پروین سلاجقه

Political thought is intellectual effort and presenting coherent opinions about politics and political life and trying to answer questions. Political thought always tries to give legitimacy to the government by following the problems and finding their roots and then solve the crises in the society. Abulqasem Lahouti is also one of the intellectuals who, in his poems and writings, points to social issues and realities in the society with political thoughts and reveals the betrayals of the ruling power so that people To make the ignorant aware of the injustices of the rulers of the time. This research tries to achieve the type of knowledge and perception of society and the world around him by sociological analysis of political theological thoughts, based on the theory of "class consciousness" of George Lukács, and to answer this main question. What structures did Lahuti use to express his political thoughts? The background of the research in this matter shows that many researchers do not pay attention to this matter, and the research method in this research is descriptive-analytical in terms of nature and method, and fundamental-theoretical based on the purpose. The findings of the research indicate that political theological ideas are formed in the framework of structures such as personality, identity, knowledge (worldview and ideology) and moral values, and these ideas are inspired and influenced by awareness and knowledge. It is his perception of the outside world, which is accompanied by appropriate intellectual reactions and is reflected in his poems. The results of the research also show that theological poems and compositions reflect his political thoughts in the framework of such structures

Seyyed Mohammad Reza Kurdistani, known as MirzadehEshghi, is one of the pioneers of Neo -poetry in the constitutional period, who mentions political, social, cultural issues, etc. in his poems. For this reason, his poems can be analyzed based on a sociological approach. The review of MirzadehEshghi's poems tells many political, social, cultural, etc. facts of the poet's life period, which is the focus for showing these social and popular issues of contemporary Persian poetry can be seen in his works, especially in the poem "Three Tableaux of Maryam". According to Pierre Bourdieu's theory of action, active people are influenced by inner values and institutionalized habits in their society and in this poem the combination of Bourdieu’s “Agency and Structure” and its practical concepts are revealed in the best way.The two central categories of habitual and field are the basis of Bourdieu's view in Ideal Eshghi’s poem, which the poet, by developing these two categories and dialectic analysis between them in the objective world, shows how the inequality in the society of the constitutional period is always reproduced for the sake of the wealthy people. What can be perceived from this poem is the social and cultural conflict and contradiction between the concepts of tradition and modernity, which in this poem is also expressed particularly as a social action of Bourdieu's cultural theory. The subject that doubles the importance of this comparative comparison is MirzadehEshghi's view about social issues, which puts him unlike his predecessors, and like Bourdieu, in the front line of the fight against the domination system.

The present research aimed at finding an answer to the question of the process of influence of cyberspace on Iranian Poetry in the future, and the influence of cyberspace on various aspects of poetry such as content, its audience, the poet, the media that published the poem, the process of composing the poem, the rights of the author, and Globalization of the Iranian poetry.

The Delphi technique was used to carry out this research. A group of experts comprising professors in the fields of Communication and Literature was selected. The expert’s opinions were collected and analyzed through an in-depth interview, a questionnaire based on the Likert scale, and by the execution of three stages of Delphi rounds.

Accordingly, considering the content, the experts predicted that due to the impact of cyberspace, the quality of the poetry will be reduced and consequently, the language of poetry will become simpler and close to prose and it will only reflect the daily events of life. Regarding the audience, they concluded that the audience’s selection power will be increased, however, we can differentiate between the public and professional audience. With respect to the sender, there will be no phenomenon of multi authors, and regarding the channel, the experts agreed upon Media Convergence besides, the poets’ agency in publishing their own poems will be increased.

Experts believe that the spread of communication technologies will make censorship ineffective. This is the only case in which the group believes in the impact of technology on the future of poetry. The group of experts did not reach a consensus regarding the impact of technology on the phenomena such as publication of author’s poems as one’s original work and the Globalization of Iranian poetry, thus, analyzed these items in the framework of the human agency.

Thinking about the issue of "time" and trying to make tangible the type of its passage on man, has always been the attention of scientists of various sciences, especially, thinkers in the field of humanities. However, showing the passage of this concept, especially in the field of understanding it in the cycle of seasons and the transition of life from youth to old age, gives a sort of understanding of the presence and impact of time on phenomena, but more than anything, its traces can be found in works of art and literature, especially in stories and novels, which depict events with the help of narration. In this regard, this article is an attempt to investigate, analyze and track the way time works in the novel "Asfar Kateban", written by Abu Torab Khosravi. By using special narrative techniques and using the discourse of history, narrative and literature, this work has succeeded in displaying a special type of structuring of time in a kind of transhistorical discourse. This article is done in two parts. The theoretical part was written based on the theories of time from scientists in this field, and the second part has analyzed the type of function of time in this novel, considering the theoretical issues. The results obtained in this study indicate the type of function of time, history and narrative in a transhistorical discourse in this novel.

