نشریه پژوهش های ادبی
پیاپی 81 (پاییز 1402)

Relying on the theory of social constructionism and emphasizing Foucault's theory of power, this study aims to examine the relationship between the social constructions of gender and embodiment in two novels of 2000's titled "Sorkhi-Ye To Az Man (Your Redness be Mine)" by Sepideh Shamlou and "Az Sheytan Amookht Va Soozand (He Learned From the Devil and Burned)" by Farkhondeh Aghaei. The study sees the atmosphere of the novel as a possibility of living. So, it considers the practice of the novel both as a product and as a tool for discovering human existence in various representations of the construction of gender. The findings mention examples of gender construction that are categorized under titles such as feminization and suffocation with emphasis on the concept of women's inferiority and normative conflict as a sign of the evolving gender. According to the results, the female gender is inferior to the male gender in the novel "Sorkhi-Ye To Az Man based on the discourse atmosphere that governs the story. On the other hand, in contrast to the dominant discourse of the gendered society, the narrator has distanced herself from the imposed subjectivity of the inferior female gender, takes the initiative of constructing her gender, and provides a freer perception of the identity and female gender in the novel Az Sheytan Amookht Va Soozand.

The palm tree in its mythical nature is one of the Mesopotamian and Elamite vegetable gods, whose traces of its alien nature in human incarnation and its transformation have been left in the beliefs and customs of the people of southern Iran in relation to the myths of creation and fertility. The mythical history of the date palm in terms of anthropology is similar to most of the traditions and popular beliefs of the people of the south, and has led to beliefs such as the creation of the palm from human palm and knowing the palm tree as a companion in the south. The sanctity of the palm and beliefs such as that the palm has organs and conditions like human beings and rituals such as marriage, the dramatic threat and sacrifice of the palm, etc. are rooted in the myths of birth and fertility. The process of characterization of the people of the South from the palm tree in terms of the cycle of death and life and resurrection to the goddess of fertility, complement each other and express the perception of the cosmic position of the female force in the universe. This article is a descriptive-analytical field and library study to analyze the myths related to creation and fertility in the folk beliefs of the people of the south about the date palm based on the people of Jahrom and its mythological elements in customs and beliefs such as: birth and sanctity of palms. It has shown fertility, love, madness, death and the coffin of the palm tree.

The main behind this study is the morphological analysis of Ashiq stories in the process of formation and development of this genera of folk literature. Hence, a question arises as to: what morphological structure did Ashiq stories have in the Safavidera and how were they formed? In so doing , stories including "Asli and Karam", "Ashiq Gharib and Shah Sanam", "Tahir and Zohreh", "Novruz and Ghandab", "Shah Esmail and Arab Zangi", "Arezo and Ghanbar", "Abbas and Golzar" and "Shah Esmail and Gulnaz" among them have closely been scrutinized.It is assertad that the advent of stories belongs to the end of epic period .the viewpoints of folklorists Iike partev naili boratav , Muharrem Ergin, Hossein Ismailov, and Mohammad Hossein Tahmasb show that the advent of common Ashiq stories serves as a complementary of the gap proceeding the epics of the 15 th century and the previous centuries. Dada Qorqud stories are also considered as a product of a transition period from epics to common stories. Finally, the results of the study reveal that not only has the structure of stories maintained the underpinning of the epics; it has also experienced seminal chenges and has created different characters.

Metaphors have been upgraded from being a word fantasizing tool to a tool for cognition and thinking by George Lakoff’s and Mark Johnson’s cognitive metaphor theory. Lakoff and Johnson found out that metaphors do not only belong to literary language, but the are functional in everyday language as well and poets transferred the metaphors in poetry and literary language for their own purposes. Conceptual metaphors make concepts tangible using “source domain” and “target domain”. “Domain” is a scope of words and meanings which make a concept imaged or “mapped”, for example journey is the “source domain” and life is the “source domain” in “life is a journey”. In this schema we used a tangible concept for life which is an abstract concept.  Given to the theory, the current study conducted an analysis of Hafez Divān’s first sonnet to prove that the sonnet is based on and fully explainable by “love is a journey” conceptual metaphor; in fact all the sonnet’s components serve to induce this concept.

The purpose of this paper is to examine the metaphorical conceptualization of "death" in the Novel "I am alive" by Masoumeh Abad (2014) to find out how a teenage girl who was held captive by the Ba'athist regime in Iraq for 4 years, perceive  and represent the phenomenon of death. This analysis has been done within the framework of conceptual metaphor theory (Lakoff & Johnson, 1980, 1999; Lakoff, 1993) and the findings of the research reveal that the authors have used various conceptual domains including school, fighting, entertainment, journey, disease, natural phenomena, beverage, reward, key, as well as the cognitive mechanisms of personification, animism, and Objectification, all of which are based on metaphor to express the concept of death.

This paper aims to study Shaharnush Parsipour's novel Touba and the Meaning of the Night" (1368) in the framework of  Erving Goffman's theory of Stigma: Management of Spoiled Identity (1963). This theory examines the relationship between people in daily life. This novel narrates the life of Touba from the late Qajar to the Pahlavi period. While using an anthropological approach, the present descriptive-analytical research tries to answer which themes of Goffman's Stigma are more prominent in the novel regarding Touba, who narrates the story. The results indicate that the novel's most important stigmas and labelings are feelings of anonymity or loss of identity, disgust, rejection, anti-currentism, social dissent, and doubts about Touba's character, which often has a psychological and cultural basis. The disrespect, hesitation, ominous feeling of destiny, insecurity, obsession, and inferiority complex, and consequently, the arousal of hatred and revenge surrounded Touba more than anything else.

The depictions derived from the subjective mystical experiences, in Molvi's lyrical poetry, have not been analyzed specifically and independently, in one place and in a regular manner; Although in a general way, the types and branches of Molvi's imaginations and imagery have been included in the cycle of research. This research claims that Maulvi was able to express the pure images of his internal and intuitive experiences, which are generally indescribable, in the Ghazalyat of Shams, and this is a rare event that Maulvi went through and managed to express the most abstract experiences. In this research, which is based on the descriptive-analytical method, with library and citation tools, and in the theoretical framework of Gadamer's hermeneutics, after reviewing the opinions of various researchers about the separation of mystical experiences, those poems of Divan Shams which, in particular, are manifestations They are considered to be one of Molavi's personal mystical experiences, based on the current feeling in the ghazal, they are divided into four categories: pride and warning, reprimand and blame, the need to recognize oneself, and joy and forgiveness, and for example, a ghazal from each of these categories is examined. and analysis has been done.

In recent years, the tendency to short-term format has been considered by poets. Priskeh is one of the types of contemporary Persian short poems that was officially registered by the Ministry of Culture and Islamic Guidance in 2012. Based on this research, it was concluded that Priskeh is an independent short format that has its own characteristics and has significant structural and material differences. And the goal is to recognize more and more Priske short template as a short short template and introduce its special features. Some poets take their poems haiku while none of them followed their principles. but declared to the Japanese poem that; Accordingly, sometimes, with the rules of your acquaintance, Priskeh has also made Persian haiku or imitation of them.