فصلنامه متن پژوهی ادبی
پیاپی 84 (تابستان 1399)

Action in mystical texts occurs under the influence of factors that provide a suitable space for mystical expression. These factors can be the result of inductive, prescriptive, incidental processes or the offspring of tension and state systems. The origin of these factors goes back to the binary oppositions on which the human system of thought is based, and the discussion about it dates back to the time of Aristotle and has continued in the 20th century in the structuralist and semiotic studies of scholars such as Saussure, Freud, Pierce, Morris, Greimas, etc. Therefore, it is based on these oppositions that in a semantic-semiotics approach, we can study the mechanisms of meaning production in discourse systems with different sensory-perceptual, cognitive and aesthetic dimensions. In the present paper, the author examines the discourse systems of the story “Pirchangi” as an example of poetic stories of Masnavi-i Ma’navi by Jalal al-Din Muhammad Balkhi (Rumi), in order to clarify the position of action, tension, existence and state systems in it and to show the transition of the main character from the initial disorder to the organized state at the end of the story. The result of the analysis indicates the prominent role of the state system in the main leap of the story in which the character moves into a state of belief through an “epiphany”. The attractiveness of this story for repeated reading, as Rumi himself points out at the end of the story, owes to the presence of the existential subject.

Poets use two important structures of narration and description in narrative poems to create an attractive and compelling narrative. Description is a tool used by the creator of the work to highlight the word, but it is the timeless dimension of the narrative text, too. Narrative is a representation of an event or series of events. These two important dimensions are in contrast with each other in terms of speech time and story time. Therefore, considering the relationship between these two important dimensions in different theories of narration and on narrative texts is important. Theorists such as Tomashevsky, Barthes and Genette have studied description and its relationship with narrative and narration. In all narrative theories, description is the static dimension of the narrative text that is added to the context of the word in order to create an effective text in the narrative. In this research, the relationship between description and narration in Jami’s Yusouf and Zoleikha based on Tomashevsky, Barthes and Genette’s perspective was analyzed. The present paper seeks to answer this question: what is the relationship between literary descriptions and narration in Yusouf and Zoleikha poem? In this poem, based on Tomashevsky’s theory, description is the free and static basis of the text and according to Barthes’s theory, it belongs to the the category of special indices and informants. From the perspective of Genette, description creates a negative acceleration in the narrative and finds a decorative and symbolic function in this poem. In addition, the propositions in the description are all of the type of propositions of existence.

The beginning of modern fiction writing in Iran has been greatly influenced by post-constitutional intellectual-social currents. In this article, we analyze the reflection of the discourse of “nationalism” in the story “Persian is Sugar” written by Mohammad Ali Jamalzadeh. By examining the issues that society dealt with around the 1300 SH and considering the issue of context in the creation of the text, which is of particular importance in discourse analysis, we find that the discussion of nationalism has been of great importance in the intellectual circles of this period and has been reflected in many stories. Jamalzadeh, who is a pioneer writer in modern fiction, has clearly stated his theoretical foundations in the introduction to "Yeki bud yeki nabud". In this article, using Fairclough's critical discourse analysis approach, it can be said that paying attention to nationalist discourse in this period could not achieve the ideals of nationalism, the most important of which is the expansion of power and freedom of the nation against the government. Therefore, from this point of view “Persian is Sugar” represents this kind of failure in the society of this period.

In Kant's view, the Sublime is found in an object that is conceivable in infinity. When a man stands in front of the majesty and glory of a high mountain or magnitude and greatness of a sea, he rules greatly and it gives him an admirable feeling along with helplessness and fear (hope and fear).  According to Kant, for such a feeling, man needs the ability of the mind to cultivate it. In Masnavi and Diwan-e Shams, the infinite and majestic elements of the universe, such as the sun, the sea, the mountain, and so on have a high frequency and Rumi encounters these with a sense of respect and admiration, while being helpless and fearful. He also considers the role of the familiar audience to be very influential in understanding the sublime concepts. The present paper analyzes the Sublime in Masnavi and Diwan-e Shams from Kant’s point of view.