Contemporary Iranian literature, especially poetry, takes on a different color from the constitutional period onwards, and innovation in the presentation of contemporary poetry is the most important literary achievement of this period, which is the first step on the way to modernity and standing against tradition. It is considered the predecessor of Persian literature. This feature can be examined in the fields of language, form, shape and structure, imagination and thought, and content. This research, with a descriptive-analytical method, examines the axes of innovation in the poetry of Abulqasem Lahouti in the constitutional era, who is one of the pioneers of modernity in this period.The findings of this research indicate that by using new and foreign words in Persian poetry, theology increases the range of Persian words and causes the expansion of Iranian vocabulary; In his translations of some poems of Russian poets, he uses a type of literary prose (prose poetry); By increasing and decreasing the stanzas in the four-part format, he opens a way for the emergence of a new poem, and with the changes he creates in the prosody weight, he writes poems in syllabic weight, and in this way, a new design is created. Standing against previous literary traditions, it takes the path of modernity.

Since the beginning of the 21st century and with the arrival of "Web2" in Iran, technological changes and the development of cyberspace have brought about tangible changes in various areas of social and cultural life, including literature and especially poetry. After the spread of blogging in Iran, the production of content in Persian in blogs clearly increased so that Persian became one of the ten languages in which most blogs in the world were written in those languages (Razi, 2018). Many literary blogs were created, and literary blogging became popular during the first decade of the 21st century. At the end of the first decade and the beginning of the second decade of the 21st century and with the development of social networks and media, the activity of poets in this field continued. Personal or group webpages and channels with the theme of poetry and literature have been created on various social media platforms. the study aimed to know how cyberspace has affected poetry, and how poets evaluate this impact as beneficial or detrimental to poetry.

A qualitative research method was applied based on the lived experience of poets. In other words, a phenomenological approach was used to gain new data. The phenomenological approach is based on the assumption that the lifeworld around us is the combination of me and the others. So the world is something common. In the phenomenological approach we are talking about a world that humans have experienced, not an abstract world that is far from real life. One problem in interdisciplinary research of literature and communication is the lack of local theories. Phenomenology gives us a wise and broad possibility to reach a theory and can fill this gap. Cyberspace and new media and communication technologies have emerged in the real world. Poets have used this capacity since the era of blogging and have had experiences of the good and bad of blogs and social networks and social media. To understand these years of experience and its results, the poets themselves are the best reference for retelling experiences and expressing their perceptions of this influence. Researchers must use these experiences from living in cyberspace to reach a theory, based on facts. Using the same approach, it was also tried to reach a conceptual model that would compensate for the lack of local theory in this area.

In this research, a purposeful sampling was used. Using a biographical study method, we identified poets who have relative acceptance and fame among the audience and are also active in cyberspace and have many followers on social networks and their poems are shared on social media. We then sent questionnaires to the poets and asked them about the impact of cyberspace in various areas such as text, audience, poets' interaction with the audience and themselves, poetry publishing media, and poetry effects and feedback. Eighty three poets answered the questionnaires. Then, using a systematic approach in grounded theory method, after extracting raw data and categorization, we reached the axial coding of data. To formulate the conceptual model, we named the central category "technological anxiety of poets" and based on it, other categories and subcategories were extracted from the answers and a model was presented.

The aim of this study was to investigate the effect of cyberspace on poetry. Based on this, it was found that poets believe that cyberspace has provided a space for the presentation of worthless poems and plagiarism, rather than the publication of valuable poems. Cyberspace has contributed to the reputation of poets on the one hand, and on the other hand, it has removed the monopoly of producing and delivering poetry from intellectuals and elites. Poets acknowledged that the circle of poetry audiences has expanded due to the expansion of cyberspace, but many of these audiences read poetry only as a hobby. Most poets still consider the book as the reference for elites and main medium of poetry, but at the same time believe that cyberspace has reduced the possibility of the influence of the publishing and media mafia and censorship in the process of literary creation. Acknowledging the new possibilities that poetry has acquired through cyberspace, poets are interested in the previously established and accustomed situation (production monopoly, professional stratification, rhetoric and non-interactive media). We defined the poets' prediction of the continuation of this trend in three approaches: 1. The integration approach, according to which the weak poems that have many fans in cyberspace these days, will form the main and dominant current of Iranian poetry; 2. The continuation approach. The Persian poetry is considered too powerful to be defeated by cyberspace; 3. The combination approach, which believes that the poets should have the opportunity to provide the poetry and the readers should be given the chance to select and cyberspace is the key. It is also important that the poets make efforts to improve the reader's literary and media literacy of their audience’s knowledge there.

