بدریه قوامی

The present study investigates the narrative element in Vahshi Bafghi's poem "Nazer and Manzour" (the observer and the observed) in the light of the theory of "Tzutan Todorov". The structure of the narrative refers to the method of organization, the set of relationships and elements and components of the work. The structural analysis examines the relationship between these elements including attainment of the proposition, the sequel as well as examining the plot, narrator and different echelons of the storyline. Of course, in addition to the mentioned cases, thoughts and notions of the content of the work are also examined. Therefore, considering the emergence of schools of literary criticism, which has opened a new chapter in Persian language research, as well as the position of Persian love poems that have been considered as prominent works from the beginning to the present and contain many features of Persian language and literature, the present research has extracted narrative aspects in this work through descriptive-analytical method together with using library resources. Existence of eight sequences and propositions, amongst which balance and imbalance are sometimes seen, and that the sequences do not reach the final balance, aspects of causality and causation to continue the narrative, the process of characterization considering the two elements of the lover and beloved and the existing obstacles on their way to reach each other and the propositional materials in the narrative are among the findings of this research

The Gothic style was a mode of story writing which became popular in the eighteenth and the beginning of the nineteenth century in Europe when suppression caused by church and religious beliefs on the people was dominant. These stories are created based on imaginary and unreal situations. The role of gothic writers is to analyze the psychological disorders; therefore, novels written in the gothic style are also known as black romance. In Eastern literature (Kurdish and Persian), some socio-political events encouraged story writers to go for surrealism and magical realism adapted with social infrastructure of their community. In this research, Gothic elements in Hoshang Golshiri’s Prince Ehtejab and Bakhtiar Ali’s Death of the Second Single Child have been explored through their relevance to Iranian and Kurdish society. Moreover, the style of both authors has also been investigated. The results indicate that Hoshang Golshiri and Bakhtiar Ali have used Gothic techniques in their stories in accordance with the social conditions of their society. The Gothic is a means to reflect the social and political conditions of these authors' era, where tensions caused by social issues in turn, yields to socio-political situation of their era in a Gothic format.

Undoubtedly, Vahshi e-Bafghi is one of the famous poets of the Safavid period, whose importance lies in his special style of expression. Art creation in the subject and expression of poetic feelings and emotions with his smooth, simple and intimate language has made him the most prominent poet of the school of occurrence. Poetry can be examined from different aspects. Examining the manifestations of the mystical elements in Bafghi's poems, especially in Khold e-Barin, is one of the novelties and beauties of his language and thoughts. By descriptive-analytical processing of Bafghi’s poems, the writer has come to the conclusion that with all the emotional passion and poetic inspiration he had, mystical love was one of his intellectual and poetic themes. In most of them, the poet's intense emotions, feelings, pain and inner anguish are expressed with a smooth, simple and pleasant language with the most force. He has revealed him, but at the same time he has considered it as a bridge to the truth.

The present study investigates the intertextuality in the stories of Azadaran Beil and Tatar Khandan by Gholam Hossein Saedi based on the theory of Mikhail Bakhtin. What is referred to as intertextuality today is a term that can be called discourse between texts. Intertextuality is the study of the discourse of texts in literary and cultural works of the world. Before Ferdinand de Saussure's theories, everyone believed in the independence of texts, but Saussure's theories lack the validity of these theories. Based on this theory, Bakhtin believes that texts and their speakers consciously or unconsciously benefit from each other's intellectual and literary sources. The authors of this article intend to analyze these two works with the method of content analysis and with the aim of knowing more about the works of this author based on Bakhtin's theory and with the library method; The findings of the research show that the author was influenced by the Quran and Islamic beliefs and also mentioned some popular beliefs during the stories. The expression of proverbs and myths, irony and bringing part of prayers and supplications are other indicators of these works. Saedi has sometimes mentioned other stories in his works, and in terms of content and theme, he has been influenced by Sadiq Hedayat's Buf Kor and Kafka's Metamorphosis.

