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By studying the Qur'anic narratives, what is most visible is the amazing and elimination that includes a complete part of a story, even at a time. A pity that has been used not only in the Qur'anic stories, but also throughout the Qur'an as one of the highest literary and rhetorical manifestations of the Qur'an. This is one of the mechanisms and tools of the narrative or discourse silence process in which the signs of the narrative are eliminated and with their absence refers to the modules that the reader can rely on succession and companionship. And also from the intersection between the two and the use of brain capacity, fill those holes and gaps, thus fully view and receive the story. The important point in discourse silence is the interpretative and analytical aspect of narrative, and merely, such as the elimination of the classic rhetoric of the Nesith, which appeared in the form of metaphor, metaphor, permissible, and such equipment and to express aesthetics. In this article, we will first explain the silence of discourse in modern cognitive criticism, and then explain the narration of the life of Yusuf (AS) in the Holy Quran, based on the same validity and discourse. The result shows that discourse silence in this sura has been used in three types of structural, semantic and implicit, and with the systematic structure of the Qur'anic narrative structure, these vacuums are received and completed by the reader.
 

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Abstract:
Relying on the dramatic effects and all cultural potentials of Iranian old and poular literature, this paper aims to deal with the possibilities to contemporarize them for new media productions. Literature is one of the most prominent icons of Iranian rich culture. A notable part of Iranian literature is composed of folklores and popular narratives, which are genuinely full of novel themes and authenticated knowledge to be adapted into film and TV series. The present research will show why exactly Iranian contemporary film-makers and play writers, despite the existing large culrual legacy, have failed so far to apply the potential capabilities. Using a pathological approach to the historical discontinuities happened during the evolution of dramatic functions of Persian old narratives, this study attempts to present a qualitative assessment of these literary art works. After reconsidering the most significant elements of Iranian popular narratives, the paper goes then to propund some common ignored challenges concerning the "adaptation" techniques for media productions. Finally, we would describe a typical narrative of Iranian folklore by which a practical method for new possible adaptation for Iranian TV drama might be provided.

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When the elements and different components of a literary work are studied and their relation to each other and to the totality of the work is made clear,a reader can claim that she/he has had a formalistic reading of the work.Such a reading facilitates commenting on how the elements and components of the work are interrelated( vertically and horizontally). In this paper,the form and structure of a Ghazal( sonnet) of Bidel Dehlavi are re-read, using the intratextual signs.The first line reads: YEK TAARE MU GAR AZ SARE DONYE GOZASHTEI SAD KAHKESHAN ZE OJE SORAYYA GOZASHTEI The theme of this Ghazal which is continuously repeated all through the poem is "advice to return to oneself and put under observation one’s inner self in the bed of the hastening and transitory time".The subject matters of movement,passing,transition and transformation are spread all through the Ghazal .However the link between the lines of the Ghazal is not the sort of link to create a "bodily structure",rather each line of this Ghazal is a separate bead,related to the other beads by a string( the subject matters of movement and passing of time) creating a necklace( a Ghazal).

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For some time hermeneutics has been posed as a competitor for positivism in the field of cognitive and human sciences and has almost prevailed.The field of literature and interpretation of literary texts is one of the fields this branch has influenced.The aim of this article is to examine this subject , coin the term "Literary Hermeneutics" and explain how to apply it for interpreting literary texts,especially novels.To do that,we first define hermeneutics and then literary hermeneutics and its different circles and in the conclusion mention the obligations resulting from selecting each of these circles for interpretation.

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The views of the great poets on the essence of poetry and its constituent elements, expressed implicitly within the lines of their poetry, offer invaluable points that are often missed by literary critics. These critical views, which are sometimes expressed in a pseudo-philosophical statements, and are often wrapped in artistic expressions, are based in their actual experiences.  These views are usually expressed in brief, or wrapped in imagery, or even in an elegant indirect language, which may be extracted and, through analysis, may lead to our deeper understanding and invaluable views on poetry. These conclusions, we realize, are sometimes confirmed by the bulk of criticism. It is worth noticing that such conclusions were already preceded by great poets who were apparently the best critics themselves. The classification and the analysis of these poets’ views on poetry are considerable, and can constitute a new branch of study in the field of history of literary criticism in Persian Literature, and subsequently change the traditional system of evaluation of poetic styles.