The conclusion is that poets have not been able to use the possibility of dialogue, interaction, and decentralization of cyberspace. They have become accustomed to centrist and non-interactive media, they have been unable to create a public literary sphere. For this reason, it is suggested that poets in cyberspace not only advertise and share their poetry, but also try to acquaint the audience with the criteria of good and quality poetry by creating channels, pages, and groups of poetry. It is also suggested that poets engage in dialogue and interaction with their audiences and recognize different tastes to have representatives outside the predetermined and established sphere of literary production. The audience are recommended to use this opportunity to improve their literary knowledge. Both sides of this communication must enter into a real dialogue based on mutual recognition. Instead of hiding or eliminating the other side, they should help to understand each other and promote the literary literacy of the society.

One of the most important criteria for evaluating a society is to focus on women and their active presence in the social fields, and the necessity of recognizing this matter in any period is an undeniable fact, because women make up half of the society and are also the generator of the other half, who have taken steps alongside men in different periods of life and have always had special responsibility in the world such as: nurturing, maturating, evolution of the human's body and soul, etc. So, with these in mind, they should have a special status and dignity. But, according to historical texts, this important fact has not been truly realized and there have not been enough works to restore and establish the true position of women and they are almost always marginalized due to different social, cultural, economic, or other reasons.Also, the unwise behaviors of the men have left them out of social activities little by little, and the role of women in society has gradually become less important, and it is portrayed in a position determined for her in patriarchal culture and logic. Of course, these deprivations and obsessions are more tangible when looking  back at their past.Also, in Persian literature, women’s true face in this region is not shown in the way it deserves, and women’s role is often accompanied with the stereotypical images and behaviors, such as beloved, female slave, sorcerer, artful, cheater, unfaithful , devil , foolish, immature, instigator, frivolous, etc., and standing against woman has been present all over Persian literature, but in Persian vulgar stories, women as common people have been brightly reflected, and the presence and the action of these women is completely different from what is defined for them. With their freedom and independence for doing their roles, these women are considered separate from men, who not only don’t depend on men, but whose social  responsibilities and valuable roles in their activities bring them self worth and moral values.In Abumuslimnameh vulgar story, which is the case of this study, women are mostly introduced with praiseworthy attributes, such as chaste, heroine and fighter, vigorous and brave, clever and wise, caring, informant and ambassador, etc. who have rebelled against the social traditions and conventions of their time with their live and dynamic roles, and have not withstood the strong traditions of patriarchy, although the dominant atmosphere in this story is more indicative of patriarchal system, where pessimism of men about women is evident.On the other hand, in this vulgar story, we also encounter a group of women who have a lower status with their wicked and negative faces, and have degrading attributes, such as deceitful, liar filthy, enchanter, traitor, etc., that sometimes their disgraceful acts and evil goals change the path in the story .

The present study has been conducted using library research and descriptive-analytical method. It is an attempt to prove women’s identity in Abumuslimnameh story, which has been depicted  in chivalry and fighting. Also, this paper tries to answer these questions with attention to vulgar literature.
1.what position did the vagrant women and heroines have in Abumuslimnameh?
2. To what extent these women’s attributes (chivalry and heroic nature) have affected the furtherance of events and adventures of the story ?
3. Are the positions of these women affected by the role and position of woman in our past society?

