فصلنامه متن پژوهی ادبی
پیاپی 88 (تابستان 1400)

Death is a mysterious category that brings about loads of philosophical thoughts, mental ideas, and artistic literary imagination. Demanding death and fear of death are the appearances of thoughts of death, and the result of death consciousness in humans. Demanding death helps escape the pains and difficulties, and fear of death can either cause absurdity or be a way to discover the meaning of life, as some people find salvation in death so that it may transform their internal feelings. In fact, the latter type of thought of death is about the meaning of life to wipe out the border between life and death. So despite its destroying role, it includes the meaning of life. Hope and hopelessness are among important human features, which can be investigated in relation to death. This paper attempts to use a descriptive-analytical approach to investigate the relations between the thought of death and the duality of hope and hopelessness in the novel called Malakut by Bahram Sadeghi and show that thought of death and generally, the phenomenon of death in Malakut, not only is in relation to hopelessness but also represents hope. Therefore this dimension of death requires attention as well.

Truth and image, beauty and ugliness, love and religion, etc. are interwoven in the word of Hafez. This is rooted in the compilation infrastructure of his word. One of the ways that allowed Hafez to combine different semantic domains is substituting concepts in the two lines of each verse based on rhetorical relations between those concepts (Rhetorical apposition). One of the types of rhetorical apposition is the substitution of two words or two concepts based on similarity. Apposition is one of the two sides of simile that substitutes the other side. In this structure, Hafez combines features of metaphor and simile and makes new images and wonderful meanings. The referencing of concepts is sometimes obvious and sometimes hidden. Rhetorical apposition is placed in a sentence independent of the substituted item. Therefore, the substitute maintains its independent meaning of the substituted item. This feature causes rhetorical apposition to have a virtual meaning in referring to the substituted item, but regardless of the syntagmatic relations, it maintains its main meaning. Hafez uses this tool to create new poetic themes, mystical symbols, the expression of mystical concepts, ambiguity, humor, and to visualize abstract concepts, and so on.

Metaphor is an integral part of the thought process in humans, and anger is also one of the most powerful emotions in humans that has many positive and negative consequences. Molavi, a thoughtful poet with good taste and expression, explains the various dimensions of anger to the audience in the spiritual Masnavi. This article answers these questions to investigate anger in Rumi's Masnavi based on Lakoff's conceptual metaphor theory: What images are formed around the axis of anger? What are the conceptual metaphors of anger in Rumi's Masnavi? How are the reasons for anger and its solutions explained in Rumi's Masnavi? What are the consequences of anger and its symptoms? The research method is content analysis through which the whole of Rumi's Masnavi has been examined with the subject of anger. The main discussion has four axes in which conceptual metaphors are analyzed in relation to the physiology of anger, the image of anger, the causes of anger, its treatment methods, and the results of anger in Rumi's Masnavi.

Researchers believe Resāla-ye Delgošā by Ubaid Zakani as the first literary book specifically dedicated to anecdotes. The second most famous book is Lataʼif al-tavaʼif by ʻAlī ibn Ḥusayn Kāshifī Ṣafī who is known as the inventor of classification based on social castes. As literary theorists often emphasize, no literary work is formed suddenly and works of every kind progress gradually under influence of the previous ones. The key question is whether the works by Ubaid Zakani and Ali Safi were sudden and with no support. This paper presents a record of anecdotes books and tries to show missing circles in the process of compilation of such books from the 8th to 10th century AD. We conclude that there were some minor books on anecdotes before Ubaid, which are not available today. We may safely claim that writing essays on anecdotes was a tradition common before Ubaid period and this will not undermine the value of his work. The same tradition continued after Ubaid and authors invented their own style. We can point to Majma al-Latayef and Majma-al-Navader as examples of two books on anecdotes compiled before Lataʼif al-tavaʼif by ʻAlī ibn Ḥusayn Kāshifī Ṣafī.

