ًQand-E Parsi Scientific AssociationCritique, Analysis and Aesthetics of Texts278341668420251222Reflection of the myth in the works of Shahrnoush ParsipourReflection of the myth in the works of Shahrnoush Parsipour42423598410.22034/caat.2025.527590.1132FAZeynabRahmanianDepartment Factuly University Payame NoorJournal Article20250601The novel, with its narrative structure, is the best context for the presence of myth. Myth in contemporary literature covers a specific field of ideals, dreams and realities and is widely reflected in contemporary culture.In the processing of myth in the novel, narratives are created or recreated that humans consider important for understanding their world. Shahrnoos Parsipour is one of the writers who expressed her inner desires in the form of stories and benefited from it as a tool to express her thoughts. In this article, the explanation of the myth and its reflection in the works of this contemporary writer has been discussed with analytical-descriptive method. The result of this research shows that the use of myths of personality, anima and animus, allusion, plant-body, can be seen in the author's worksThe novel, with its narrative structure, is the best context for the presence of myth. Myth in contemporary literature covers a specific field of ideals, dreams and realities and is widely reflected in contemporary culture.In the processing of myth in the novel, narratives are created or recreated that humans consider important for understanding their world. Shahrnoos Parsipour is one of the writers who expressed her inner desires in the form of stories and benefited from it as a tool to express her thoughts. In this article, the explanation of the myth and its reflection in the works of this contemporary writer has been discussed with analytical-descriptive method. The result of this research shows that the use of myths of personality, anima and animus, allusion, plant-body, can be seen in the author's workshttps://www.qparsi.ir/article_235984_8d5984f3fb234cd85992b61921675e3d.pdfًQand-E Parsi Scientific AssociationCritique, Analysis and Aesthetics of Texts278341668420251222The Portrayal of the Beloved in Hafez’s PoetryThe Portrayal of the Beloved in Hafez’s Poetry254523623810.22034/caat.2025.529343.1135FAMahmoodForoutanPHD Student of Persian literature in Kashan University, Department of Persian language and literature Field, Faculty of Literature and Humanities, Kashan, IranShakibaMalekshahiPHD Student of Persian literature in kharazmi University, Department of Persian language and literature Field, Faculty of Literature and Humanities, Tehran, IranJournal Article20250609In the poetic tradition of Khwaja Shirazi, the figure of the beloved can be explored according to three aspects: The earthly beloved, the divine and mystical beloved, and a beloved who has both worldly and divine qualities. In the Divan of Hafez, there are poems in which a male patron is illustrated as a charming beloved. In several requires, the poet considers only a male beloved, and thus uncovering the intended meaning behind such verses requires not only familiarity with Hafez’s unique poetic style but also an understanding of the socio-historical status of his era. For a long time, there has been a difference of opinion among scholars and critics regarding the nature and characteristics of the beloved in Hafez’s poetry due to the poet’s use of ambiguity and puns. This essay describes the beloved from the perspective of both physical appearance and behavioral traits, and it also examines verses that directly address a male beloved. This study uses a descriptive and qualitative content analysis methodology, relying on content gathered through desk studies from authoritative sources in the Persian language and literature. The research results suggest that Hafez praises the beloved and the patron through linguistic veils, using literary arrays such as allegory, personification, metaphor, comparative simile, and implicit simile.In the poetic tradition of Khwaja Shirazi, the figure of the beloved can be explored according to three aspects: The earthly beloved, the divine and mystical beloved, and a beloved who has both worldly and divine qualities. In the Divan of Hafez, there are poems in which a male patron is illustrated as a charming beloved. In several requires, the poet considers only a male beloved, and thus uncovering the intended meaning behind such verses requires not only familiarity with Hafez’s unique poetic style but also an understanding of the socio-historical status of his era. For a long time, there has been a difference of opinion among scholars and critics regarding the nature and characteristics of the beloved in Hafez’s poetry due to the poet’s use of ambiguity and puns. This essay describes the beloved from the perspective of both physical appearance and behavioral traits, and it also examines verses that directly address a male beloved. This study uses a descriptive and qualitative content analysis methodology, relying on content gathered through desk studies from authoritative sources in the Persian language and literature. The research results suggest that Hafez praises the beloved and the patron through linguistic veils, using literary arrays such as allegory, personification, metaphor, comparative simile, and implicit simile.https://www.qparsi.ir/article_236238_fd6bf3d796b34f4b75aa3338fe78a8f4.pdfًQand-E Parsi Scientific AssociationCritique, Analysis and Aesthetics of Texts278341668420251222The Transtextuality of