کاوش نامه ادبیات تطبیقی
پیاپی 48 (زمستان 1401)

The concept of stability, presented in the format of text and image, has always been bound to the subject of Palestine as the main paradigm in resistance literature. This meant, language, despite being originally presented in written form, can be visualized as an image in multiple aspects. In contrast, buried underneath the visual concept of acaricature,is its inseparable linguistic feature. The existing commonalities between the two artistic styles of caricature and poetry such as; hidden signs, metaphors and metaphoric symbols, metaphors and other layered signs, as well as the undeniable influence of these two types in public has led to a parallel comparison of the work provided by Ibrahim Nasrallah and Naji Al-A regarding the critique criteria. The present study, using a descriptive-analytical method and a comparative approach addressing the sign-semantics and narrative-conceptual patterns, has sought to identify the commonalities and differences between the two aforementioned types of art. As the results from reviewing caricatures and poems with a single theme revealed, there existed multiple commonalities with respect to the layered signs such as substitution, metaphorical and allegorical effects, the commonalities of companionship, synonymy and contradiction, and the use of metaphor. However, regarding the narrative-conceptual patterns, there exists multiple differences and distinctions between the two. In this respect, Nasrullah's poems, considering the graphical movements and color, the narrative aspect is more dominant. However, in Naji Ali's caricatures, the conceptual aspect and stability and continuity are more predominant.

Persian and Arabic literature are precious treasures of wisdom and literacy. The existing moral and humanity-related concepts in these two types of literature are originated in Islamic and Quranic culture as well as cultural heritage of Iranian in the pre-Islamic period. The concept of patience is one of the most predominant concepts in Islamic, Arabic, and Persian culture which has been taken into account by sages, poets, and speakers from multiple aspects including; the provided advice for patience, effects and results of patience, types of patience, etc. The evident point is, Persian literature has pursued Arabic and Islamic literature since in descriptive and explanatory Persian literary texts such as Golestan, Bostan, Diwan Hafez, Diwan Nasser Khosrow, Masnavi, etc., multiple signs of Arabic literature can be found. While the theme of patience existed in Iran before Islam, the signs and clues, respecting this particular theme, can be found in ancient Arabic literature. The purpose of the current research is to introduce a part of ancient Persian culture and literature that has been neglected by many experts and commentators of Persian literary texts. As the results have depicted, Iranians were familiar with this theme before Islam, the related interpretations of this theme have penetrated Arabic literature and, then, they have become the source of many literary interpretations </em>afterwards

Iliya Abu Madi and Rahim Moeini Kermanshahi have been inspired by the school of Romanticism and have reflected some of the principles of this school of thought in their work. This, as the result, has led to a number of commonalities in the works of art and poems of these two poets from Iran and Lebanon. The present article, integrating a descriptive-analytical approach based on the American school of comparative literature, examines and compares the common themes in the poems of these two poets and expresses the similarities and differences between the thoughts and views of both poets in the obtained themes. Love and affection, the glory of loneliness, woman, naturalism, patriotism, attention to history and religion, praise and mourning, and poetic stories are some of the common themes that have been expressed in the poetry of Abu Madi and Moeini Kermanshahi. The findings of the present study indicate that despite the similarity found in the thoughts and ideas of the two poets respecting the mentioned themes, a distinct point in their views is the prominent social aspect in Abu Madi's poetries and, in contrast, the dominant individual aspect and feeling, and more colorful emotions in certain poetries of Kermanshahi.

Based on the patterns taken form cognitive science and semantic approaches, conceptual metaphors entered the field of literature. Conceptual metaphors were the one that George Lekoff and Mark Johnson first claimed to design. There are images that determine the characteristics of the source territory and are written on the destination territory. Also, the sensory experiences that are the result of our interaction with our surroundings. This research is to examine the conceptual metaphors (directional, structural and ontological) in the poems of Khalil Matran and Golchin Gilani so as to examine the extent to which two poets have utilized this pattern. Furthermore, the orientation and direction of the two poets in using these images is to be examined as well. After examining the poems of these two poets separately, it was found that both poets have used these metaphors in their poems in an entirely balanced way, and they, by using the images from the conceptual metaphors, have equipped their poems with dynamism, continuity, and more speed in publication. A distinction to be addressed is that Khalil Matran has used these concepts to portray in all positions and directions (love, politics, homeland, ignorance, oppression, etc. However, Gilani's anthology, except in few cases, has benefited from this conceptual metaphor in portraying nature and conveying his feelings. </strong>

Surrealism is referred to as an anti-fundamentalist artistic-social movement in the twentieth century which, since its formation in the West, sought to change the worldview and attitude of man towards human evolution. This movement has considered the discovery of the human subconscious mind as a way to create a work of art and, this way, many areas of language have been overshadowed. Nima Yoshij and Serkon Bolus (1946-2007), who is a contemporary Iraqi poet, are referred to as the two pioneers of this new poetic style. This style includes some current approaches and literary styles that create new and transformational ideas in the poems` form and Level which, as the result, have revitalized literature and called for the emergence of new literature in line with modern life. The present article, using a descriptive-analytical method, examines the collection of "Afsane" by Nima Yoshij and "Eza konto naeman fi markab nuh" by Sarkon Bols by observing the similarities, differences, and the quality of the existing Surrealism identities in the two. The research findings indicate the crystallization of surrealist components such as; spontaneous writing, dreaming, amazing images, discontinuity of time and place, and love in both collections. The only difference is that the first four components have almost the same frequency. But the nature of the element of love in the mythical system is the same as chaste love combined with enthusiasm and decency, while this characteristic in the poem of Boles shows a compact, erotic image and far from social values.

It is no denying that ethics is an essential attribute of human’s social life. There is a close association between human morals, human perfection, and the human desire toward freedom. For Mikhail Naimy (a Sufi writer in Arabic literature) and Ahmad Shamlou (a modern poet of Persian literature, freedom is not independent from individuals` preferences and their will. Having that in mind, the purpose of this study is to find the value propositions and moral norms that Mikhail Naimeh and Ahmad Shamloo in the experience of freedom. This study first refers to value propositions and, then, to their common moral norms. This is followed by an analysis of how normative ethics and value propositions are reflected in the writings. The findings suggest that the poets have used similar value propositions and the only element which signified the difference between the two poetries was the presentation and manifestation of these value propositions in the writing. In other words, the unity of existence is more visible and noticeable in Mikhail Naimy’s work and the ideology of love stands out more in Ahmad Shamlou’s writings. The represented discourses have, therefore, influenced how these moral propositions promoted freedom. In other words, given that Mikhail Naimy’s writings enjoy a mystical theme, these representations and manifestations acted as a path towards a spiritual liberation. Also, given that the epic discourse is the focus of Ahmad Shamlou’s work, these representations and manifestations acted as a path towards a social freedom.

Personification is a kind of literary devices which is used in literary work for the creation of imagination and affection. Moslem rhetoricians earlier – in discussion on metaphor – have precisely noted that why and how it occurs; but they have not pointed to its derivatives. The experts of this field, repeating their ancestors and in affection of their western counterparts, tend to believe that metaphor comprises multiple types of personification. Our supposition is that we can find manifestations of personification and animism by examples from Persian and Arabic literatures in metaphors too. Conclusions of this research change the dimension of imagination and perspective of writers and critics of literary works and after that emerge the changes in classification and investigation of literary devices. As the results claimed, metaphor has capacity to reflex the animation and the most important kinds of it are: evident metaphors based on resemblance of things, plants or subjective affairs to human and animal.