نشریه ادبیات تطبیقی
پیاپی 19 (پاییز و زمستان 1397)

This study is trying to Review the epic imaging of Motenabbi and Onsori Poetry spicily in odes that discussed description of wars and campaigns of Sayf al-Dawla and Mahmoud Ghaznavi. This study by analyzed common Employed themes in the epic images of this two poets and the effect of climate ascend to the creation of these images, is trying to answer this questions:what techniques used each of these two poets to create epic images? And what impact left the application of these techniques on the superficial or deep impact? The method that presented in this study is analysis. At the end the research concluded this result that many common in themes and imagery techniques can be seen in epic poets.
Onsori under the influence of Mutanabi,created the epic odes in many issues that Mutanabi have imaged in them. The Onsori method in creation of epic odes means the use of techniques such using of Suitable meter of ode, Words and epic blend, Simile and metaphor in epic themes and the odes without Tshbyb that help to make more epical the peace of odes.And all of this Factors Caused we can claim although novelty, movement,dynamism and the violence in Motenabbi images is more than onsori images but Onsori images, in terms of use of Collection of Epic elements is in higher status. Also showing the superficiality of epic images of tow poets and being Away from density of Pictures that lead them to complexity in poetry,is the outcome of this research.

Every human being needs to send, receive and comprehend messages in a linguistic communication. In other words, Human beings code their massages and decode others’ messages. This communication can occur in a context of six elements, namely, addresser, content, contact, code, message and addressee. Abu Ya'qub Sejestani was an iranian dialectical theologian in the fourth century. Due to his research subject, namely, Ismaili dialectical theology, he studied precisely the mind and language system and the conditions of success or failure in a linguistic communication as an introduction to dialectical discussions. But, unfortunately, his linguistic theories were neglected due to researchers’ dialectical approach to his book Kashf-ul-Mahjoob. This study is going to plan an efficient communication model based on mind and language system and its structure and elements in Sejestani’s viewpoint and compare them with Roman Jakobson’s theory and model of communication to show their common and different aspects and prove that although the discussions about the theory and model of communication became known by western linguists and, most importantly, by Roman Jacobson, it can be traced in all details and with equivalent terms in Abu Ya'qub Sejestani’s communication theory, which has some advantages over Jakobson’s theory and model.

Along with human relationships, languages are in continuous exchange. The clearest evidence for language exchange is the existence of loan words in a language. Considering the long history of Iran-Arab relations, Persian has borrowed some of its words from Arabic. It is a matter of high importance to investigate and recognize these words in Persian morphology. Thus, the present paper tries to explore Arabic infinitives used in the structure of Persian words in three leading literary works of Iranian fiction writing, namely, Dar al-Majanin by Mohammadali Jamalzadeh, Malakoot by Bahram Sadeqiand Gileh Mard by Bozorg Alavi, using a descriptive- analytical method and statistic data, and based on Johnson’s lexical variation theory. The findings of this statistical research suggest that thulathi mujarrad Arabic infinitives have been used extensively in the structure of contemporary Persian words during the last 40 years. However, this has been a descending trend.

Apocalyptic literature appeared to disclose human’s anxieties in a complicated world. The present study aims at indicating roots of such a literature and displaying the so called Apocalyptic poetry at the Modern age. Hence, this study, while emphasizing American school of Comparative Literature, focuses on two patterns: one is genres and forms, and the other is motifs and types. It is attempted to reveal how Ahmad Shamloo (1925-2000) and William Butler Yeats (1865-1939) came across such a genre in their poetry, and what were their major attitudes toward it. Apocalyptic issues and concepts are various, but this study wished to concentrate on the most distinguished ones in Ahmad Shamloo’s »Journey« and William Butler Yeats’s »The Second Coming«; they are: revelation and poetic contemplation; prevision and exhortation; millennium and end of history; rough language. The results indicates that both poets were familiar with this genre, and far from being influenced or putting influences on each other, the motifs of Apocalyptic literature were strongly present in their selected poems.

