سپیده یگانه

Holy defense poetry represents the significant subbranches of contemporary poetry emerging in a symmetrical relationship with the historical hypertext of the Iraq war against Iran. As the war concludes, holy defense poetry continues to evolve, shifting from the phenomenon-based approach to the consequence-based one. Thus, this time (1989-1990) can be called a transition period. The poetic movement of holy defense poetry is classified under the lyric poetry category. This period is an appropriate context for being influenced by the socio-historical hypertexts of the imposed war. The martyrdom of individuals, the return of prisoners of war, and the deviation of certain groups of people from the ideals of the Islamic revolution are three main three hypertexts. These hypertexts and their impacts on the community have the greatest influence on the formation of the genre of holy defense poetry after the war. This genre comprises three subgenres that have continued after the war.  They include the subgenre of mourning, the subgenre of description and veneration, and the subgenre of critiquing. In the subgenre of mourning, poets keep on the trend of composing elegy for the martyrs of holy defense war. In the subgenre of description and veneration, besides describing the war and the valor of warriors, poets venerated the prisoners of war released from Iraq’s jails. Lastly, in the subgenre of critiquing, the poets take on the mantle of society’s vigilant conscience monitoring the shortcomings. Then, they elaborate on these defects in their poetic discourse. Alireza Ghazveh, Simindokht Vahidi, and Majid Nezafat were highly productive poets of this genre after the war and Ghazal was the most common verse form in the examined period.

In interdisciplinary studies, the dialogue between philosophical topics and textual data in literature is of great importance, and in the meantime, the examination of Bakhtin's thought system in the field of philosophical anthropology and the theory of "otherness" is one of the important topics in this field. It emphasizes the need to stay away from the bipolar system and refuse to recognize "self" without interacting with "the other". On the other hand, literature and especially the novel, through the representation of the human world in the text, is a suitable platform for understanding this confrontation and dialogue in cultures and societies. Therefore, this research tries to do an intertextual analysis between the two narratives of "Malakout" by Bahram Sadeghi and " Miyan Hofrehaye Khali " of the Peiman Ismaili, focusing on the selection based on the common theme of the doctor's mission to the remote city, to investigate the institution of "self" and "Another" has dealt with two works with a different genre approach and will reach the conclusion that these two poles, in both of them, in addition to the process of change and transformation, are somewhat fluid in the narrative of "Malakout". In addition, this institution has a human and abstract aspect in the narrative of the Kingdom, but in the story " Miyan Hofrehaye Khali" it takes on more of an ethnic and cultural aspect.

Le présent article est une étude comparée de deux romans, Le Troisième mensonge d’Agota Kristof, écrivaine hongroise d’expression française et de Sans Père de Mojdeh Salarkia, jeune romancière iranienne persanophone, deux textes habités par le mensonge. En lisant ces deux récits, on hésite entre le factuel et le fictif, entre la certitude et le flou ; on se pose des questions sur la réalité des identités et des péripéties mais on n’y peut guère trouver de réponses convaincantes. Le point de convergence de ces deux textes, bien éloignés l'un de l'autre du point de vue culturel et géographique, est le recours fréquent des personnages au mensonge, ou plutôt leur besoin obsessionnel du mensonge dont la pratique, censée les aider à survivre, les conduit vers le malheur. Nous appuyant sur les théories psychologique et psychanalytique en relation avec la pratique du mensonge, nous allons essayer de mieux comprendre comment par le biais du mensonge, les personnages essaient de se forger une identité pour s’intégrer dans le monde extérieur et essayer de rendre ce dehors conforme à leur moi mensonger.

One of the stylistic features of the elegies of the first period of the Holy Defense (1980-1984) is the imagination of nature, which goes beyond traditional rhetoric due to the subject of mourning of the martyr, and is connected with the literary schools of the world. By collecting all the elegies of the first years of the war that have been published in the collection of poets’ poems and studying the function of nature in images, a combined nature was revealed that can be called a romantic-classical duality. Among the romantic functions of nature in elegies are “nature as a mourner”, “nature as a creditor to the martyr”, “nature as a credited by the martyr” and “nature as a part of setting”. Among the classicism components, “imitation of nature”, “imitation of the ancients”, “instructiveness and pleasantness”, “clarity”, and “decorum” are noteworthy. This duality is the result of linking the traditionalist and truth-seeking approach with the emotional approach that the poets of the Holy Defense have faced in mourning the martyrs of the war, and have chosen it to express and effectively convey their mourning states to the reader.

Layered stylistics is a method of contemporary stylistics that examines and analyzes works in a textual manner based on the layers that create them (lexical, phonetic, syntactic, rhetorical, and ideological). Using layered stylistics, one can achieve the characteristics of individual style, thoughts and ideology that govern the text of the poet or writer. The main question of the research is how the stylistic features of a work can be studied and determined using layered stylistics. Accordingly, Salman Sajoji's lyric poems were examined in syntactic and lexical layers with a statistical-analytical approach. It is noteworthy, From the stylistic feature of the syntactic layer, we can point to the shift from the standard syntax, the emphasis on the verb and the complement of the verb, as its tools, which has led to the formation of a continuous and active syntactic style. Layered stylistics is a method of contemporary stylistics that examines and analyzes works in a textual manner based on the layers that create them (lexical, phonetic, syntactic, rhetorical, and ideological).

