Journal of Literary Criticism and Rhetoric

The Morphology of the story by Paul Vehvilainen is one of the morphology patterns for analyzing hero-centered stories which is somehow a summarization of Propp’s method. Accordingly, each hero-centered story consists of five stages (the feeling of shortage and deficiency by the hero, his motive for compensation, facing the helper, confronting the test, and reward) by which narrative structure and formation can reveal the author's purpose and point of view. As a didactic work, Sa'di's Gulistan contains, in its first volume, eight anecdotes coincided with the Paul Vehvilainen’s suggested model. All heroes are people related to the word or meaning of the court and faced with unwanted psychological, physical and situational challenges. Some "human/situation" combinations of helpers, the class of therapists in particular, accompany them. Afterwards, the humanistic high quality features of the person such as (tact, patience, insight, loyalty, friendship, freedom, and magnanimity) are measured in an examination. All the heroes come out proudly, and the desire brought the movement about would be achieved with the same quality or above. Therefore, processing heroic narratives in a realistic space, Saadi introduces everyone as the hero of his own life narrative and utilizes the heroic genre to get his purposes in didactic literature.

Due to the link with the Qur'anic language and Muslims' verbal beliefs, the concept of metonymy has been considered as a controversial and important challenge from the beginning of rhetorical studies in the Muslim world. Farra, Ibn Abi al-Khattab Qureshi, Abu Obeida Moammar bin Muthanna, Jahiz, Abd al-Qahir al-Jurjani are the most prominent people who have taken the basic steps in formulating the definition of metonymy. It has, however, changed in to a rhetoric term near Sakkaki and khatib Qazvini and has been realized with the same definition till now. Nowadays, metonymy is repeated with the same traditional definition and the interests exist in ancient rhetorical texts, however the contemporary linguistic studies help greatly in making the classification and modern definition of topics in eloquence clear. Drawing the evolution has happened in the definition of metonymy and its interests, the present study is to analyze it on the basis of Jakobson's theory of "metaphorical and metonymic poles of language" and through the concept of association and the law of proximity, it attempts to prove that metonymy applications are actually figurative associations to the semantic interests of proximity; and it would be possible to take a new look on the discussion of metonymic interests and to facilitate its instruction using this approach.

Creating new characters and spaces, Shahriar Mandanipour has written “Ultramarine Blue” as a fiction collection on the basis of the events happened in September 11, 2001. The form of the stories, the combination of the sequences and the narrative style tailored to the subject of the stories all express his work's structural profoundness. In each one of the stories, Mandanipour deals with a specific aspect of events happened in September 11th. In this story collection, the technique of creating various and diverse stories about a single incident is to illustrate the fact that there were numerous narratives and analysis of the incident and the way suggested to confront all over the world. The narrator's viewpoint and the basis of narratives about the 9/11 incident is depended on the points of view of the victims and the people who suffered the disaster of the tragedy. With this critical concept, there will be no difference between the performance of attack designers and those who provide the operational bases for terrorist acts, both of which cause destruction and collapse of the lives of the public. The subject of the stories and the way they are narrated inspires sympathy for humans, whether Eastern or Western, and shows that all human beings are incapable and vulnerable against such events.

Vahshi Bāfqi is one of the most prominent speakers of 16th century and one of the leading figures in the "School of Occurrence" who has composed poetry in various forms and has created several outstanding poems in all of these styles. He points to didactic and ethical issues in his Kholde Barin and uses in this regard the tools of rhetoric and in particular semantics effectively. He has succeeded to transfer and learn ethical concept to the audience using semantics and its appropriate tools such as imperative, subjective and question sentences, and in this way he could make the presence of the audience in his text more distinguished. These types of sentences and their secondary meanings have been examined in present study and the subtleties of three semantics topics: imperative, subjective and question sentences and their role in effective manifestation of the poet's didactic themes in an instructive text has been explored.

The present study is to provide a consistent description for a kind of Persian meter known as dowri (cyclic) meter. Those researchers who study meter have mostly defined the cyclic meter on the basis of its application rather than its metrical structure, so they have not been able to describe it comprehensively. Since there is a significant relation between the cyclic meters and prosodic circles, the special circle of each cyclic meter should be initially analyzed through a descriptive approach in order to get an accurate definition of it. A cyclic meter is nothing but a prosodic circle that some of its syllables are omitted, or are replaced with a pause. It should be noted that the cyclic miters are grouped into double meters category , but they differ from double meters . this fundamental difference is related to the way these meters are made . Every cyclic meter is double meter , but not each double meter is a cyclic one.

