پژوهشنامه نقد ادبی و بلاغت
سال دهم شماره 1 (پیاپی 21، بهار 1400)

Every life is the realization of a “whole,” that is the realization of the “self.” This realization is called individuality in Jungian psychology. Relying on Nietzsche’s book Thus Spoke Zarathustra, Jung analyzes concepts such as “the subconscious mind” and the archetypes of “shadow,” “positive anima,” “negative anima,” “chthonic mother,” and “wise old man,” and through this analysis, he explains the concept of individuation or attaining the status of “Superman.” Individuation is the process by which the ego, as the center of self-awareness, is transferred to the “self,” which is the innermost part of the subconscious. In this process, takes place in The Blind Owl, the various aspects of personality reach cognition and compatibility with each other, and self-awareness eventually becomes synchronized with the unconscious. The Blind Owl reflects the human search for individuation in the form of two real and symbolic journeys. This essay attempts to explore the idea of Nietzsche’s “Superman.” Studying the symbolic representations of the images of The Blind Owl, it also examines the role of trinity and its manifestation in the novel and its connection with individuality in Jung’s theory. The most important conclusion of the article is that the reader understands how Hedayat uses various symbols such as the ethereal girl, the prostitute, cypress, lotus, and numbers to refer to the origins of the two ancient civilizations of India and Iran. It also shows that the narrator of The Blind Owl is Nietzsche’s “Superman” who is trapped in the realm of existence and repeats a life in different places and times. The individual who appears in The Blind Owl, in symbolic and numerous forms—the narrator, the coffin-bearer, the uncle, the ethereal girl, the prostitute, the prostitute’s mother, the nanny etc.—are the shadows of the narrator (eternal-man) who lives in different faces and different times and tries to reconcile with different aspects of his existence. In addition, The Blind Owl’s narrator intends to overcome the inferior shadows of his existence to achieve the individuality referred to in Jung’s theory. Showing the narrator’s failure in trying to achieve individuality is the ultimate goal of The Blind Owl.

The modern semio-semantic approach has gone beyond structuralism and entered the realm of narrative discourse, creating the conditions for the production and acquisition of meaning in discourse. This paper, examines the process of narrating in One Thousand and One Nights from a semio-semantic perspective by analyzing the movement from the narrative structure to the narrative discourse systems using the Greimas model. The purpose of the study is to discover how embedded narrative structures leak into the discursive structures of the story, and the tense (sensory-perceptual) space created by the narrative process controls and recreates the process of meaning production. Analysis of the narrative process in this work shows that narratives are never formed without the formation of a discourse system. On the other hand, the resistance of the narrator, Shahrzad, changes the emotional crisis and the lack of meaning in Shahriyar during the narration of several narratives to change the meaning of the presence of change. Using the tools of narrative language, he changes Shahriyar’s socially deplorable situation and mental state, and finally Shahrzad’s energy injection and practice in the discourse space has caused unfavorable stabilized conditions to become liberating conditions, and Shahriyar is confronted with a new meaning of life in the world. These changes are the result of his Dasein mutations after hearing the story. Shahriyar, in order to be himself and to fill his emotional vacuum, by being in the path of narration, takes away his previous Dasein and enters a new Dasein. In order to reach a new Dasein, he must first discard his faulty and critical previous Dasein in order to enter a new and improved Dasein. This is what puts him in front of another meaning of life and existence. The changes resulting from the Daseini mutation in existential discourse system are sometimes so profound that it is difficult to see a trace of the past. Perhaps it can be admitted about Shahriyar that he was accompanied by a great Daseini leap and the resulting changes were so profound that they were also observed by the people of that land.