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The function of traditional characters in the modern poetry Arabic and Persian has different aspects, which using the  mask of characters is one of the most important of  them. Nowadays, the poets use the mask as an eloquent and artistic technic to explain about  their ideas. Sometimes, they apply  the mask of a religious character to confabulate with the  audiences by it. Shamlu and Adonis used “religious mask” in their poetic works to visualize their thought. Thus the fundamental function of  religious characters can be seen in their works because they wanted to benefit the actual and potential capacity of characters. This research is based on the analysis-narration criticism, and will study the fundamental  usage of religious mask in the poets of Shamlu and Adonis based on narrative structure and images of their works. For this purpose, firstly, we studied the concept and meaning of religious mask and the reasons of  its function in modern poetry; then we looked for the fundamental function of religious mask in the poets of Shamlu and Adonis to gain similar and different aspects of their application.        

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While comparative literature knowledge expanded beyond the European borders toward the Arabian lands, it found many for and against among the Arab critics. Some appreciated comparative literature in order to enrich the  national literature and culture (including conversation, friendship, recognizing and understanding others), and some were doubtful about it; they believed that it is a European-based approach in comparative literature as well as the western naturalism aiming to westernize Islamic-Arabian thoughts, and is the threshold of novice (cultural) colonialism. Drawing on a descriptive-analytic approach, this theoretical research tries to do a deep and accurate analysis of the second critical group. The main findings comment on the group of critics on the damages of comparative literature in identity and culture, who believe that comparative literature suffers from Europeanism, and cultural racism.

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Qazieh is comic literary style, which was created by Hedayat in his book “Vagh Vagh Sahab”. Beside its application in comic, Qazieh has not been recognized and followed strongly yet. In Qazieh, we confront with Naghizeh style, but features of language, form and content, make it outstanding. Two aspects of Qazieh that bold its prominence are: First confronting poem in a folksy style, and demolishing rhythm and intentionally. In addition, criticizing the hidden social, cultural, and literal problems of the society makes it unique. This essay re-analyzes Qazieh in Vagh Vagh Sahab, and indicates the methods that Hedayat uses in creating Qazieh.

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Literature is one of the most important factors of cultural transferring for every nation and has elements and components as complex as life and culture. If we consider criticism as a tool of leading literature to creativity, then we will perceive its crucial situation among the societies because the alive conscience of literature releases it from self deception. Critics select different procedures in the frame of their proficiency and interest in this way. Moral criticism, social criticism, psychological criticism, historical criticism, aesthetic criticism and comparative criticism are of the most important branches of literary criticism that besides merging with other sciences, they prove the dependency of literature on science from one hand and on the culture of society on the other. This research, using an analytical approach to social criticism, aims to reach a kind of convergence beyond the different and sometimes contradictory ideas in this field, while explicating the foundations of social criticism in literature. Therefore, to assume the society as the subject of a writer's thoughts instead of his/her source of thought, defining the individuality of an artist or a writer (which helps to distinguish his/her point of view and accepting the artistic aspect of literary works as the distinction between science and art) removes a lot of challenges in this field.

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The present study is the analysis of the drama “Death of a Salesman” and its interlingual and intersemiotic translations into Persian. The drama has been interlingually translated into Persian and it became the basis for an intersemiotic translation, a tele-theatre. For this reason, the researcher compared the Persian translation with the English text and the tele-theatre to the Persian text to define and analyze the translation of significant ideological concepts in both translations. Then, using critical semiotics theory and extending it to translation criticism, the researcher criticized the tele-theatre from a critical semiotics viewpoint to identify which types of signs have been changed in the tele-theatre and how. Therefore, changes of ideologically significant concepts were analyzed and criticized. The results showed that there were no changes in ideologically significant concepts of the Persian text. But, in the tele-theatre, almost all of these concepts were omitted or completely transformed. In fact, the tele-theatre contains so many censorships in a way that, in some parts, it has lost its cohesion and sometimes even its meanings. In fact, the translator/director has tried to do his best to change the text according to the viewpoints of dominant culture of receiving society. Moreover, maintaining and adding their accepted ideological concepts and omitting or transforming their unaccepted ones, he has tried to represent their values and ideological positions to the receivers. As a result, he has created a text, which lacks cohesion in comparison to the original text and infers meanings, which are sometimes completely opposite to those of the original text.