The history of Wassaf is one of the outstanding works of technical prose, which adaptation from verses and hadiths is one of its prominent features. The research seeks to analyze different aspects of using verses in this work at the word, sentence, and sentence-text levels. This research seeks to answer questions such as how the verses are used and to explain the verbal and spiritual aspects and their relation to the Persian text of the book. The results of the research showed that verses have such roles as the subject, object, and complement at the word level. Most verses are used as the genitive compound. Verses are in the form of compound, parenthesis, relative, independent, and dependent sentences at the sentence level. The text also has verses with spiritual implications such as verifying the previous meaning of the word, completing the meaning of the sentence, describing and explaining the previous meaning at the sentence level.

The study of relationships between texts is one of the approaches to the study of literary works through which important information can be obtained from the text. Among the various literary theories that have dealt with the relationship between texts, transtextuality analyzes the text in this respect. This theory was first proposed by Gerard Genette, a French theorist and structuralist. Transtextuality has five forms: Paratextuality, intertextuality, architextuality, metatextuality, and hypertextuality, and includes an extensive study of relationships of a text with its para-elements, previous or contemporary texts, texts that have criticized and interpreted and have taken a step towards confirming or denying it; moreover, it includes the relationship of a text to the genre or genres in which the text is formed, and finally to the texts from which the text is taken. Farhad Hassanzadeh is a prolific writer with a specific style in children and young adult literature who has over 80 works on various subjects. He has received numerous national and international awards. Among his important and famous works, we can mention This Weblog Is Being Turned Over, Namaki And the Spectacled Snake, The Moonlight Guest, Call me Ziba, etc. This study intends to read Farhad Hassanzadeh's The Bambak Ship’s Scorpions through intertextuality which is one of the five forms of transtextuality and to identify the pretexts of interest to the author. In the following, it will be clear that the author has chosen the pretexts of the work purposefully and these pretexts have been effective in selecting some elements of the story. The author has also taken special care in using pretexts of popular culture such as proverbs and allusions, popular songs of the time, and slogans of the revolution. For this reason, the presence of this pretext in the work has a high frequency.

A look at the culture of Iranian fiction illustrates a significant number of women writers who have used the storyline and novels to express their homosexual social, cultural, and family issues. Zoya Pirzad and Farkhondeh Aghaei are among the writers who, by knowing the status of women in their contemporary society, have been working on women-centered stories. The purpose of the present research is to study the main components drawn from the traditional and modern women's characters in the works of Zoya Pirzad and Farkhondeh Aghaei. These two writers depict the traditional women's character with features such as homelessness, gender roles, passivity to the patriarchal system, following dominant traditions, and on the other hand, modern women have been described with issues such as employment, women's identity, the struggle against patriarchy, and the customary traditions and customs.

Pahlavi and Persian language and its educational aspects in translation movement of texts to Arabic in the Umayyad period are some of the main references for translators. Wisdom and Iranian moral educations were translated into Arabic and then Persian retranslations of them were reproduced in Iranian references and have reached our period through intertextuality. In this transfer, each writer according to his/her style has added something to it, which has shown the author’s ideology and discourse. Narratology, which is in fact the study of grammar in narration, uses linguistics as a model to study the narration in a genre and move from form to meaning. It considers the narration discourse as "Parol" or distinct representation of "Lunge" systems of the story, retrieves the main categories of language (person, time, mode, aspect) in the story, and tries to find the common dominant system in all story narratives. This essay by using library references and the descriptive-analytic method provides the comparative narration analysis of the story “The Others Planted, We Eat, We Plant, and Others Will Eat” by Ragheb Isfahani to Bahar. Findings show that the topics of most sources are the same but have different concepts and plots. In these stories, some concepts were proposed and made such differences in the discourse as the difference of relationship between king and vassal, Iranian or Arabic orientations, vassal wisdom and showing the ignorance and incompetency of kings toward people, the dominance of kings, the purposes of rewards and its degree and link to the governmental chamber, and tax.