Considering the rhetorical techniques of a literary work is one of the ways to discover the beauties of the text. Traditional rhetorical studies with a detailed viewpoint were often limited to determining frequencies and describing stylistic devices and their types in literary texts. In contrast, rhetorical stylistics is a new approach in examining the rhetorical features of a text that examines the effect of stylistic devices on the topic’s processing quality with regard to a particular genre. In this approach, we are faced with concepts from the fields of criticism, linguistics and the like. In the present article, simile in the Shahname, the most important Persian work in the epic literary genre, was examined based on this approach to show how Ferdowsi was able to benefit from this linguistic and rhetorical device in narrating the stories of the Shahnameh. Knowing the differences between the epic genre and other literary genres and the necessity of using special rhetorical techniques appropriate to this literary genre, Ferdowsi could create a creative work by using some linguistic and rhetorical devices, especially by simile. Since “simile” is the center of poetic fantasies in “narrative”, it has been of high interest to the poet as a stylistic component in narratives of the Shahnameh. In this article, the first volume of the Shahnameh was studied in terms of using the simile by using rhetorical stylistics approach in three parts of rhetoric, linguistic goals and narrative. And it was found that Ferdowsi has considered many capacities for simile. In addition to illustration and aesthetics, he has also used it in other branches of rhetoric, linguistics and narrative so that he does not have to use other boring and longsome techniques.

One of the areas that can discuss about the role of women is the humorous stories in children`s literature. In the present article, the role of women was studied in the selected stories of four satirists of children and adolescents` literature (Moradi Kermani, Hasanzadeh, Akbarpour and Hashemi), based on the actantial model of Algirdas Julien Greimas (1992-1991). Based on this, the characters appear in the position of six actants (the actant-subject, the actant-object of action, the actant-sender, the actant-receiver of information, the actant-supporter, the actant-oppositionist of volition) in the narrative and act according to their position. The main question is: " According to the actantial model, what actantial positions do women have in these stories?" The research results show that the mentioned stories have traditionally been narrated by men, and women do not have a strong action in many of the selected stories and act lessly as the actant-subject. Another point is that in the stories that the women are the actant-subjects, men are also involved in this position. In these stories, women are mostly the Actant-Supporter. Also, according to the research results, in the humorous narratives of children's literature, women's actions are rejected and humiliated, and the humor of the story expands in contrast to male characters, especially their wives. In a few stories such as Nish-o-Noush of Hassanzadeh, the main character is a girl who has the actant-subject position, and according to Greimas's definition of narration, she successfully completes all stages.

The most problematic verse of Hafez is the famous: "Our Master said . . ." The author of this article first attempts to classify different interpretations related to this verse, and believes that most of these interpretations are the beliefs of their writers which are originated from studies of Islamic mysticism and Hafez' poetry or other mystic poets. Some interpreters have criticized the views of others from a rhetorical and poetic point of view. The main question of this article is to seek the Quranic sources for the aspect of humor and irony in the “Verse” through finding a document in the Quran that proves that Hafez' master is also in a position to make a mistake. The document exists in the Quran (27:88) that if the master sees a fault and says it is not, in fact, he concealed the fault and it is a humor. The second phase of the humor is where the Arabic word for “Sone’” (Creation) has an implied meaning of "goodness" in Arabic dictionaries. So, the Master's work is about the “Good Creator's” pen, not the absolute pen. In this case, the Master's concealment of the fault can be described as conscious, educative, and optimistic. Another aspect of the research is the completion of Jalal Dawani's meaning which says: the fate and destiny's pen does not make a mistake. This argument has been proved and supported through the denotative meaning of the terms “right” and “mistake”, “fulfillment” and “unfulfillment” and the meaning of the fulfillment of the Fate's pen equals “God's will is fulfilled”.