Semiotics is an interdisciplinary approach that examines sign systems in a literary work; Among the approaches to semiotics is the theory of Michael Riffaterre, a French-American theorist on the semiotics of poetry. According to this approach, the reader is a very important factor in the process of reading the text; Riffaterre believes that meaning is always present in the text of a poem and only the reader should extract it. In his view, the meanings of poetry should be understood on its own, not by referring its signs to external realizations, and understanding poetry requires the reader to try to find an intertwined network of signs, and in this regard, her approach can also be considered as a reader-cantered critique. In this research, Ebtehaj's poem " Arghavan" [English Equivalent: purple] has been analysed using Riffaterre approach. The central idea of ​​the poem is "the isolation of the poet in an inappropriate social space", which is expressed in different ways in the text of the poem. Although this idea is not mentioned directly in the poem, the widely used propositions and clichés of the language that the poet uses by repeating them in the process of "over determination" or through the "conversion" process, by modifying those propositions, or using the "expansion" process, by extending the general idea to more detailed ideas. In addition, by discovering two semantic processes of "accumulation" as well as "descriptive anthologies", which all come from the same source and guide the poem to induce a single theme, the descriptive anthology of " Azadi" (freedom) that evokes words such as "morning", "spring", "candle", "lamp", "sun", "dawn" and "sun"; In contrast to "Sharayet-e Namonaseb-e Ejtemaei" (unfavourable social conditions) that the "forgotten silent corner", "crypt" and "night of darkness" evoke the same concept.

Marxist critique is a form of literary criticism that speaks to the relationship between society and literature. In Marxist critique, literature is analyzed on the basis of the historical conditions that created it. Therefore, for Marxist critique, it is necessary to know its historical background. With the occupation of Iran, Iraq and the Kurdistan region after the First World War by the Allied forces and Russia, a current dominates Persian and Kurdish literature, which is influenced by many of their writers. Marxism and Communism put Russia. Iranian society during and after World War I due to the inefficiency of the ruling system involved in problems such as; Poverty, the existence of a class system and the pressure on the people by the government of the time, Iraqi Kurdistan has long been a place of conflict with the government and the central government of its time to seek an independent government and government, Kurdish nationalist thought in Iraqi Kurdistan Also, the influence of the Iranian and Iraqi Kurdistan societies on the communist and Marxist currents after the First World War provides the ground for examining the works of the authors of Persian and Kurdish literature and their influence from these currents. In this study, the Marxist critique of the novel by Jani Gal and the Daughter of a Peasant, which; It can be said that in Persian and Kurdish literature, both works are among the first social realist stories.

Carnival is one of the prominent  theories of  Mikhail Bakhtin,the great critic of the twentieth century in literature. Features  that make  a literary work  can be  called carnival are the language  of  the street and market, humor, laughter , imcompetence, Grotesque, etc  that  can be mentioned in describing a carnival work. Carnivals are public and folk festivals in which different classes of society are worded and the wise, fools, clowns and kings are ridiculed. One of the works that can be read by carnival” Azadaran-e Bayal” is the work of Gholam Hossein Saedi. This article is based on descriptive-analytical method and library method. The research  finding indicate  that the author disrupts the dominant and one-  sided discourse in this work and provides space by creating multiple  and reciprocal characters and situations to creat discourse and reflect  different voices to express social and cultural truths. In this novel, The explanation of the multilateral and functional contradiction between characters and cultural and religious situations in society, combining contrasting things by creating  situations and artistic spaces ,as well as, reflecting the effects of death and love at the end of stories, creating distorted and crazy characters who breaks balance of logic  and formality, the use of slang in different situations, the existence of fear and panic in the atmosphere of the stories, the creation of humorous and funny situation with special and self- attributed methodes, etc  expresses the signs and components of carnavalism in this work.

The word narcissism was first used by Freud. Of course, others, before Freud, used it in the sense of selfishness and humiliation to describe the psychological attitude in clinical psychology. This personality disorder often leads to projection. Projection is one of the psychological mechanisms through which one can understand the conscience and inside of human beings and gain a relative knowledge of their personality. Mawlana Jalaluddin Mohammad Balkhi (Rumi) in his works, especially in Masnavi, has paid attention to the psychological aspect of human behavior. This study tries to analyze narcissism and projection as one of the new concepts of psychology in the story of the Hunting and lion of Masnavi, with a descriptive-analytical approach and using library resources. The findings show that the disorder of narcissism and pride in our psyche leads to not seeing the facts and death. Rumi considers narcissistic personality to be the general problem of humanity and the way to cure it is self-knowledge and polishing of the soul. In the story of the lion meets himself and comes to his truth. In fact, the rabbit did not kill the lion, the lion's anger and narcissism and his lack of trust in God caused his negligence and eventual destruction. The issue of meeting in Rumi's language is sometimes expressed with interpretations and signs such as water, spring, stream, face, seeing one's reflection in water, etc., which evokes the myth of Narcissus in the world of myth.

