reza chehreghani

Myth is the poetic expression of great landscapes of nature and mysterious directors of natural and supernatural phenomena, which justifies the origin of human emotions with poetic vision and has rhetorical value with imaginative action. For this reason, myth, with its intertextual nature, has always been reproduced in literary works and has played a prominent role in the semantic, rhetorical, and aesthetic development of literary works. From the distant past until now, Persian language poets have paid attention to all kinds of myths, including Greco-Roman mythology, and have benefited from the diverse functions of these myths in the application of various concepts. Afghanistan's contemporary poets have reflected different concepts and benefited from the capacity of these myths, considering the reproduction of Greco-Roman mythology. Therefore, the current research, using a descriptive-analytical method, based on the intertextuality theory of Gérard Genette, examines the rhetorical effect of Greco-Roman mythology reflection in Afghanistan's contemporary poetry. The results of this research show that Afghanistan's poets have often reflected Greco-Roman mythology in the form of implied intertextuality. These poets have re-created myths to reflect social, romantic, mystical, didactical, resistance, and ideological concepts, as model, idealistic, and charismatic characters, in declarative and imperative sentences.

Psychological analysis of character is one of the sub-branches of psychological criticism in which behavioral patterns of characters are explained by analyzing the content of the story. In the theory of mutual behavior analysis, Eric Berne divides human personalities into three behavioral patterns: parents (imitative and internal beliefs), children (excited behavior and uncensored instincts) and adults (processors and rationalists) and states that the dimensions The above exists in all humans. But one dimension is more dominant and evolved man should be able to use all three dimensions in their place. Because this leads to mutual understanding and improved relationships between people. In this research, referring to the interdisciplinary nature of psychological criticism of literary works, two novels are part of the whole work of Steve Toltz and Dead Poets Society by N.H. Kleinbaum has been compared and analyzed using Eric Burn's interactive behavior analysis theory with descriptive-analytical method. The research results show that the main characters of the mentioned novels change freely and at their own will by using the power of choice and give logical responses to new stimuli. In addition, although the main characters of the two selected novels were created in two different languages and two different cultural environments, and with a time gap of about 10 years, in two different countries, they follow a similar pattern perspective. Analysis of mutual behavior, such that the framework, structure, pillar and main message of both novels are based on the formation of mature thoughts.

Hafez is one of the poets who influenced a wide range of speakers and poets of his time and after it. He has had an impact on Persian language both in and out of Iran and has been the source of inspiration and creativity of many great poets and writers around the world. Meanwhile, Iqbal Lahori, a Pakistani thinker and poet known for being influenced by Rumi and in his youth for being against Hafez and his thoughts. Iqbal is among those who have been most influenced by Hafez's poetry among the poets of the subcontinent, but so far this issue has not been considered by researchers. With regard to this issue, the present study has tried to classify and examine the extracted samples (by descriptive-analytical method) of the influence of Hafez's poetry in his Persian and Urdu Divan. The results of the research show that the influence of Hafez on Iqbal's poetry has various aspects and forms such as lexical, propositional, narrative, allusive, visual, structural, inspirational-fundamental, etc. and covers both the content and the subject areas.

Class origin, family status, psychological type and not so normal events of Shahriar's personal and social life have led to the formation of works and the creation of poems that, along with literary and artistic values, have spiritual values and contain overt and covert components of Spiritual Intelligence. Spiritual intelligence is one of the relatively new concepts in the science of psychology that is directly related to the poetic world and the emotional-semantic contexts of the poet's universal poems. In this theoretical research, by examining a number of Persian poems of Shahriyar Divan in a descriptive-analytical method, an attempt has been made to analyze the category of spiritual intelligence and its components in the poetry of this great contemporary poet with an interdisciplinary approach and psychological critique. The results of the research show that some components; Such as self-awareness, spontaneity, value-oriented and vision-oriented, ascendancy, altruism, acceptance of differences, independence of opinion, humility, willingness to propose fundamental reasons, ability to change mental frameworks, positive use of challenges and sense of mission And sanctification is seen in the works of Shahriar.

Nasrullah Monshi's Kalila and Demneh is considered to be one of the trend-setting and influential works on Persian literature, especially Persian prose. The style of Nasrullah Monshi in the translation of this work has influenced later writers to follow and use his style in their writings (Daneshpazhooh, 2008;12). Ziya-al-Din Nakhshabi, a poet, mystic, and writer of the 8th century, is also among those who were influenced by Nasrullah Monshi. Just as the influence of Kalila and Demneh is evident on his Tootinameh, this influence can also be seen in Afsaneh Golriz.
Afsaneh Golriz is a work in verse and prose, created under the influence of Kalila and Demneh, Maghamat Hariri, and Indian literature; it is written in artificial prose style; the content is Romantic and moral; it consists of fables and parables with the structure of a story within a story, accompanied by motifs of folk literature and the description of strange creatures such as demon, fairy, and monster. The bases for Indian stories are books such as Ramayana, Mahabharata and Suka Septati, which not only have they given their content to these stories, they have also transferred their own style of storytelling to these works (Madankan & Eliyasipour, 2009;139).
The main purpose of these stories was entertainment and fun; for this reason, their appeal has been very important to readers. The events in these stories are very diverse and sometimes unreasonable and extraordinary to attract the attention of the reader and listener more (Taqavi, 1997; 57).


This article is a report of a theoretical research with a descriptive-analytical method that with a stylistic approach and using the principles of structural stylistics and relying on written and library documents and sources, has investigated and analyzed the stylistic features of Ziya-al-Din Nakhshabi's Afsaneh Golriz at the linguistic level, in terms of phonetic, lexical and syntactic features.
In this article, the linguistic features (phonetic, lexical, and syntactic) of the book have been examined with a stylistic approach. The authors seek answers to the following questions:What features does Afsaneh Golriz have at the linguistic level (phonetic, lexical and syntactic)? What results can be obtained by examining and analyzing the linguistic features of Afsaneh Golriz from the point of view of stylistics?
 