the Mathnavi e Manavi with Mystical and Previous Theological Texts on the Subject of Seeing GodThe Transtextuality of the Mathnavi e Manavi with Mystical and Previous Theological Texts on the Subject of Seeing God467123754710.22034/caat.2025.523741.1122FARaminMoharamiProfessor of persian language and literature, Faculty of Literature and Humanities, university of Mohaghegh Ardabili, Ardabil, Iran0000-0001-5839-3888TohidNaderipersian language and literature, Faculty of Literature and Humanities, university of Mohaghegh Ardabili, Ardabil, IranMasroreMokhtariProfessor of persian language and literature, Faculty of Literature and Humanities, university of Mohaghegh Ardabili, Ardabil, IranJournal Article20250515In this study, using the descriptive-analytical method and using Gerard Genette's theory of transtextuality, the transtextual relations of the spiritual Masnavi with theological and mystical texts before it have been examined and analyzed. The spiritual Masnavi has transtextual, especially intertextual and metatextual relations with theological and mystical texts before it regarding the possibility or impossibility of seeing God. The transtextuality of the spiritual Masnavi is an educational and inductive genre that provides the audience with Rumi's mystical interpretations and interpretations of various religious and theological topics. In terms of paratextuality, the title of Rumi's work is "Masnavi", to which the adjective "spiritual" was added later, and Rumi mentioned Hesam al-Din in its introduction, and the division of the Masnavi into six books and the selection of the titles of the stories were also the work of Rumi himself. The Holy Quran, Nahj al-Balagha, Hadiqa Sana'i, Ma'arif Baha'uld, and the articles of Shams Tabrizi are the pretexts of the spiritual Masnavi. In rejecting the beliefs of some theological sects, the spiritual Masnavi sometimes explicitly and sometimes implicitly has intertextual relations with mystical texts such as the Ma’rif Bahawuld and the essays of Shams Tabrizi. From a metatextual perspective, Rumi’s critical attitude towards previous theological views has also been examined and analyzed. Rumi has both an interpretative and a critical approach to the views before him in discussing the vision of God. Rumi’s theological school, namely Ash’ari theology, considers the vision of God with the naked eye in the afterlife as a matter of certainty; but Rumi does not follow Ash’ari theology in this matter and does not believe in the vision of God with the naked eye; and he also considers and rejects the Mu’tazilite view as invalid. The Masnavi has an interpretative metatext with the views of the mystics before him; Because both the mystics before Rumi and Rumi himself believed in seeing God with the secret eye (heart) and considered the entire existence to be a manifestation of God's beauty and glory.In this study, using the descriptive-analytical method and using Gerard Genette's theory of transtextuality, the transtextual relations of the spiritual Masnavi with theological and mystical texts before it have been examined and analyzed. The spiritual Masnavi has transtextual, especially intertextual and metatextual relations with theological and mystical texts before it regarding the possibility or impossibility of seeing God. The transtextuality of the spiritual Masnavi is an educational and inductive genre that provides the audience with Rumi's mystical interpretations and interpretations of various religious and theological topics. In terms of paratextuality, the title of Rumi's work is "Masnavi", to which the adjective "spiritual" was added later, and Rumi mentioned Hesam al-Din in its introduction, and the division of the Masnavi into six books and the selection of the titles of the stories were also the work of Rumi himself. The Holy Quran, Nahj al-Balagha, Hadiqa Sana'i, Ma'arif Baha'uld, and the articles of Shams Tabrizi are the pretexts of the spiritual Masnavi. In rejecting the beliefs of some theological sects, the spiritual Masnavi sometimes explicitly and sometimes implicitly has intertextual relations with mystical texts such as the Ma’rif Bahawuld and the essays of Shams Tabrizi. From a metatextual perspective, Rumi’s critical attitude towards previous theological views has also been examined and analyzed. Rumi has both an interpretative and a critical approach to the views before him in discussing the vision of God. Rumi’s theological school, namely Ash’ari theology, considers the vision of God with the naked eye in the afterlife as a matter of certainty; but Rumi does not follow Ash’ari theology in this matter and does not believe in the vision of God with the naked eye; and he also considers and rejects the Mu’tazilite view as invalid. The Masnavi has an interpretative metatext with the views of the mystics before him; Because both the mystics before Rumi and Rumi himself believed in seeing God with the secret eye (heart) and considered the entire existence to be a manifestation of God's beauty and glory.https://www.qparsi.ir/article_237547_dc22311071df6a9314d756625a292a45.pdfًQand-E Parsi Scientific AssociationCritique, Analysis and Aesthetics of Texts278341668420251222Studying the Effect of the Phonetic and Written Structure of Letters and Words in the Creation of Poetic Images by Saadi ShiraziStudying the Effect of the Phonetic and Written Structure of Letters and Words in the Creation of Poetic Images by Saadi Shirazi729023754910.22034/caat.2025.526532.1131FARoshanakZolfeqariFaculty of Literature