The nature of mental activity is one of the issues are being studied in cognitive science. From a cognitive point of view, understanding a conceptual domain based on another conceptual context is "metaphor". The use of body organs, as a source of cultural conceptualization of everyday concepts, is very considered in cognitive linguistics. The conceptualizations of "eye" in Hafiz's sonnets has been analyzed in the context of cognitive linguistics in present study. This research is to answer two questions: 1) what is the source concept in the "eye" conceptualization in Hafiz's sonnets? And, 2) which of the quadruple tools of expansion, complexity, composition, and question, that make the language of poetry different, are applied more in creation of "eye" metaphors? Findings show that "eye", in most metaphors, has been conceptualized as an abstract concept in destination domain with more objective concepts. In other words, "eye" benefits concepts such as human, vessel, and object as a source domain. The most conceptualization of the "eye' is also seen in the source domain of vessel. It can be said that "combination" is the most used mechanism in conceptualization of "eye" in the poems of Hafiz, regarding the application of various types of cognitive mechanisms.

The present research is about the most important symbol in the field of thought and language of Jalāl al-Dīn Muhammad Balkhī, which has been dramatically and questionably repeated in most of his works, especially Mathnavi, and deserves revising. Its reading and revising can provide new fields of research in the works of Mowlavi. The sun and the light have intertwined with religious, mystical, and mythical ideas and beliefs and manifested in a particular way in Mowlavi's thought system, what can be considered, in its turn, one of his poetic privileges. When the fundamental symbols of Mowlavi's thoughts are analyzed through a symbolic approach, the amazing depth of the particular thinking of this symbolic mystic would be better revealed; because a prism of symbols, tied to the sun, moves around this center and displays well its unitary idea. With the help of sun image, Mowlavi exhibits the hidden unity of this world's interior, and has resolved the internal and psychological conflicts using a creative and artistic psychoanalysis. The sun has not only been able to put the man mind on the borders of perfection and beauty, but also has improved his power, spirituality, hope and insight.

Metaphor is one of the major issues in cognitive linguistics. Metaphor, in this approach, is not just one of the tools of poetic imagination or a lingual feature, but it occurs in our everyday life and our thoughts and actions. It is essentially a way through which the conceptualization of a domain of experience is going to be expressed in other domain, according to Lakoff and Johnson (2003). The destination domain is usually more abstract and the source domain is more objective and tangible. The above mentioned scholars have divided conceptual metaphors into three ontological, structural, and directional groups. Through a descriptive-analytic method, the present study is to analyze the materialistic ontological metaphors in Ferdowsi's masterpiece, Shahnameh. The phenomenal or material metaphors are those that are formed on the basis of human experience of material and physical objects. In order to answer the question of how material ontological metaphors were used in Shahnameh and what concepts have become concrete through this metaphor, the authors have reviewed about 3800 distiches of the work. It has been found that Ferdowsi made many abstract concepts tangible by using material objects. These concepts are destination domains that have been conceptualized with the source domain of object. Ontological metaphors are the most frequent type of conceptual metaphors in Shahnameh.

Using a descriptive-analytical method and through a linguistic approach, the poetic language of Ahmad Reza Ahmadi has been criticized in terms of formalism in present study. The results show that applying various types of verbal and semantic defamiliarazations and deviations, as well as making various combinations and expressions, has given a special prominence to his particular language in such a way that it can be said that he has a different style and language. Since the beginning of the work, the poet has kept in his poems the uniformity of language and content, and has narrated the routine and common events of life, and, with the use of potential power of language, abandonment of lingual norms and defamiliarization of usual habits, and also through common utilization of words and sentences, has created new narrations and themes and developed a new form of language.

To discover hidden implications of myths, Claude Lévi-Strauss- the well-known theorist of structuralism - has divided myths in to their smallest forming units, mythemes and has tried to explore their hidden meanings determining the position of mythemes and their dual contrast in different narrations. Using the structural approach of Lévi-Strauss, the Jamshid's dual personality has been analyzed in present study. His different dimensions of personality are the result of three confrontations between good and evil, death and immortality, and the importance and insignificance of family ties. The deep-structure of Jamshid mythology is also based on the twins' birth pattern, in a way that the first child has a good face and the second one is ugly because of the risk he makes for his mother's life. Jamshid plays the good role as long as his twin is present in the myth, but when the role of his twin fades away Jamshid himself represents both roles of good and evil character of the twins.

