hojatolah gh .moniri

Archetypal ideas originate from the collective unconscious of humans and because they are embedded in the nature and institution of humans, and in everything that is the product of human thought, taste and feeling, they appear. From the point of view of the schema, excesses in the formation of psychological needs cause the formation of schemas. Literary works, including poetry, due to the fact that it comes from the human soul, are connected with archetypal ideas and poetry is considered as a collective unconscious medium of humans.

The purpose of the current research is the psychological reflection of archetypal ideas (Yang) in the poems of modernist Kurdish poets (not selected poets).

In this regard, in this article written in a library method, archetypal ideas in the poems of several modernist Kurdish poets have been investigated.

The results of the research show that these poets have used archetypal images and images abundantly in their poetry. Of course, this has several reasons; One is that most of these poets are in conflict with the manifestations of civilization and urbanization, and they present the elements of nature and countryside as an unattainable dream in their poetry, and this directly causes the elements of nature and archetypal images to enter their poetry. The second reason is that most of these poets have a political and social orientation and themes such as freedom and homeland are considered central themes of their poems, but due to the limitations, they are forced to turn to symbolic and ambiguous language.

These poets turn to similes and metaphors to express the themes of freedom and homeland, and this causes natural and archetypal elements to enter their poems.

Committed and popular poets consider it their mission to reflect various social problems and issues in the mirror of their poems. These singers have often experienced the suffering and pain caused by war, colonialism, tyranny, suffocation, repression, and a closed political atmosphere, and have written in order to awaken and encourage people. The present research, which was carried out in a descriptive-analytical way, sought to examine the manifestations of socio-political criticism in the poems of Mahdi AkhawanSales (from Iran) and Mohammad Al-Maghout (from Syria) and from this point of view, the similarities and differences expose each of them to the reader's view. What was obtained from the search in brief is that: the poets of this research criticize the political obstruction and the lack of freedom, criticize the imprudence and incompetence of the rulers, criticize the neglect and callousness of the people, criticize the laziness of the fighters, criticize the They have put belligerence etc. on their agenda and reflected on it. The AkhavanSales and Maghout have been trying to free the people from neglect and everyday life by rousing national and ancient feelings, and to make them aware of their past honors, to recover their lost identity and to realize that - in the direction of achieving an ideal society - Give life again.

Razavi poetry is a part of religious poetry and includes poems written about Imam Reza (a.s.). This type of poetry is part of lyrical literature and in it the religious and mystical emotions of the poet are expressed through a poetic and lyrically artistic language. The present research project has been done based on descriptive-analytic method. The aim of it is to answer questions about the ways attributes of lyrical literature are incorporated into the texture of Razavi poetry of Maleko Shoara Bahar and Ali Mousavi Garmarodi. The results from this research show that the content and emotional patterns have been transmitted in the form of mourning hymns, poems describing Imam’s images, states and sufferings. Formal and linguistic features are presented through the use of interrogative, declarative, and exclamatory sentences with special purposes, heavy and light meters, simile metaphor, onomatopoeic arrangement, and musicality of words, all of which are intended for inducing special feelings.

Predominance of the poet’s emotions has made Ritual poetry one of the most significant types of lyrical literature; accordingly, most of the form and content indicators of lyrical literature are used in its substance. This research aims to investigate and explain the reflection of the features of lyrical literature in the ritual poems of Persian Constitutional era - a case study of the ritual poems of Malek Osh-Shoarai Bahar. Bahar, one of the most prominent poets of the Constitutional period and the poet laureate of Astan Quds Razavi, had a long career in composing religious poems, especially in lamentation of the Prophet and the infallible Imams. He portrayed the true face of the Holy figures with an imagination full of emotion and feeling, and described them in the mirror of poetry via a lyrical language. The current research is conducted with a descriptive analytical approach using library research method, and seeks to examine the quantity and quality of the features of lyrical literature in the ritual poetry of Malek Osh-Shoarai Bahar in order to show their frequency and prominence. The result of the research shows that the content indicators such as description, pessimistic view of the times, reference to religious holidays and the birth of the Holy figures, etc. in Bahar's poetry originate from the poet's emotion (sorrow and happiness), and have been shown in the rhetorical structure (formal indicators) through simile and metaphor, as well as in the lyrical language of the poems through alliteration and lyrical music.

Death and death thoughts in contemporary Iranian poetry (with the approach of existential philosophy and psychology) in the context of the compositions of three of Iran's prominent contemporary speakers, namely: Nima Yoshij, Ahmad Shamlou and Mehdi AkhawanSales, form the research field.

The main purpose of this research is to show the views of three of the most prominent poets of the last century in Iran on the issue of death (and consequently life) based on the mentioned view (originality of existence).

This research is based on analytical-descriptive method (and based on library sources).

What was obtained from the search is that: the poems of all three poets of the research community of this research, with an existential approach and thinkers such as: Jean-Paul Sartre, Erwin D. Yalom, Martin Heidegger, Baines Wanger, Viktor Frankl, etc. can be read and each of these three people call parts of the components of existentialist philosophy and psychology. Nima, the AkhawanSales and Shamlou have been influenced by the socio-political atmosphere of the current era to existentialism or the existential view, with the difference that Nima and Shamlou sometimes show the positive and sometimes negative components of the existentialists in their words, but in the end, in the confrontation They have acted with "genuine" death and survived its terror by believing in "ideal death". Akhawan, although he also praised the ideal life, but he did not look favorably on death - in any of its forms - and he saw knowledge as unable to understand this issue.

