part of physical results, are assigned to the lover.

In the dark seventh and eighth centuries AH, which was the period of domination of the Tatar bloodthirsty and the governance of the unworthy cruel rulers over the cultural Iran, critical poems emerged in ways deeper than the protesting literature in the sixth century. In this period, Saadi and Saif Farghani were two liberals who each addressed the issues of the disintegrated society of that time. Since the arbitrariness of anti-people governments had captured the pen and speech in the labyrinth of tyranny, these poets inevitably turned to cryptic novelties, especially equivoque , to criticize the turbulent situation of the time. Based on a descriptive-analytical and comparative method, this study aims to investigate and compare the function of equivoque in raising political and social issues in the Ghazal of the mentioned poets in order to firstly explain the impact of Genghis Khan invasion and Mongol rule in this period on the common theme in their Ghazal and secondly, the most equivoques of the Ghazal of the mentioned poets is known by their political and social functions and their similarities and differences, as well. The final result of this research shows that the application of "Equivoque " method in raising political and social issues in Saadi's Ghazal is more frequent than Saif’s. Most of the equivoques criticisms of these two poets are directed at those in power. Among the types of equivoque , abstract equivoque and equivoque of proportion are more prominent in Saadi's Ghazal and equivoque of proportion and contradiction in Saif's Ghazal, respectively.

Lamentation in the term means composing poetry in a person's mourning and has existed since the first periods of Persian poetry. This literary genre was associated with the Karbala incident in the Safavid era and became a well-established culture. Since then, Shiite poets have written religious poems, especially Ashura poems, detailing their events. Ahli Shirazi, Babafghani Shirazi and Fuzuli Baghdadi are among the great poets of the Safavid era who wrote exhilarating poems in the mourning of Imam Hussein (AS) and the martyrs of Karbala. In this research, 318 verses of Ashura poems of the mentioned poets have been studied from the stylistic point of view and their style has been studied in three levels of literature, language and thought by statistical analysis of the data.

The research method in this article is descriptive-analytical and the data collection method is documentary (library). Referring to the three poets, ten mourning poems in mourning for Imam Hussein (AS) and his companions were collected as the statistical population of this study, which totals three hundred and eighteen verses; After collecting the information, the author has achieved a stylistic description of the verses of the elegies at three linguistic, literary and intellectual levels, and finally the analysis has been done based on the extracted findings.

Although in these elegies, poets do not pay much attention to poetic industries, Ahli Shirazi has more artistic uses than the other two poets.

At the linguistic level, most of the laments have heavy weights and a calm and sad tone. The frequency of Arabic words as well as words with the mourning discourse of Ashura (such as Karbala, blood, martyr, grief) is significant in all elegies. The syntactic structure of many sentences is necessarily confused with poetry, but these changes are common in poetry and are not considered prominence. At the intellectual level, all the elegies confirm that the poets are Shiites; Attributing the incident of Ashura to the sky, which is a kind of determinism, is significant in these poems. The most important result of the present study is to reveal the similarities and stylistic differences of the laments of these three poets and to know their views about the martyrs, which cultivates the soul in the clear source of mourning for Ashura.

In ancient epic texts, mirrors have been reported that by examining and comparing them, many similarities can be achieved between mirrors around the world. Anthropologists in different societies have reported on various rituals, one of which is the rite of passage. The transition to puberty and marriage is accompanied by mirrors in which certain tests are performed. One of them is the marriage test. In this test, the young suitor is asked to take tests to prove his courage, wisdom, physical ability and other arts, and if he succeeds in passing them, he can marry the girl of his choice. This study examines premarital tests in epic texts after Shahnameh. In these epic texts, tests such as picking up a girl from a saddle, sitting firmly on a carpet, archery, passing a week, polo, defeating an enemy or an alien hero, and killing a dragon have been reported. Premarital tests in this study are based on the opinions of anthropologists and mythologists such as the Eliade and the freezer and the transition mirrors.