 Stylistics uses the most comprehensive methods in examining texts; it means that it starts from the smallest language structures, namely sounds, and analyzes the vocabulary, types and quality of their use, interpretations and allusions, as well as the syntax and structure of sentences, rhetoric and the application of thought and in the layered branch of the artist's ideology. Finally, the artistic goals of the speaker from the totality of the structure of the work is realized (Mohammadi afshar & Shayanmehr, 2017; 262). In this article, due to the wide scope of stylistics, an attempt has been made to examine and analyze only the stylistic features of the work at the linguistic level in terms of phonetic, lexical and syntactic features.
In Afsaneh Golriz substitution, deletion and addition have been used. Substitution has mostly been used in consonants. In this work, phonetic processes are not as abundant as the texts of previous centuries. deletion or reduction of phonemes also have been used in Afsaneh Golriz more.
Nakhshabi has used different kinds of rhyme, mostly parallel rhyme. He has used internal rhyme, parallelism and leonine verse more. The multiplicity of parallelism and leonine verse has resulted in sentences having consecutive rhyme. Many kinds of puns have also been used in this work. Phonemes, repetition, antimetabole and additions have been employed to make speech musical.
In the lexical layer, sensory or abstract words, common and proper nouns, archaism and word formation, coining, and markedness of words are evident. (Fotouhi, 2012; 251-264). Often, writers and poets use sensory words for description and mental words for narration (Foroozandeh & Banitalebi, 2015; 304). In the text of Afsaneh Golriz, the use of both objective and subjective words be can be seen.
The number of archaic Arabic words is more in Afsaneh Golriz. These types of words have been used less or not at all in Persian prose and poetry, and there is no evidence for them in Dehkhoda's Dictionary as well.
Arabic compounds have been used in the book, which are rare. There are words that are not recorded in dictionaries. Turkish and Indian words are also included.
Sometimes the writer has used unusual spelling of a word. Synonym are also employed, the frequency of synonymous words is high. Sometimes the author has used word in a new meaning. Also, he has used the word in a new construction and has made new and meaningful compounds. These compounds are one of the blocking factors of the meaning of some sentences.
Nakhshabi has used proper names in this book; he refers to the names of elders and prophets and has also creates new proper names.
The abundance of short and interrupted sentences in speech causes light acceleration of the speed of thought and excitement, and, on the contrary, the abundance of long sentences creates a smooth and steady style; complex and compound sentences slow down the movement of style. Rapid and hastey styles are more emotional, while composed styles are more argumentative and logical (Fotouhi, 2012; 275).
In Afsaneh Golriz, sentences are usually simple and short, and there are few compound sentences. The style of the book is exciting and emotional. The frequency of inflectional sentences is high. The style of sentences is a combination of discrete and co-ordinate style. The speed of speech is higher and the style is dynamic.
The time factor is an important variable in the realism of the text and the author's way of looking at things. The present is more certain than the past and different constructions of the past also increase the distance between the speaker and his point of view in the same proportion as it distances from the present (Fotouhi, 2012; 291). In this book, in 200 simple and compound sentences analyzed, there were 127 (63%) simple verbs, 33 (16%) compound verbs, and 5 (2%) prefixed verbs. Also, 72 cases (36%) present verbs and 124 cases (62%) past and future verbs have been used; therefore, the distance between the speaker and the author's point of view is greater in this book.
The modality is the speaker's decisiveness in expressing a proposition, which is implicitly shown by grammatical elements (Fotouhi, 2012; 285). In most of the verbs of the book, indicative modals have been used. The indicative modal shows the certainty of the speech. In indicative modal, the audience is confident about the speech.
Adverb is a part of speech that the verb does not need and for this reason it can be omitted from the sentence (Vahidian Kamiyar, & Omrani, 2003; 104). The frequency of adverb types is higher in Afsaneh Golriz, and adverb is one of the factors of lengthening the sentence. In 100 sentences, there are 56 adverbs, which shows that Nakhshabi has used more adverbs. Among the types of adverbs, adverbial complements has been used more.
In adverbial groups, the preposition has been omitted symmetrically based on the previous sentence; also, in the verb phrases, the preposition has been removed without symmetry.
In Afsaneh Golriz, the verb has been removed based on verbal and semantic symmetry.
 


In the phonetic layer, Nakhshabi has used various types of phonetic processes such as substitution, deletion and addition. Substitution in consonants and reduction of phonemes is more visible; however, phonetic processes are not as abundant as the texts of previous centuries. To increase the music, the writer has used all types of rhyme, mostly, parallel rhyme. In most of the sentences, there is internal rhyme, parallelism and leonine verse. He has used various types of puns, phonemes, repetition, and additions successive also.
In the lexical layer, there are more sensory words and the style of the sensory book is clear and effective. A large number of abandoned Arabic word can be seen in Afsaneh Golriz, which are used less or not at all in Persian poetry and prose and there is no evidence for them in Dehkhoda's Dictionary. One of the reasons for using archaic words is superiority. A few Turkish and Indian word are used and the number of synonyms and compounds in the book is also significant.
In the syntactic layer, there is usually simple and short sentences and few compound sentences. The style of the book is exciting and emotional, and the frequency of inflectional sentences is high. The style of sentences is a combination of discrete and co-ordinate style. The speed of the speech is high and the style has a dynamic rhythm. Simple verbs are used more, and compound and prefixed verbs have been used less. The tense of most verbs is past, by which the distance between the speaker and the author's point of view can be seen more clearly. Most of the verbs have been used in indicative modal, which shows the certainty of the speech. The frequency of adverb types is more in Afsaneh Golriz, and adverb is one of the factors of lengthening the sentence. In 100 sentences, there are 56 adverbs, which shows the abundance of adverbs. Among the types of adverbs, adverbial complements have been used more. Sometimes the verb has been omitted based on verbal and, more often, semantic symmetry. The preposition has sometimes been removed from the verb phrase based on symmetry in the previous sentence, or without symmetry.