The present study has been accomplished to answer the question of whether the equivoque of proportion is represented only at the level of "one distich" or "one sentence" (horizontal axis) as an assumption comes from the works of the classic writers, or it can also be detected on the vertical axis of the text? To answer this question, the course of the Persian rhetoric evolution has been studied, and then, the ones who have initially proposed the concepts such as equivoque, equivoque of proportion, equivoque of translation, equivoque of contradiction, equivoque of overtaking, etc. have been introduced. Their various definitions and evidences have been also examined and criticized alongside a comparison between the opinions of the classic scholars with the views of contemporaries, and finally, "the equivoque of proportion on vertical axis of text" has been studied, referring to Hafiz's Divan, Naftha al-Masudur and the works of others. Mentioning textual evidence in this section, the meanings of the phrasal terms have been pursued in the Persian dictionaries, attempting as much as possible not to cite from contemporary dictionaries. As it will be seen, such a use of equivoque is fully consistent with structural stylistics and worthy of consideration.

More than half of the quatrains attributed to Baba Afzal Kashani, a high rank quatrain-composer among Persian poets, begin with self-addressing, or addressing nonhumans, God, prophet, beloved, opponent, reader and etc. as well as addressing human beings from the promise of the Creator. The audience is sometimes paid attention in the middle of the poem. Besides, to get his purpose, the poet applies imperative and preventive sentences to inform his audience using enthusiasm, avoidance and reproach. Providing exact statistics, the present study is to show what is addressed by the poet, the times, the forms, the reasons for addressing and its benefits in Baba Afzal Kashani's poems, and to compare his quatrains with the works of Khaghani and Zahir, two of his contemporary masters and Abd al-Rahman Jami, of the great quatrain-composers to reveal that his art sometimes overtakes theirs in using most of addressing methods. Also, the profound influence of the poet's teaching role on the influence of this method in his poetry and the effect of this eminent stylistic feature on the prevalence of Afzal's quatrains will be pointed out.

Qeysar Aminpour, the prominent contemporary Persian poet, was skilled in composing sonnet (ghazal) more than other traditional forms of poetry and besides his expertise in modern poetry. His sonnets are of certain simplicity and directness with no complexity or special artificiality. His sonnet is considered as the continuation of a flow in modern literature which is called “New Sonnet” and is said to be more close to the spirit of the Modern or Nimaei Poetry. The prevailing mood for his sonnets is mainly: expressing the narration (hadith) of his own self, describing his inner and personal states, and, a mild social criticism. He uses a simple language, ordinary addressing and even conversation to achieve a suitable way to express his points. This kind of poem lacks the traditional constraints of sonnet, both in terms of content and theme and in terms of form and structure. In terms of form and structure, the distiches of this type of sonnet are short, while the focus of semantic unity of the poem is more on the vertical axis of sonnet. He has also made innovations in the field of rhyming so that he has utilized radifs (identical ending syllables) –mostly verbal- in his sonnets. Through a descriptive method and using and reference to the statistical tools, it has been tried in present paper to explain the subject of discussion.

Nizami Ganjaviis a powerful storyteller and poet who shapes the world of stories and the world of each of the heroes as he wants, through proper using of lingual structures and based on the purpose he follows. How does Nizami succeed to create his voice in the story with command and authority? And how does he shape the routine of the story according to his purpose and how does he makes the audience accompanied with him? The methods Nizami used to control the routine of narrative are studied in present paper. The discourse analysis of Nizami's romance, khosrow and Shirin, and scrutinizing the interpersonal and mental function of language show that  Nizami has intelligently used a variety of techniques, such as modality (state expression), aggression, speech, viewpoint changing, and focusing to consolidate his command, to lead the  routine of  narrative, and to achieve a colorful and effective style.

To understand the rhetoric of Persian language and to recognize its capacities in expressing meaning, its syntactic structures should be initially studied and analyzed. It is only possible in this way to know how a particular concept and in what structure it should be expressed. "Restriction and bound" is one of the concepts has various syntactic structures in the Persian language. This variety of syntactic structures expresses the high capacity of syntax in Persian language to induce rhetoric intentions and creating a perfect conforming between the form and the language format with the desired meaning and purpose. In this regard, it has been tried in this paper, relying on Sa'adi's words, to identify all the facilities and capacities of Persian language in expressing the restriction and to propose a distinct classification for them. The results show that all of the facilities express the restriction in Persian language can be divided into two general categories: 1) The metalinguistic process, which has no specific lingual sign to be appeared in the objective chain of language; "stress" is the only capacity of this process. 2) The objective factors and signs of language; syntactic structures such as "attributives", "exceptions", "displacement of components" and "use of special constraints" are subsets of this category

Upon arrival, modernity caused widespread changes in various levels of Iranian society, including the intellectual and cultural levels, and the mystical discourse, as a dominant traditional discourse in Iranian culture, changed afterwards. Persian novels were among the works that showed these changes or they themselves were involved in creating an effective dissidence. So, their examination can play an important role in rheology of mysticism and its position in the contemporary era. This research is to investigate the representation of mystic discourse in the novels of "Wandering Island" and "Wandering Cameleer" of Simin Daneshvar. Three "traditional", "modern" and "semi-traditional" discourses have been represented in this novel. In traditional discourse, the revival of the traditional role of mysticism in man's emancipation has been emphasized; but mysticism has been criticized in modern discourse and it has no role in this thought to solve the problems of contemporary society. The representation of these two discourses has been accomplished, if not say badly, with at least considerable weaknesses. In the "semi-traditional" discourse in which representation is accompanied with "goodness", the author presents, based on the teachings of traditional mysticism, a kind of mysticism that is consistent with modern society.