The present article has investigated political and social content in contemporary poet, Nader Naderpour’s poems. Nevertheless, his political and social views in terms of contemporary research have been neglected. We will not exaggerate if we consider Naderpour as the poet of images. The main essence of his poems are individual or human-philosophical and it is not much related to political and social perspectives. However, in Sormeh-ye Khorsheed and the other poems, his symbolic affiliations are at times towards political and social concepts. Romantic instances of his poems start from blue romance through to social examples and end in sad romance which is due to homesickness and they resemble Khayyam’s poems. Naderpour’s individualistic romanticism shifts to social revolutionary romanticism in the 30s and 50s. He combines romantic poems with political ones in this era. There are frequent fear, arrogance, revenge as well as  neural, social and political breakdowns in the background of his poems. In some of his poems, we detect a new perspective towards human and society and also love, freedom, justice as well as political, social and cultural issues in the contemporary world.

The only work of Attar's prose (537 - 627 AH) is the book of Tazkerat al-Awali in the current description of seventy-two mystics and Sufi sheikhs and their disputes . After Attar, anonymous authors have added parts to the book that do not cover the main part. Some non-intellectuals and critics, with the help of their own language, have found this to be the case. The above method has been tested in the Persian text on the author's diagnosis. In fact, the purpose of this study was to compare the text of Q sum's method or the exponential sum, comparing the text of the two main sections and comparing the above-mentioned memoirs with each other, to prove the hypothesis that the author of the biographies of Hussein Ibn Attar Mansour Halaj in his book.

Animation is one of the fundamental elements of mythology . Myths give us some truth about belief ,knowledge and worldview of human ancestors. mythology has an inseparable bound with illuminism thoughts and theosophical and also poetic imagination .Mowlavi because of possessing a strong illumination and imaginative ideas in poetry,Mowlavi puts himself in space of Animation unconsciously. He presents lots his theosophical thoughts in Masnavi through animation which is a sub-heading for personification. In this article we have a look at the Animation and personification theories , and outlined their function in Masnavi.Then we have represented them in Mowlavi´s thoughts and emotions through plenty of examples. The most important result of this research is the re-prove of expression and aesthetics role in induction of Mowlavi´s thoughts to his readers. The present research has obtained its data through written document ,books and articles and elaborated them by analytical methods.

In mystical worldview, this world is a shadow of another world or the unseen world. So whatever is in this world is the shadow or symbols of that invisible world which expressed through language. This fact is sometimes expressed in the language of the phrase, at a higher level inevitably has to be conveyed to the audience through the "sign" language. In Mathnawi, Molana has used both expression and sign language. In this article, we have shown how Molana's use of sign language has, in a vast way, represented different things for human beings, plants, animals, and abstraction. The main issue of this research is to explain how Rumi symbolizes in Masnavi. The sign language and symbols used by Molana are directly related to his worldview. In this study, which collected its data through a library method and examined them by descriptive- analytical method. The results showed that Molana presents all these symbols with a system that ranges from the evolution of the universe from the solstice to man and thought. But the stuffs are obviously increasing on plants, animals, and especially on abstractions.

Hakim Omar Khayyam mathematicians, astronomers and poets called Iran Seljuk period. Although the scientific base Khayyam literary position is superior, But his reputation further by writing quatrains that in today's global reputation. Rubaiyat have been translated into many languages, living And an English translation by Edward Fitzgerald in 1859 AD. Has brought her fame in the West. Rubaiyat impact on world literature, he has become a symbol of the philosophy of the East and poet intellectuals popular. Although exact numbers are not known Rubaiyat today, but the influence of Persian poetry of Khayyam was so profound that researchers called the situation "the idea Khayyami" trend. Khayyam thought that themes like Seizing the opportunity, Khvshbashy and Randy philosophical astonishment and perplexity to the mystery of existence, emphasizing the short and the passing of time and regret it, and will take refuge in forgetfulness Badە in contemporary Persian poetry and Arabic is clear. In the present study, the philosophical ideas in poetry Abdul Wahhab al-Bayati, love poet Omar Khayyam, look, it's the thought of Khayyam's poetry Mohammad Reza Shafi'i Kadkani that in terms of similarities and a lot to do with al-Bayati, have been compared. The results of this study the comparative approach and interpret the content of the poet's works have been carried out show that Khayyam is less than the depth of thought, both poet and understanding of the thinking of the philosophical al-Bayati Shafi'I preferred kadkani.

