نشریه پژوهش های ادبی
پیاپی 7 (بهار 1384)

The influence of philosophy on literature is undeniable. We just need to think of how Heidegger’s philosophy left its imprint on the whole postmodernist literary movement.The Emphasis on interconnections between man and the universe,the endeavor to understand   those interconnections and the attempt to return to their origins and sources are three fundamental principles of Heidegger’s philosophy, which have penetrated and shaped postmodernist literature. These three fundamental principles are also found in mythology and in this article we will highlight their similarities. Apart from sharing these three elements, minor parallels can also be found such as the “Unconscious” aspect of mythology, being a direct result of oral tradition while in postmodernist literature the same aspect becomes “Consciousness” since a priori agreed conditions are intentionally applied. In this article, while focusing on the philosophy of Heidegger, we discussed the characteristics common between mythology and postmodernist literature.

Various theories have been proposed to explain the differences which exist between the language of Persian Medieval Prose and standard Persian as well as between standard Persian and colloquial Persian.     What everyone seems to agree on though is that changes in language are caused by a yet unknown and seemingly uncontrollable phenomenon .Today , the gap which exists between standard and colloquial Persian is so deep, that in the eventuality that amendments were deemed necessary, it would be impossible to implement them and bring back colloquial Persian closer back to its standard form. A deeper and more precise understanding of colloquial language, assessing the role and functions of language economy and identifying and isolating the elements which cause changes in the form and content of languages are all factors which need to be studied and taken into account to help reduce errors in language planning process. In this article, we explain and classify the inclinations of Persian speakers to shorten and simplify language components, a phenomenon known as language economy, which we believe, is the main factor influencing the development of colloquial Persian.

For a short period, Afghanistan was a republic (1973-1978) and was then taken over by a communist regime. This new regime apart from being influential on a political level also left a deep imprint on culture and literature. During the regime’s early political life, the influence was more destructive than constructive. Everything was interpreted in order to serve the communist goals. Red, which was the color and symbol of socialist countries (including the former Soviet :union: and Communist China), made its way into Afghani literature in a very radical manner. Everyone, regardless of their social strata as well as the intelligentsia reacted to this excessiveness, a phenomenon reflected in the poems of Leila Sarahat. In addition, Russian literature, such as the works of Pushkin and Dostoyevsky left a palpable impression on the literary culture.  In the beginning the Russian novels were introduced through translation done by Iranian writers, subsequently the work of translation was taken over by Afghanis themselves In its later political years, the communist regime of Afghanistan tried to make a compromise and opened its political and cultural scene, which contributed to the growth and development of various cultural activities. It can also be said that the communist regime helped create cultural change and new literary trends outside Afghanistan itself, a literature of resistance, a literature of the Afghan Diaspora.

Focalization is like a prism through which the events and existents of the story’s fictional world are seen. As a literary term, Gerard Genette first used it in order to differentiate between "narrative mood" and "narrative voice". These two concepts respectively deal with these questions: "who sees?" and "who speaks?". When we read, we hear the narrator's voice; he is able to report what he himself sees and what the characters see. Assuming the transposition of another agent's perceptions in the narrator's report is what creates differences and divergences between various points of view. Moreover, the introduction of this term justifies the polyphonic nature of narrative since it deals with the various perspectives feeding the narrative.

In this article we compare two epic Heroes from two different environments, Rustam from the Iranian epic literature and Kocholin from the Irish Dramatic Literature.  A comparative study of those two heroes allowed us to evaluate and assess the theatrical and narrative possibility and capability of Ferdowsi’s Rustam and Sohrab story.  When taking into consideration and comparing the action of Rustam and Kocholin, the importance of our study becomes comprehensible since both of them ended up killing their own son. In this study, the decisions, undertakings and actions of the two heroes from the beginning till the end of their stories was compared thoroughly and we showed that between those two epics many similarities exist, which indicate that the stories might have a common source.

Omar Khayyām is one of the most well known Iranian thinkers and medieval poets and his work has been internationally acclaimed. The limited number of his poems is counterbalanced by their deep meanings. Various studies have been devoted to Omar Khayyām.  However, researchers and literary men alike have mostly focused their endeavors on analyzing the depth of his thoughts as to the inner secrets of the self, his rhetorical questions concerning human existence, its origins, ends and ultimate fate while leaving aside a very important constituent of Khayyām’s poetry, its aesthetics.   This lacuna led to the false impression that his poetry is structurally weak and not endowed with aesthetics elements.  In this study, we showed the interconnectness and harmony of Khayyām’s artistic lexicon and imagery with its form and content.  Khayyām’s poetical aesthetics elements have been analyzed on three levels: 1.Artistic relation between poetical elements  2.Imagery 3. Emphasis and repetition.

This article studies and analyzes the morphology of Shaykh-i San’ān’ story. First, we defined the concept of Morphology, and then we isolated the constituents of the story such as the heroes’ chara-cteristics, the roles of the story’s characters, time, place, motivations and movements. We subsequently analyzed the structure of the narrative and compared it with 5 analogous stories:  1- ‘Abdul alrazzāq-i San’ānī 2- Abū Abdūllah Andulisī, 3- Rāqid-u layl 4- Mo’azin-i Balkh, 5- Vali-yi Samarqandī   Our research showed that the first two stories, particularly ‘Abdul alrazzāq-i San’ānī, are structurally very similar with Shaykh-i San’ān’s story while the other narratives exhibit significant structural differences.