One of the ways to enrich the content of poetry is to use the cultural supports that have existed in Persian poetry for a long time. The range of cultural supports used in Persian poetry is very wide and includes references to the Qur'an and Hadith and use of various scientific terms. Based on this and considering the use of these cultural supports in poetry, which are often used in the form of innovative spiritual arrays, especially allusions, it can be said that they have always been one of the sources of nutrition for poetry and literature.Since Persian and Urdu poetry has always had a close connection with popular culture from ancient times to modern times, there are many evidences of referring to the elements of popular culture, especially its linguistic elements.According to the above explanation, this research using the descriptive-analytical method has tried to compare and analyze the role and function of the most important linguistic elements of culture and popular literature in the poetry of Simin Behbahani and Parveen Shakir with the approach of comparative literature.

This article is a theoretical research that, with the approach of comparative literature, has tried to analyze and compare the reflection of the linguistic elements of popular culture in the poetry of two contemporary Persian and Urdu poets (Simin Behbahani and Parveen Shaker).

Poets use cultural supports and lived or learned experiences to strengthen the content of their poems. Undoubtedly, popular culture and literature is one of the most widely used spiritual fountains of official literature. Customs, traditions, beliefs, parables and allusions, stories and legends, etc., are elements of popular culture that can be divided into two parts, linguistic and non-linguistic. Linguistic elements; It includes interpretations, idioms, allusions, insults, proverbs and proverbs, stories and legends and everything that is created with the tool of language. Simin Behbahani and Parveen Shakir are among the well-known female poets in contemporary Persian and Urdu literature who have been influenced by the foundations and elements of folk culture and literature in their poems and have reflected them artistically in their poetry. culture in dictionaries means "a collection of customs and traditions." The collection of sciences, knowledge and arts of a nation". (Moin, 1384: 1176) and also "a complex general phenomenon of manners, customs, thought, art and way of life that is formed during the historical experience of peoples and can be transferred to the next generations" (Anvari, 1381 : 5346) came and said in a clearer definition:  "Culture... is the collection of spiritual heritage of a people, whether it is the product of their intellect and understanding or the offspring of their taste and emotion." (Mahjub, 2016: 36) In a more comprehensive definition, culture is referred to "all the material and spiritual institutions in which a human being is born, raised and has a personality." (Velayati, 2010: 19)   From the point of view of some researchers, culture is divided into two main parts: material and immaterial (spiritual), and from another point of view, some researchers have divided culture into the official culture and popular culture. material culture, tangible cultural elements; Such as architecture, it includes clothes, tools, etc., and non-material or spiritual culture includes the intangible parts of culture; It refers to beliefs and beliefs, proverbs and allusions, stories and legends, etc. (Chehreghani, 2015 A: 93) As can be seen, the linguistic elements of culture are placed under spiritual culture. The meaning of official culture is a set of cultural elements that are not only reserved for the masses and are also accepted among the elites. From another point of view, Culture can be considered to mean art or at least a source and watering hole for art, because noble, official and elitist art can be more enriched by hanging on the sources of popular culture. (Hall, 2013: 696) In all societies, language is considered the main axis of culture, and since literature is also an application of language, popular culture, which is transmitted orally from one generation to another in different societies, has an inseparable connection with popular literature. (Chehreghani, 2015 B: 3) One of the valid divisions for the constituent elements of popular culture, along with material and spiritual elements or healthy and unhealthy elements, is their division into linguistic and non-linguistic elements. The meaning of linguistic elements is that part of cultural elements that is created on the basis or with the tools of language and includes expressions, terms, allusions, songs and lullabies, work songs, parables and proverbs, stories and legends, etc. and researchers sometimes refer to it as oral literature. (Mirsadeghi, 1998: 12) According to what was said, popular literature is considered a sub-branch of popular culture. Comparative literature, which continued and followed the slogan of "world literature" of the romantics in Europe and started by collecting and comparing the stories and legends of the nations of Asia and the Middle East, "speaks of the research on the relations between the literature of the nations and the different peoples of the world." (ZarrinKub, 1982: 125) The method of comparative literature in the French school is "examining the historical relations of national literature with the literature of other nations written in a language other than the language of that country". (Ghunaymi Hilal, 2014: 7) Research in comparative literature introduces us to other nations and their similarities and differences with each other and their literary or cultural influences. Various topics are included under comparative literature, one of which is folk culture and literature. The importance of this approach lies in the fact that it helps to know the true mood, habits and way of thinking and living of the people of a region and to get to know more about the real face of a nation. For this purpose and to know more precisely the cultural similarities and differences between the nations of Iran and Pakistan, this research has investigated the issue of using language elements of culture and folk literature in the poetry of Simin Behbahani and Parveen Shakir.