The symbols constituting the allegorical stories of different nations have many similarities in many facet, which continuously depict the real world. The similarities among metaphorical, allegorical and mythical stories in the world literature paves tge way for researchers who are interested in studying and discovering these similarities taking a comparative approach and makes such a research seem necessary. In this article, Conference of the Birds, the outstanding work of Attar, the seventh-century poet and Sufi from Iran and the Story of a White Blackbird by Alfred de Musset, a famous romantic French writer and poet of the nineteenth century. Different kinds of birds constitute the characters and the main structure of these two works. This study tries to give definitions of allegory in literature and the symbol of bird, to make a comparative study of the allegories and the reasons for its use in the French Romantic School and in Persian mystical literature.

Contrary to traditional theories where metaphor was considered as one of the four rhetorical techniques, in cognitive theory, metaphor literary language is not unique to literary language, but it exists in the totality of language. “metaphor is not just a matter of language, i.e., of mere words. We shall argue that, on the contrary, human thought processes are largely metaphorical”. Conceptual or cognitive metaphors express abstract concepts in the form of concrete concepts and by changing their realms, they help in better understanding and comprehending them. This paper aims exclusively at investigating the function of conceptual metaphors in Forough Farrokhzad’s and Ghadat al-Saman’s poetry. in cognitive approach, concepts like time, quantity, state, change, action, reason, goal, method, and aspect are understood in a metaphorical way. Forough Farrokhzad and Ghadat al-Samman, who are iconoclastic modern poets expressing women’s sufferings in traditional societies, have made use of concrete metaphors in expressing their thoughts and attitudes. For example, they have used metaphors like life is war, love is fire and the like, they have talked about women's problems. The theoretical background of this study is based on ‘the theory conceptual metaphor’, which has promoted the role of metaphor as an aesthetic technique to a thinking instrument.

Mock epic is an important kind of parody, which is worth studying for its parodic nature and for the significance of epic genre. Mock epic by reversing the forms and content of elegant epic and consequently creates an eloquent text. The present Study aims at analyzing the formation of the two mock by the use of their form and content analysis. To shed light on the similarities and differences between mock epics in European and Persian Literature, two narrative poems were chosen to start a comparative analysis of their form and content. The comparative approach used in this study would help examine the differences and similarities between the way the two famous litterateurs have worked on the same genre, and it would help clarify reason behind the difference in their viewpoints in creating these narrative poems. This study will focus on Mouse and Cat byObeyd Zakani and The Rape of the Lock by Alexander Pope. The comparative method used in this study offers what the different and similar points in mock epics of Persian and English literature are. Finally, by analyzing the form and content of the two works, it will become clear that the English narrative poem could better and more powerfully create the elements of elegant epic and it has a more cohesive structure.

The majority of Arab contemporary poets, particularly those after the 1950’s and 1960’s, have paid attention to using codes and symbols in their poetry. One of the reasons underlying Arab contemporary poets’ tendency to use mystic expression and symbols is their keen interest in romanticism and the deep sorrow that romantic poets express in their poetry. Mohammed Fitouri, a Sudanese poet who was once under the influence of this school, adopted Sufi language in order to express his sublime inner sorrow (pain) and his mystical experience. In his ode Awraq-Taerollayl, he has considered bird as the symbol of his transparent soul that praises God and sings Sufi songs. Relying on the symbol of the bird, this Sudanese poet illustrates his loneliness and sorrow. To this end, Fitouri has adopted Attar’s symbolism in Manṭiq-uṭ-Ṭayr, and has considered its two fundamental ideas, namely, Seiroorat (trans-substantial motion) and achieving the unity of existence. This research purports to offer a mystical interpretation of Fitouri’s poetic experience and comparatively examine the impact of bird symbolism in Manṭiq-uṭ-Ṭayr on Feitouri’s work based on the French School.