Providing an analysis of the structural and grammatical elements of Shams Tabrizi's Articles through a semantic approach, it has been tried in present paper, to invite readers taking a new and different reading of this masterpiece. As structural studies show, the literary genres follow certain syntactic and grammatical patterns. The verbal modes and different types of nouns and pronouns have their special semantic effects in language. So, it can be seen how Shams develops the theory of similarity, using various techniques such as omitting and spacing, and utilizing tools such as reversal of meaning, creating encrypted structures, and entering the territory of trope that results in uncertainty and indeterminacy and how, in this case, the language reduces its enlightenment aspect to be able to find a radical and progressive (avant-garde) state.

The school of humanism is one of the three major branches of psychology have been introduced in twentieth century. Abraham Maslow, the most famous character of the school, tried to study the best human specimens, unlike the scholars of other schools. He emphasized on positive and human-based behaviors. Maslow identifies the root of human behavior in his needs and considers it a five-step hierarchy includes physiological needs, safety, love and belonging, respect and self-actualization. His special attention to self-actualization has led to the emergence of a theory with the same name. Self-actualization is the manifestation of Human-self at its possible highest level, as he believes. "A better understanding of reality and establishing an easier communication with it" are among numerous component Maslow mentions for such people. The component has been reviewed in Naser Khosrow's thinking and life, in present paper, through a descriptive-analytic method; because he is known as a realist figure in the field of Persian literature, and man stands in a special place and has a central role in his intellectual structure. The most important features of "reality perception" in Naser Khosrow's life and thought that are consistent with Maslow’s theory are: “a correct understanding and a proper judging of reality and an accurate identification of deceitful people”, “collapsing the ruling stereotypical traditions of the society through protest”, “special attention to logic and reasoning”, “welcoming to unknown phenomena”, “emotional and mental instability in some cases” and “enlightenment and scholarship”.

"Esteshhad"(confession), or on a lighter note "Qur'anic citation", has always been one of the most outstanding features of Persian prose. Such as any other verbal phenomenon, this oratorical industry has naturally experienced a considerable evolution due to the prevailing intellectual and literary requirements of each period. Surveying several examples of confession in Persian prose from 5th up to 8th Hijri centuries shows that this industry has transformed from reasoning in to a rhetoric element and its lingual structure has changed from an independent, explicit and expansive state to a concise, ambiguous and motion-based pattern as a result of this functional evolution. The ultimate result of this is the emergence of a new additional combination in Persian language can be called "confessional". Due to the absence of this kind of additional combination in the Persian grammar books, it seems necessary to carry out a comprehensive review on its structure. The forming factors, the linguistic and literary structures, and the patterns and functions of confession (Esteshhad) additions are what have been studied in present paper.

Due to their forms and content, the works of Sa'adi Shirazi, one of the well-known and outstanding Persian poets, have the potentiality of being analyzed from different points of view. Composing some remarkable parts of his poems in Arabic language, Sa'adi has tried to show his skills and proficiency in Arabic. These parts of his poems have been translated into Persian by Moayed Shirazi. The question raises here is how and to what extent the translated version by Jafar Moayed Shirazi indicates the spirit and the literary style of Sa'adi's works. Through a descriptive-analytical method, this research has been accomplished to study the translation from an aesthetic viewpoint to show the translator’s comprehensive knowledge of the language in conveying the meaning and the content. Due to Moayed Shirazi's knowledge of both languages –Persian and Arabic- he has adopted the precision of meaning transfer as a criterion and avoids the free translation that lets the translator to recreate a new text out of the source.

