soussan jabri

Nowadays, literary sociology theory, as an appropriate mechanism for recognition and social and cultural analysis, has been considered by literary scholars. Among the many works, stories are more inclusive of various social issues that can be studied more deeply than the writer's community. In the meantime, the titles of the stories as the first sign that the reader is encountered, reveal the secrets of the quality and content of the work, the thoughts and feelings of the author, and especially the environmental conditions of the creation of the work. Hence, the titles of the works represent both emotional, social, historical, indigenous and climatic situations and in a wider range of metaphors, metaphors, metaphors, allegories and compositions or symbolic phrases that convey their creator's feelings, thoughts and beliefs to the audience.The question of this research is that what the social conditions surrounding the creation of the work have had in the title of contemporary stories from 1941 to 1978?In this research, we have analyzed the titles of Persian stories from 1953 to 1978. The research method is a descriptive analysis which is done as a library method.

Review:

Much has been said about contemporary fiction and the examination of various aspects of its long and short stories.  Sometimes the works of a storyteller and sometimes periodically or stylistically examine.In general, there has not been an independent research on the topic of "title" of Persian stories from 1953 to 1978 with a sociological approach.

In reviewing about 1200 of the titles of stories written in the years (1953-1978), we find that bitter streaks of despair, tyranny and repression of the coup of August 1953 (1953-1963) are seen in the story plans of post-coup years. In the second period (1963-1978), reactions to the sudden arrival of modernity and its influence on the social structure of traditional Iran are evident. The findings showed that the titles of the stories were influenced by the social conditions of the creation of the work following the plotting of the story in these two historical periods.

This study does an archetypal reading of Ghesehaye Irani and examines the process of individuation and how things that form the process happen. The question is how in such a process the hero gets rejoining with anima and animus. Analyzing the content of the Ghesehaye Irani text, first we found the manifestation of archetypes, and then the two-stage nature of the process of individuation - which falls into two categories of Wisdom-driven and power-driven - became known. Findings show that there are complicated links between the hero’s ego, or the conscious part, and unconscious parts such as anima, animus, the wise old man, and the shadow. The shadow is of the same nature as the hero, and the unknown, repressed, and challenging part of the psyche. Things that happen in the process of individuation are based on challenges caused by the shadow for the hero. The tales with their bipartite and sometimes epizod structure go through two stages. In the first stage, the hero’s effort to join with anima or animus. This symbolizes socialization of the individual in the first half of life. In other stage of rejoining, the hero’s join to anima and animus runs up against problems, and to get rejoining with them, he has to have a decisive battle against the shadow. At this point, there are female and male narratives of the realization of individuality. In the female Wisdom-driven narrative, the hero triumphs over the shadow with the guidance and assistance of the wise old man, and gets rejoining with animus, often forgiving and accepting the shadow after he has defeated it. In the male power-driven narrative, the hero still has the guidance and assistance of the wise old man, yet, relying on his power in a head-to-head battle, overcomes the shadow and often kills or drives it away.

Title is one of the main pillars in a literary work, a base which, if chosen correctly and thoughtfully, will have a significant impact on attracting the audience. This is certainly more prominent in fiction; the proper choice of title from an aesthetic and literary point of view, can highlight the coherent structure of a work of fiction. However, such studies have not been conducted comprehensively on the titles of Persian stories. In this article, based on library sources, the aesthetic function of the titles of 60 Persian novels written between the years 1953 to 1978 are examined and analyzed concerning grammatical superstructure, sounds, words, music and imagery. The research results show that, since the combination and collocation of words has a more effective role in the association of emotions and the meaning; most of the titles have been selected in combination which are either additional or joined with the preposition and. In the titles, phonemic combinations of the letters produce musical rhythms that seem to have been created by the authors to induce specific meanings. Alliteration and repetition, among figures of speech,  and   synecdoche and allusion, among figures of thought, have been used more often. Furthermore, the use of metonymy and metaphor is more prominent than other devices.