In narratives and fictional poems of Persian literature, warrior and independent women are mentioned, who lived together as a group and away from men, and took control of their own lives. These women are seen in most of the Eskandarnamehs. There is a brief reference to it in the Samnameh. This article attempts to investigate the story of Women's Town (Shahr-e zanan), which is a recurring theme in fictional literature, in various texts along with the Samnameh. For this purpose, it attempts to study the manifestation and appearance of this city among the works in question and analyze the features, foundations and themes presented in them and compare these cases with the features and themes explained in the Samnameh and clarify their similiarities and differences or the similarities or differences in the origin of these narrations. Ultimately, what follows can be summarized as follows: In Women's Town of other texts (Eskandarnamehs), there is no lustful desire on the side of the hero of the story, but in the Women's Town of Samnameh the lustful desires of the women and fairies of this city are exaggerated. The origins and roots of this story can be traced back to more than the Eskandarnamehs and Amazons in the Greek and Roman mythology. And consequently, the foundation of this story was traced in Iranian mythology, or eventually considered as a combination of Iranian and Greek mythology; both of which are debatable.

This paper is based on a verse in the story of Forood in the Shahnameh. In an analytical study of this verse we have come to the conclusion that "Red" refers to rose gold and "Dark Blue" refers to dark lapis. Then, the evidence for their coexistence in nature and their use as decorative and precious objects in the construction of tombs, coffins and other burial tools are presented. Their ritual role has also been considered. Putting the corpse in the tomb is part of the ancient burial ceremony depicted in the Shahameh which shows its antiquity. In performing this ritual, the use of gold and lapis has had both symbolic and decoratived uses.

One of the widely used metaphors in Ibn Arabi's school, used to illustrate Plurality in unity, is the metaphor of water and its various forms. From the point of view of Ibn Arabi and his followers, water is a symbol of existence that is multiplied in various forms such as drop, the sea, wave, river, snow, moisture, cloud, snow and even gem, rose water and living creatures. Malleability, purity, vitality, fluidity, motion, magnificence, covering, and astonishment are among the characteristics of water and its forms which are emphasized in Ibn Arabi's school and the poets influenced by him in Persian literature. In this article, we intend to examine this key metaphor of Ibn Arabi's school in the field of Persian poetry and prose from the seventh to ninth centuries, with emphasis on the works of Sa'deedin Hamuyi, Fakhreddin Iraqi, Azizeddein Nasafi, Sheikh Mahmud Shabestari, Shah Nematollah Vali, Shah Qasim Anvar and Jami.

Iranian society entered a new phase in its history during the constitutional era. During this period, the Iranian society passed through the traditional era and gradually entered the era of modernity. Influenced by the idea of modernity, Iranian intellectuals in this era tried to pave the way for modernizing the Iranian society. Among these intellectuals, Lahouti was also strongly influenced by the phenomenon of modernism. For this purpose, the present article  attempst to answer these important questions: Can the elements of modernity be found in Lahouti's viewpoint? And if found, what elements of modernist thought have entered the mind of Lahouti? Among the poets of the constitutional era, the manifestations of Lahouti's theological contact with the "West" are clear and obvious. Therfore, it is likely that there are significant elements of the phenomenon of modernism in his thought. The method of this research is descriptive-analytical. The research data were collected from Lahouti's poems. The author has tried to criticize and analyze the foundations of modernism in Lahouti's thought.

Farrokhi Yazdi is one of the innovative writers and poets in expressing social problems. By combining poetry, newspapers, and politics, he began to teach others how to deal with social issues in a new way. By Publishing the Tufan newspaper, this revolutionary poet introduced his method of struggling against oppression and injustice. For this type of struggle, he used the title of one of his quatrains at the beginning of each issue in the newspaper which was in line with social and political events. Thus, the newspaper's stance was determined. And on this basis, he presented other materials of the newspaper and addressed socio-political and critical issues. Choosing a short framework for expressing criticism is remarkable in its own way. This article examines these types of quatrains entitled: Freedom, equality, and social justice, revolution, criticism of the election and its inaccuracies, and defending the poor masses and others, and concludes that Farrokhi's method of struggle is a completely innovative one. Composing poetry and placing it as the main topic and headline of the newspaper is one of Farrokhi's innovations. These poems are thematically categorized to explain the method of the work.