In the examination of the poems of Nima, Shamlou, and the AkhawanSales, there are strong signs of attachment to life; However, regarding death, the words of these three contemporary writers are not the same everywhere, in the sense that they are sometimes influenced by an existential perspective such as the "throwing" of man into the world, they do not give a purpose to life and consequently death, and sometimes they are influenced by The semanticism of the mentioned belief praises ideal death and does not consider it the end of the road. In the meantime, of course, the original approach to death in Nima and Shamlou's poetry is more dominant than that of the AkhawanSales

Anne Marie chimmel, a German researcher and orientalist of the present century (1922-2003), is known and recognized among Persian speakers mainly as a researcher of Islamic mysticism (especially Maulana resarcher), and her artistic and poetic side is due to the lack of translation of " Naghmeh Ney" It remains unknown in Persian. The upcoming research has sought to find out the linguistic style and thought of the system with the analytical- descriptive method. It has been analyzed in accordance with the style and context of Rumi's words and in this direction, it shows the reader the extent of Shimel's influence on Rumi's creation of this verse. In short, what was obtained in this study and comparison was that: Shimel was influenced by Rumi's language and mentality in the composition and interpretation of " Naghmeh Ney" from all stylistic aspects - except for The song of the words: due to the bilingual nature of the works of both sides. It has been such that he even borrowed the symbols and signs of Rumi to instill the principles of ruling and mysticism that he believed in, and spoke to the audience with almost the same images that Rumi made and discussed, of course, Shimel also sometimes used to express his opinion and purpose, he gave up his metaphorical or code words in the face of real and figurative meanings and in this way he left a trace of his intellectual and literary independence. Rumi's philosophical/mystical thoughts can be seen from this side.

Form is the form of order used to express the content of literary and artistic works. Absence of form in poetry is distancing from the effects and principles of order and disrupting and breaking the texture and meaning of the poem. The aim of the research is to investigate and introduce the components of form avoidance in postmodern sonnets with a descriptive-analytical method.

In order to understand the connection of literature in different eras and the degree of changeability and production of various forms and literary anomalies, this study has been carried out with an analytical and comparative method. The present essay, using the descriptive-analytical method and using library studies, has analyzed the postmodern lyric poetry of the following poets: Mohammad Sa’eed Mirzaei, Seyyed Mehdi Mousavi, Azadeh Besharti, Vahid Najafi, Bahman Ansari, Fatemeh Ekhtesari, Asqar Ma’soumi and Elham Mizban.

In the linguistic and literary part, the signs of postmodernism in the poems of Besharti, Najafi, Mirzaei, Mousavi, Ekhtasari, Ansari and Mizban in the form of manipulation of the lines and rhymes of the ghazal, the use of self-made, unintelligible words, alien, strange and original imagery, expressing the imagination and desire of the poet in the sentences of the sonnet, deviation from the rules of syntax, phonetics and writing and grammar of the Persian language.

In this research, these results have been obtained that the most significant methods of form avoidance in postmodern sonnets are phonetic and linguistic breaks, visual breaks, tongue twisters, breaking the border between truth and illusion, abnormal change of rhyme, row and syntax along with innovation and There are changes that are used to fight against the tradition and to express better and more easily the intention and mental meaning.

Sociopolitical conditions of the Persian Constitutional Revolution encouraged and intensified the critical and educational views of poets of this era and the postConstitutional period. The poems by Mohammad Taghi Bahar and Ahmad Shamloo were selected for analysis because they created social movements as critics of their contemporary social and moral status. The data were collected through the secondary research method, and the verses were chosen purposively. We aimed to investigate the commonalities and differences in the socio-educational teachings of their poems. Using a comparative analytical method, this study sought to examine the attitude of these two poets toward the foundations of social ethics (social justice, women's rights, public ignorance, freedom, poverty, social self-awareness, fighting against oppression, etc.). The dominant political aspect of the poems of this era overshadows other aspects (especially the educational aspect); therefore, researchers must pay attention to the neglected aspects of these poems.

This article is an attempt to study the question of death and how it is truly reflected in five prominent works of contemporary fiction published before the Islamic Revolution, including " The Madhouse" by Mohammad Ali Jamalzadeh, " The Blind Owl " by Sadegh Hedayat, "The Mourners of  Bayal" by GholamHosseinSaedi, " The First Night of the Grave " by SadeghChoubak ,and "Kelidar" by Mahmoud Dowlatabadi. Using the analytical-descriptive method, this study provides the readers with the perspectives of the mentioned writers toward the death and the world after it. These works have been studied based of four concepts including psychological, philosophical and cultural-historical, and it showed that showed that "death" and "end of life" was one of the most important concerns of the writers in this era and even had a mainly negative reflection on their works. This reflection is much more originated in cultural and social concepts than others. Taking different point of view into consideration, it should be said that the concept of "death" in Kelider has the same meaning as "martyrdom", and unlike other works.

The present study entitled: "Transformation" and "Destruction" in Jalaludin Mohammad Balkhi’s (Rumi) Poetry intends to analyze two of the most common and prominent mystical terms that are "transformation" and “destruction”, in his Masnavi and Divan Kabir, through untying the meanings of these two terms. It also intends to explain the meaning of pieces of verse that are related to these two themes to the reader. What is concluded from this study is that the mentioned terms have symbolic meanings in Rumi's poems and should be studied with regard to their intuitive and mystical senses and interpretations thereof. These two terms, the first of which indicating the beginning of an internal revolution in order to destroy the earthly and human characteristics, and the latter the manifestation of a vital and spiritual life, are essential to the poet’s thought and they are interdependent. It is found that these two states do not necessarily lead to spiritual and personal growth and excellence separately; while sometimes it happens that the seeker of spiritual or mystical truth remains in the stage of "Transformation" and doesn't succeed in reaching the stage of "Destruction".