Abumuslimnameh is a long vulgar story narrated by Abutaher Tartousi or Tarsousi (one is known in present Syria and another in present Turkey).He is among the narrators of the 6th century A.H. whose name is at the top of the list of narrators. But, there is no accurate information about his life. This skilful narrator narrated the story of Abumuslim khorasani’s being born, maturing, rebelling, fighting and the championships and wars he, the great commander of khorasan, and his followers had against the Omavi caliphs and eventually his foully death. But, the narrators of the story didn’t want to narrate the event as they truly happened and were written in historical books, but they tried to tell the story in such a way that sounded pleasant for the public, so this vulgar story has been transferred in the form of a legend to the next generations.Since this work is one of the stories that have survived among the great epics or their recreations, in addition to the fighting men and famous heroes, the presence of various groups of women has added a special color to the story. Although in classical literature, if a woman's name is mentioned, it is transient and is her subordinate and inherent role, in Abumuslimnameh, women of different classes of society, who are introduced in the story based on their special functions, are effective in the furtherance of events. Of course, the presence of these women is different in each event, depending on the type of actions and reactions and various characters, and their roles don’t have similar frequency .One of the main themes of this vulgar story is to proceed the chivalries, championships of women who represent their presence differently from their defined position; therefore, the role of vagrant women and heroines is unique and incomparable in this work and we can look for their traces in most of  the events of the story.In the present article all of the characteristics of the vagrant women and heroines and warriors have been discussed with example and we briefly discuss them here.
a)Vagrant women in Abumuslimnameh
Although the vagrant women in this story are from the lower classes of society and have lower trades, as they may be minstrels, prison guards, ambergris sellers, etc., but their effect on the development of the story is undeniable. The most famous vagrant woman in this story is Bibiseti Takelbaz, who has a truly admirable personality. Foresight, remedy seeking and sharpness are obvious in all of her actions, as resorting to cleverness and wisdom and finding a solution were the inevitable for the vagrants, that seek for achieving an admirable goal. Also, she is one of the true lovers of Ale yasin (AS) and always seeks to guide and lead Abumuslim and his followers, and to relieve them of their problems. She frequently saves Abumuslim’s followers from prison using trick and cleverness . Bibiseti with her husband practice vagrancy at night and she plays a role alongside vagrant men  everywhere.
She is the only vagrant woman who even after Abumuslim’s untimely death, helps his followers, and much of the story with its climax and resolution is formed with her vagrancies . Also, sometimes, vagrant women of this story do these works to achieve their goals:
They disguise themselves as fortune tellers, merchants, villagers, etc.
To reach their goal, they get help from anesthetics instead of physical power
They always have  weapons like lasso, knife, dagger, etc. when going out at night.
They are good at throwing lasso and undermining.
They are secret informers and ambassadors, and modesty and chastity are the most important and prominent characteristics of the vagrant women.
They respect moral, humane and social principles and all of these courageous women’s actions are fructified during the story.
 
b. Heroines and fighters in Abumuslimnameh
 
 Surely, we can find the most evident examples of heroines in brave women like Gordafrid (kazhdom’s daughter), Gordiyeh (Bahram Chobin’s sister), Lady Goshasb (Rostam’s daughter), etc., whose fights and championships have been visible in some Persian vulgar stories.
The main part of Abumuslimnameh is related to Abumuslim khorasani  and his devotee followers' wars and battles with Ahl al-Beyt’s (AS) enemies. These important missions is done by both men and  heroines and fighter women, who wear war clothes and act as if their whole lives were spent in war. Rashideh is one of the fighter women in this story, who has the important role in creating the epic atmosphere of the story. She is very strong and her physical power is evident all over the story. Also, she is a fighter who resists against fighter men's abilities and their domination, and she doesn't absolutely obey men's orders. Her puissance, strength and self reliance are so high that she is not held in contempt by her enemies. Generally, we can enumerate heroines and fighters’ prominent characteristics in this story.
1.Fighter women start the war.
They are skilful in using a sword, archery, etc.
2.They wrestle with famous heroes, while observing the principles and techniques of wrestling.
3.They are very quick in horse riding.
4.They cut demons, lions, etc. in half with their swords.
5.They get disguised.
6.They boast in the battlefield.
7.They are very chivalrous.
8. In addition to fighting, they are vagrant too.
9.They fall in love in the war.
10.Beauty and chastity are their greatest characteristics.
11.Most of the fighter women in this story stay at home after marriage and rarely remain in battlefield.

The conclusion of this story is that although our classical literature haven’t shown the women’s true features very well, almost vulgar stories have shown it.Abumuslimnameh is the sample of these stories abundant with people’s bleifs. Althong the atmosphere of that time was based on patriarchy, but the active women have the great portion to form the events  and these women are often among the common classes and tradesmen who have more attendance in society than well-off women.They have important roles such as vagrant , heroic , fighter, etc. women. Of course chastity is one of the most distinctive feature of these women and it is more important that the women’s independent character causes men and women have similar responsibilities in the society.