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After translating the Quran, review of the translation methods was also considered by translators, especially in the last half century. This serious concern to different ways of translations indicates the positive attitude of linguists and translation scholars to achieve a perfect, loyal and desirable translation. Gholam-Ali Haddad-Adel is one of the translators of the Quran which considered the kind of his translation as "concept to concept", but with focusing at structure and content of this translation, it is understood that he is not only bound to the original text but has a attention to the target language and its structures as much as possible. The purpose of this paper is to provide evidence and clear examples about his conceptual theory to show that the translation in addition to the conceptual meaning, in many cases is a literal, faithful and honest translation. The most important result of this paper is that the mentioned translation, in addition to relying on the rich Persian prose and its clearness, in the belief of translator to the conceptual translation method, often is in accordance and equivalent with the structure and linguistic of the origin language (the Quran). In this translation many indicators can be found which are against the conceptual approach.

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This article seeks to use the descriptive-analytical method and relying on the definitions of social modernism to address the issue of social innovation in the poetry of the two poets and what are the similarities and differences in each of the topics? The analysis of Baroudi's poetry suggests that he is taking advantage of the sophisticated taste as well as following the critics of the West to the affairs of the people and to correct the defects in society. Like Farrokhi Yazdi, he addresses issues such as central justice, homeland, despondency, attention to poverty, opposition to oppression and oppression, and invitation to studying science as one of the most important subjects of his poetry. The most important aspect of Baroudi's and Farrokhi's poetry's differences is that Farrokhi, as a responsible critic, deals more with the community and related issues, but in Baroudi's poetry, he makes imitation of modernization. However, with the advent of the Arab movement and the issue of exile, it is twisted within it and pursues a sharp eye and a sharp sensitivity to the social problems of its country.

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The Persian works of Abdalrauf Fitrat-e Bukharaie (1886-1938) in Transoxania (mā wara` an-nahr) are of the first new prose and poetry instances of Tajiki Farsi in this region. The Monäzere (Debate) of Modarres-e Bukharaie with a European in India on the new schools, known as Monäzere (Istanbul, 1910), in addition to be the first prose and narrative work of this writer and poet of Transoxania, is the first independent Tajiki Farsi work in new Tajiki Farsi literature in this region, that describes the conflict between modernity and tradition in the form of short novel/long short story. This book is classified under thesis novels, i.e. problem novels so far as content is concerned. The present article tries to criticize and analyze the Monäzere from the view point of structure and story elements and further explore its outstanding role in founding dramatic literature and forming or establishing the new Tajiki Farsi literature in the Bukhara in the early twentieth century.

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Defamiliarization is a term that, at first used in literary criticism by Shklovsky, the Russian formalism critic and then considered by formalist critics such as Jakobson, Tinyanov and the likes.
Jan Mukarovsky used the term “foregrounding” in this meaning. Defamiliarization includes any methods that author take advantage of them to make the world text known to the addressees and indicate the literature subject in such a way that as if it didn’t exist before. These methods will result in delay and expansion of the context meaning and so the readers will enjoy and take advantage more. Defamiliarization should be assessed by the standard language and the time of using the literary techniques by the author. In the contemporary history of Iran, a kind of style has been created by Yadoullah Royaee, the contemporary critic poet, whose prominent features includes Defamiliarization.
The verses of Yadoullah Royaee are studied based on the formalist theories as the as the method for this study in this article. 
 

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Among the various critical approaches to literary works, psychoanalytical criticism is of special eminence. Freud, the founder of psychoanalysis, was able to introduce a new reading of literary and mythical texts as well as art works to his readers, based on his new and innovatory perception of human mind and his discoveries of new aspects of human existence. His tendency to analyze the author's psyche through his/her work(s) is his greatest achievement in this field. After him, psychoanalytical criticism was subject to many developments. Jung, Adler, Ernest Jones, and Erik Erikson were amongst those whose activities have had magnificent effects on the development and evolution of this critical method. As a result of these developments, the practice of analyzing the characters of a literary work from a psychoanalytic perspective was pursued by Freud's pupils, and in particular by Ernest Jones and this critical approach became one of the most remarkable methods of literary work analysis.Due to its dynamic and structured nature, the method still remains a pre-eminent and well-known trend in modern psychoanalytical criticism. Thus in this study we have tried to analyze and scrutinize the character of "Zal" in Ferdowsi's Shahnameh from a psychoanalytical viewpoint in order to shed light on his psychic features. We have chosen Alfred Adler's psychoanalytic speculations on the inferiority complex, superiority, and compensation as our methodological guideline.