The research findings show that the two mentioned poets have used the linguistic elements of popular culture in a wide way, considering their gender and female perspective, which is due to the affinities and historical, religious, cultural, etc. links between the two Iranian societies. And Pakistani and the two languages Persian and Urdu, regardless of the existing differences, have many similarities.As seen, Simin Behbahani, a contemporary Iranian poet, and Parveen Shakir, a contemporary Pakistani poet, have benefited from the linguistic elements of popular culture, both in the production and creation of the theme, and in strengthening the meaning and enriching the content of the poem, and in the direction of inducing better meaning and Its greater impact. Among the linguistic elements of popular culture reflected in the poetry of two Urdu and Persian poets, one can find many common elements including words, interpretations, idioms, ironies, proverbs, common stories, legends, etc. Poets have adapted the popular culture of their people and used it correctly in their artistic creations. What attracts the most attention in this matter is the great verbal and semantic similarity between the proverbs and allusions of the two nations, which is due to the ancient connection of the Urdu language and literature with Persian language and literature, and more importantly, the historical influence of Persian culture and literature in the Indian subcontinent. Especially Pakistan tells that in addition to many similarities in meaning and theme, sometimes the words of Urdu proverbs are very similar to the Persian equivalent and sometimes the same; Like the proverb " If the world is washed away, he is still asleep" in Urdu language, only the word "water" has been changed to "flood"; However, among the types of linguistic elements of popular culture used in the poetry of the two selected poets, the reference to legendary stories is less frequent.In addition to the mentioned commonalities and similarities, differences can also be identified in the use of linguistic elements of popular culture in the poetry of the two poets; Including all kinds of explicit insults and sarcasm and children's game songs;Such as Jom Jomak, Atal Matal Tutule, Tab Tab Hambazi, etc., which are common in the Persian-speaking community of Iran, are abundantly seen in Behbahani's poetry. Still, this type of linguistic element does not exist in Parvin Shakir's poetry. In addition to that, the lullaby is also a subject of which there is an example in Behbahani's poem; But in Shakir's poetry, although a poet has the experience of motherhood, it is not seen. Since Parvin Shakir is fully familiar with contemporary Persian poetry and is known as the only translator of Forough Farrokhzad's poetry in the Urdu language, and due to the feminine perspective that dominates the poetry of the two selected poets and their belonging to the space of neo-classical poetry (in Persian language and Urdu) it is expected that Shakir was influenced by Simin Behbahani's poetry; However, based on the findings of this research, apart from the existence of some similarities between the elements of general culture used in the poetry of both poets, the obvious influence of this Urdu language poet on the poetry of Simin Behbahani cannot be proven

Throughout history, Pakistan has been one of the main spheres of influence of Persian culture, literature, and language in the Indian subcontinent and the people of this region have always been interested in learning the Persian language and literature and getting acquainted with Iranian culture. This cultural affiliation has led to the accumulation of historical experiences in the field of teaching the Persian language and literature in this region. In the contemporary era, and especially after the victory of the Islamic Revolution, macro-cultural policies became more and more focused on deepening cultural relations and the spread of Persian language and literature in this region, which has led to the teaching of Persian language and literature in this country. Considering that any new policy in this field requires obtaining accurate information about the general situation of Persian language and literature education in this country, this study has tried to use the method of the descriptive-analytical method to determine the status of centers, methods, courses and examine and analyze Persian language and literature teaching resources in Pakistan. The results show that in Pakistan, public and private university centers, the House of Culture of Iran, and some seminaries and private institutions teach Persian language and literature using face-to-face, virtual, correspondence, etc. methods, in short-term and long-term courses. They spend their time using textbooks written inside Iran or in Pakistan (which is described in detail in the article). Statistical studies show that the cultural motivations of Pakistani Persian learners encourage them to learn Persian language more than other motivational factors and the frequency of learners who want to learn Persian language in Iran is significantly higher.

Myth is an element of human culture that narrates a true story with an unusual nature. It discusses the miraculous action in the indeterminate time of beginning, as superhuman experiences and as a mental-imaginative process with the help of works of art. It is recreated and continues to live with the help of this cultural element. Artistic-literary works become broad, deep, and lasting and acquire a global dimension and immortality. Therefore, mythological elements in different periods of Persian poetry have always been recreated with ups and downs. No period sans theme and image creation in the mythological literature and the dynamic spirit of myth has always flowed in the body of Persian poetry. Poets have used this cultural element with different approaches and have recreated it. The present study, using a descriptive -analytical method, investigates the reproduction of mythological-epic themes and narratives in the contemporary poetry of Afghanistan (from the Constitution to 1380 AD). The results of the present research show that the reproduction of mythological elements in contemporary Afghan poetry is not a pure imitation but a purposeful creation that contemporary poets, using their literary talents most artistically, relate mythological narratives and characters with events and personalities. They have adapted in their times, by linking the present and the past. They have presented their political thoughts and human emotions.

Urdu, the national language of Pakistan, has a valuable literary heritage inwhich women have played a major role. Following the emergence of women's movements in the West and its shift to Asia, the pursuit of women's social demands became one of the main concerns of Pakistani educated women.women poets and writers used literature to achieve social ideals, creating works that could be called women's literature or writing. This descriptive-analytical study has tried to study the evolution of women's writing in different periods while analyzing the background of the formation of women's movements and the connection of Urdu literature with these movements.The results show that throughout the history of the subcontinent, many women have created and produced literary works; But the reflection of women's specific issues, especially their social rights, dates back to the mid-nineteenth century. Literary activities for the production of women's writing have expanded after the independence of Pakistan, and has introduced great poets and writers such as: Venus, Fahmideh Riyadh, Adjafari, Parvin Shakir to the world of literature.

The poetry of the socialist realism of Afghanistan, in terms of the quantity of artistic production and attention to ideological issues, modernity, and social-socialist commitment, is one of the most fruitful currents of contemporary Persian poetry in Afghanistan, and the poets of this current have become various types of visualizing elements, socialist concepts, and cultural symbols. They have benefited from the frequency difference. Mythological-epic symbols are a part of the themes and images of the poetry of this trend that the selected poets of the socialist realism of Afghanistan have used these narrative symbols in their imagery and creating themes. Based on this, the present research, using the descriptive-analytical method, based on Gerard Genet's intertextual opinions, explores the process of recreating mythological-epic narratives and themes in the poetry of the socialist realism of Afghanistan, relying on the poems of " Sulaiman Layeq, Bareq Shafiei, Dastgir Panjshiri, Asadollah Habib and Azim" Shahbal", examines and analyzes. The results of this research show that the poets of socialist poetry of Afghanistan have recreated mythological and epic themes and narratives often for political and ideological reasons. They have recreated mythological and epic symbols in the form of allusions, allusions, ironies, similes, and explicit intertextuality, or they have rewritten myths and epics in the form of explicit intertextual references, and they have used the content and aesthetic capacity of myths in reflecting social political thoughts. have used themselves.