Asrar al-Tawhid is one of the mystic prose works which different simile structures can be seen in. Simile has been used in this work in a more complicated form. Selected from profound images, these similes have many similarities to those of classic ones. Contemplating the function of simile and its role in expressing mystical themes and concepts is the main goal of present paper, in addition to examining the nature of simile imagination in Asrar al-Tawhid. It can be realized through this review that the simile images are mostly confirmative and have direct relation with the content of the word, in order to expand and explain the meaning. The expansion of the concept "tenor" or "being likened" and "re-conceptualization", and “description” are the most prominent confirmative functions of simile images in Asrar al-Tawhid

Rhetoric is one of the most important literary sciences whose rules and principles are used to explain the eloquence and rhetoric of the word. Semantics is one of the main disciplines of rhetoric that measures the word in terms of its secondary meanings and its compatibility with  the condition and position. The first rhetorical books were written in Arabic and the Persian rhetoricians have always benefited from them. Their adherence to the rules and definitions of Arabic rhetoric and their neglect of the differences and features of speech in Persian language have resulted in mistakes in rhetorical sources, to the extent that some of the terms and rules have been presented in these books are not used in Persian and most of the examples are in Arabic. One of the topics discussed in semantics, under the title of "Insha-ye-Talabi" (it is when the speaker wants something from the audience), is about voice. The definition and also the position of voice in Arabic Language are different from what in Persian, while the related discussions have been entered in Persian rhetoric regardless to the differences. The explanation of these differences between Persian and Arabic rhetoric in discussions about voice makes the review of Persian rhetorical sources and the division of speech in semantics necessary. It has been tried, in present paper, to present an analytic criticism of the position of voice due to its syntactic and semantic features in Persian rhetoric. The results can be used in adjustment of Persian semantics and criticism of speech division discussions.

Forbiddingness of wine in Islamic culture has restricted the discussions of Hafez scholars on this phenomenon to jurisprudence and has made them to ignore being careful about its alternative artistic interpretations. Various types of interpretations Hafez uses about wine have been extracted, in accordance with the structure of his sonnets, in present study. There are many ironies in his words that indicate the reason for the use of the word wine in his sonnets. Due to his belief in the secrecy of wine, Hafez has used the metaphorical meanings of the "foreteller" and "inspiration of the unseen world" and "the message from unknown worlds" and "problem solving key" to show why hypocrites had forbidden and denied wine. According to wine's revelation aspect, he has sometimes metaphorically interpreted it as "Sun" and "Sunshine".  "The sunshine of the morning of hope", "the candle of the righteous privacy", " the Canaanite moon" and "the full moon" are some metaphorical interpretations that are used to "reveal the secretive ones" who seem choosing loneliness for worshipping but are clandestinely engaged with forbidden affairs and cover a "hundred hidden imperfections under a curtain." Using metaphorical interpretations, the poet gets help to stand against those who introduce themselves "sage" to hide their original identity to do their sinful acts and to reveal the falsehood of those who deceive in "sage" clothes. The "Wiseman" to whom the poet needs help never lies unlike the Sufi hypocrite sages and guide those who refer to him. Hence, the poet uses the word "wine" through metaphorical interpretations such as "Pīre Tarighat", "Pīre Kharābāt", and "Sheikh of wineglass" and "sheikh of religion".

Through a descriptive and content analysis method, it has been tried in present paper, to review, compare and criticize several different opinions of specialists about the entrance of allegorical metaphor into Arabic and Persian rhetoric from beginning up to now. The results of the research show that the rhetoricians have four essential viewpoint about the quality and quantity of allegorical metaphor in addition to their differences on naming and their delirious remarks about the definition of its examples. The first viewpoint seems being correct and corresponds with the naming due to the word allegory and its meanings; However, in order to get rid of all these naming and distortions, it is suggested to accept detailing where compound allegory is permitted or it is so-called abstracted from several affairs; and calling it a compound allegory is suggested  if the relation between the term and its second meaning is inconsistent; and  an allegoric metaphor if the relation between the term and its second meaning is consistent or the phrase is a proverb or a proverb-like sentence; and a compound metaphor if the phrase isn't a proverb or a proverb-like sentence.

Tadhkira Yakhchalieh (a biography), written by Mírzá Muhammad ` Alí  Mozahhab  Isfahani whose pen-name was Farhang (in his youth) and Bahar (in his old ages), is one of the detailed parodies of Persian literature created in the form of Tadhkira Atashkadeh of Lotf ‘Ali Bayg “Azar” Baigdeli.  Mirza Mozahhab creates 30 characters in his work to criticize claimants of poetry who drooled in his living period. His characters, who are disgusting on one hand and humorous on the other hand, incite a multiple sense of hatred, anger, fear and humor in the audience. These grotesque characters can be traced in many famous literary works. Presenting a definition of parody and its functions, it has been tried in this paper, to analyze grotesque characters of Tadhkira Yakhchalieh. Findings show that the characters in Tadhkira Yakhchalieh are mostly malformed and suffer from sexual disorders (Pederasty, Pedophilia, Sodomy, etc.). In other words, the grotesque theme of this work is initially unreasonable sexual issues and then moral vices such as greed, covetousness, theft, people abuse, etc. It can be mentioned that the main function of grotesque in this work is to scandal the true nature of author's time.

