نشریه اجتماعیات در ادب فارسی
پیاپی 6 (بهار 1403)

With the formation of modernity in the West, Iranian scholars and intellectuals sought to discover the reasons behind the development of western civilized nations and to implement it inside the country. Mirza Agha Khan Kermani is one of the first Iranian intellectuals of the pre-Constitutional era who faced the phenomenon of modernism, raised the flag of innovation and modernism, and called for imitation and modeling of western civilization in order to step into the modern world. Like many other intellectual writers, Aga Khan's innovation was not limited to the arena of politics and society; he also presented ideas for modernity in literature and writing techniques and called for a change in the traditional writing style. This research looks at the political and social thoughts of Aga Khan and examines its influence on his modern literary views and has come to the conclusion that Aga Khan planned his literary modernization on the basis of anti-traditionalism and under the influence of nationalism and liberal thoughts, he called for archaism in the Persian language and script, de-Arabization of the Persian language, simplified writing, clear writing, and departure from traditional constraints in writing.

The current article is an aesthetic and philosophical reflection on the epic essence of Ferdowsi’s Shahnameh compared with other chivalric verses after it. The chief concern of nineteenth-century aesthetic philosophers such as Schiller, Holderlin, Schelling, and Hegel has been eliminating the Kantian binaries of ‘freedom versus nature’ and ‘mind versus object,’ and this turns this concern into the central issue of modernity. The contact of these philosophers with Kant has resulted in a wide spectrum of historical formulations endeavoring to narrate the history of the soul prior to its division into object and mind. Also, the formulations seek to represent the essence of the beginning era known by terms such as being, essence, absolute, general spirit, totality, as well as coherence and totality. Hegel refers to this era as the epic or classical period. This article looks at Ferdowsi’s Shahnameh from this aesthetic standpoint, seeking to demonstrate how the poet during the late period of subjectivity and positive religions has been able to summon up the universal spirit of epic in his poetical form and get close to its poetic spirit which is absent in all chivalric texts after it. Here the main argument is historical possibility and the issue under discussion has not been reduced to the personal genius of Ferdowsi and preconditions like nationality and the periodic display of early emergence of civilization.

With the sociological analysis of the literary work, by emphasizing a dialectical relationship between form and content, the author's worldview can be connected with history. In this way, in the alignment of historical sociology, historical events and happenings, cultural characteristics and important issues of society are determined in the study of works. ". Reza Baraheni (1401-1314) is one of the prominent contemporary writers who wrote his stories based on the events of the society, whose works can be analyzed with the approach of sociology of literature in relation to contemporary history. The subject of his four stories "Song of the Dead", "What Happened After the Wedding", "Secrets of My Land" and "Well to Well" is a reflection of the political conditions of Iran before the Islamic Revolution and the events during the revolution It can be analyzed with sociology in relation to history. In this article, By reading a library in a descriptive and analytical way, these works have been examined with the aim of examining the worldview of the author and the meaningful structure of the content in alignment with the social and political structures of the society with Historical sociology. The results of the research show: , Baraheni 's stories are a historical report of the events of the Pahlavi period. All the stories describe the society from the Pahlavi to the Islamic revolution. It can be seen in the historical structure of the events of the fifties with a detailed narration. In terms of content, the tyranny of the regime, corruption of governance, SAVAK, prisons and popular struggles are central issues. with descriptions that have real parallels in contemporary history ,he narrates the protests and struggles of intellectual groups and people against the Pahlavi regime from the point of view of a university-educated intellectual collective actor.

After the publication of novels and stories, various forms of literary criticism, theories, and history of literature with different approaches in relation to them come into existence. Exploiting the descriptive-analytical approach and certain bibliographical elements, the present study seeks to examine Jamshid Iranian’s Book: Social Reality and the World of Fiction which is the first critical book in Persian literature. In writing it, Jamshid Iranian benefits from Lucien the sociological theories of Goldmann and George Lukacs. Given the book’s merit, it has a clear structure, a coherent text, good analysis, and compatibility between the text and its goals. In addition, it pays attention to aesthetic aspects in its analysis and does not have any limitations in expressing its views. Despite the positive aspects, the book suffers from some demerits manifested in its criticism and sociological analysis with respect to the sections on philosophical and psychological criticism as well as in its ambiguous border between the historical structure and historicity of stories. These weak qualities do not reduce its values and impacts and damage its coherence. According to the genealogical perspective, one can regard the book as a turning point in critical studies in the field of fiction since it has created the gap between pre-published and post-published books (in the field of sociology of literature), setting itself as an example/criterion for performing more scientific and precious literary studies.

Due to their occurrence in language, metaphors are linguistic tools for the emergence of ideologies in texts. They essentially mirror ideological discourses. Employing metaphors as a stylistic component permits literary writers to fashion their works by highlighting, dimming, and hiding feelings, inducing false perceptions in their readership. Accordingly, drawing on Lakoff’s and Johnson’s insights about conceptual metaphor, the current study seeks to explicate the ideological metaphor of up/down in socio-critical narratives: Varaghhaie Pare Zendan (Torn paper from the Prison), Az Ranji Ke Mibarim (From the Pain we Suffer), Azar: Mah-e Akher-e Paeez (Azar: The Last Month of Fall), Sag-e Velgard (A Wandering Dog), and Kheim-e Shabbazi (Puppetry). The conceptual metaphor is one of the new approaches in semantics. The orientational metaphor is one of the conceptual metaphors by which the system of concepts is structured based on orientation/ direction (place) such as inside/outside, center/periphery, and up/down. The present study is carried out in the descriptive-analytical approach. It initially introduces its conceptual framework along with the selected narratives. Then, it identifies statements containing up/down metaphors in the narratives. Afterwards, the study will analyze the relationship between the detected metaphors and the ideology of the narratives to explore the role of up/down metaphors in power relations within the narratives. The findings of this work demonstrate the writers (of the selected narratives) have benefitted from the up-down metaphors to represent the abstract concept of power and its relations, to reflect their ideologies, and to show the confrontation between the oppressor and the oppressed which is the most important constituents in socio-political narratives.

Fereidon Tavallalli was one of the early enthusiasts of Nima Yooshij's innovations in Persian poetry. Tavallali was known as a semi-traditional Romantic poet in contemporary Persian poetry. In addition to his continuous political and social activities, he, as a poet and critic, sought to elaborate and explain his preferred type of poetry. Moreover, some of his poetry collections were accompanied by his introductions and notes. Tavallali's extended introduction to his Raha poetry collection was kind of the Romantic poets’ manifesto in which he acknowledged and defended new poetry and criticized old-fashioned poets and literary associations of that period. In his Raha collection, one can observe political and social poems besides the romantic verses. In the same collection, the poem: Fardaye Enghelab (The Tomorrow of Revolution) is the most famous. The present study's main goal is to examine Fardaye Enghelab according to the ideological square method and analyze the measures taken by the Tudeh-Party-affiliated poet to advance his party goals. The findings of the current study indicated that the poet mostly focused on reinforcing his strength and undermining others’ strong points. Also, he paid scant attention to his weak points and those of others. Moreover, according to this study’s findings, one can extend the four sides of the ideological square method by adding another two sides, that is, the political and social behavior of the poet in describing self and non-self forces under the six sides, thereby improving the ideological square method.