The Mena incident in 2015, which resulted in the death of a large number of pilgrims of Kaaba, is considered by the Iranian poets as a historical context and led to the formation of a new flow in contemporary monody. A collection of these works has been published under the name of “Mena minus many” by Literature County publishing. The high frequency of sonnet among the poems provided a ground for conducting a research on the correlation of its textual levels with the historical context. Accordingly, Mena's monodies in the format of sonnet were studied at three levels of music, rhetoric (traditional rhetoric) and theme. The results of textual investigations show that these sonnets are conceptual and contextual, and their three levels, having a reciprocal relationship, concentrate on transiting an explicit message to the reader; In a way that its two levels of music and rhetoric have been formed, using instruments such as the allegory to Ashura, avoiding of verbal figures, the frequency of sentences with a secondary motives of regret and grief, as well as limited metaphorical imagination, along with the main idea that is informing and describing Mena and its consequences. Other sub-motives also have been used by the poets such as “sanctification of the dead”, “content approximation with the event of Karbala” and “rebuking and threatening the dealers of Mena” in order for thematization and making links between the text and the context.

The Morphology of the story by Paul Vehvilainen is one of the morphology patterns for analyzing hero-centered stories which is somehow a summarization of Propp’s method. Accordingly, each hero-centered story consists of five stages (the feeling of shortage and deficiency by the hero, his motive for compensation, facing the helper, confronting the test, and reward) by which narrative structure and formation can reveal the author's purpose and point of view. As a didactic work, Sa'di's Gulistan contains, in its first volume, eight anecdotes coincided with the Paul Vehvilainen’s suggested model. All heroes are people related to the word or meaning of the court and faced with unwanted psychological, physical and situational challenges. Some "human/situation" combinations of helpers, the class of therapists in particular, accompany them. Afterwards, the humanistic high quality features of the person such as (tact, patience, insight, loyalty, friendship, freedom, and magnanimity) are measured in an examination. All the heroes come out proudly, and the desire brought the movement about would be achieved with the same quality or above. Therefore, processing heroic narratives in a realistic space, Saadi introduces everyone as the hero of his own life narrative and utilizes the heroic genre to get his purposes in didactic literature.

Content Analysis of German Resistance Poetry and Iranian Sacred Defense Poetry Sareh Zirak , Sepideh Yeganeh Setareh Javidan Abstract Resistance literature is the call to stand during the revolution or in the era of tyranny and the invitation to fight against an external, internal or even sensual enemy. It existed from the beginning of mankind emergence. The authors have written this type of literature in all societies according to the culture of that society. This type of literature includes various species, each of which has its own formal, linguistic and content trends. One of these species is the resistance poetry. after the two world wars, the poets of the world have become very interested in it. In Iran, this kind of poetry has long been considered by the poets, but, after the onset of the war, songs were written about eight years of imposed war (sacred defense poetry). The present article investigates the content of German Resistance Poetry (regarding the two world wars) and Iranian Sacred Defense Poetry through finding the ideas used in them. It is written with the aim of comparing the contents. Keywords: Resistance Literature, Sacred Defense Poetry, Resistance Poetry, the two world wars, Ideational.

Despite all stylistic differences, poetry of the first generation of the Islamic Revolution has had a common feature which is being influenced by Bidel’s mind and language. Poets of this generation, due to their personal style and their own thoughts have reflected a part of spectrum of Bidel’s style of poetry in their poems. Among them the lyric poets of Hindi style get more benefit out of it. The main issue of this project is the influence of Bidel’s poetry on the poetry of the first generation of the Islamic Revolution in both artistic and non-artistic areas as well as in the realms of rhetoric, figures of speech and the language. The results suggest that among all of these, Bidel-like symbols and similes in the domains of rhetoric, paradoxical images, compounding-sensations and personification in the field of figures of speech, and reversed compounds and numerical subordinates in linguistic area are more prominent. The lyrics of Yousef-Ali Mirshakkak, Ali Mo’allem Damghani, Seyyed Hassan Hosseini, Abdoljabbar Kakaei, Alireza Ghazveh, Sa’ed Bagheri and Seyyed Mohammad Abbasieh Kohan which are studied in this paper are explicit instances of tendency of the poets of the first generation of the Islamic Revolution to Bidel; although the influential degree of each poet is different.

Neo-classical sonnet، created out of Iran’s classic poetry، is one of the contemporary poetic movements which have always been dynamic. The purpose of its leading poets was to make the traditional form of sonnet attuned with modern requirements. This poetic movement has benefited the poetic possibilities of which free verse has provided for Persian poetry in terms of locution، language and literary elements and has created new aspects in classical sonnet; for instance we can refer to the combination of lyrical and epic literature through neo-classic sonnet which contradicts many definitions of literary types and has paved the way for creation of a new literary movement، namely epic sonnet. The combination of lyrical and epic literature in neo-classic sonnet would be reached in two ways; “utilization of epic symbols and motifs” and “epic nature of neo-classic sonnet”، which will be discussed in great details in the present research.

In this paper, the poem “Smoke just has different names” by GaroosAbdolmalekian is analyzed on the basis of New Criticism. In order to achieve an accurate reading of the text, New Criticism studies the relationship between the textual components and the themeof works. The criterion of evaluation in this approach is a concept called “Organic Unity” which means the functioning of all components beside each other in order to form an unresolvable whole whose four elements are: content tension, paradox, irony and ambiguity.In this approach, lexical and ultra-lexical meanings of words, symbols, images, figures of speech, punctuation marks and the poem's written formhave been studied. The result is a discovery of an organic unity between the poem's imagery components, and alsobetween the whole of the poem that has been formed upon the poem's content tension, that is, the contrast of mortality versus immortality. This content tension is reinforced by the themes “transitivity” and “identity metamorphosis” and leads to the domination of mortality over immortality. So the poem “Smoke just has different names” is a harmonious whole, madefrom components which have created a literary text through harmonious and contrastive relationships