The arrival of modernity in the East and the continuous struggle of women for the transformation of patriarchal social values, which often took place through the production of literary works, led to the formation of a special type of literature that is called feminine writing. The purpose of feminist writing is to express the specific problems of women with a feminine language, which can be analyzed with the approach of feminist criticism. Based on this, the current research has tried two novels by two Iranian and Kuwaiti female writers; That is, to examine and analyze"Dream of Tibet" written by Fariba Wafi and "Under the feet of mothers" by Bathina Al-Eisa with a feminist critical approach and in a comparative way. The research method in this descriptive-analytical research and the research findings indicate that the authors of these works have depicted the status of women in their society by using the components of feminist literature. "Tibetan Dream" and "Under Mother's Feet" although they were created in two different countries and with two different languages, they have many commonalities which resulted from geographical, religious and cultural relations and affinities between them. Numerous female characters in both works are independently involved in their feelings and personal problems; Finally, they form a coherent whole. Despite the difference in the details of the two mentioned novels, their central core is similar and compatible; In both stories, women seek to find their existential values, to gain equal rights with men, and to find love and peace.

The Myth is the most significant embodiment of imagination in a language, narratable, visual, and culturalized symbol partially associated with ontological and cosmological reality and, in part, related to national beliefs. With their characteristic recurrence, myths have an intertextual nature. Hence, their reproduction in different works throughout history. Based on their knowledge of this potential to represent resistance-related matters, Afghanistan's resistance poets have benefitted from the symbolic aspects of myths.One of the Afghan poets who extensively draws on resistant imagination and mythical recurrence is Wasef Bakhtari. He recreates myths with measured language in a symbolic and multifaceted fashion, voicing its protest vis-a-vis the established political autocracy and the aggressors.

The present study seeks to revisit the role and function of mythical figures in Afghanistan resistance poetry to analyze how mythical elements are reproduced in Wasef Bakhtari's resistance poetry using a descriptive and analytical methodology and an intertextual approach based on Gérard Genette's ideas.

As myths need literature and art to survive, poets undergird their works by tapping into the potential of myths. By doing so, they have given life to human civilization, mythology, and culture while immortalizing themselves. Nevertheless, poets do not employ mythology solely for aesthetic reasons. Instead, as demonstrated by a significant strand of cultural studies, they sometimes do so to communicate political and social messages. In particular, the symbolic language of myths helps poets expand their words' meaning-making capacity by using intertextual references. Contemporary poets engage in literary creation and beautifully recreate, revisit, and rewrite myth to fend off contemporary de-mythicization and transfer human experiences in ancient ages. By doing so, they seek to contribute to the preservation of their authentic identity and culture. This study discusses mythical figures in Wasef Bakhtari's resistance poetry. Although the scholarship on mythology is prolific in Iran due to its interdisciplinary nature, as far as this research shows, there is yet to be a book or article written on the subject of "Revisiting the Role and Function of Mythical Figures in Afghanistan Resistance Poetry. " The extent and frequency with which Bakhtari uses myths and mythology in the context of resistance calls for a comprehensive study. Therefore, this paper undertakes a methodical analysis of myths in Wasef Bakhtari's resistance poetry.

The present research suggests:Most myths reborn in Bakhtari's resistance poetry are among national myths whose intertextuality is primarily implicit. However, it also appears as allusions, quotations, and explicit referential intertextuality.For Wasef, myth is an instrument for the audience to rethink their identity. He mobilizes the persuasion potential of the myths to foster a sense of national self-confidence and provoke social movements against domestic authoritarianism and foreign aggression. He relies on myths to reinforce his epic and resistance positions and stir collective emotions, calling on their audience to battle the political repression and autocracy of the rulers and the aggressors. Moreover, Wasef uses national myths to depict themes related to resistance. The most critical themes that Bakhtari reflects in his poetry with the aid of national myths due to their resistance theme include the Red Army's attack and the prediction of its disgraceful failure, betraying the fighters, the country's anarchic conditions, and its relation to the poet and his people, the collapse and disappearance of all material and spiritual values, the unprosecuted killing of brave young men, political despotism and tyranny, hope for improvement and the end to the reign of the despots, schism, and division resulting from egocentrism, describing the martyrs, reprimanding the warriors for participating in civil wars and political and social corruption.Wasef Bakhtari has devoted his attention to recreate the narratives and figures of national myths. Remarkably, he has focused on the personas of Rostam, Siavash, Zahhak, and Kaveh to epic potentials of mythical narratives and figures to entice the public to create national resistance movements to combat domestic despotism and foreign aggressors. Even though the reflection of mythical narratives in Bakhtari's poetry is of aesthetic value, myths fulfill a political and resistance function in his poetry to communicate political and social messages based on a critical approach.

