فصلنامه متن پژوهی ادبی
پیاپی 89 (پاییز 1400)

This study is aimed at investigating how Tehran is represented in the context of Iranian Novels. The study considers novels as epistemic components, shedding light on the contribution of these components to a general phenomenon named modernity, which is manifested by the city. To this end, the following novels were selected theoretically and purposively: Half Invisible (Hossein Sanapour, 1999), Tehran, a city without sky (Amirhossein Cheheltan, 2001), We'll get used to it (Zoya Pirzad, 2004). These novels were analyzed, using Lefebvre's maxims and critical analysis. From Lefebvre's perspective, there is inherently no space. He maintains that space is produced socially. Explaining how social space is produced, Lefebvre refers to the following three dimensions, which have internally dialectic interrelations: Spatial practices, spatial representations, representational spaces. The results of the study show that the novels at best only represent one of the three dimensions, failing to represent the city emerging from the dialectic relations among these spaces. Being unaware of the dialectic nature of the city, the authors have represented an image of a suppressive city rather than a dynamic polyphonic one in their novels. In fact, the adoption of a romantic approach to novel writing dating back to the First Pahlavi resulted in a regressive, anti-urban society, depriving the authors of the opportunity to view the city from a dialectic perspective.

Complaint lyrics are one of the themes and types of literary subtypes, which means to confabulate from the painful events of life and express its speaker's pain and grief. Complaint poems are diverse in terms of subject matter and content. Many factors, including the sensitivities and psychological conditions of the poet, as well as the socio-political factors influencing his environment, affect the diversity of themes and concepts existing in the complaint lyrics. The political and social disturbances in society in the sixth century have led to a rise in the frequency of complaint poetry in this period. In this article, by reviewing the poems of Attar, complaint poetry has been analyzed in terms of both language and content. In terms of content, they are divided into five categories: political, social, mystical, philosophical, and personal; and each has been investigated and analyzed individually. These poems are sometimes expressed in an indirect and humorous language, and sometimes in a serious and direct way.

Holy defense is a part of our country's history, and a fair look at this historic period is realized when it’s studied through the minds of all those who were involved. The books of women's war memories, both quantitatively and qualitatively, still have a lot to do with men's diary books. Here, the frequency of the use of twenty components of feminine effects of language, expressed by experts or understood by the author, was evaluated by emphasizing on existence of women's style in their writings, reviewing two selected books of women's memories in national festivals that were selected with ten years time distance, “The last Sunday” and “Shina’s daughter”, and looking at Sarah Mills' linguistic approach at levels of linguistic structure, thought, and content structure. These components can contribute to the process of developing a theoretical critique of women’s works, especially in the war memories field. In the process of these components' application over ten years, usage of feminine vocabulary in the linguistic structure (Lexical) has been significantly enhanced in “Shina's daughter” versus “The last Sunday” and referring to the religious and national doctrines (in the structure of thought and content) has been significantly decreased. Pointing to the color and material of objects in “Shina's daughter” is modestly reduced, but the use of a weak and supportive tone is increased. The rest criteria were not changed significantly. These changes can be influenced by the cultural, political, and social circumstances of the society or the author's individual circumstances.

Poetic historiography has been formed as one of the historiographical forms of the Mongolian period, following the advent of historiography. In this historiography, as its name implies, history is written in order. The poetic historiography provides a lot of information about the reconstruction of some of the historical events of this time and in terms of showing evidence of the revival of the Iranian and the Persian language. Although the Ilkhani and Timurid periods are the most important periods in Iran's poetic historiography, and many epopees have been created in this age, this kind of historiography has been less studied by researchers. The present research seeks to study the ideas of Iranian identity by a descriptive-analytical method in the poem called Daftar Delgosha by Saheb Shabankareh. The results of the research show that, in Saheb Shabankareh's opinion, the history and historical past have played the most important role in the restoration and reconstruction of the Iranian identity in Islamic times. The deep view of the poet towards Ferdowsi and the influence of Shahnameh have led him to repeatedly refer to the characters and heroes of Shahnameh in his poem. Sometimes even his heroes consider themselves superior to the champions of Shahnameh.