Nader Naderpour is one of the most recent popular poets in 30th and 40th decades and we can call him the one of the most important classical poems heritage but yet modern. The beauty, elegance and Aesthetic aspects of his poems are results of his knowledge about past poems. Therefore in this current research, we have tried to study this outstanding Poet’ literatures by the help of one of the most important recent literature theories i.e Russian formalism. In this research, our goal is to introducing Nader Naderpour’s versicular language from the Russian formalism point of view and discover the structure and versicular language in this contemporary poet’s literatures as well as find an answer to questions such as “Which process is being done to construct Nader Naderpour’s poets and literatures?”, Does breaking law (whether phonetic, musical or grammar) in Nader Naderpour’s poems and literatures frequently happen? The results show that about one over three of Nader Naderpour’s poems are naturalism. The poem “plant and rock but no fire” is among the most naturalism in his poems. Breaking phonetic law and grammar, balance in grammar, beat, beat options, pun and other aspects, show that Nader Naderpour’s poems are among Russian formalism structure.

Prayer and praise of God, is one of the most spiritual moment of every believer. In all religions, according to the believer's perception of the religion, some methods are prepared for mystery and need of God. The poets, whom have gentle and sensitive spirit, have fine and pleasant chant in their works, which are the most delicate of their works. praises in the Attar's Masnavies; Elahi-Nameh, Asrar-Nameh, Mantegh-o-Teyr and Mosibat-Nameh. Attar's chant, were scattered among the Masnavies, which are expressed through Masnavi's characters or even himself. Audacity, temerity and intimacy of his mystical chant, gave Attar's works a special depth. The pure spirit of Attar, which is existed in every layer of hearty and sincerely dialog with his God, blow a heavenly and pure spirit to his chant.Attar believed that the God's call for prayer and invocation is a great honor for human being; and even, God himself, gave the enthusiasm of prayer to his worshipers and help them. The theme of Attar's invocations is the praise of God, his love to God and expressing requests. The most important of his prayer is healthy oneself and happiness hereafter. By study of the Attar's invocations, it is realized that Attar is a believer who in the spiritual journey, does not exit from Shariat road, and in the Mysticism, he choose moderation.

As far as sociology, religion is a multidimensional phenomenon that this option is disabled diversity in human behavior. In 1965 Glock and Astarg for all religions attached five dimensions. Most researchers accepted this model and it was appropriate for religious study. Since the Shah Ne'mat Allah Vali, one of the Persian mystic poets of religiosity and adherence to the law is an important aspect of his personality, so the hypothesis that the applicability of Glock and Astarg was built in his poems based on that, the author analyzes and describes the religious aspects of Shah Ne'mat Allah Vali. The output of this qualitative study was conducted by the manner in which information has been collected by library research and browsing documents show that his attention has been paid to the religion of Islam believe in. In this regard, the poet referred to the question of the true faith of many a believer, but most themes, the question of prayer with the Lord rounder.

The purpose of the current research was to compare the discourse of Tuba and the Night Meaning by Sharnoush Parsipour and Alsabbar by Sahar Khalifeh novels on women.  Parsipour is one of the Iranian novelist that expressd in different ways the ignored women's rights in his works. Also Sahar Khalifeh is the Palestinian contemporary novelist that raised the problems of women in Arabic societies in his works. This study implied analytic-descriptive method. The results showed that the both authors believed women were respected but men look at them in proprietory and asset attitude. Both novels recalled the women to learn and think, because of low knowledge and ignorance were two main factors of degrading the women in the male-dominated societies. Parsipour believed that love is belong to women; while Khalifa more refered to the homeland inspiring love and fighting against the invaders in her work.

Taleshi is one of the Iranian north-western dialects which are spoken on the shore of the Caspian Sea. It has retained some of the ancient phonetic variations. In this study, after a brief description of the Taleshi verb construction, the etymology of 14 verbs of the central Taleshi dialect was investigated. Research data and their transcription were based on the pronunciation common to central Taleshi dialect. In the lexical entry of each verb, first the present and past stem of the Taleshi verbs have been inserted. Then, based on the equivalent or cognate of the word in other Iranian dialects and languages and also in other Indo-European languages, the etymology of the words has been considered and their ancient Iranian and primary Indo-European forms have been reconstructed. Then, based on the evidences from the dialect itself, the derivational structure of the words and the accomplished phonetic changes on their stems has been explained. Also, the historical evolution of Taleshi phonemes in the selected verbs of this paper has been studied from ancient Iranian up to the modern period.