War and captives subject influence on Elements Story of Manzendeam. The results indicated that the theme of Manzendeam based on the narrator's belief that she have to defense of the country. The events of the novel linked with the historical events. Novels full of internal, external, mental, physical and emotional conflicts. Unpredictable events full the plot. Conflicts have fundamental role in the plot structure and create most difficult challenges in the middle of life and death The events in war and captives are naturally suspension. Crisis are coming and continue each other every moment. War have been transformed the characters to the ideal mans. Then it represent them as the symbol of Iranian warriors of land. First-person pint of view is remarkably unable to transfer of complex emotions, full of terrible fear with hope and certainty of salvation. The scene display the towns in war, Bombardments and terrible torture. Plot is full of events. Captives dialogues’ bringing news of the war are motivated empathy and stability in captivity and include the bulk of the novel. As a result, can say: The elements story of Manzendeam create with the nature of war and captivity not by creative mind of the writer.

Why the language of ancient Sufi texts has such a remarkable persuasion power. For example, why does the Sufi’s interpretation of Meibodi, have such a lasting impact on its audience? In this study, we investigated the messages of Sufi’s interpretation, by applying the theory of persuasive communication of Atollar Binger's social psychology and analysis content. The findings indicate the existence of a five-fold scheme in of Atollar Binger's theory. Principle One: The Meibody Response Stimulus Plan first puts forward its idea. Then, by affirming the verses, hadiths, traditions, sayings of the elders of religion and the Sufi elders, they associate it with the past teachings and values of the audience. Principle Two: Reasonableness and Fairness. Principle Three: Expressing the needs of the audience. Principle Four: Incorporate group norms and social interests of audiences such as the need to accept others, the need to internalize human values, the need to be respected, the need to belong to the group, the need to protect human rights. Principle 5: Messages are formed according to the personality characteristics of the audience - their - urban middle class. Therefore, the creative application of persuasive methods has the potential to influence audiences. Because empathy makes the message pleasing to the audience. As a result, responding to the immortal, timeless and impotent individual and collective needs of humans has resulted in the mystical Sufi messages of such influential persuasive power to this day.

Rhetoricians have introduced five criteria for the identification of allusion. The aim of this study is to verify the fourth and fifth criteria and to examine their efficiency since they have caused obscurity and confusion in recognition and identification of allusions and created inconsistency between the definitions and the nature of allusions. Regarding the correctness and effectiveness of the fifth criterion, it can be said that allusion is not realized in the form of words or compound words since it involves a compound image that is essentially embodied in an allusive proposition. This proposition enjoys a prime meaning with an actual or imaginary instance and hence it paves the way for the connotative meaning. Allusions, therefore, should be called allusive propositions. Regarding the efficiency and correctness of the fifth criterion, it can be argued that due to the imaginary and pictorial nature of allusion, its surface or prime meaning cannot always be realized in external world. Therefore, the prime meaning of allusion has sometimes an external instance and sometimes an imaginary one. Hence, according to the nature of prime meaning it could be said that there are three kinds of allusive propositions: pictorial allusive propositions whose prime and connotative meanings are realizable in the external world; imaginary allusive propositions whose prime and connotative meanings are imaginable or recognizable in imaginary world; and poetic allusive propositions which contain metonymy, simile and metaphor and their prime meaning is realizable after uncovering the metonymies and metaphors. The prime and connotative meanings of this kind are realizable in the external world or imaginary world.

Nowadays the issue of the recognition of the history and nature of the tradition narrative in Persian language processing is necessary. In the attempt to investigate the nature of old story remains a tale of the text of the stories، the first part is focused on Balamy. processing described in the text. Feature stories fictional elements on the Balamy started writing it (352 AH)، a show that narrative began forming in the early centuries of the common language، Farsi Dari and cooked narrative elements and a Structural sophistication Balamy anecdotes on the nature of the text shows that this approach suggests a translator that are making you experience the heritage Balamy predecessors had left. So the root form tradition of story -making in ancient texts processor must be sought from the fourth century AD.