The sociology of the novel deals with the relationship between society and the individual. The novel is the most important modern literary form. Becuase in the novel description of social surrents in created. Its hero is also on in fluential hero. It was first developed by George Lukcs and then developed by Goldman.According to Goldmam the main function of the novel the search for corruption is in a corrupts society that is strongly linked to social sturctresand there is   and inseparable link between this type of literature thise type of literature and the developments of modern society.   and considering the position and important of the novel horo in society it is necessary to the sociological analysis of the novel hero in the filed of sociology. And concidrering that Mirsadeghi is a realist writer hreo works are a reflection of historical events.and can be the characteristic of problematic personality in novels the length of the night and crows and men according to Lucien Goldmn’s theory, the contract under study. This research examines the most important characteristics of problematic personality in an analytical-descriptive manner. The most important research findings are the problematic personality in each of the novels, which according to characteristics such as individuality, following true and opposite values, and marginalization and destruction of true values ​​lead to the death of the hero and are known as problematic people.

Literature is one of the social affairs that has always been influenced by the political events of its time and is a place to express and reflect those currents. One of the consequences of the rule of tyranny and oppression on society is the approach of poets to symbolic expression. Savareh Ilkhanizadeh is one of the new Kurdish poets in Iranian Kurdistan, who under the influence of the conditions of society and modern Persian poetry and the influence of Nima Yoshij's poetry, in his poetry to socialism and attention to the pains and sufferings of people and committed Knowing himself in the suffocating atmosphere that was the gift of the rule of the age. Some poets in modern Persian poetry used symbolic language to express the problems and aspirations of the people. The rider also had a symbolic language in poetry due to the influence of the prevailing conditions in the society. In this article, by looking at the historical and political situation of the rider's poetic period, he examines the language of the poem "Khawa bardina" We use his poetic symbols and use them to express the problems and ideals of the riding community, and we achieve the important point that the riding is a combination of symbolism and socialism, which are two prominent features of social symbolism. Is a narrator of the historical, political and social events of his time

The present study aims to provide a sociological reading based on Lucien Goldman's theory in the novel 'The length of the Night' by Jamal Mirsadeghi with an analytical-descriptive method that deals with a significant relationship between social structure and the structure of the literary text. Goldman called his method developmental structuralism, which is an important factor in the emergence of developmental structuralism of the author's social base. He believed that the literary work is created not by an individual but by the worldview of a group and a group to which it belongs, and Mirsadeghi, is a realist writer, raises issues of the problems of the time in his works that reflect the social facts. Which is a new approach in recognizing his works and reached the important findings that the novel has a social structure And the most prominent social themes are cultural and economic poverty and the confrontation between tradition and modernity which has led to a generational rupture and according to Goldman's theory, the author as a social class agent represents the middle class worldview and the existing worldview is the result of the same worldview of the middle class, which, by reaching the maximum possible consciousness, has been able to show class consciousness in the middle class.

The term realism refers to the literary movement that emerged in England and France in the nineteenth century. Socialist realism is a type of realism that deals with the social analysis, study, and visualization of social relations and other related issues. A significant characteristic of social realism is its attention to the man and his problems in society. The novel Jani Gal (The Pain of the Nation), written by Ibrahim Ahmad, is a prominent example of the realistic works in Kurdish literature. Ibrahim Ahmad tries to represent the people and their social circumstances in the way they are in the real life of the people of Iraqi Kurdistan. The realistic style clarifies the facts; however, the author should not clearly express his political and social attitude. Adopting a descriptive-analytical method, the present study attempts to analyze Jani Gal as a socialist-realistic novel and its three basic principles, which include; political orientation, ideological views, and nationalism. Ibrahim Ahmed has been thus introduced in the present study as the representative of socialist realism in Kurdish literature.

Samak Ayar is one of the Persian prose and contains folk elements wich illustrates the may of life of the people of that period and oims to provide a clear picture of the reflection of this elemnts in the story as well as expansion of research in popular litelature the research is a destractive analitical study of data collection using library resources the researcher by reading and reading line by line the book by samak_e ayat reveals a manifestation of folk elements including: custom, game,blief, celebrations, medicin, tales, fairy tales,astronomy, proverbs observation extracted.according to the present study, this story contains the offects of folk litrature in addition to the intertaiment espects,it is in fact intellectoal and social inderpiniys of the people of that era and source of information about life costoms and traditions. It has high frequency among the investigated elements and the like and the outher transmits to the reader by using parables.what the cansiders to be sublime and humane traits .Keywords: Samak-e-ayyar, slangy letter,examples,mores and manner.