Text correction is one of the most difficult and delicate areas of research in the Persian language and literature. In the field of Shahnameh, since the first correction of Lamzend's incomplete correction, there have been many useful efforts. Undoubtedly, one of the best efforts in this field is Khaleghi Motlagh’s work. This work is greatly used as a guide for those who are researching and working on text correction. In this correction, despite some merits, there are also such weaknesses as fully relying on Florence's version, neglecting some of the mistakes, misunderstanding the meanings of the verses, and ignoring the narrative context of the story by the wrong choice. The sample of the weaknesses in the story of Rostam and Sohrab has been examined and corrected by mentioning the reasons and examining other works and publications. In this research, it became clear that the old versions and the majority of editions can not be completely relied on, and sometimes a new version can solve text problems.

With the development of linguistics in the world of literature, the topic of discourse has grown as well and to the extent that such theorists as Fairclough, Penny Cook, Fowler, Van Dijk, Laclau, and Mouffe have put forward their approaches in this area. Among them, Ernesto Laclau and Chantal Mouffe were the ones who put forward their discourse theory by a post-structuralism approach in politics in the book of hegemony and socialist strategy with a semantic expansion consisting of a set of concepts and systematic structural creation. The purpose of this article is to explore discourse fields and analyze critical discourse in Hypocritical Lover of the fifth chapter of Sana'i's Hadiqaht by the approach of Laclau and Mouffe and identifying the central signifiers and elaborating the elements in the text to identify Sana'i's discursive function in how his verbal actions are applied. The method of analysis in this article is analytical and descriptive and finally, it is concluded Sana'i has marginalized the central signifier of the hypocritical lover because of a close relationship with contemporary rulers by highlighting moments and creating new meanings to weaken the opposite power.

The most prominent feature of Persian poetry in the Indian style is thematic creation. In the creation of themes, the poet establishes a connection among the far-fetched and seemingly unrelated elements which are not obtained necessarily by similar way or other aspects known in the rhetoric. Mostly, it is achieved from the stand of similarities, proximities and contrasts, implications, visual possibilities, associations of motifs, and literary conventions. Among the Indian-style poets, Saeb Tabrizi created new themes with calligraphy terms due to his mastery of calligraphy. The art of using calligraphy themes in his Divan has not been investigated yet. This article has tried to study the creation of themes by calligraphy terms in Saeb Tabrizi’s Divan. After finding a theoretical framework for this descriptive-analytical research, a conceptual model was proposed by studying the related books and articles. Then the couplets of the first volume of Saeb Tabrizi’s Divan were analyzed. In this research, the authors have found a thematic paradigm in the process of perception of meaning, vocabularies, and images of his poems that show how Saeb has created beautiful themes by using different handwritings, tools, genres, and terms and rules of calligraphy and combined them with imageries.

This article used a descriptive-analytical method to investigate the introvertive and extrovertive mystical experiences of Baha Walad and Laozi, based on the views of Walter Stace. Both types of gnostic experience are found in Baha Walad’s experiences, referred to metaphorically as “taste”. In extrovertive gnostic experience, God is hidden in the instinct and the reality of hidden senses and forms the essence of the universe. Behind all the sensual, spiritual, material, and physical phenomena of the universe, Baha experiences a God who is the agent and the possessor. The mystical introvertive and extrovertive experiences of Baha are realized by denying the senses, faces, and sensual appearances and attaining the unity which is the universe without question, without condition, and placeless. The truth of Allah is existentially based on nothingness, simplicity, and nebulousness. In Laozi's mystical experience, both types of mystical experience are found, which, unlike Baha's experience, has been metaphorically named “untaste”. In the extrovertive experience of Laozi, not only are both existence and nature Dao's manifestations, but He has a permanent presence in the world and is followed by existence and nature. In the introvertive mystical experience of Lozi, Dao is an entirely unknown and non-existent matter that eluding from any cognitive experience and only Shen Jen's soul can be aware of.