The literary return movement, which began in response to the decline of the Indian style in Isfahan and spread throughout Iran, did not affect Afghan literature, and Afghan poets continued to compose poems in the Indian and Bidel Dehlavi’s style. At the time of the Indian style domination of Afghan poetry, Vasel Kaboli (1244-1309 AH) was one of the few poets who also paid attention to the poetry of poets before the Indian style. Also, composing poems, he was influenced by Khorasani, Azerbaijani, Iraqi and other previous poets in both form and content. The influence has been more noticeable in the form, especially in terms of meter, rhyme, and radif. The present research is an intertextual analysis of statistical data by the use of descriptive-analytical methods to examine the influence of Vasel Kaboli by the poets before him; a literary tradition that is called “esteqbal”.The findings of this study show that Vasel Kaboli, occasionally has been influenced by a wide range of poets before him. He has systematically imitated Hafez. About 50% of Kaboli’s poems, in the available version of his Divan, have been composed in esteqbal of Hafez Shirazi. There are a total of 62 lyric poems, 33 elegies, 3 odes, 2 Masnavis, and 5 fragments in his Divan. Among those poems, 32 ghazals (of which the subject of 5 pieces is elegy) and one ode are written in esteqbal of Hafez. After Hafez, Vasel Kaboli has paid the most attention to Rumi's ghazals and  made the esteqbal of 6 ghazala of Divan Shams Tabrizi. After Molavi’s poetry, Biddle Dehlavi's poems have been considered by Vasel Kaboli. A statistical look at the esteqbal in the Vasel’s Divan shows that 42% of the rhyming words in the sonnets are exactly of Hafez and about 58% of the rhyming words in the poems in question belong to Kaboli. Considering the role of rhyme in thematic composition, this indicates the greater variety of themes in the poem submitted by Kaboli. Another noteworthy point is that Vasel has sometimes written two poems in response to a poem, examples of which can be seen in esteqbal of Rumi, Hafez, and Qodsi Mashhadi. More interestingly, he has sometimes made an esteqbal of a poet through another poet; like the examples seen about the poems of Rumi and Amir Khosrow Dehlavi. In conclusion, the influence of Hafez and other mentioned poets on Kaboli is not limited to the weight and rhyme but as discussed in the analysis of the esteqbal of Hafez's first sonnet, it includes different formal (including music, language, imaginary, …), and semantic areas.

The long-term historical process that has led to the emergence of a new Western civilization and is today called modernity, has exposed all aspects of human life to change and revision, including the change of social structures and the transformation of the values ​​that govern these structures. One of the most important challenges in entering the modern world in the field of social structures and values ​​that have emerged from the beginning of this historical process and has gone through many ups and downs, regardless of the many conflicts that can be raised in many ways has been the subject of criticism of the patriarchal view that governs the structure and social values ​​of the traditional world and the demand for equal rights for men and women. After the acquaintance of oriental nations with Western modernity and under the influence of Western social developments, this demand was gradually formed among some intellectuals in Islamic and Asian countries, especially educated women and intellectuals, who were mainly poets and writers and led to the emergence of women's writing, including poetry and prose in the literature of these countries. Feminine writing has several components, one of which is the critique of various aspects of the patriarchal social system. Based on what has been mentioned, due to the many commonalities and similarities in cultural, historical and social fields and roots between the Iranian and Pakistani communities, including the traditional and religious interests and contexts along with the social movement towards development and modernity, It seems that women's poetry in Iran and Pakistan, despite slight differences, has many similarities in terms of reflecting women's issues and problems, as well as common feminine feelings and experiences. Therefore, this research tries to compare and analyze the issue of the critique of the patriarchal social system in the works of Simin Behbahani and Fahmida Riaz, two contemporary Iranian and Pakistani female poets, using a comparative approach. Accordingly, the present study is a report of methodical and scientific efforts in order to find answers to the following questions:- How is the critique of the patriarchal social system seen in the poetry of Fahmida Riaz and Simin Behbahani? - How can the similarities and differences of the critique of the patriarchal social system in the poetry of the two selected poets be analyzed?  

This is theoretical research based on written documents and sources, conducted in a descriptive-analytical method and with the approach of sociology of literature has studied the critique of the patriarchal social system in a comparative way in the poetry of Simin Behbahani and Fahmida Riaz. 