Hermeneutics is an attempt to get the meaning of a text and a methodology to derive meaning from various elements of the universe by presenting different methods. Gadamer is one of the contemporary theorists of hermeneutics, whose views and ideas in this field are a turning point in modern hermeneutics. The historicity of understanding, the centrality of language, the role of prejudgments in understanding the text, the discourse communication between the text and the interpreter, and the integration of horizons of vision are the basic principles of Gadamer’s approach that could be used to interpret texts. The present study, with a descriptive-analytical approach, provides a hermeneutic reading of one of Rumi’s lyric poems (Ghazals) based on Gadamer’s philosophical hermeneutics. For this purpose, an interpretation is presented specifically based on the reader’s point of view with an emphasis on cryptic verses as well as the real meaning and understanding of Ghazals. The results of this study showed that understanding and interpretation of a text always has a historical and temporal state and it plays an undeniable role in the interpretation of Rumi’s Ghazals. Studying the referential function of language revealed various meanings of Rumi’s symbolic language, which has always been considered in hermeneutics, and therefore it is believed that there is another world beyond language. In the section of integration of horizons of vision and the discourse communication between the text and the audience, Rumi’s mystical thought causes the interpreter and the audience to initially have preconceptions and prejudgments towards Ghazals which depend on the horizon of semantic and cognitive implications of the interpreter’s time, and at the same time, the limits of the efficiency of intellectual and cultural tradition in which the interpreter lives.

Intertextuality is one of the most common terms in contemporary literary and linguistic theories; according to this approach, there is no independent text; it has an intertextual connection with its earlier and later texts. In this descriptive-analytic study by using the intertextuality approach, the literary connections of two works, Blind Owl by Hedayat and the poem Let's believe in the beginning of the Cold Season by Farokhzad have been analyzed. The results of this study show that there is an intertextual connections between the two texts; in this type of relationship, there are indications for the textual relationship that the reader is aware of the first text (Blind Owl), he is aware of intertextual relationships. Hedayat and Forough are independent artists whose poems originate from within; both of them reflect on their personal self-centeredness, that focused on the "thought of death". The fear of decline has led the two artists to the extremes of despair and, ultimately, to nihilism, causing hatred of the world and of humanity, and ultimately, both artists wish for a window into it, in order to reach their ideal worlds and ethereal love.

Jalal al-Din Mawlavi had learnt Khorasan’s language and literature, yet certain Turkish as well as Mogholi Turkish words are found in his language heritage. Besides, his years as a poet were spent in an area where the language of most people was Ottoman Turkish. Therefore, it is natural that Turkish words be seen in his poetry: both words used in Persian works written prior to his time and words found in Persian poetry and Mawlana’ own poems for the first time. A review of the way these Turkish words are employed indicates that they are predominantly taken from the colloquial language of the poet’s companions finding their way into his poetry in accordance with circumstances and as the comprehension of Mowlana’s Turkish speaking audience necessitated; thus no apparent personal proclivity had led him to employ such words.
In the present article, we present all these words and several Turkish expressions and compound words that we have identified in Mawlana’s ghazals.

Presence of symbol in fables, dreams and revelations, inform about symbols primitive grafting with human spiritual experiences.
word of gnostic have becomes a place for manifestation of symbol. among this, Attar has showed many of his experiences in spiritual basis on the symbol, and with this way,he has told a gnostic matters for his second persons on the sensible.
Mosibatname, a description of human spirit traveling and univers bewilderment in wisdomology. in this article has achieved with descriptive and analytic method, Mosibatname symboles are analysed, and behaviour cours (walk path) in spiritual world are studied also the obstacles in disciple way reaching truth. resultant of article is that , Attar, in the long run, showe a meeting to oneself of self (safe essence) for reaching to truth. a main thought in Mosibatname is that, search to God and element of univers and finding that after a traveling through obstacles, is in human essence. but, this element and truth of univers, is a God's eternal light and Mohammadan light.

