کاوش نامه ادبیات تطبیقی
پیاپی 33 (بهار 1398)

As a literary discipline, comparative literature has experienced many vicissitudes. For some time, many did not differentiate between comparative literature and world literature, while some others understood them as rivals. Not long after this, comparative literature went through a type of crisis which arose from its theoretical and ideological basis. This issue went so far for comparative literature that back in twentieth century some theorists announced this literary discipline “dead” and declared its theoretical background “in crisis.” All the vitriolic attacks on this literary approach, however, were a proof of its existence and lack of a thorough understanding of its mechanism on the part of comparatists and alike. Over the last years of the twentieth century, and with the researches of some contemporary comparatists, this discipline managed to resolve all these crises. Comparative literature, in twenty-first century has become one of the most important disciplines in reading literary works and many universities have set comparative literature credit courses or run independent graduate programs. This article, using a fundamental research with emphasis on present history of comparative literature as tools of analysis, tries to elucidate the importance of comparative literature among other main literary disciplines and explain its importance in contemporary times. The findings show that with the stylistic changes in literary studies and in the outcome of the literary production in the present age along with the rapid development in technology and virtual world, comparative literature can provide a proper framework for comparing studies in this subject.

In the contemporary period because of the many similarities between the two Persian and Arab cultures, one can feel the similarity of thoughts and images and ultimately the poetic themes, which in some cases are accompanied by different perspectives, in the poetic works of the poets in two nations. Behzad Kermanshahi and Abdul Wahhab al-Bayati, as part of their community, have played an important role in reflecting political and social developments. But sometimes, the facts of society, for some reason, such as the inappropriateness of the political and social space, are not explicitly expressed in their poetry. Because the expression of these facts in some cases was in conflict with the political and social institutions. Thus, the two poets have used the symbol to express their views. so according to the principle that a proper assessment of national literature and its position in the intellectual and literary heritage of humanity not possible except by comparing nations literature, this paper aims to enrich the national literature and shows its literary values along with the literature of various nations, it tries to do with a descriptive-analytic approach and the American school of comparative literature, whose scope of research is not limited to affecting, but emphasizes artistic beauty, to analyze the function of the symbol in the poems of Behzad Kermanshahi and Abdul Wahhab al-Bayati. Studies show that the symbol is inextricably linked with the emotional experiences of these two poets and reflects the frustrations of the artist and the social political conditions of their time, a way to reveal the ugliness and repression of society.

Among intellectuals, and thinkers, there have always been two realistic and idealistic views on social and political issues. In the ideal view of society and its issues, the attention is drawn to the forms of imagination and the paths in the spiritual, transcendental world, and the color of secular facts does not reflect in the equations and the utopian matters; therefore, the idealist look is a subjective and inappropriate look. Against the idealists, there are realists on the soil, trying to provide a realistic understanding of their individual abilities and their social status, cognitive integrity, and the possibility of realizing their goals. Since the origin of the reflection and thought system of intellectuals are very influential in achieving their goals, especially in creating a desirable model of government, the study of the principles of their thinking towards providing solutions to social problems is of vital importance. Accordingly, the purpose of the present research is to recognize the intellectual and philosophical teachings of the rule and the desired rule in the works of Saadi and its correspondence with Farabi's utopian theories. In this paper, in the light of the comparative study, two thinkers in the field of philosophy and literature, Farabi and Saadi are compared and each model in the form of utopia and the ideal society is measured in terms of realism and idealism. The findings of the research show that Sadi's ideas are a combination of pragmatism and idealism; as some of Farabi's views are similar, examples have different meanings.

The main purpose of Postcolonial criticism is taken some of the various ways to pressure and domination of imperialism and colonial power, reveal. These not only through the direct oppression of race, class or gender in colonial authoritarian system, which are enforced from the literature, art and media. Quiddity of reaction to colonialism is not the same, colonization process in each region has a unique shape. The essential difference colonization between Sudan and Iran (before the Islamic Revolution) can be seen clearly. that in the former colonial presence and direct and indirect colonialism in the latter. This difference are discussed in attitude of contemporary scholars and writers of Arabic and Persian literature. This paper is based on the comparative study of two novels; Arabic novel "Season of migration to the north" by Sudanese writer (Tayeb Salih) & "Soovashoon" (Simin Daneshvar) in Persian literature, not in terms of power relationships, But it also paid to how this works reflects colonialism, according to the theory of post-colonial. It is clear that society described in both novels were influenced by British colonialism. In Taybe Saleh's novel we see direct presence of the UK and in Daneshvar's novel we see invisible and silent presence of west culture in the people's life. But, the post-colonial resistance is common in both novels. Zari in Daneshvar's novel and Mustafa in Saleh's novel are perfect examples of interesting characters in postcolonial studies. Imitation, Another, Central Europe, Lower, and gender are prominent concept of postcolonial criticism that can be analyzed in both novel.

The present research is a suggestion for writing about “The History of Comparative Persian and Arabic Literature” based on the “Pattern of Genres”. The main question of the article is which genre in Persian and Arabic literature can be the subject of study in writing the history of comparative literature? This article seeks to find criteria for the separation and categorization of genres in Persian and Arabic literature that have the capability of comparative study within a historical context. In spite of the researchs that we've been discussing in the history of the article, this essay is distinguished for having a comparative approach in examining the historical evolution of Persian and Arabic literary types. The findings of this research show that the literary types that can be designed in this area can be divided into two groups: “Common Genres” and “Parallel Genres”. The first group is those who have some originality and Persian or Arabic origin and the second group is genres that their theme is one of the general human issues or from the Western-European imported genres to the Persian and Arabic literature.

The oriental acquaintance with the fields including Egyptians and Persians of the last two centuries with the manifestations of the civilization and culture of the West are considered to be very significant. One of these literary types, which is the result of the familiarity of Eastern writers with European literature, is playwriting, including historical plays. By defining the theory of the feature and type of historical events in this type of plays, the contemporary writers of Iran and Egypt also tried to use the literary genre to describe the historical events and explain the history of their national and past characters in the form of historical plays. And this is what we intend to do in this article to determine the magnitude and extent of this influence in the contemporary historical plays of the writers of the two countries and to determine the development of this kind of literary works in their works. And then we will discuss and analyze this move in both countries, also, the introduction of the history and most important historical plays of the two countries and the most important writers of the two countries in this type of literary is another purpose of this paper.

Hafez Shirazi is an iranian poet who should be searched for his reputation in his love poetry (ghazal). Because of the full mastery of rhetorical techniques, he embellished beautifully and artistically his love poetries with these trops. Hafez's reputation spread throughout the world even the arab world. From the early twentieth century, arabic litterateurs began to research and investigation about Hafez and Ibrahim Shourabi - egyptian translator and writer- took the first step in this regard. Up to now, more than 30 translations have been made from his bureau in Arabic. Among the most well-known Arab translators of Hafez’s poetry is Omar Shibli from Lebanon who translated Hafez’s poems in four volumes. This article intends to critically investigate Shibli’s Arabic translation of irony in Hafez’s poetry using a comparative-analytical research method and library resources. The research results show that Omar Shibli has not understood many of Hafez’s ironic concepts despite having spent nearly 20 years of his life in Iran. Consequently, he has failed to convey the sublime concepts of Hafez’s poems to the Arab audience.