کاوش نامه ادبیات تطبیقی
پیاپی 42 (تابستان 1400)

The Historical event of Ashürã is recorded in the history through a variety of mediums and languages. The historical narrations in the form of scientific sources and what we know as Maghtil, are the most reliable sources that they aimed at transferring the external and objective instances of an event through illustrating the truth. Given the realistic approach of such works, they can be used as reference as they only narrate history with emphasis on honesty and trustfulness. On the other hand, the nature of the event stimulates a mixture of reason, emotion, and humanistic feelings. That is, when a literary language is used to affect the reader, the man of literature transfers the event through a filter of emotion and imagination to win the attention of reader. Depending on the extent of using this feature, the work might diverge from the reality and emphasize more on imaginary and romantic aspects. Given the importance of narrating historical event, the extent to which such narration remains loyal to the truth, and the importance of a heart touching narration of historical events mixed with emotions. The present study is an attempt to examine two renowned Maghtil in Farsi and Arabic (Maghtil Alhouf by Ibn Tavous and Rouzat-o-Alshohadã by Vaez Kashefi) following a descriptive-analytical approach. The use of literary or ordinary languages and romantic or realistic specifications were examined in particular. The findings showed that the realistic aspect in Alhouf is more evident so that it overshadows the imaginary aspect of the work. Still, the author never neglects the artistic and emotional aspects of his work. On the other hand, Rouzat-o-Alshohadã has a stronger artistic aspect so that the realistic aspects never leave the shadow of the artistic and emotional touch of the author.

The Persian and Arabic literatures have always had a close relationship, because of two nations communications in different historical periods. The influence of Persian and Arabic cultures and literatures on two countries poets is one of the clearest examples of this interaction. “Mahmüd Sãmi albã Rüdi”, the Egyptian contemporary poet, is one of the poets who was really influenced by Persian culture and literature. In some of his poets, he, in addition to being inspired by some of great Iranian poets such as “Hãfiz” and “Khayyãm”, has used many Persian vocabularies, and also he has mentioned some Iranian characters and famous places. This research has studied the Persian vocabularies, the Iranian famous characters, and the historical sights of Iran, and also the influence of “Hãfiz” and “Khayyãm” on “Mahmüd Sãmi albã Rüdi” poets, by using descriptive, analytical methods. The most Persian vocabularies he has used, are ancient words which aren’t being used a lot these days. “Mahmüd Sãmi albã Rüdi” has studied the cities and the places of Iran which were described by the poets who had lived before him. He has also paid attention to the Iranian ancient characters more.

One of the most important approaches in critical discourse analysis is the approach of Fairclough, an English linguist. According to him, discourse analysis is examined at three levels of description, interpretation and explanation. In the present study, we seek to show that many of the Arabic sentences used in Darriyih Nadirh by Mirza Mahdi Khan Astarãbãdi can be considered as a word and they are considered as a discourse roles. For this purpose, we examined the Arabic sentences of a part of the book by random selection at the description level. Findings showed that about 70% of the 320 Arabic sentences used in the studied sections have the characteristics of Fairclough's discourse classification. Based on the analysis made in the text of the article, it was determined that Darriyih Nadirh is a text with discourse-oriented structures; in such a way that the underlying layers can show the complex power relations in the Afshãrid period. In the meantime, Arabic phrases and expressions play important roles, including: showing the pure skirt of Nãdir from the usurpation of the Safavid rule, emphasizing the severity of the events of the time, avoiding the conflicts of the court, winning the hearts of Nãdir’s successors, justifying his former support for Nãdir and his late ... are in charge.

In the narrative literature, the narrator finds himself against a shared world with others at the same time. Sometimes in different parts of the world, these differences become understandable. The Middle East, with its turbulent history, can create a similar mindset for contemporary observers. These psychological similarities to narrative expressions are a good way to address comparative research. This essay deals with an American-based descriptive-analytical approach to comparative exploration of narratives by "Abdul Rahmãn Manif" during “"Heyn Taraknã Aljsr" and "Peykar- e- Farhãd". These narratives lead the reader from reading the message from the beginning of the sender's message to the reader's various discourse textbooks to understand the relationships and internal composition of literary work in order to achieve the ultimate structure of narratives . In this research, sensorycognitive symptoms have been extracted from the study of novel texts and rules specific to the level of narrative structures. These signs in the course of the stream of consciousness of narrators propelled into the actions of the heroes and they led to the discovery of existential discourses in the semantic system. Objective signs that have become commonplace over time fall into a new chapter of semantic separation. Creating new meanings and temporal and post-temporal manifestations show aesthetic perceptions through semantic holes. By coming out of negative situations in order to achieve the transcendence of meaning, the Shushigars create the sequence of Bush's discourse. Bush's discourses are the product of stream of consciousness of the narrators' minds in the sensory-perceptual dimension and a leaping diagram of deprivation necessitates the creation of new and different signs.