Signs and symbols have had special concepts and meanings in the mythological and narrative history of each nation, and stories, beliefs and thoughts have been allocated to each one of them. Among all, an instrument like stick or baton, has had different functions and meanings in ancient times. In this regard, the present study tries to find out what functions stick had in different ancient beliefs and civilizations and what kind of symbol it had been considered to be. Also, it tries to understand what concepts this instrument conveyed in its tangible and abstract form in the hands of kings and religious leaders separately and how it had been depicted and introduced in religious beliefs, drawings and paintings. Hence, through studying and investigating historical texts and ancient paintings and referring to religious and mythological narratives and by using a descriptive-analytical method, it was found that in the material world, the stick in the hands of people had been the sign of glory and worldly or religious power, and in the hands of gods it had been the sign of divine power and by using this instrument, gods and their representatives on earth realized their desires. On the other hand, the stick in the hands of officials had been considered as the sign of their leadership and authority, and also in some other cases, it had been considered as the sign of wisdom and experience and old age, which gave a special glory and value to old people and masters and was considered as a symbol representing them.

Bishr and Hind is the name of an old story of Arab lovers, which was set in Medina at the time of Prophet of Islam. Ibn al-Nadim has narrated the names of both of them along with the names of other famous Arab lovers. The story is about Hind, a married woman, falling in love with Beshr, a religious person or a poet who always went to the Prophet’s Mosque. But in the end, they could not be together, and they both died and were buried next to each other. This story has close narratives in Arab literature, and for the first time, Ibn al-Sarraj al-Qari, a famous spokesman and litterateur of the 5th century A.H., has narrated it in the Masare' el-'Oshshaq in verse and prose. In Persian literature, given few references made by poets, such as Fakhr ad-Din Iraqi, Awhadi Maraghai and Khwajou Kermani, it is revealed that this story was known at least until the Ilkhani period. Hamd-Allah Mostowfi has attributed the Masnavi Bishr and Hind to Najib ad-Din Jorbazaqani and Amin Ahmad Razi in his tadhkirah Haft Iqlim, has narrated eleven verses of it in the name of this poet of the 7th century A.H. Currently, there is no manuscript of this book in hand.

In contemporary literature, considering the national and patriotic themes, there are some poets who write their poems in the language of the common people not in a scientific and complex language or to show power. Seyyed Ashraf al-Din hosaini and bayram al-tunisi are outstading figures of folklore poetry in Iran and Egypt. Nasim Shomal’s colloquial poems and al-Tunisi’s colloquial mavals and zajals were successful in fulfilling the poets’ task in awakening and awaring people by the use of satire and parody. Using a descriptive-analytical method, this study aims at introducing the two poets, the conditions of their time, and their poetic language. It also compares common concepts in their poems, like criticizing the foreigners and the parliament,freedom of speech, expressing women’s problems, education and economic issues and problems, and even inviting people to resistance. It seems that the similarity in the poets’ view and thought two suggests their experience of similar conditions.

The impacts that contemporary poetry in Iran has received from the mid-twentieth century literary and philosophical schools should be critically and deeply scrutinized. This essay explores the emergence of contemporary poetry in Iran and in line with one of the prominent movements of postmodern American Poetry, which is, “Language Poetry.” The two key concepts in language poetry that have influenced recent poets of Iran are “story-telling” and the “routine.” The researcher answers two questions: How does language poetry define story-telling and how this definition is reflected in contemporary poetry of Iran? How are the routine and identity related in the contemporary poetry of Iran and America? This research shows that both schools define story-telling as a kind of experimental autobiography in which pieces of everyday life, images, and sounds from media and consumerist culture, vague memories, myths, and the unconscious are woven together. Recent poetry in Iran shows a deconstructive approach towards poetry, story-telling, and identity. Of course its rich tradition creates some differences such as the recurrent, yet scattered presence of mythological figures. This analysis reveals the affect of media on the most private realms of life regardless of culture and geography. Contemporary poetry in Iran purges emotionalism and lyricism in order to return to vague stories of everyday life; it diverts from heroic (epic), didactic, romantic, and revolutionary inclinations to scattered autobiography. This degree of fragmentation in language and meaning reveals the rapid technological and psychologically-disturbing changes in contemporary life, whether in Iran or America.