The subject of this study is to present a number of unspoken and unanswered fundamental doubts on the interpretation of the works of Abul-Fazl Rashid Ed-Din Maybodi, namely Kashf Ul-Asrar and Ede al-Abrar. These doubts have led to major challenges in understanding these texts. The challenges can be classified into two groups. The first group is the contradictions between the text and the allegations of the compiler in the prelude of the first volume, who presents his goal as an elaboration on the brief interpretation rendered by Khaje Abdullah Ansari. The text shows that the interpretation of Abdullah Ansari has not been detailed, and the attesting role of his remarks has faded away compared to the remarks of other Sufi figures. In order to explain this challenge, a number of assumptions can be presented. Initially, the prelude has been authored at the very beginning, and prior to the formation of the final text, and the long process of formation of the text and passage of time has changed the nature of the text. Secondly, mastery of sources of interpretation and Sufi texts by Maybodi has expanded the interpretations and has distanced the compiler from the initial goal and plan of the book. The other group of challenges is in regard to lack of harmony in the text. Why is the language and viewpoint of the compiler throughout the mystical interpretations in the first six volumes different to the four last volumes? In order to explain this challenge, a number of assumptions can be presented: Firstly, there might have been an interval between the compilation of the first six volumes and the four last volumes. Hence, the passage of time and gradual change in cultural, political, and social conditions have impacted the mindset and language of the compiler, leading to lack of harmony in the text. Secondly, the lack of harmony has been the result of falling fervor and dynamism of the author in the last four volumes which manifests the isolation of the compiler in this phase. Thirdly, this ten-volume book has had two compilers, with one compiler preparing the first six volumes and the second compiler preparing the last four volumes.

Translation has many different models and methods. It also serves a variety of functions, one of which founding a basis for the expression of interpretations pertain to verses, anecdotes and Hadiths. In mystical texts, the discourse is based on many verses, anecdotes, Hadiths and quotes. So, the necessity of direct citation obliges the mystic to bring the corresponding Arabic quotation beside its translation in her/his text. The great Sufies, such Abu al-Fazl Rashid al-Din Maybodi in his al-Nawbat al-Salesa Kashf al-Asrar wa Iddata al-Abrar, have applied translation not only for the necessity of evidence, but also for effectively expressing their intrinsic interpretation of verses and Hadiths. The delicacy, depth, complexity and efficiency of this kind of translation play a basic role in forming the linguistic and semantic structure of the text; the issue which is investigated in this study. The findings show that, in the mystical exegesis of Maybodi, the original Arabic form of verses, anecdotes, Hadiths and quotes sometimes were presented beside their translation and sometimes were not. Furthermore, when needed both free and word for word translations have been done. At the very beginning of translations, the planned arrangement of them shows a turn from surface meaning towards hermeneutic meaning, and then, by expansion and explanation of hermeneutic meaning, the linguistic and semantic structure of the text is formed. The author founds the expression of his thoughts within or in relation to such translations. Besides, the translation has a fundamental role in matching the intention of Arabic text with the author’s thoughts, integrating the semantic structure of the text, and increasing the depth and dimensions of the meaning. Such rhetorical functions of translation lead the translator exegete mystic to the main goal, say, expressing his mystical interpretations and thoughts in a clear and effective way.

New epic poetry is a modern version of the mainstream epic tradition whose features have changed to meet the requirements of modern taste. The most outstanding poet in employing this form is Ahmad Shamloo، one of the most renowned contemporary Iranian poets. To highlight the changes in the content and formal linguistic features of the traditional and new forms of epic، the present study compares the stylistic aspects of the Shāh-nāme with Shamloo’s poetry to reveal how the “passage of time” can account for such changes. Shamloo has composed his epic within the framework that can typically be termed as “Shamloo” esque. Shamloo’s characteristic epic features are reflected both in content and form. With regard to content، Shamloo’s poetry is characterized by: idealism، humanism، collective feelings، narrative form، myth-making، heroic elements، and the battle between the forces of good and evil. The formal linguistic features include: diction، “epic combination” of lexical items، old syntactic structures، mythical images، images of weaponry، epic atmosphere، brevity of expression، hyperbole، antithesis، taxis، and splendid music. These features can be viewed as important elements in the new epic form.