Rhetoric and eloquence are among the terms that have attracted for researchers since the beginning of rhetorical works. In different periods, while discussing these terms, rhetoricians have tried to provide criteria for them. What is obtained through rhetorical books shows that after the early centuries in Islamic rhetoric, we are faced with tasteful criteria in this realm, criteria whose acceptance and application today are not without many flaws and such criteria cannot be used as measures for different texts, especially modern texts and new formats or types. In the present study, while examining, analyzing and criticizing the rhetoric and eloquence and categorizing the opinions of predecessors, we have tried to explain the terms with other component; components that can provide a clearer picture of the concepts of eloquence and rhetoric. It seems that to get a clearer understanding of such concepts and to avoid exploitative views, one can use the opinions of linguists about context types of context, as well as Roman Jacobson's communication theory and the six roles of language based on this theory; In other words, with the help of linguistic studies, the components of rhetoric and eloquence can be redefined in other ways which in addition to clarifying terms and avoiding aspects of taste, it is more inclusive. Accordingly, the various context of speech along with the roles of language can be considered as the central elements of rhetoric and eloquence. At the same time, according to Van Peer, literary and sacred texts are always "making context”, they make their context based on the situation in which they are located; In other words,literary and sacred texts do not have a closed and unchangeable context. In addition, in this redefinition, we must consider the various textual, situational, cultural, and social contexts, along with a new understanding of communication theory and language roles, as components of rhetoric and eloquence.

Marx, the founder of the theory of Marxism, by emphasizing the internal contradiction of the class system, calls economic conditions the foundation of social consciousness. Marx and Engels envisaged a world in which globalized market forces reigned supreme, careless of the human damage they inflicted, and in wich the gap between rich and poor had widened intolerably. The Marxist critical heritage is a superlatively rich, fertile one and like any other critical metod, it has to be assessed by how much it illuminates work of arts, not just by whether its political hopes have been realized in practice. Whereas intersubjective conflicts in the novel of “The Pipe-Smoking Bear” is the product of economic conditions and their plot is based on the formation of bourgeois society, and class antagonisms in the transition from tradition to modernity; So this approach has been adopted, for that novel.

Given that semiotics is a method of reading the text, which examines the relationships of signs and how the mechanism of meaning production; The present article, by descriptive analytical method, seeks to re-read the text by analyzing the signs that confirm the dependence of social relations on material conditions. Questions: The question of research is how to semiotically read the text, relying on Marx's approach to sociological theories. In this regard, the present study is seeking answers for the fundamental question: which are the signs based on Marx's Theory of Classes that gives rise to different readings of the text? And how do re-reading the present text make sense within the framework of Marx's sociological theory?

The present article show that: The novel is a critical novel that reveals the effects of the discourse change resulting from the presence of modernity. In this novel, "the transformation of man into an income-generating animal" is a metaphor or symbol that signifies the alienation of subjects and their disconnection from their lost human-centered nostalgic world. This alienation leads to the dissolution of the family and then to the collapse of the human relations of the whole society. Significance: The collapse of the Soviet Union, as the leader of the Marxist system, does not mean the complete inefficiency of this system. Reveals the need for research, the lack of sufficient attention to the committed paradigms of this system  and the lack of interdisciplinary research in this field. Novelity: This research uses for the first time in Iran Marx's Theory, for reading literary texts and uses the Marxist approach for reading literary texts of children

Symbolic addition is one of the most important and beautiful aspects of speech. Some of the literary works have achieved specific attraction by using symbolic addition. Persian writers have used this kind of speech in the best way from the beginning to the current time. In this addition, people and some living things are so specific and unique in some features and characteristics as if those features are recognizable for people just by their existence. Therefore, those features are regarded as a symbol for people. In symbolic addition , a person's or an animal's name is mentioned, then its function or its feature is attributed to the person or animal. In other words, addition is a symbol of a noun to which another noun has been attributes. For example, in two compounds of " the scale of justice" and "the morning of hope" scale is a symbol for justice and morning is a symbol for hope. Some writers regard symbolic addition as a kind simile addition. Of course, in this study, the researcher by analyzing and reviewing the theory has found that the symbolic addition can be divided into four types based on its usage in Persian poem and prose. In this research, symbolic addition by its nature, its connection with poetic images , similar cases and different kinds of division has been reviewed completely based on descriptive-analytic method and according to speech grammar. This study has also used the most beautiful symbolic additions of  different poets  in different periods

