جستجوی مقالات مرتبط با کلیدواژه « گونه ادبی » در نشریات گروه « ادبیات و زبان ها »

The ninth century is the culmination of Shiite poetry in the form of religious composition, ode, and epic. In between, there is a form of ode which the poets of that time call "Velāyat-nāmeh." More than 60 cases of this form of ode have been seen so far in the divans of poets such as Salimi Tuni, Ibn Hosam Khusfi, Azari Esfarayeni, etc. This form has been unprecedented in the history of Persian ode for two reasons: the first is that it belongs to a specific religious and ideological group; and the second is that it has a specific name and a specific content.This article seeks to introduce “Velāyat-nāmeh” as a special Shiite literary genre in the ninth century and to discuss the role of this literary genre in shaping the Shiite discourse of poets in that century. In this study, the linguistic tools used by poets such as titling, exaggeration, imagining ideas as well as quoting verses and hadiths, Imamate, infallibility, knowledge and the key concept of “velāyat” in Shiism, the oratorical nature of “Velāyat-nāmeh”s, etc., with a historical and analytical discourse. It is intended to examine the efforts of poets to spread the Shiite discourse and promote the Shiite belief system in the ninth century. Also, in this article, a structure of this literary genre is mentioned.

Verse epistle, also known as verse letter, versified correspondence, and metrical messages, is an obscure literary genre with many examples in poetic and prose texts dates back to the beginning of Persian poetry. The genre has other subgenres such as the "request letter" (Taghazanameh), "apology letter", "condolence letter", "affection letter", "supplication letter", "gratitude poem", and "conciliation letter" in Persian literature. This research identified the main motivations behind composing the letters, including requests, praise, gratitude, satire, congratulating, and consoling the audience. It does so by scrutinizing a series of poetic letters gathered from Divans, Tadhkirahs (Arabic for memorandum or biography) and historical texts based on a set of criteria. The study then analyzed the structure and content elements of poetic letter that have taken numerous forms in different conditions. The study contributes to the literature by introducing a vastly extensive literary genre. Studying this genre allows one to foreground the similarities and differences among its subgenres. On the other hand, it enables researchers to shed new light on the relations among different social classes that had chosen the verse letters as a means of communication, thus looking at Persian literature from a fresh perspective.

Grotesque can follow various goals and intentions due to its extensive range of functions including criticizing the prevailing conditions in society and depicting politically forbidden subjects. However, what is of great significance is its effect on its audience and the developed special feeling in the audience. The mentioned feeling is usually accompanied by fear, hatred, disgust, and bitter laughter, which is the main goal of the grotesque that aims at reaching the third meaning that is created in the artist’s conscious or subconscious mind and is reflected in their work and affects the audience. The Symphony of the Dead is a novel that reveals the inner contents of the characters in a modern way, provides recognition of their soul and psyche, and depicts the painful and disgusting situation of the characters, horror and oppression, elements of superstition, ignorance and cultural poverty in society, and the fall of humanity and its plunge into the abyss of annihilation. All the elements in this novel lead the mind to the concept of the grotesque. In the present study, the authors have addressed the grotesque elements in this novel using a library-analytical method and have concluded that this nivel in a twenty-four hour period has depicted the events of the society during 1952-1956 using the grotesque genre -consciously or unconsciously- due to the fusion of reality and fantasy, the desperate, eerie, and hateful atmosphere, intellectual death and stagnation, contradiction, the fusion of human-animal elements, and the expression of strange, exaggerated, and unnatural images.

The first Persian historical novel, Shams o Toghra (Kermanshah: 1288-1289 AH / 1327-1328 AH) by Mohammad Baqer Mirza Khosravi (1266-1338 AH), takes place in the time of the Salghurids and provides a space for struggle between old and new ideas, techniques, and forms in six areas of linguistic and intertextual relations, literary genre, narration system, characterization, time and place, and politics and compatibility. The main question is what is the position of Shams o Toghra during the formation of modern Persian literature? Is it a modern or traditional work? Is it opening a new way in the field of Persian fiction? On the one hand, in spite of all the innovation, it is still not possible to create a new form, such as the Siyahat-Name-ye Ibrahim Beyg by Zain al-Abedin Maraghi, because the work lacks problematic hero. But on the other hand, the image of the author's contemporary world is reflected on the events and through it, the existing conflicts in the society are represented; Conflicts that end in one-sided compatibility. In fact, although the historical novel does not create a new form, it is a mirror to the contemporary world. Generally in almost all of the areas listed, the struggles are overpowering, and Shams o Toghra cannot be considered as a modernist work.