Amongst the works of Persian poets, Mawlana’s ghazaliyat (lyrics) are, in addition to their many other aspects, unique in terms of the kind of the words used in them. The extent of Mawlana’s lexicon is in direct proportion with the extent of the motifs and themes of his poetry. His fluid mind, just as it is often active in creating novel ideas, hardly confines itself to the narrow circle of conventional stock words, fresh experiences in ideas and rhythms automatically filling his speech with new simple words as well as compounds and phrasal combinations. A number of words in Mawlana’s poetry are Turkish-Mongolian. Of these some have come to him from the linguistic literary legacy of Khorasani folks, and some others have entered his verses as a result of his stay in Konya and close association with Turkish speakers. Exploring the number of these two groups of words and identifying and differentiating them is in itself useful, including the understanding of Mawlana’s nature of inclination to Turkish and the degree of the impact on his poetry of the language and speech of those around him. Studies show that this topic has so far not been addressed as properly as it should, and that the definitions suggested by some of Mawlana’s commentators for a group of such lexical items are to be doubted. In the present article, while presenting kinds of the Turkish-Mongolian words in gazaliyat-e Shams and the sort of changes Mawlana has made in them, the writers address the meanings of those words that had been used in Persian prose and poetry before Mawlana. Besides underlining the extent of the poet’s vocabulary, this study could play its part in assisting readers and researchers to further understand the language of Mawlana’s poetry.

According to Halliday& R.Hassan, semantic cohesion is defined as "a semantic concept" and refers to the semantic relationships between the elements of a text.The understanding of some textual elements can be facilitatedbased on the functions of these relationships. One element presupposes the other and this means that the second element cannot be understood without the first one. Therefore, the relationships between the textual elements lead to the cohesion and consistence of the text. Classifying the cohesive elements, this paper is conducted to analyze one of Shamloo`s poems by using Halliday& Hassan`s theory of cohesion and cohesive  harmony.  And  finally,  the  elements  are  investigated  which consist each cohesive chain. The results show that this poem is cohesive and its grammatical cohesion is more than its lexical cohesion. The majority of  instances  of  grammatical  cohesion  are  related  to  personal reference. Applying this theory, we can measure the degree of cohesion in all the poems by Shamloo and any other poet.

In Islamic Theology and Moslem’s Literature, Quran and Hadis are two primary rich and complete sources which poets and writers have inspired  from constantly through the history. Molavi is one of the poets of Persian language who has benefited from them in an artistic manner.
Artistic selection and picking some verses and prophet’s sayings has made Molavi more successful than other poets in connecting with the audience; this issue has made Molavi’s Ghazaliaate specific and different in comparison with other poet’s Ghazaliaat. Although, this way of application is also observed in Sanaaie’s and Attar’s poem, it has noticeable frequency in kolliyaat-e- Shams  and has particular variety there. This means that Molavi has now and then interfered in expressions of verses and prophet’s sayings or their meaning or he has sometimes used verses and prophet’s sayings in a meaning other than their real meaning. Molavi’s particular art lies in the type of entangling these phrases with other words of poems to make compound adjectives and nouns. The writer of this article has investigated some poems of Kolliyaat-e- Shams as a sample here and has shown how the poet has used verses and prophet’s saying and their artistic reflection. This is in order to linguistically artistic landscapes of Molavi’s Ghazals to the audiences.

The secret of beauty of Molavi 's Ghazals is to a large extent due to the poet 's language to which innovation and affluence of words and combinations has given a particular appearance. Molavi 's new experiences have caused him to find out various delicacies of language and via this very realization find an appropriate language for his own poems.This survey is the outcome of a new attitude at Kolliyaat-e- Shams from a lingual viewpoint. An attempt has been made in this article to observe Molavi 's language as far as possible. Language is like other components of poems made of some units: Phonic unit, lexical unit and structural unit. The writer intends in this to observe Molavi 's lexical unit in Kolliyaat-e- Shams.Kolliyaat-e- Shams is unique among Ghazal poets due to extent of dictions. This extensiveness and variety is because of broad range of Molavi 's thoughts and emotions. Molavi 's attention to meaning has affected the application of dictions in a way that informal words and combinations are rare.Particular dictions which are rare in other Ghazal poet 's languages are affluently seen in Divaan-e- Shams. Molavi 's main art is innovating new words. Due to his experiences and based on emotional needs, Molavi has innovated new words and combinations which have not been used before him. Even the structural patterns of some of these words do not follow phonic and structural rules. These very agents not only have no harm to Molavi 's language but also clarify Molavi 's lingual art to the audience.

Kalandari poetry is a branch of mystic poetry whose formal emergence is from Sanaie's poetry. From then on the domain of expansion of its is so that Kalandari concepts seen in the poems of the poets like khaghani and  Anvari.  Examining  Sanā‟i  and  Attār 's  Ghazals  as  the  most prominent instances of Qalandari poems illustrates major features of Qalandari thoughts as well as these poets characters and the language of Qalandari poems. Observing these terminologies which is the result of a serious investigation in this field will in any way show the degree of imitation of some 8th century poets.