فصلنامه نقد ادبی
پیاپی 54 (تابستان 1400)

In a research on premodern Iranian poetries, from the first century of the history of Persian literature to the period of literary return, it can be seen that the imaginary forms used in the poetry of the poets of the third to fifth centuries AH are innovative, original and the product of their own poetic experience. But with the passage of time from the end of the fifth century onwards, poets, instead of incorporating images of the product of their personal experience and new elements of nature and life into poetry, have always remained within the same range of imaginary poets of the past and the same images. They have entered their poetry with minor manipulations. The question that this research seeks to answer is: why from the end of the fifth century onwards (until the return period), the forms of imagination used in the poetry of Iranian poets are often imitative and repetitive, and any innovation from the perspective of the ancients canchrt get out?

narrative logic, lead to a unique experience for persian-speaking readers. Such a perception accompanied by using words according to their compound inherent and directed to logical order and regularity of occurrences and episodes. Writer’s approach in narration of Kheyronnesa lead to reader’s friendship. In this way Kheyronnesa is a possibility of freedom in understanding and creating story. In this article, consequently, it can be prove that if we use Persian language regarding to its compound verbs; it could present unique literature which has an intimate connection with its social-cultural context, Therefore it could be the indication of Iranian identity.

The Haftikar Nezami body system is a very coherent work in which extensive semantic connections and semiotic proportions are observed. The study of Nezami narratives in the Haftikar made the authors realize that there is a structural and significant similarity between the micro-narrative of the black-clad king and the macro-narrative of Bahramgur throughout the Haftikar system. Therefore, in this study, the action discourse of these two characters was examined, analyzed and compared. Studies show that both Bahram-Gour and the black-clad king were influenced by a grand conceptual metaphor that could be considered a form of extravagance; Both characters take great action to achieve their desires. Both characters take great action to achieve their desires. Also, these two actors experience internal changes in their course of action to achieve their desires, through an unwanted and involuntary process; Of course, the king in black and Bahram Gore use the experiences and guidelines that they gain along the way. They do not behave in the same way, so a different fate befalls them; After ascending to the land of the supreme or the land of the goddess, the black-clad king is condemned to fall due to some taboos and deviations from the norms, and instead Bahram Gour, using the guidelines and gaining awareness, the happiness of a spiritual journey and ascension. It is given to the world of meaning.

This article intends to extract, classify and analyze the functions of describing the buildings in the novel  "Sal-e- Balva" by Abbas Maroufi. The aim of this analysis is to  explore these functions in the formation of structure and as a result of its effects on the text and its relationship with the audience.  The results of this study show the role of architecture and the presence of buildings as active elements in various dimensions of this novel. These functions can be categorized as follows: 1- The realistic function of buildings in the story  2- The effect of buildings on the plot 3- The role of buildings in space and staging  4- The sympathetic and nostalgic effect of building description 5- The effect in developing characters and characterization 6- The architecture of the system element Event and event element of architecture identity.  At the same time, this case study, which deals with the narrative style of such famous writers and the role of architecture in his works, can open the connection between architecture and literature, which has been widely appeared  in a Persian fiction work.

The Ecocriticism that emerged in response to the environmental crisis traces the origins of lots of environmental problems to its cultural roots and, by bridging the gap between science and culture, seeks to stem or slow down the growing trend of the environmental crisis. This critique has attracted the attention of Iranian researchers in the last decade, but it seems that this type of research in Iran is still far from international standards. This critique has its own capacities due to its connection with political and economic issues and many other complexities, but since less attention is paid to its contexts and basic issues in Iran, it has become more decorative and its various principles and dimensions have not been considered. In the present study, in order to bring the principles of this critique closer to its global meanings in Iran, by reviewing the views of prominent global theorists and evaluating a number of Ecocritical articles published in Iran, the problems, shortcomings, strengths and weakness will be investigated. The results of this study show that the lack of proper understanding of the concept of eco-criticism and the environment, ignoring the value and intrinsic position of the inhuman world regardless of the humanistic view, ignoring the interdisciplinary aspects of ecological critique, lack of a pragmatic and practical dimension to criticism and the wrong choice of works for this criticism are some of the problems facing environmental criticism in Iran.

One Hundred Persian Love Verses by Hassan Zolfaghari is one of the most comprehensive and popular books in the field of Persian love stories, which has now reached its third edition, about seven years after its first publication. The purpose of this article is to review this book. For this purpose, while briefly introducing the book, in three sections of structural critique, content critique and critique of sources, by mentioning the evidence and documents, have examined its flaws and shortcomings. Incomplete compliance of the title with the content of the book, problems in book chapters, lack of a single procedure in selecting titles of entries, inclusion of some imitations and stories from which there is not enough information, non-adherence to the structure provided for each entry, writing flaws and poor writing (structural flaws), putting love stories under lyrical and dramatic genre, problems in the morphology of love stories, some inaccurate and thought-provoking comments, incomplete/ wrong reporting of some stories, some incorrect data (content problems), the absence of some sources and some confusions in the list of sources and its inconsistency with references are the problems that will be solved in the second edition, will increase the credibility and acceptability of the book.