In a patriarchal society, a man is a first-class citizen and a woman a second-class one. The context, time, and society in which Simin Behbahani and Fahmida Riaz live are also patriarchal societies, which due to gender discrimination in the social and value system, not only  dismiss a large portion of women's inalienable rights, but also they unintentionally and unjustly impose many problems and difficulties on them. In the following sections, the researchers will review and analyze some of these issues that are reflected in the works of these two Iranian and Pakistani poets. Simin Behbehani In a patriarchal social structure which is based on the superiority of the male sex, women lack originality and are merely a means of meeting the needs of the superior sex, i.e., women are the means of sexual satisfaction for men. For this reason, in women's writings, this instrumentalistic view of women, which is the result of a patriarchal social structure, is always criticized. Simin Behbahani tells the story of a man who sees a woman merely as a sexual commodity in the poem "Vasteh". Besides this poem, Behbahani in another poem called "The Dancer" narrates the lust of men in a seemingly open society, whose leaders are in the pursuit of modernization and call it the gate of their civilization. Behbahani believes that in a patriarchal society, all forms of freedom have been taken away from women in the name of tradition or under the pretext of modernity. Just as the dancer is trapped in the circle of men's asceticism in the name of freedom and the housewife is also forced to stay home and avoid socialization. In the poem "Zan dar Zindan-e Tala" (Woman in the Gold Prison), Simin complains about the forced residence of  the contemporary Iranian woman in the gold palace, without authority, freedom and independence. Other issues that provoke Simin Behbahani's social critique are polygamy and the right of men to divorce, along with various manifestations of male violence and its social consequences, such as, sexual and physical violence, abandonment of children and evasion of responsibility towards the family, as well as forcing girls into marriage, and above all, confronting women not from the perspective of the human element but as a means of men’s satisfaction and reproduction are the most important social problems of women in the patriarchal society of Iran, which are usually depicted in the form of often long poems, with a large number of verses and in a narrative tone and atmosphere. Poems that include such themes in Simin Behbahani’s collection of works, include poems such as Fe’l-e Majhool (The Passive verb), Ilkhan Sitareh-ha (the Ilkhan of the stars), Jibb Bor (the pickpocket), Dard-e Niaz (the pain of need), Anja wa Eenja (here and there), Khoon-e Sabz (green blood), Zarkhrid (Bought), etc., in general her poetic works, such as Jay-e pa (Footprint, 1954), Chelcheragh (Chandelier, 1955), Marmar (Marble, 1961), Rastakhiz (Resurrection, 1971), Khati ze Sor’at va Atash (A Line of Speed and Fire,1980), Dasht-e Arzhan (The Plain of Arzan,1983), Kaghazin Jameh (Paper-Thin Vestment, 1989), Yek Daricheh-e Azadi (A Window to Freedom, 1995) and Tazeh-ha (The Latest, 2008) are scattered. Although the origins of Behbahani's critique of the patriarchal social system and the patriarchal values that govern Iranian society can be attributed to the feminist ideas, but certainly, this feminism is by no means anti-male and extremist and has a perfectly rational, moderate and balanced basis. Fahmida Riaz Fahmida Riaz is also one of the poets who has paid attention to the issues and problems arising from the patriarchal social system for Pakistani women, and this issue is one of the central discourses in the works and especially the poems of this famous Pakistani poet. Fahmida Riaz was born on July 28, 1946, in the city of Meerut. Fahmida grew up in Hyderabad (Pakistan) and her father died when she was 4 years old. During her school years (1960), she composed her first poem and published it in "Fonoon" magazine (Mari, 2004, pp. 14-15). Fahmida got married in 1965, and after marriage, she went to England and published the book Badan Darideh (The Torn Body) (1973) there. She returned to Pakistan a few years later from the United Kingdom and served for some time as the chairman of the National Book Council in Islamabad. When General Zia-ul-Haq came to power, he realized that she was the director of the literary magazine "Avaz". The military government did not come to terms with her and she went to India for several years and did not return until General Zia-ul-Haq was alive (Shams ul-Haqq, 2008, p. 381). Fahmida Riaz, in addition to being a poet, was also a prose writer and translator, and some of her prose works include Karachi, Goodwari, Tem Kabir, Zindeh Bahar, etc. Fahmida Riaz's translations are often from the masterpieces of the world poetry in Urdu (poetry and prose), one of which is Kohli Darichi si (from the open window), a translation of selected poems by Forough Farrokhzad, an Iranian Persian poet. In essence, this expresses the poet's belonging and her acquaintance with the living and dynamic corpus of contemporary Persian poetry (Riaz, 1998, pp. 2-3). She has another book called Ye Khaneh Ab va Gel (This House of Water and Mud), which is a poetic translation of selected lyric poems of Divan Shams-e Tabrizi and indicates his familiarity with classical Iranian literature (Rumi, 2006, pp. 1-2). Shadiani is a story that has been translated into Urdu prose by Fahmida Riaz and this Novel is from the Egyptian Najib Mahfouz who won a Nobel Prize (Mahfouz, 2000, p. 2). Apart from these, she wrote stories such as Qaleh Framosh, Adhora Adami, Halqa meri Zanjir ka, Apna Jurm Sabit hey etc. Fahmida Riaz died on November 21, 2018. Although Riaz has made a critique of the patriarchal social system in the context of the tradition of its prestige, she has not neglected the imposition of new problems on women, such as freedom. These problems, which sometimes occur in Eastern societies, are doubly severe in political regimes with a capitalist approach, like the United States or France, which is seen as the origin of democracy (Sarvarian, 2004, p. 302). Denying the physical and mental abilities of women and limiting their social function to physical characteristics is one of the topics of concern for Riaz and the poem "The Beauty Contest" is a strong protest against the behaviour in which the female body has become the subject of writers, poets and artists. This poem is about beautiful girls who participate in the beauty contest and there, just by appearance and physical criteria, a worthy girl is selected from the point of view of men. The poem "Chador and Chardivari" is one of the most important poems of Riaz regarding women's issues in the patriarchal social system, which has addressed various issues in this regard. Part of this poem depicts the oppression of men and their cruel domination over women who have been exploited and sometimes sexually abused for low wages. Fahmida Riaz describes the captivity of women in the poem "smile of a woman" and so it challenges the idols of the new temple, which are international symbols and demands peace from them. The poem "Chador and Chahardivari" tells the story of a woman who is forced to wear a hijab to cover herself. But the woman, who is a symbol of the poet herself, cleverly points to more important social priorities and points out the poverty of the society to the rulers. And ironically, he asks them to first bury the shrouded dead who have been left on the ground by the pressure of poverty. In another layer of this poem, the corpse can be considered a symbol of women who in the house of fanatical men have the status of the moving dead who need to be covered more than others. Other issues such as polygamy of men, types of verbal, physical and psychological violence, forced marriage and social inequalities are other social problems of women in Pakistani society that Fahmida Riaz in its poetic works,  like Pathar ki Zaban (Stone Language, 1967), Badan Daridah (the Torn Body, 1973), Dohup (Sunshine, 1976), Kia Tum Pura Chand Na Dikhu Gay (Will You Not See the Full Moon, 1984), Hamarkab (Travel companion, 1988), Admi ki Zindigi (Human Life, 1999), Kulyat-e Fahmida Riaz Sab Lal o Gowhar (Generalities of Riaz called Sab Lal and Gowhar, 2011) have been criticized. 

