نشریه پژوهش های ادبی
پیاپی 43 (بهار 1393)

The legendary poet of Iran, Ferdowsi, in the prelude of his collection of poems, Shahnameh, has sincerely praised the former ruler of his hometown, the city of Tous, Abu Mansour Mohammad ibn Abdul-Razzaq. The author of this article believes two cultural and political factors have led to this development. Culture-wise, Abu Mansour has gathered the poems of Ferdowsi in the framework of Shahnameh. Also, based on the descriptions rendered by Ferdowsi on Abu Mansour, the latter must have been a Parthian. Abu Mansour maintained feudal ideals, such as non-centralized power and compromise in religion. Hence, given that Abu Mansour intended to revive the feudal traditions of his forefathers, and was against the centralized ruling systems of Ghaznavid and Abbasid caliphs of his era, he has been praised by Ferdowsi. Hence, it can be said that two cultural and political factors have led Ferdowsi to praise Abu Mansour.

In literary and cinematic comparative studies, a question which springs to mind is whether the cinematic techniques or elements of cinematic style can be compared with literary techniques; in addition to narrative elements and comparison of literary tales with film scenarios? In case of feasibility of such comparison, what is to be concluded from this study? Aesthetics is a common process that can be studied in the artistic expression of two different media. To make sense and formulate tacit reasoning with the cinematic style elements shapes the pivot of comparison. For instance, conveyance of meaning or particular definitions have been known via audio signs or signs of color and light in cinematic criticism. The premise of the study is that if the possibilities of definitions are analyzed in literary texts with markers that are close to cinematic style elements; the literary text is read in another manner, and its latent meanings could be discovered or a new definition could be presented by the reader for the text. Given that the discovery of meaning or creation of meaning are under the heading of recent definitions of literary criticism, it can be said that comparative study of literary and cinematic techniques at times materializes criticism through reading the text with a special approach and upon perception of its meaning. In a number of comparative studies that have been covered by literary and cinematic critics in recent years, cinematic markers have been instrumental in study and research of literary texts. Recitation of a literary narration based on consideration of terms of presentation of narration with descriptions founded on movement, color, sound, music, decorations and …etc. at times leads to discovery of relation between the format and the content. For instance, repeated elaborations on public places by the narrator can manifest that domination of the general picture of a story at times is due to solitude of the character and his contradiction with the surrounding environment. Also, the confrontation of the moods of a sad character in closed environments to the happiness of public places in the view of the story’s character can grant a semantic structural role to contradictions of general manifestations and major manifestations and for instance state the sense of solitude of a character toward the other world.

The talking point of this writing is the realistic aspects of the novel of the Island of Bewilderment. These dimensions have been studied within two groups of data. The first group is the theoretical principles related to authoring the novel, and the second group of details belong to the approach of the novelist in penning the novel. In the theoretical principles, we have studied the two functions of the novel, namely its prophecy in discovery of the unknowns and the possibilities of universe, especially humans, in addition to representation of historical developments and experiences for the purpose of registration of important eras. In the discussions revolving the approach of the writer, the similarities between the actual and fictional lives have been extracted from the novel and the functions of each of them have been separately detailed. The reflection of philosophical ideas, reflection of the era which the novel revolves around; usage of a number of diverse characters; presence of historical discussions among the characters; the impact of characterizations; the backdrop; application of historical data; confidence in the personal perceptions of characters and developments of their status, have all been studied. Based on outcomes, although signs of post-modernism are evident in this novel, the realistic dimension of this novel dominates the rest of its aspects. In fact this novel can be enlisted among the modern realistic novels of 20th Century.

The author of this article introduces one of the examples of religious poems composed by Qaysar Aminpour to praise the 8th Infallible Heir of Prophet Mohammad (Blessings of God upon him and his progeny), Imam Reza (Peace be upon him), which is an ode, titled: “Roads of Khorasan”. The author of the article studies and structurally analyzes this poem in regard to format and content based on novel criticism models.
The study reveals that the poet has selected an appropriate format for his considered text, idea, and emotions via appropriately blending different elements of music and a simple, lively, and friendly language.

Baba Faghani and Bidel are two poets of Farsi poetry, one of which has adopted Hindi style, while the other has reached the peak of this style in poetry. The art of Baba Faghani is shattering the rigid aura of the Farsi poetry at his time. He helped Hindi style to reach its peak. Bidel and Baba Faghani stand as two opposing poles. However, upon study of their styles, one realizes stylistic similarities in the poems of these two. This study intends to depict the status of Baba Faghani in Hindi style, and to follow up on the marks of his style in the poems of Bidel. This article maintains a library-oriented methodology, and provides an analysis of information at hand, and classifications of data. Study of the Hindi style in poetry and the related prominent figures in Farsi language and literature is a must. This study reveals that the emergence of Bidel has been the outcome of the natural trend and process of the new style in Farsi poetry, which was started by Baba Faghani.

In this article, we have covered the evolutionary and comparative study of the ancient model of creation of primary mankind based on the post-Yong critical approach. In this evolutionary study, in a bid to present a theoretical framework for the analysis of creation of primary man; four turning points have been rendered for displaying the structure of this model in the collective memory of mankind: 1-Primary man’s faith in God within the model of creation 2, 3- Creation of the first couple and the two destructive and constructive roles of ancient model 4- Growth of self-awareness and transition from the preexistent sense of collective unconsciousness to self-awareness as the result of maturity and projection of suppressions and failures as a result of hurdles, which has turned this phase into a bitter collective experience. The detrimental impacts of this collective experience have been symbolized in the sense of collective guilt and nostalgia of heavens. The literary manifestations of the turning points of this model have been reflected by the four poetical symbols of love, seducing lover, inspiring lover, and hero.