نشریه پژوهش های ادبی
پیاپی 77 (پاییز 1401)

In this research, different aspects of humor and contradictions and their types, in all the works of one of the most famous contradictors of Persian literature; That is, according to Atameh Shirazi, it was thoroughly studied by descriptive-analytical method and library resources, and for this purpose, from the theories of critics; Like Bakhtin, Joseph Shabili, Heather Dobrev, Arthur Pollard, were used. The findings show that legitimate contradictions are not merely comparative; Rather, they have various functions; Criticism of the poetic themes and ancient literary style of their time, by de-familiarization and violation of their purpose and protesting the economic and social situation of the people with this exaggerated trick that the theme of all past forms, from epic to lyric about food and food The generalities of his divan are a mixture of all kinds of humor and contradictions; Like Manipusi satire, allegory, satirical comedy, guaranteed contradiction, ridiculous epic, with irony and carnival laughter.

matriarchy refers to a time in previous millennias when women played a special role in society and without them, the lives of the tribe's members would be in danger. In some of the stories of Shahnameh, one can see signs of the matriarchy era. In this research, an attempt has been made to classify the matriarchy stories of Shahnameh with a morphological approach and to provide a model for these stories. For this purpose, after introducing the characteristics of the matriarchy era, a number of mythological narratives that have similar structures in different cultures and whose similarities are same as the events influenced by the matriarchy period are briefly introduced. In the main part of the research, by examining four stories from Shahnameh, namely “Kaikavus and Soodabeh”, “Siavash and Soodabeh”, “Bijan and Manijeh” and “Esfandiar and Katayoun” in terms of morphology, we have shown a common pattern in them: The presence of the goddess of love in these stories causes death or a trouble for the main character of the story as a vegetation deity, and then a return or, in other words, a resurrection occurs for the vegetation god. All of these events are allegorical narratives for the season rotation as a matriarchy myth.

Making computer games in different styles using literary texts is one of the common methods in the game-media-making industry, and due to the technological advances available in Iran and the need for production. Cultural content with a national approach, making computer games adaptation of Iranian literature and culture is necessary. In the present study, the aim is to take an interdisciplinary and pragmatic view while providing appropriate indicators for making a computer game from a narrative text, by analyzing the capacities of one of the works of classical Persian Folk literature Firoozshah (Darabnameh) by Beighami, to show descriptively-analytically how this text and similar works can be used to produce a computer game. However, there seems to be an action-packed narrative with epic and lyrical themes, along with a variety of locations to build the various stages of an open world game and rely on fighting heroes who, in an interactive atmosphere, have the capacity to create coexistence. Has an acceptable perception, along with the multiplicity of characters and their ups and downs to create all kinds of physical conflicts, along with the capacity to design mental challenges in the form of a search framework and a variety of main and secondary missions, is a platform that works This type of literature is suitable for the production of computer games with an effective approach to indigenous culture.

Theory of mental spaces is a theory derived from the theory of possible worlds. This theory and its derived theory, conceptual blending, are useful tools for text analysis in the field of cognitive poetics. The purpose of this study is to investigate how these theories encounter Persian poetry. To examine the application of these theories in the analysis of Persian poetry, we first discuss their philosophical aspects and theoretical foundations, and then test how they work in a lyric by Saadi. The results of the present study show that the theory of mental spaces, despite its generally appropriate function, in some positions such as allegorical structures, does not have the necessary efficiency in semantic analysis of poetry and in such circumstances, the theory derived from that, theory of conceptual blending, can cover the functional vacuum. We have also shown that the theory of mental spaces is a tool that explains and analyzes the linguistic nature of ambiguity, as one of the most important elements of rhetoric in poetry.

In this research, first, the tradition of Khorasanian behavior has been evaluated among various methods, and its important features such as emphasis on austerity, Sokr, Shath and Annihilation in the Sheik have been pointed out. Then, in order to draw this dynamic behavior in the field of Khorasani mysticism, three important turning points in the course of its evolution have been considered: First, the initial formation by personalities such as Ahmad Ghazali, the founder of the current of romantic mysticism. At this stage, the elders of Khorasan, after defining their theoretical and behavioral principles, gradually gave in to the defined monastic system in which the main foundations of conduct were continuous austerity and monasticism. Second, dynamism and prosperity by Najmuddin Kobra, the founder of Shottar's conduct. At this stage, although an attempt was made to adopt a moderate approach to conduct, the strong role of the austerity system and the strong monastic rites prevented a fundamental change. The third stage is the return to the first tradition by a person like Shams Tabrizi. He considered the reliance of Khorasan's behavior on the monastic system as a serious deviation and led it to dependence on the spiritual guardianship of the elders and the doctrine of annihilation in the sheikh.

In this paper, the rage and violence against women have been studied in two different cultures (Western-Iranian) in an analytic-comparative manner, which explicitly depicts how this rage and violence strengthens the patriarchal foundations and sacrifices or even eliminates women. After investigating the theories connected with the feminist criticism and specifically its most significant component i.e. violence against women, the present research analyzes the examples of typical and thematic violence in the two novels of “The Infatuations” by Javier Marias and “On Foot” by Belgheis Soleimani, so that it can unveil the violence against women in these two novels. The analyses show that notwithstanding the different beliefs in the two communities, violence against women is far identical but only different in their type of imposition.