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English

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Taheri.Gh. ,PH.D
Abstract:
 
If we regard Mashroote revolution and especially Nima Yushij's untraditional works as Iran contemporary poetry origin, it has experienced so changes to 70 decade and some methods of the moderate to radical poetry have been examined. After Islamic Revolution, following the political, social and cultural changes, the young poets doubted in last aesthetics principles and new styles and researches were made. Therefore, most of the young and old poets dispensed with the style of pre- revolution famous poets like Nima, Shamloo, Akhavan , Foroogh and Seprhti. The postmodernism poetry current along with the others recently emerged currents have been completed from the beginning of 70 decade and continued yet. If we regard the new style seeking will of the poets such as Mohammad Moghadam, Houshang Irani, Yadollah Royaee and Ahmad Reza Ahmadi as the radical steps in radical poetry and Iran contemporary poetry, the experiences by Postmodernism poets in 70 decade should be regarded as the second step of the same movement. The poets of the mentioned movements are now experiencing new styles through the west literature related opinions and full separation from local and literature classic and contemporary experiences. as the stylistic and formic changes are as the result of fundamental social changes, continuation and stabilization of this current is ambiguous. Analyzing the social causes of this current, this article is an attempt to clarify the basic characteristics of the related poets on critical view points.
 
 

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In the process of reading and evaluation of a work, retrieval of another text and knowledge of how to reproduce it in this text cause to enrich the analysis. The link of comparative literature and intertextuality is a new achievement that facilitates work analysis in the frame of paradigm and methods. Investigation of similarities and their influence on each other is one of the most important factors of comparative analysis, but intertextual reading wants to go beyond the investigation of similar sources. Text is based on pervious discourse and will attract discourse in itself and even change the meaning of pervious text. This paper wants to introduce Mathnavi-e-Khamush Khatun (that is Indian) according to the connection of comparative and intertextual criticism principles, and proceed the most important items in the text that prepare the situation to referencing the stories of Thousand and One Nights, and after comparative study (similarities and influences), proceeds to how the stories of Thousand and One Nights are converted and absorbed in Mathnavi-e-Khamush Khatun.  It further proceeds to the elements of suspense, parody, permutation and alike that cause to signify other narrative and make new text. The connection between new elements and structure in this Mathnavi with the beginning of Thousand and One Nights structure (beginning of Shahrzad story) is another field to comparative and intertextual reading. 

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One goal of comparative studies of literature is to search for the human “truth” that has appeared as archetypes in the literature of all nations and all times. In this paper, the author draws an archetypal comparison of romantic love in the French story of "Tristan and Iseult" and the Iranian epic romance "Samak-e-‘Ayyar". It starts with explaining the Jungian concepts of mother and father archetypes, anima and animus, conscious and unconscious, as well as collective conscious and unconscious. Since individuation process in the Jungian psychology has to do with the connection between the conscious and unconscious, the tale romantic love could be seen as individuation process in which each lover seeks to connect to his/her anima (feminine unconscious) and animus (masculine unconscious), based on his/her gender. After providing a synopsis of each story, the author explains the archetypal roles and symbolic meanings of kings, queens, heroes, witches, and princesses in each story using Marie-Louise Von Franz’s methodology for the interpretations of fairy tales. It then compares romantic love in each story by analyzing its characters, functions, and events, and explaining its similarities and differences. Since archetypal literary analysis reveals the attitude, outlook, and behaviors of the people that the myths are originated among them, this comparative study aims to answer to a rather broad question: How is it that in the French story of the 12th century, romantic love ends with death and tragedy; however, in the pre-Islamic Iranian tale, it ends with the :union: of lovers?