The study of literary genres of children's and teenagers' magazines during 1941 to 1961 – which is, in fact, the first experiences of Iran in publishing such magazines- can provide a basis for becoming more familiar with the national, social, and cultural beliefs of the period, its impact on the world of children, and understanding the discourse of such magazines in addition to clarifying the language and literature used for children of the mentioned period. Our question is formed at this point. In the four magazines reviewed, we found literary genres in the form of stories (short stories, legends, fables, comic strips, and ghost stories). We identified the elements of the stories for better understanding. Poems are composed with traditional meter and rhythmic structure. Our study is based on three systems: musical, imaginative, and visual. The riddle genre is also seen in both visual and written forms.

In this research, we aimed to find out the structural differences between the two linguistic languages, namely standard language and literary language. First, based on the contrastive analysis of the grammar books of the literary works with the standard grammar books, the differences between these two languages were extracted and then, based on the prevalence of these differences in literary works, we divided the less common language differences into six categories:1. Obsolete language components 2. Local language components 3. Linguistic components involved with low use 4. Newborn linguistic components 5. Linguistic errors, and 6. components of colloquial, slang and broken language. Then, based on the interference theory and also relying on the syntactic principles, we categorized the more commonplace language differences into three classes: 1. Elements of the literary language with the identical appearance relative to the standard language but with a different function 2. Components of the literary language with a different appearance from the standard language but with the same function 3. Elimination or displacement of sentence elements. Then, we presented a literary example in twelve language domains including phonetic system, nouns, adjectives, numbers, pronouns, relative pronouns, verbs, adverbs, letters, interjections, word formation (referring to neologism), and sentences.

Intertextuality studies are considered as one of the most recent approaches to literary criticism. In this approach to literary criticism, it is believed that no text is independent of prior texts and texts are written with reference to earlier texts. Intertextuality, as a field of study, was first introduced on the basis of the ideas of Julia Kristeva and was extended and developed by Gérard Genette into a unified and systematic discipline after three generations of theorists. Genet called his body of works transtextuality and divided them into five categories: intertextuality, transtextuality, paratextuality, metatextuality and architextuality. Architextuality focuses on the relationship of a work of art with its literary genre. In Persian literature, each literary text belongs to a specific literary genre. Tazkirat al-Awliyā by Farid al-Din Attar is one of those literary texts which, despite the fact that it belongs to general biographies, has some very specific features that distinguishes it from other types of biographies. This study is an attempt to investigate the relationship between Tazkirat al-Awliyā and its literary genre drawing on the notions of architextuality. This study illustrates that Tazkirat al-Awliyā is a didactic poets’ biography and a mystical epic that has a special place in literary texts.

Pulp Fiction is a form of literature that audience, the mass of the people, based on their tastes and interests arises. The aesthetics of popular fiction, a concept which has been less studied by researchers because component called Pulp Fiction, general aspects of each story so that when faced with public acceptance; the mind, the subconscious to the point the elite-friendly thinks it's fiction. Authors efforts have been that way descriptive and library method, also known concepts of aesthetics Pulp Fiction to pay this kind of literature.

Parody is one of the literary sub-genres which mocks its main genre. On the basis of value and significance of the main genre and also the structure and nature of parody, it can be considered as an independent genre. Since meaning in literature is one of the main elements and it has a central role in both language and imagination, it is of considerable importance in literary works. Therefore, one of the most important kinds of parody which is called tazriq in Persian literature has been formed in this field. In fact, one of the goals of parody is to entertain the audience and make them laugh, and tazriq satisfies this goal very well. Though there are a few differences, this kind of parody can be found in western literature where it is called nonsense verse. This article tries to compare the main aspects of these two kinds of parody.

The present era is the era of the domination of mental concerns for human beings which results in different emotions such as depression and disappointment، hope، kindness، happiness، despair and excitement. The ways these emotions appear in different people are as different as their characters. The qualities of these emotions are also different in different people. These conditions are the expressions of the inner and mental characteristics and they have been reflected in poetry and literature. The poetry of Shamloo in Iran and the poetry of Maqut in Syria who are known as the pioneers of blank verse are full of themes which includes their emotional and psychological status. The present article studies their similarities in this regard.