فصلنامه متن پژوهی ادبی
پیاپی 80 (تابستان 1398)

Classifying all narratives in a single type is the aim of narratology. Greimas is one of the theorists who, by reducing the number of actants of the propp model, tried to provide a comprehensive model for all narratives. The present research investigated the story of Rostam and Shaghad based on the Greimas' actantial model, the analysis of the status of narration with respect to the dual oppositions, the syntactic pattern and the syntgmes narrative (syntgmes contractual, syntgmes performative and syntgmes disjunctional). Greimas' model has acted dual in this story, and an actant in different situations acts as the opposite and the supporter. The subject actant comes to deceive to eliminate the role of the conflict actant. Breaking and contracting a pact by Shaghad is the main source of the narrative that is formed in the syntgmes contractual. The same thing shapes the syntgmes performative and its actions, ultimately ending up in a positive or negative status in the syntgmes disjunctional.

In discourse, a set of vocabulary words is called a labeled (marked) which has meanings beyond the level of vocabulary. Concentration of choice of such words in poetry is a way toward the facts that have flowed in history. This issue in Nezami’s poem sometimes inapparently places inside marked words which the poet has chosen. In this article, in the way of descriptive – analytic and studying resources related to Nezami’s era history, we consider effective events on the artist’s mind. Then we, with derivation and study of high frequency and marked words in Khamse, proceeded with Significant correlation between the presence of this words in poem and events placed on age of his life. And in order to make a methodical analysis, we chose Fairclough's critical discourse analysis approach. The result showed: The poet's language is a social act, which, while creating its social relationships and identities, is their constructor and a tool for turn to solving odds of power.

The “Cold sooran” novel was writen to show not only holy war but also war between groops in Kurdistan and the resulted mental and emotional pressure. It can be analyzed from Froid’s psychoanalysis theory. Fear, anxiety and defensive mechanism are the most emportant factors that come to patient when he or she is anxious. Whereas war brings anxiety and fears for people who are involved, thes factor also are displayed in works related to war. The aim of thin stady is ti analyze fear anxiety and defensive mechanism of Froid’s theory in the “Cold sooran”. The present study uses a descriptive and analytical method. The result shows that characters in the novel use defenses mechanism in order to lessen the mental pressure and scape frome real situation they also show some behaverial signs in causd – anxiety situation.

Constitutionist and nationalist intellectuals were the first group that discussed modernism in literature theoretically, emphasizing the necessity of literary modernism, based on their political and social ideas. The movement of literary modernism came to develop and two movments of literary medernim, the conservatist and radical movements, appeared. Taqi Rafàt was one of the prominent writers and poets in the radical movement. This research studies components of modernism in Rafàt’s poetry from three points of view: the style of expression, identity of the sender and the receiver and their relation, and the subject, and attempts to answer the questions that what aspects of modernism are in Rafàt’s poetry and what relationship is between modernist instances in his poetry and his contemporary modernist social and political movements. Study of his poetry shows that there are prominent aspects of modernism in his poetry from the three points of view and so modernism could be known as the centre component in it. These modern aspects have a dialectical relationship with social and political modernism, of wich the Iranian nationalism movement and the Constitutionism movement were supporters.

This paper is to analyze the sixth volume of “History of Bayhaqi," book stylistically based on one of the latest models in the field of literary stylistics. Each literary text is formed of different layers and levels of language, each of which is involved in determining the author's writing style; layers such as words, sentences and more immense levels including narrative discourse. Paul Simpson's proposal design that is based on the concepts of mode and ideas on the level of sentence and narrative discourse, as a linguistic tool, it can be a goof pretext for stylistics of literature in the narrative discourse level. In this study, we have focused on one of the axes in the model of Simpson, namely the modality axis, to criticize the narrative style of text of Bayhaqi History methodically

Linguistic interference of Persian and Arabic languages has created correspondences and similarities between certain Persian and Arabic language patterns. Sa’adi is among the poets and authors whose work incorporates multiple cases of such correspondence and similarity. The frequency and variety of these cases are conspicuous; whether we regard them as linguistic borrowing, or tracing and similarity, their key role in a more thorough analysis of Sa’adi’s content and structure is undeniable. This paper aims to classify and illustrate those patterns or rules in the Arabic language which are found in Sa’adi’s works. The results of the analyses indicates that the intermingling of Persian and Arabic has not merely led to the Persian poets’ application of Arabic words, phrases, poetic samples, proverbs, or fables; but this has also led to similarities between the language patterns in Persian and Arabic. There has been a gap in research to address this issue in literary surveys and stylistics, while such analysis can contribute to a more comprehensive analysis of both content and structure Sa’adi’s works.

The well-known tradition of fiction in the form of "Animal Story" has long been known as a "heritage of human thought" among literary genres. Fable and the transcendental form of allegorical stories from Kalila and Demna, The Conference of the Birds, the Mouse, and the cat of Zakani till the Little Black Fish on a chain, continued to be valuable to this genre. This paper aims at explaining the differences between the Fable and the Allegory by showing the genealogy of the little black fish, and its symbols as the last and most elaborate of Iranian Allegory, providing a concise analysis while rejecting the attribution of the roots of this story to " Jonathan Livingston Seagull by Richard Bach, an American writer, builds its origins in Kalila and Demna, Marzubannama and The Conference of the Birds.".

Satire is one of the main features of both Golestan and Masnavi. The research hypothesis is that the script opposition of idea affects the target and worldview affects script opposition of the idea and target.  The primary target of this research is to study contrastively satires contained into two prominent works and then expressing the relationship between idea script opposition with target and explaining the effects of worldview on targets sought in satires. The research method is contrastive- descriptive based on the general theory of verbal satire together with extracting idea script opposition and target, classifying these two variables and analyzing results. This research indicates that idea  script opposition and target are different even in the most similar satires in Golestan and Masnavi. In Golestan, the script opposition of two ideas is formed by confrontation and dealing with the negative character while it is formed with scandal and revealing of the negative character in Masnavi. The first is based on Saadi’s realism and the second is based on Rumi’s ideological and idealistic attitudes. Based on what said, it is justified to consider Saadi’s satire as saving and facilitator and Rumi’s as informing as well as revealing and scandalous. Saadi’s satire can be distinguished based on his intellectual foundation in subjects including household management, self-purification and civil politics that are sub- classified in practical wisdom. Rumi’s satire is distinguished in subjects including potential failures criticism, ostentation criticism and comparing and imitating and prioritizing knowledge symbols.