The metaphor industry has long been regarded as an aesthetic tool. In the new approach to cognitive linguistics, metaphor is recognized as a meta-linguistic tool that forms the conceptual system of man. Metaphor forms an important part of verbal communication And it comes so naturally to our lives that we sometimes fail to notice it in practice. From lakoffs point of view, metaphor is the way in which one sphere of experience is expressed in the sphere of another. The source domain is usually more objective and tangible than the destination domain. According to lykoff, metaphor is not a marginal element in our intellectual life; rather, it is an element in our perception of the culture and world around us. One of the types of conceptual metaphors is directional metaphor. Directional metaphors add to the concepts of spatial statements That these directions are rooted in our experiences on the one hand and make the conceptual systems beautiful on the other. The task of these types of metaphors is to establish coherence in our conceptual system. The Language used in ballades of khaghani because the of variety concepthe ballads in it is a suitable area for examining metaphor is from the point of cognitive semantics. Studying the ballads of khaghani with this view contributes to better understanding of the thoughts and thought. This is a descriptive and analytical study, It has studied the directional metaphors in Khaghani's poems. In khaghani metaphors, the upper and lower directions are used to give concepts a place. While depth and surface area were least used. In this research, the upward direction with positive and The downward direction was related to the negative Except in one case that signifies the upward direction of negative things and the downward direction of positive things.

Persian poets have made use of violets in their poetry and paid attention to particulars and descriptions of violets. The purpose of this study is to investigate numerous and various images of violets. The evolution of this image in different periods at the vertical axis of Persian literary history is studied as well. Also, the amount of innovations and imitations in this illustration and also the variety of violet poetic images are determined. All images for violets are classified and studied in 54 Persian poets and, according to the factor of initiator and imitator poet, original and imitative images are presented. Tables and charts are used to show the frequency and images of violets. The results of the study indicate that more than 552 various images and 248 original images appear in these works and that images referring to the relation between violets and hair and tress, violets and jasmine, violets and mustache, violets and bruises, violets and curvature, violets and tulip, violets and smell, violets and indigo are respectively more frequent. In this selection, the poems of different poets with various styles have been used, from first-class and famous poets to poets with lesser fame. This selection has a great variety, for example, the poets of lyric poetry, ode poetry, Masnavi poetry ... and mystical, ascetic and secular poets ... and types of epic, lyrical, didactic and ... poetry in this selection and research have been. Some poets such as Qatran with 29 images, Khaghani with 19 images, Manouchehri with 16 images, Farrokhi with 15 images, Amir Mo'ezzi with 14 images, Nezami with 13 images, and Attar with 12 images, have created the most innovative and latest poetic images of violets. As can be seen, violets and human beings are 50%, violets and object 20%, violets and nature 18%, violets and animals 4.5%, violets and literary compositions 3.5%, violets and colors 2%, violets and immaterial concepts 1% and violets and the location of 1% of the images are included.

In the twentieth century, new literary and linguistic schools and schools emerged, sparking the ideas of structuralism and formal literature in the form of the school of formalism in revolutionary Russia. This school focused on the formal aspects of text and linguistic elements. And the floating structures focused on the fact that the literature of the literary text depended on their opposition and accompaniment during the rise of textual elements. The poem has shown its capability, but the literature and the position of linguistic structures in prose texts, especially prose. Ancient literature can also be seen. The art of prefabrication is a long-standing tradition in the texts of the fifth century, with the input mechanisms to attract the audience's attention, entered the field with a distinct prose from the prose of the main text of the book. The authors of technical prose, with the use of prominent linguistic and rhetorical elements and elements such as new combinations, rhymes, punctuation, contrasts and contradictions, repetition and repetition at the phonetic and syntactic phonetic level, challenging and beautiful structures and structures, from thought And they left their thoughts. This article provides a comparative study of the preface of the four ancient Persian texts (Qaboosnameh, Kelileh and Demneh, Marzbannameh and the history of Jahangisha Jovini). Comparison refers to the consideration of something called normative or soft, and through it the norm of reaching the instances of leaving the norm at the linguistic level, which can be examined at different levels of phonetic, lexical, syntactic, and the whole textual body.