The results of the present study on the critique of the patriarchal social system in the poetry of Simin Behbahani and Fahmida Riaz are as follows:- One of the important topics and discourses in the poetry of Simin Behbahani and Fahmida Riaz is the critique of the patriarchal social system and the moral and social values ​​that govern it and the confrontation with the violation of some social rights of women in Iranian and Pakistani society; - Due to cultural, historical, religious, social, etc. commonalities that exist between Iran and Pakistan ​- topics related to the subject of this research were often in common in the works of both poets and were often expressed in a common style (narrative style); - Although Fahmida Riaz is known as one of the activists of the women's social movement in Pakistan, neither of the two mentioned poets - based on their poetic works - can be considered a feminist poet in its radical and even liberal sense, because the criticisms expressed in their poetry are completely humane and respectful of men while recognizing their rights and they are sometimes accompanied by a critique of the values ​​that govern the liberal-democratic discourse of the New World. - Simin Behbahani's social criticisms are more superficial, emotional and soft, but Fahmida Riaz's critiques are deep, thoughtful, sharp and reckless, with political connotations and critiques of the ruling power; - Despite the many thematic similarities in the critique of the patriarchal social system in the works of the two selected poets, the influence of Fahmida Riaz on Simin Behbahani seems very unlikely. But, Fahmida Riaz's influence from Simin Behbahani, due to her fluency in Persian language, complete familiarity with classical Persian poetry and interest in contemporary Iranian poetry, as seen in the introduction of her translations of Shams lyric poems and Forough Farrokhzad's poems in Urdu, is quite probable.

Arab historians have long argued for the etymology and meaning of the word 'Mecca' that have been critically and arguably controversial from a historical, ontological and semantic perspective. These assumptions, often based on some kind of folk etymology, have become less popular among scholars because of repeated quotations from primary sources and less widely criticized for their validity and frequency of use. The presence of very ancient Persian word constructions in the Arabic language and older texts of this language, including ignorant poems and, more importantly, the Holy Qur'an, reflects the longstanding relationship of the Iranian branch of Indian and European languages with Arabic, with historical evidence also relying on proximity and relevance. Iran also justifies this presence with the Assyrian and Akkad lands, the origins of the Arab people and the Sami languages, as well as the political domination of the Iranian governments over the Arabian Peninsula in ancient and medieval times. The present study has attempted, while examining the views of former linguists, using the descriptive-analytical method to develop and explain the hypothesis of the origin of the word "Mecca" in Arabic. The result of this study shows that the word "Mecca" and its more original construction "Becca" have the Iranian root and an evolved form of the word "bagh" or "bag" in ancient Avestan and Persian language meaning holy city or city of God.

Intertextual studies are one of the most important approaches to contemporary literary research. According to the theory of intertextuality, every literary text is its reproduction and reproduction of past or contemporary literary works. Considering this definition, Talmih can be regarded as one of the most obvious examples of intertextuality. One of the poets who widely used this array in his poetry is Mohammad Kazem Kazemi, the most famous poet of the Resistance of Afghanistan. In this research, the ways in which Talmih was used in his poems has been examined by descriptive-analytical method. As the results of this research show, Kazemi's poems are often linked to religious themes and texts such as the Quran, hadith, the history of Islam, the Prophets of the Prophets, etc., and the intertextual relations based on the threefold rules of Christau between the present text And absent, in the form of partial negation, a negation, and a general negation, in which a partial negation in Kazemi's poems is more frequent.

The point of the beginning of literary transformation in contemporary Afghanistan is the constitutional movement. The Constitutional Poetry, as the first contemporary poetry stream, made a profound transformation in the content and poem of Afghanistan. This transformation could pave the way for further developments and the emergence of other currents in Afghan poetry, but the failure of the movement and the return of tyranny prevented this from happening. After the Constitutional Revolution in Afghanistan, the flow of romantic poetry began And in the final years of the AleYaha rule, the poetry of resistance began with two branches of poetry of socialist resistance and poetry of Islamic resistance. This paper attempts to examine the Socio-political factors affecting the development of contemporary poetry in Afghanistan, through the descriptive-analytical method, from the beginning of the constitutional movement Until the fall of the reign of Zahir Shah. Findings of the research show that After the defeat of the Constitutional Movement in Afghanistan, the poets have fallen into a pile of individuality and returned to lyrical themes before the Constitutional Revolution. The only sweeping poetry until the fifties in the country was romanticism that came from the tyranny of the era of oppression, which is strongly influenced by poems by romantic poets in Iran. Other poetry currents, such as socialist realism, Islamic resistance poetry, and avant-garde poetry have gradually developed in Afghanistan since the late 1960s and early 1950s.

Although theorizing the resistance literature does not have much of a history and it does not go beyond the early twentieth and late nineteenth centuries, an overview of the literature of various nations shows that the themes of resistance have always been present in the official and folk literature of many ethnicities and nations. Despite this historical background, so far, there has not been a comprehensive, serious, and independent study to examine the themes of resistance in the oral literature of Muslim nations and this issue has been neglected, even in recent years, when research on the resistance literature has flourished. In response to this, the present article has tried using a descriptive-analytic method to examine the issue of resistance in the literature of the three Persian-speaking countries of Iran, Tajikistan and Afghanistan - which have experienced authoritarian governments and many domestic and foreign wars. The results of this research show that in Persian language, poetry of resistance was born in the tradition of folk poetry and folk literature, which is consistent with the targets of the resistance poetry due to the wide range of audiences and influence over the masses.

Tangsir, a novel by Sadeq Chubak, the well-known Iranian writer, can be classified under the works created by the Southern School of writing. Chubak’s profound familiarity with the culture of the residents of the coasts of the Persian Gulf and the regional and native elements of the southern lands of Iran has made his descriptive and narrative account of the story of Tangsir greatly worthy of attention and deliberation. Following a descriptive-analytic method, this study examined some elements such as ideas and beliefs, behaviors, dialect, accents, and rituals and customs of the people in Bushehr Province alongside its history and natural and anthropological geography )which have a narrative reflection in Tangsir(. The findings of this study not only demonstrate the writer’s deep knowledge of the various historical, geographical, and cultural features of the Tangestan County in Bushehr Province but also bring to light the visible and hidden layers of the beliefs, characteristics, and moral conduct of the people of the south through the eyes of a realist narrator. The most significant of such features are the love of freedom and valor, the love of other human beings, the love of family, and the love of nature and the environment.