Nowadays, children's literature regarding the concept of childhood, has a special place in the Humanities studies. Children's poetry is also a branch of this kind. Reviewing the lyrics might be useful for children's poets and a valuable help to improve the quality of the genre. This paper explores the children's poetry of Hughes and Yaminisharif. Their similarities in the use of naturalistic themes, especially the use of animal characters, are the reasons for this choice. The study has two parts: The theoretical section that is based on the ideas of the theorists of the American doctrine of comparative literature.
The applied section, which includes an analysis of These tow poet's works and their evidence.
Since, according to the American approach, the mere existence of similarities can be The context of a comparative study and American comparative literature is a kind of cultural studies , The paper also aims at recognition of similarities, and achieving a perspective to the children’s poems, especially the ones with animal themes in Iran and England.

This article aims at analyzing nostalgic themes in Jalal Al-Ahmad’s stories. These themes, at first glance, mostly explain the author’s special ideology regarding the society and culture. However, in its deep structure, it reflects the intellectual author’s disappointment who is not feeling contempt about his surrounding environment, and therefore there is a kind of deep sorrow in his stories which help us to know the author better in many ways.In this paper, the major focus is on the function of the themes conveying feelings like “homesickness”, “destruction of the homeland”, “loneliness” and “sorrow” which represent author’s nostalgic point of view regarding humans and society. It should be mentioned that these themes from a theoretical point of view can be considered concepts or conceptual motifs in literary works, so can be discussed as part of the content of the work. Therefore, in the theoretical part, these concepts are explained briefly in literary studies and in the applied part, based on the definitions introduced in theoretical part, the motifs in Al-Ahmad’s works are analyzed.

This essay is an analytical research in types of narrative techniques, characterization and special functions of the time dimensions, in the historical-fictional narration of the novel “Slaughter house 5” by Kurt Vonnegut, the American contemporary author.
The essay contains three parts. The first part is a brief introduction of the work. the second part contains the theories in relation with the essay, referring one of liotard’s theories in the post-modern narration as well as one of the Russian formalist’s in narratology. the third part, is an analyze of the narrative techniques, time and personages in the book “Slaughter house 5”.
In this essay, the author has tried to introduce the theories, in fictional and historical narrative using the related examples through the text, as well as analyzing the writing techniques in this historical-fictional-social work, so that the narrative process of the work will be familiarized over for the new-readers.

This essay is an analytical deliberation on the fact of the matter between ‘Poet` and `Narrator` in poetic texts and has two sections:TheoreticalandFunctional .In theoretical part, According to contemporary theorist`s approach, for instance:Jakobson, Scholes, Bakhtine, Genette and new critiques, during discussion about theory of being a distance between narrator and poet as a person at the moment of creating poem, the fact of the matter of presence of them has been analyzed.In the functional section, some samples from Hafiz`s odds and Shamluo`s poems have beenselected and analyzed according to the theoretical discussion in the first section of this essay. Also,during analyzing of subjects in this essay, the differenceof narrator`s song and poet`s song, and the fact of the matter of the sound power of them has been considered.Although, in this essay according to necessity of circumstance of analysis of narrator`s song` has been refer to another discussions like personal presence and absenceof the second person. Although, paying attention to discuss about the fact of the matter of the second kinds, needs another discussion. Therefore, the main focus is on the separation of ‘narrator’ and ‘poet’ in poetry in this essay.

The present article is a semiotic analysis of some animal symbols in poetry of Saib and Bidel, two prominent poets of ‘Indian poetic style’. Its main objective is to show how the symbols function in the structure of poetic language. Such symbols have repeatedly been used as motives in literary works in all history of literature, and accordingly caused shifts in their signification paradigms. The analysis is mainly aims at symbolic status of the signs, and the role they play in expansion of the semantic domain of the poems; it ends in formal classification of the symbols based on their possible significances in both communal mind and the poet’s mind.

This article is an exploration of the philosophical-artistic view of the narrator on time in H¤ ¦af¦ â¤z' poetry, The theoretical basis of the study has been taken from Paul Ricoeur's Time and narrative and his explanation of the philosophical views of two classical thinkers–Aristotle and St. Augustin–on the phenomenology of time. The article is divided into two sections: theoretical and applied. The first section explains St. Augustin's view of time as the theoretical framework of the study and the second section discusses H¤ ¦af¦ â¤z' poetry within that framework. In line with the classical theory, the linear time is divided into three sections: past, present and future and the poetic images are analyzed based on these three aspects of time.