In this paper, after short survey of background of metaphor and analyzing of vivid metaphor, dexterity of khaghani in the field of this art will be discussed. Khaghani in some cases of this metaphor tris to use of one irony as an alternative of similie. These substituted ironies always refer back some time to simile and some time image which come from similie. Khaghani tries to make reader more preper to pay more attention and wisdom for understanding the meaning of metaphor. This thecnique which ignorant from regarding books, seem to be yielded by Khaghani deliberately. Khaqani Sometimes makes this hesitancy and uncertainity, by use of indications of tenor and vehicle. In some cases, indications are in the form of Descriptive or Adduct componds, which the part of the compound is from indications of tenor, and the the other of vehicle. And sometimes the word that is derived from indications is related to the two sides of the metaphor without having an amphiboly. The words that can play such roles are certainly limited. Khaghani has used the astronomical terms, then the elements of mythical and historical stories in this field.

In terms of style, Monshaat (letters) of Khaghani is one of the complicated and industrial texts in Persian literature. Khaghani had a special style of prose writing, just as in verse, and a full knowledge of various writing methods. This work is of great importance in various aspects such as better understanding of Khaqani's writing style as well as getting acquainted with his environment and time. What has been considered in present study is the contemplation on some of Khaghani's phrases in his Monasaat, corrected by Mohammad Roshan, that are not semantically expressive and the audience may get in to difficulties in reading them. Bad reading and unprincipled copying of the editions are, in some cases, among the factors have reduced the literary value and artistic delicacy of the work. The re-correction of phrases has been accomplished on the base manuscript, and the least on some insignificant manuscripts such as Paris and Sepahsalar that include just a few of the letters. In many reviewed cases, other textual evidences are obtained when the right phrase stands on its right place.

As a divine word and heavenly revelation, the Holy Qur'an has been continuously considered by Western scholars and writers, such as Johann Wolfgang von Goethe, who have accomplished many researches and studies about this sacred scripture. Goethe, the literary German critic, natural scientist and the well-known German poet and novelist, lived in 18th century and had great interest in the studies of various religions including Islam since he was very young. Through research on Oriental literature, inspired by Hafez's poems and under the influenced of Islamic culture, he created the works that their themes indicate the strong impact of some of the verses of Holy Qur'an. In his works, Goethe pays particular respect and praise for the Prophet Mohammad (PBUN), and portrays, using some delicate similes, some episodes of his life through which the signs of Qur'anic verses can be traced. It has been tried, in present paper, to scrutinize those works of Goethe composed when he was inspired by some of these verses.

Seyyed Heydar Helliis one of the Iraqi Shiite contemporary poets who is known for his religious poems. In this kind of poetry, he has been able to establish a solid link between the virtues of Ahl al-Bayt (PBUT) and the ruling political, social, and cultural conditions of his living period. Under the influence of Holy Qur'an and honorable hadiths, he has portrayed beautifully the Ahl al-Bayt (PBUT) through a mostly epic approach and a powerful and balanced emotion. Recalling some religious figures such as Imam Ali and Imam Hussein (PBUT), he tries to introduce them, out of the historical framework, being clothed by the new meanings retrieved from contemporary events of the society he himself lives in and to express the difficulties of the Islamic community. He also invites, using an expressive language, people to be aware and insightful and resist against tyranny and colonialism. Having the benefits of Imam Hussein's teachings and other heroes of Ashura in the course of the people uprising against tyranny, being supplicated to Imam Mahdi (PBUH), using consistent oratorical structures and the music matched by the concept of the poems, and utilizing literary modes and dynamic artistic images are f the features make his poetry distinguished.

Based on Pierre Bourdieu's theory of social capital, the novel "Banat al-Riyadh" (Girls of Riyadh) by Rajaa Alsanea has been sociologically analyzed, in present research. The authors have tried, in present paper, to explain the status of women's social capital in Saudi Arabia, therefore the novel "Banat al-Riyadh" has been reviewed through four levels of cultural, social, economic and symbolic capitals. Findings of the research show that women's symbolic capital in Saudi Arabia is very weak and they have a small share of it, a situation that stems from the problems in the social capital of the country; and the existing social controls, of which patriarchy is the most obvious output, are the biggest obstacle for women to benefit social and, ultimately, symbolic capital. The Social capital of Saudi Arabian women however stands on an acceptable level, but is not able to help them coping with social problems and does not lead to reproduction of symbolic capital.