Following the socio-political developments of the world and acquaintance with the works of Western literature, Iran and Egypt, like other countries, began to publish their literary concepts and thoughts. In this regard, the similar political, cultural and social conditions of the two nations of Iran and Egypt have caused an intellectual understanding between the two countries and the result is the closeness of the literature of the two countries. Among these similarities is two novels, Golshyri’s Shãzdih Ehtijãb and Najib Mahfüz’s al Shahhãz, which have similar thematic features such as; stream of consciousness, Surrealism features, and the outward and inward descriptions. The aim is to examine these similarities to obtain a new understanding of the structure and content of these two valuable works in the field of comparative literature. The work is descriptive-analytical and based on the American school of comparative literature. Some of the results are as follows: a) The similar structures in these two novels show that two authors are influenced by the techniques of storytelling in Western literature. B) The strong presence of the characteristics of surrealism in the two novels causes their acceptance in the category of novels of this school. C) Dealing with social conditions such as political and social repression and lack of freedom of expression, is a pretext for two writers to achieve a special style of writing - surrealism and the stream of consciousness to express their intentions.

Philip Hãmoun, a contemporary French theorist and semiotician, is one of the intellectuals who has looked at the element of character from a new perspective. His theory, because it incorporates the views of previous theorists, can identify what, concepts, and implications lie behind the personality. This theory is one of the most comprehensive and accurate theories about the character. Considering that the character plays a very prominent role in the novels of Rijãl Fee al-Shams by Ghassãn Kanfani and Sound and Fury by William Faulkner, character types, characterization, effective character, and cause character are examined. The results show that Kanfãni and Faulkner used historical, social, mythical and virtual characters to give all the characters the opportunity to play a role. Despite the fact that the narration in many parts of the two novels is based on the technique of stream of consciousness, but the presence of two authors in cases such as expressing details, expressing the thoughts of the characters, describing scenes and .... are visible. On the other hand, the questions posed by the narrator in the novel indicate a consideration for the reader. These two authors have been able to harmonize the names, descriptions and titles of the characters with their narrative functions and by describing the different dimensions of the characters, they put the reader in front of a complete picture of them.

Prosaic Odes or blank poem as a new phenomenon in Persian and Arabic literature, opened a new horizons for the viewers, which is a complete symbol of the departure from traditional poetry and its drastic transformation. Although this new type of poetry has made a drastic change in terms of music and prosodic rhythms, it is not devoid of musical elements and the poet has filled this gap with various tricks. One of the elements that plays an important role in strengthening the internal music of this type of literature and highlighting the theme is the element of repetition. This research intends to investigate the function of repetition in the prose collections of the contemporary Iraqi poet Yahyã Samãvi and the Blank Poems by Ahmad Shãmlü through analytical-descriptive method. The results of this study show; The phenomenon of repetition has been used in various forms. In addition to creating a part of the inner music and improving its melodic structure, the element has enriched the semantic aspect and beauty of this type of literature. Repetition in celestial and inclusive poems plays an important role in the coherence of the poem and the pleasure of listening and strengthening the melodic structure of the text, conveying the poet's inner feelings and emotions, creating space and more influential words in the reader's soul, seeing the image and keeping it in the audience's mind. And it has had the explanation of the intellectual orientations of both poets and the coherence and adherence of the text, and is considered as one of the most important stylistic features of both poets.

Ibrãhym al Shüarãby was the first Arabic translator to translate Hãfiz's lyrics and he became well known with the song of Shiraz and the lyrics of Hãfiz Shirãzy. This prose work, which also includes a poetic composition in the translation of some lyrics, such as the 10th lyric, is influenced by the limitations that translator André Lefevere says in her rewriting view. In this view, he considers translation as a kind of rewriting in which extra-systemic and intra-systemic limitations, ideology and poetics are effective. With a descriptive-analytical approach, this research tries to study the Arabic translation of the poem and prose of Shüarãby from the 10th lyric of Hãfiz due to Lefevere's intended limitations. The final result of this research, on the one hand, shows the effect of Lefevere's ideological limitation in Shüarãby's translation, with his mystical attitude in rewriting this lyric and equating monastic symbols, “pyr”,“miykhãnih”,“kharãbãt”, ”khãniyh khammãr” and on the other hand, he expresses poetic limitation which leads Shüarãby to conceptually rewriting and manipulate sound, music, and the literary tools. The manifestations of Lefevere's view can be seen in Shüarãby 's rewriting in the form of separate translations of poems and prose, increasing and decreasing some words, inverting the use of structures, the shape and material of pronouns, and inverting the pseudonym or omitting it. Shüarãby is both affected by the mentioned limitations and by choosing special strategies in his rewriting, he appears as a controlling factor.