In the 1980s, after post-structural criticism, "New Historicism" appeared through the work of Stephen Greenblatt as a response to traditional historicism. A new historian believes that literary texts have been interwoven with other discourses and rhetoric structures and they constitute a part of the history that is being written. We gain knowledge about this period through works written at the end of the Salgoqian reign in Iraq nearly after one century and it demonstrates the power of historiography in the Saljoqian period. Social circumstances and daily life of people in that time are not clear due to the decay of historiography and limited sources; however, Mohammad Ghazali's letters are one of the significant works of the Saljoqian period which provides a report on discourses and political, social, and cultural issues of the same period and opens a window to the said historical period. New Historicism is seeking a link between literature and public culture of a period and in general, any cultural text. Taking advantage of this theory in rereading and interpreting Ghazali's letter can reveal the timepiece and uncover the latent discourses that are hidden under apparent discourse.

Brevity and lingual economy affected by social and cultural factors were welcomed by contemporary literary currents in Iran. “Karikalemator” is one of the currents in which humor and brevity are its structural substructure. The speakers of the “Karikalemator” look at language differently and as a result, language games find special significance by relying on original and expressive arrays. This study aims to check the point that how the writers of the “Karikalemator” use brevity in a speech to create beauty and humor. The writers in this study find the techniques of the achievement to the brevity and humor in this literary currents in categories like metonymy, simile, metaphor, allusion, visualization, and proverb by checking Ahmadreza Bahrampour Omran’s Karikalemators that take place by polysemy motives, compressing historical and epic events, creating an image, demonstrating the thoughts, and deepening the meaning.

The study of hegemonic semantics shows how the signs take their transcendental path and serve the hegemonic meanings. The purpose of this study is to investigate the formation, production, and reception of meaning in the field of sustainability literature. In this regard, the hegemony in the two resistance-oriented poems by Mehdi Hamidi Shirazi entitled "In the waves of the sand" and the poem "Abd al-Sabar" composed by Mahmoud Darvish was examined. Sign-semantic study of these two discourses shows how two poets, using cultural, national, and local backgrounds and archives, produce resistance-oriented meanings, distancing themselves from existing and known contexts and confronting the narrator with unexpected elements. Other findings of the study include the existence of two identical value systems, which is the praise of freedom and liberty. This value system is in the mechanisms of production in the scheme of emotional discourse in order to establish the prevailing hegemony, that is, to praise stability and freedom in society, and to marginalize other concepts.

Metafiction is a story about the process of writing a story in which the author deliberately and by revealing the craft of writing emphasizes the unreal and fiction of his story. The present study is an analytical and descriptive study of metafiction skills in the novel ‘Watching a Wrecked Dream’ by Bijan Bijari. The results suggest that the disorder in this novel is self-conscious and systematic in the form of extravagant learnings such as revealing the preparation, creating parallel and overlapping worlds, intertwining the real and imaginary world, short circuit, intertextuality, creating an artificial structure in the text, etc. These transcendental techniques are an attempt by the author to tell the reader what he reads is neither the representation of objective reality like realism nor the recreation of mental reality like modernism, rather it is a story based on imagination and unreality, except for verbal and verbal games. So in different ways, and most of all, by revealing the craft of writing, constantly reminding the reader of the fabrication and storytelling of the text, he eventually succeeds in creating the metafiction.