Highlighting, under the title of deviation or normalization, is one of the concepts by which literary texts are being studied in formalism. Deviation is one of the most effective highlighting methods of literary language and defamiliarization in Persian poetry. It has been made clear that most of contemporary poets such as Simin Behbahani have applied this method, deviation from the rules of standard language or adding it some new rules, to create stylistic differences in both fields of language and music. Now, this question arises: How do the Simin's poetry defamiliarization in these mentioned fields influence on the degree of prominence and distinction of her poetic style in comparison with other contemporary poets? The considerable frequency of deviation in Simin's poetry is what has been shown in present study. Semantic deviation, that includes eloquence and exquisite, culminates imagination in poetry is seen more than other types of deviation. It has been tried, in present paper, to study the processes of deviation and normalization in the poetry of Simin Behbahani.

Today much more attention is paid to the relation of "psychology"
and "literature" in the field of interdisciplinary studies. Literary
works, on one hand, are the result of man's mental states; and they foster man’s spirit, on the other hand; so, it seems being a suitable platform for the study and analysis of psychological concepts. Romance poetry covers a wide section of Persian literature. Sa'adi is one of the few poets who have upgraded love to its highest heavenly and terrestrial meaning throughout the history of Persian literature. Love is also a major topic in empirical psychology, and some well-known psychologists such as Erich Fromm and Robert Sternberg and Renee Allende have spoken in detail about it and its context and functions. The effective role of love in human evolution and excellence, and submission to the will of the beloved, as well as the need for sacrifice and forgiveness are the main commonalities exist between Sa'adi’s points of view and empirical psychology on love. These commonalities reflect Sa'adi's truthfulness and honesty in loving and expressing
it, from one hand, and emphasize the sustainability of many healthy and naturallove criteria, on the other hand

Discovering how much the great poets, like Hafiz, have used imagination and lingual skills to convey poetic concepts is one of the ways by which one can achieve the nature of literature and to speak effectively. Consisting of two parts of superstructure and infrastructure, the present essay is to analyze the stylistic (lexical, syntactic, and rhetorical) layers of one of Hafez's sonnets. The first part, in the field of structure and form, contains the analysis of lexical and syntactic layer and the second part, relating to the theme and imagination, contains the analysis of rhetorical layer and dramatic images of Hafez's poetry. In the second part, some examples are mentioned from other sonnets of Hafez. Adopting a new attitude, it has been tried in present essay to prove the continuity of Hafez's mind and language to eternal themes (the themes deal with the origin of man and his life before his Descent on Earth); a logic that affects his vocabulary, lingual combinations and poetic imagination simultaneously and forms his thinking system. A system still calls researchers to decrypt the mystery of word and meaning in his poetry after several centuries.

The father is the reference, the author, the watcher and supervisor of law, and, in other words, the representative of the social order. His name is a factor that terminates the process of subject identifying through an endless chain of symbolic order. The function of paternal metaphor is putting the father's law instead of mother's desire. Any disturbance in the process of identification with the name of father results in suspicion and intense distrust to social order. Jacque Lacan believes that delusions, suspicious deliriums, and paranoid fear and anxiety arise in the absence of a father's name. Lack of coherence between the name and the law of father makes the subject lose his confidence in the symbolic order and imagine the world unstable and insecure. Using Lacan’s Neo-Freudian achievements and reviewing the characters of The Blind Owl of Sadegh Hedayat (maternal objects and metaphors, and paternal connotations), it has been tried, in present paper, to analyze the process of identification failure of narrator’s character in symbolic order. Father plays a diminutive role, in The Blind Owl novel, to form the narrator's personality. His connotation is absent in symbolic order. His name is not coherent. Therefore, the narrator suspends the name of father and slips into maternal objects. Suspension of father’ name and identification postponement in the chain of symbolic order connotations leads to appearance of paranoid components in the narrator of The Blind Owl.

Mikhail Bakhtin considered novel as the closest artistic event to popular carnivals in the streets and public places, because it has the potential to reflect the different human and social sounds equally and to reduce monotony in society to the extent that leads to reversal of the dominant cultural, religious and ethical powers and makes the inferior and popular culture to upheave to promote democracy. “Don’t worry”, a novel by Mahsa Mohebali, is a work that expands, imposing an earthquake in the metropolis of Tehran, the imagination of a reversal in various dimensions of society to a lower and more general range of social classes, especially the younger generation, and the emergence of a polyphonic discourse. Almost all components of carnivalesque can be found in this novel: polyphony, slang, relativity, grotesque realism, reversal, frenzy, laugher of death, etc. After a short review on the elements of Mikhail Bakhtin’s carnivalesque, in present paper, the novel “Don’t Worry” has been analyzed on the basis of this theory and its components.

