کاوش نامه ادبیات تطبیقی
پیاپی 56 (زمستان 1403)

One of the symbols of civilizational unity among Muslims is the literary interaction between Iranians and Arabs, which has begun since the advent of Islam in ancient Iran and intensified in the Abbasid era. The Abbasids, being influenced by the Iranian culture and civilization, became fascinated with luxury, beauty, and prosperity like the Sassanid kings. Accordingly, the ancient ceremonies entered the Abbasid court because of their emergence from the roots of the Iranian culture, which gave its knowledge, the Tazian poets a great literary identity, which made Arab poets pay attention to the Persian language and transmit knowledge, rituals, diaries, and Iranian myths, to the Arabs through poetry, despite their influence on the Arabic language. Al-Sharif Al-Radi is the committed poet of the third Abbasid era, who was influenced by various aspects of Iranian culture and civilization. This article aims to identify various aspects of this Iranian cultural and literary influence in the poems of Sharif Al-Radi in a descriptive and analytical way, based on the indicators of comparative literature and the French school. One of the results of the research is that Sharif Al-Radi, with his extensive knowledge of Iranian culture and literature, was influenced by its various manifestations, especially in the axes related to recalling Iranian cities such as Ahvas, Al-Sus, Al-Arbaq, Tus, Daylam, and Al-Bam, as well as the intense presence of Arabicized Persian vocabulary in his poetry. Additionally, his interest in Sasanian culture and civilization has been revealed by remembering aspects of Iranian culture and customs such as the ancient Nowruz and festival celebrations, and mentioning the names of Iranian kings, personalities, and heroes in his poetry.

Revealing the feminist narrative discourse that the narrator introduces in feminist fiction is an attempt to uncover the reality of women. It also becomes evident that Scheherazade, in the original story of “The Thousand and One Nights,” was able to narrate and shape the image of women, thereby preserving their presence in front of Shahryar, who represents the male gender. In this context, Sawsan Jamil writes her novel “A Thousand Nights in One Night,” inspired by The Thousand and One Nights, as a model of female authorship. Through her work, she addresses the issue of femininity under the authority of masculinity in society from various perspectives. The comparative-descriptive approach has been selected to compare the novel "Thousand Nights in One Night" and the introductory story of Thousand and One Nights in this examination. The title encompasses the themes of night and its significance in both vigil and conversation. The narrator, addresses a man with the title “Mawlay” and identifies herself with the word Scheherazade through the available stories considered narrator’s memories experiences. In Jamil's novel, the title has its own significance and purpose. Furthermore, there are notable differences between the mythical Shahrazad and Dima, who embodies the identity of an Arab woman. They do not fully conform to the Scheherazadean archetype, as the narrative also explores the identity of women in contemporary Arab society, particularly through Dima's life experiences. This exploration highlights the challenges she faces in relation to the expectations associated with Scheherazade's Sawsan employs innovative narrative techniques to explore the restoration of heritage, infusing it with contemporary significance and experience. She redefines the traditional roles of Scheherazade and Shahrayar, inviting a deeper examination of the dynamics between male and female characters and the implications of their relationship. Through the character of Dima, Sawsan articulates a vivid portrayal of self from the perspective of the other, expressing her views in the form of intellectual reflections and striving to assert her femininity through storytelling. 

According to the theory proposed by Lakoff and Johnson, image metaphors emerged as a challenge to traditional rhetoric, which considered metaphor reliant on language rather than on thought and cognitive processes. Image metaphor permeates all facets of daily existence and operates as an invisible mental mechanism in modern poetry, shaping the poet's imagery systems and mirroring their life experiences. Metaphor serves as a crucial method of indirect, creative expression in the poetry of Ali Ja'far Al-Alaq and Manouchehr Atashi, deeply engaging and impacting the audience through various schemas. Adopting a descriptive-analytical approach and drawing on the American school of comparative literature, this research examines the most notable metaphorical image schemas in the works of these two poets. The findings reveal that both poets frequently employ volumetric schemas to illustrate their conceptual imagery, with a particular emphasis on the human body as a vessel for abstract ideas. In Al-Alaq’s poetry, the movement schema is inspired by external environmental motifs, while in Atashi’s works, it often signifies the passage of time. The power schema in Al-Alaq’s poetry highlights the dominance of negative and limiting forces over the poet’s perspectives, whereas in Atashi’s poetry, it depicts the interplay of positive and negative forces and their effects on his personal and social viewpoints.

Imageology or literary image is one of the subjects of comparative literature, which, in addition to knowing another culture, explains the image and searches for its literary value. Comparative literature helps each nation to know its place among other nations, and to see its image in the mirror of others. The aim of the research is to describe another and how he appeared in the book "Journey to America" by al-Batnouni, and also to compare another with different types of mine with a descriptive and analytical approach. Therefore, the writer's critical point of view is searched for the other. One of the most important results of the research is that the image of Arab me, or us, is presented as a tool for comparing the Arab self and the American other. The other, which is acceptable in the author's work, is divided between the admiration and admiration of his achievements and the denial of some other characteristics that are different from him in terms of religion, culture, science and civilization. He considers the foreign cultural reality superior to the national culture, and this does not mean ignoring the problems and not having a critical view of the other. My image is linked with the Egyptian people, their heritage, civilization and values, and another American image in his work includes a negative image such as racial discrimination, injustice and a positive image such as freedom and other superiority in social, economic and political cultural elements.

After the events that unfolded between the West and the East, particularly between Muslims and Zionists, the concepts of "me" and "another" entered the texts of Arabic literature, and the writers reflected these images to preserve the identity of the Lebanese "me" against the Zionist "other". "I" here represents a Lebanese individual who made a revolution to protect his homeland from the foreign "other". With this statement, the three main axes of this research are "me" and "other" and the relationship of enmity and antagonism between them. With descriptive and analytical approach, we aim to clarify the image of "me" compared to the image of "other" in these stories and the relationships between them. The most prominent theme in Ali Hajazi's stories is the portrayal of "self" despite the defeats experienced during the war. The character is represented by the killer and the occupier, who perpetuate violence. The pessimistic Lebanese perspective is illustrated through the character of Abu Saad's neighbor in the wedding story, who, despite the destruction and damage, presents a new, victorious image of a dialectical relationship that intertwines the "self" with the "other" in these narratives, ultimately concluding with the defeat of the Zionist "other".

In all languages, a word is recognized as the core term, serving as the foundation for other words that maintain the same meaning while appearing in new forms based on the perspective of the speaker, writer, or poet. These variations are referred to as marked words. Wadī‛ Sa‛ādah and Hafez Mousavi are two poets whose poems contain numerous similarly marked words in terms of both structure and meaning, to the extent that the use of these words can be considered a literary trick of the poems of these two poets. This study, which employs a descriptive analytical method, aims to examine the structure of the highlighted words in the poems of Sa‛ādah and Mousavi, as well as to articulate the most significant meanings of these words in relation to the American School of Comparative Literature. An analysis of the prose poems by these two poets reveals that, in addition to their sentences, they present the highlighted words in descriptive and supplementary combinations, utilizing straightforward language that is accessible and uncomplicated. The highlighted words in their poems are either derived from societal conditions or inspired by the beauty of nature. Consequently, both poets employ techniques such as simile and metaphor to craft meaningful words and phrases that occasionally attribute human characteristics to inanimate objects and elements of nature, while at other times, they visualize the impossible through historical references. This approach facilitates an engaging experience for readers by transforming their works into open texts. The predominant theme of the highlighted words in the poems of these two poets is the portrayal of the suffering and pain experienced by contemporary individuals.