One of the reasons for the double problems of correcting the Shahnameh is the need to examine multiple aspects of this text. These aspects include mythological, historical, linguistic and temporal-spatial dimensions. Basically, these problematic foundations are the cause of the error of researchers and proofreaders in correcting this work. In this research, one of the most reliable corrections of the Shahnameh, namely the correction of Jalal Khaleghi Mutlaq, is examined and some of the flaws of this text have been raised. By highlighting some of the corrections of this text and examining some of the selections of this text and comparing the forms of other versions, the author has revealed some flaws. Neglecting the course of the narration, the meaning of the verses, linguistic points, and cognitive copywriting points has caused wrong choices in this text. Apart from version reviews, other things such as explanation and reporting of bits have also been researched and their faults and shortcomings have been explained.

Story design is a chain of events that adds direction to stories. Not only it determines the order and succession of events, but also an organized set of events connected through cause-and-effect relationships and arranged by a pattern or map. Design has a strong relationship with other elements of a tale. Examining the structure of design in folk tales enhances understanding and perception of the ruling system of tales and their attractions. Lakki’s written tales examined in this paper are based on design elements and the types included Pacha (eight tales in one book), Se-Charaki by Jahanshah Azadbakhsh and Lakki legends by Kiomarsh Amiri Kalejoie. The design of the majority of stories was linear and since the manufactured order of events and trends rule the natural order of tales, closed-design was the most popular design in Lakki’s Pachas. The drawbacks of extending Pacha’s design were in the mystery solving part. Magical agents with metaphysical forces solve the protagonist’s problem, while there is no introduction for the presence of the protagonist's supporting character. That is, the protagonist encounters them by accident.

A newfound manuscript which is known as Kolliat-e Garshaspname , is one of the scrolls which Its final form  has been written in Qajar era.The author of this manuscript, Morshed Gholi, has prepared this mentioned manuscript  based on a manuscript by Sef Aldin which had been related to the Safavid era (Shah  Tahmasp ) . The review of this manuscript shows that the writer has been familiar with the multiplicity of narations and has not been a mere copywriter. One of noticeble interesting narration is the death of Nariman and Garshasb in the Sepandkooh. In spite of Garshaspname naration, in this naraition, Garshasb doesn't die of natural death and is killed by the force of magnetism. The authors of this article not only introduce this manuscript but also show its linguistic and stylistic features. Based on this study, the manuscript has a simple language and using ellipsis and participle are the obvious Syntactic features of the manuscript. In terms of rhetorical aspects mainly, contains, exaggeration, irony and similes, which are mostly sensational, banal and streotype. In addition Rhyme and pun rarely exist in this manuscripton.

In this respect, romantic sonnets also have important connotations and show som realities in this period; Therefore, beloved place was investigated using some tools of Critical Discourse Analysis Approach in the sonnet over the last three decades . Thus, two theories were used for this purpose, Michael Hallidaychr('39')s theory to analyze the text the one and Norman Faircloughchr('39')s theory to explain its social dimensions the other. Among the text analysis tools,Ideational Metafunctional was chosen to focus on processes and naming purposes to reveal the attributes and names attributed to the lover, who is one of the main romantic discourse partner in the sonnet over the last three decades. What meaning these namings convey in term of being positive and negative؛ and Also, what processes or actions has been behind the lover؛ The result attempts to show that the poets of this period have used both general and specific names and other names for the beloved, including: special names and allusive and symbolic signs;adjectives substitute noun, Name of the city and geographical area where the beloved resides; metaphorical names emanating from natural elements; Organs to synecdoche; And metaphorical expressions used to describe the beloved physical and mental characteristics. The beloved of these sonnets plays the most important role in the form of relational processes of 43%, material 39% and mental 12%; In these processes, the beloved has appeared in the roles of actor 35%, carrier 20% and known 15%. The beloved participants is positively assessed in 71% of the processes.

TThe Woman Behind the Bronze Door" is one of the stories in the "Doors and the Great Wall of China" collection written by Ahmad Shamlou. From the reading of the story, it appears that in writing this story, Shamlou has used the features of the Gothic and Surreal schools, in a way that it can be said, he has turned the characteristics of the Gothic school towards the Surrealism school with a kind of artistic transformation. This research aims to show the most important effects and dimensions of these two schools in the story with an analytical method. The findings of the research show that on the one hand, using an atmosphere full of ambiguity and mystery, otherworldly events with anxiety and fear, fearful place, fluidity of time, morbid and chaotic characterization, nightmare, superstitious beliefs and boundless fantasy of a full-fledged Gothic story. has created and on the other hand by creating something wonderful and extraordinary, subconscious mind, illusion, dream and surrealist objects, automatic writing and surreal love, he has written a surreal story. The content of the story is a mixture of dreams and reality in an inflammatory and melancholic atmosphere, and at the same time, the border between the two is not clear. Based on this, it can be said that Shamlou has reached Surrealism from the Gothic passage and has reached the peak of the connection between these two schools, and his innovation in creating a work that is a combination of the two mentioned schools is a remarkable experience in the tradition of Persian story writing.

One of the stylistic features of the elegies of the first period of the Holy Defense (1980-1984) is the imagination of nature, which goes beyond traditional rhetoric due to the subject of mourning of the martyr, and is connected with the literary schools of the world. By collecting all the elegies of the first years of the war that have been published in the collection of poets’ poems and studying the function of nature in images, a combined nature was revealed that can be called a romantic-classical duality. Among the romantic functions of nature in elegies are “nature as a mourner”, “nature as a creditor to the martyr”, “nature as a credited by the martyr” and “nature as a part of setting”. Among the classicism components, “imitation of nature”, “imitation of the ancients”, “instructiveness and pleasantness”, “clarity”, and “decorum” are noteworthy. This duality is the result of linking the traditionalist and truth-seeking approach with the emotional approach that the poets of the Holy Defense have faced in mourning the martyrs of the war, and have chosen it to express and effectively convey their mourning states to the reader.