Reviewing several types of sentences in Hafiz’s sonnets and comparing them with poems composed by other poets such as Salmān Sāvuji, Nāser Bukhārāʾi, Khājūi Kermāni, etc., the relation between the music of poetry and the arrangement of different sentences have been explained in his sonnet in present study. His sentences have their own special music along with the music of sounds, letters and words. It can be said that one of the syntactic capabilities that makes Hafiz's poetry more prominent among the works of other poets is his ability to use the variety of sentences in the general structure of the sonnet. In this sense, not only the use of various sentences, but the way sentences are arranged makes the poetry musical. Comparing Hafiz's poetry with those of the others makes it possible to understand that Hafiz has rarely used three consecutive declarative sentences with a monotonous rhythm. He uses, in such cases, imperative mode to reduce the uniformity of declarative sentences. Those Hafiz's sonnets have been examined, in the present research, of which there are similar instances in the works of his contemporary poets in terms of rhythm, rhyme and order

One of the most important features of Mohammad Reza Shafiei Kadkani’s poetry is its profound link with historical and cultural background of Iran. This feature can be found, more than anything else, in two areas of myth and mysticism. These two, along with social themes, constitute the most outstanding semantic implications of Shafiei’s poetry, according to critics. The purpose of this article is to study the image system of Shafiei’s poetry and to explain its relationship with the three above-mentioned semantic areas. This image network is the result of a systematic gathering of images such as vegetation, rain, spring, morning and singing. The most important function of central image of growth is the creation of semantic confrontation between two categories of concepts, what makes the signification of Shafiei’s poetry in three mentioned areas possible. Therefore, the visual cluster of growth in Shafiei’s poetry should be considered as the point of conjunction of the main meanings derived from his poetry, which redefines many of the symbols in the contemporary Persian poetry by repositioning concepts and images in a contradictory system.

The Persian and Arabic language and literature have been closely related and interchanged with each other for a long time. Allusion, among these interactions, is the most fundamental rhetorical subjects and the most sensitive issue of language which has similar definition both in Persian and Arabic languages. Allusion is, in both languages, divided in several parts such as: "allusion of adjective", "allusion of noun", "allusion of verb or infinitive", "allusion to relation". Highlighting the similarities and differences of the structure of allusion in both languages, they have comparatively analyzed, in present essay, through an analytic-descriptive method and different opinions of experts of both languages have been expressed. Findings show that allusion has same meaning both in Persian and Arabic literatures and their differences seem being very little that, in its lowest form, it can be pointed out on their semantic differences. However, it should be noted that the lack of symmetry, in Arabic language, makes allusion distinguished from other figures. But in Persian language, this subject is precisely used as mixed metaphor.

In the process of understanding the mystical experience, there is a mutual and sustainable interaction between the perception of experience, on one hand, and the place and space of events, on the other hand. As the existence of experience recipient makes the place dynamic, being in the atmosphere of the experience leads to the internal transformation of the mystic. The description of the place and the space of these incidents is not always the same in mystics' words. Describing the mystical experience, the easiest way to interact with "place" is its application in reference to a geometric position. All the intuitive events occur in a particular place for a mystic, although these experiences occur not in the material but a metaphysical world that weaken the link of mystic with material world. The presence of the subject in the atmosphere of experience leads to crossing the material space and existing in new spaces or new space creation. Based on the mystical experience, there are various descriptions about the space of these events. The most important places and spaces for the acquisition of mystical experiences can be divided into five categories, in general: 1) physical place of experiences, 2) auditory place, 3) mysterious place, 4) metaphysic and 5) time place. Reviewing and analyzing these spaces, the present study offers a plan of "place" component in mystical revelations.

Introduction of Heisenberg's uncertainty principle in Physics changed the human worldview about existence and about himself. “Reality” was consequently redefined and “language” achieved a particular place as a mediator and constructor of reality. The reflection of this thought in literature creates a new genre in fictional literature that consciously attracts the attention of audience to its fictitious situation in order to bring questions up about the relation between story and reality. These stories are called “metafiction” that reflect the use of fictional techniques besides being influenced by the principle of uncertainty. Shortcuts, contradictions, permutations, excessiveness, being infinite, nesting structure, multiplicity of narrators, unreliable narrators, double bonding, absenteeism, multiple and indeterminate endings are all fictional techniques have affected by the principle of uncertainty. “Night of Possible” (Shab-e-momken) is a metafictional novel by Mohammad Hassan Shahsavari that has successfully benefited postmodernist arrangements to create uncertainty in the story. In present paper, the effects of uncertainty have been studied in the novel “Night of Possible” and the different ways of creating uncertainty in metafiction have been introduced