The mystical texts and fairy tales are often in the field of educational and allegorical literature, and the role of symbols is very significant in the study and analysis of the rhetorical function and contemplation of these works. Symbolism is not only an effective technique in making literary texts but also an accurate device in the evaluation of the contents of these works as well as the most important method to express coded texts. The main purpose of the present research is to examine the function of symbols in explicit concepts and hidden contents of Hediqah's tales, Masnavi's stories, and fairy tales. The quality of using symbolic methods to infer the meanings of these works can lead to a better understanding of the significance of symbolism for the interpretation and paraphrasing of the speech in Iranian mystical stories and fairy tales in western literature. This article first examines the significance of the symbol in interpreting and paraphrasing the concepts of these works using an analytical descriptive method. Then through comparing and contrasting some samples, it attempts to show to what extent knowing features and functions of the symbol is effective in discovering hidden layers of their themes. The conclusion is that the use of the function of the symbol in Islamic, mystical texts is to clarify the inner concepts in the reader's mind, while in fairy tales the ultimate goal in creating ambiguity in meaning is to mature the audience’s mind. With the reader's correct interpretations, these works retain their originality, and such quality turns them into an open-ended text with a variety of interpretative capabilities.

One of the causes of war and bloodshed over many centuries is the disparity of religions and religious wars. The Rumi with praiseworthy skill, scientifically and principally, explains the causes of the emergence of these wars and the ways of infiltration and the ways of dealing with them in the form of two fascinating and comprehensible stories. Rumi in two stories: "The king of Judah who killed Nazarene with passion" and "The other king of Judah who tried to destroy the religion of Jesus" introduces two models of hard and soft war to root out sectarian and religious wars from the standpoint of world principles and politic techniques. In this research, the following items were investigated by the techniques of psychological operations (soft war) and hard one: «1) - characteristics of hard and soft war, 2) -the factors of creating war from Rumi's viewpoint, 3) -the psychological operations tool (soft power) and soft threat, 4) -the tool of hard war, 5) -the components of soft war in sectarianism and the creation of proxy war. The result is that Rumi, as an expert and experienced politician, has been rooting and discovering why and how these wars and their continuity throughout the ages rang the bell to prevent the destruction of religion and the influence of demons in the world of politics and power over the centuries.

In conceptual metaphor theory, metaphors rely on semantic relationships between words that act as a means for the human understanding of abstract and tangible world affairs. Literature in connection with the theory of "conceptual metaphor" has various “source areas” and “target areas” through which they explain abstract concepts in a tangible way for those audiences. The subject of this research is the study of poems by Forough Farrokhzad and Ghadah Al-Samman, the source or target areas of which are "love" and the words of all fields with it. The method used in this research is the application of the principles of this theory in the poems of these two poets and the knowledge of the wide usage of source fields. In this way, we achieve cognitive features, cultural and social structures, and worldviews of these two women poets from two different areas in relation to the element of love. The results of the research are the selection of such source domains as objects, animals, plants, and natural phenomena, and the type of semantic load resulting from them, which reveals the type of view of these female poets towards love. Other results show that conceptual domains with a positive semantic load such as liveliness and relaxation of love, its vitality, immortality, cheerfulness, popularity, etc in the conceptual metaphors of these two poets are more than the conceptual domains with a negative semantic load such as being painful, sad, destructive, oppressive, harmful, unjust, unpredictable.

Stylists have named the poetic style of poems of the sixth century of Ganjeh and Ar-ran area as 'Azarbayjani' according to the classification of different periods which is different from the Khorasani style. The stream of prose writing in this period has a little different from the previous period and authors little by little try to achieve available features in technical prose by imitating of Arabic language and involving them in their writing that this action at the end of the seventh century led to an artifact and arrogant prose. Despite the backwardness of more than a century of prose stream from poetry stream, in the sixth century by the appearance of prose writing poets, the interval disappeared and the composition acceleration of the stylistic angles of poetry and prose became more and more. Regardless of the prose features of his period and backwardness of more than one century of prose from poetry, Khaghani is a prose writer poem who acted in the same way in prose and poetry, played important role in accelerating the movement of simple prose toward technical prose by imitation of his artifact language in the poem, and promoted the process of movement of simple prose toward technical prose. According to this preparation in this research, we decided to prove our claim by comparing the linguistic, literary, and content elements of a letter and ballade of Khaghani that both are about Imam Amadatod-Din Hafadeh.