and Humanities, Department of Persian Language and Literature, Urmia University, Urmia, Iran0009-0007-6854-7730RahimKoushesh ShabestariFaculty of Literature and Humanities, Department of Persian Language and Literature, Urmia University, Urmia, Iran0009-0009-1473-8106Journal Article20250527Saadi Shirazi is among the poets and writers who have used the best quality of the phonetic and written structure of letters and words in creating poetic images. By creatively utilizing the shape and sound of the letters of the Persian alphabet, such as "Alef-الف" symbolizing tall stature, "Sin-سین" as a description and depiction of the beloved's teeth, "Qaf-قاف" as a sign of honor and respect, "Kaf-کاف" as a container of fate, and "N-نون" as a depiction of the face and mole, as well as figurative words such as " cypress", "Saba Wind", "Spring", " sunshine", "The moon" and..., he has presented original and wonderful images. Using metaphorical and allegorical techniques, repetition of phonemes, and phonetic harmony, Saadi has enhanced the music of the word and presented prominent visual and emotional images in the mind of the audience. The written form of the letters, from the upright "alef-الف" to the curved "kaf-کاف", is linked to philosophical and romantic concepts, adding to the semantic richness of his poems. Natural and celestial elements, along with the delicate phonetic structure, transform the beloved into a symbol of perfection and transcendent beauty that conveys a sense of transcendence to the audience. The following research, by analyzing examples of Sonnets, odes, and Boustan, reveals Saadi's genius in combining form, sound, and meaning, and shows how, by mastering the Persian language and script, he created impressive images and brought the poetic tradition to its peak.Saadi Shirazi is among the poets and writers who have used the best quality of the phonetic and written structure of letters and words in creating poetic images. By creatively utilizing the shape and sound of the letters of the Persian alphabet, such as "Alef-الف" symbolizing tall stature, "Sin-سین" as a description and depiction of the beloved's teeth, "Qaf-قاف" as a sign of honor and respect, "Kaf-کاف" as a container of fate, and "N-نون" as a depiction of the face and mole, as well as figurative words such as " cypress", "Saba Wind", "Spring", " sunshine", "The moon" and..., he has presented original and wonderful images. Using metaphorical and allegorical techniques, repetition of phonemes, and phonetic harmony, Saadi has enhanced the music of the word and presented prominent visual and emotional images in the mind of the audience. The written form of the letters, from the upright "alef-الف" to the curved "kaf-کاف", is linked to philosophical and romantic concepts, adding to the semantic richness of his poems. Natural and celestial elements, along with the delicate phonetic structure, transform the beloved into a symbol of perfection and transcendent beauty that conveys a sense of transcendence to the audience. The following research, by analyzing examples of Sonnets, odes, and Boustan, reveals Saadi's genius in combining form, sound, and meaning, and shows how, by mastering the Persian language and script, he created impressive images and brought the poetic tradition to its peak.https://www.qparsi.ir/article_237549_29b27a33d10dd4b4c6603a71c720462f.pdfًQand-E Parsi Scientific AssociationCritique, Analysis and Aesthetics of Texts278341668420251222Analyzing the story of Gordafarid and Sohrab and P4C it in order to use it in the classroomAnalyzing the story of Gordafarid and Sohrab and P4C it in order to use it in the classroom9111423755010.22034/caat.2025.530264.1140FAShivaKhoshniyatPhD student in Persian Language and Literature, Epic Literature, Mashhad Azad University, Mashhad, Iran0009-0005-2208-8239YahyaGhaediAssociate Professor, Department of Philosophy of Education, Kharazmi University, Tehran, IranJournal Article20250613The story of GordAfrid and Sohrab from Ferdowsi's Shahnameh is one of the most prominent examples of Iranian epic literature, which, in addition to literary and artistic values, has high capacities in teaching cultural, moral and social concepts in classrooms. This research has been done with the aim of analyzing the narration of this story and P4C it, i.e. turning story concepts into philosophical topics for children and teenagers.In the present research, first, the main elements of the desired story such as characterization, intellectual and behavioral contrasts, and hidden messages in the narrative are examined. Then, using the P4C method, a structure is designed that invites students to think critically, creatively, and care through question-oriented, philosophical dialogues, and cooperative activities.The results of this analysis show that the story of GordAfrid and Sohrab can be a suitable platform for teaching thinking skills and improving the cultural capacities of students due to its features such as the female protagonist (GordAfrid), the contrast between reason and emotion, and deep moral messages.The research method is descriptive-analytical, which finally provides practical suggestions for teachers to use this story to create a dynamic and attractive environment for learning. The results showed that by focusing on this approach, it is possible to help children to understand the complex concepts of care and philosophy in a simple and understandable language and to use them in facing the problems of daily life.The story of GordAfrid and Sohrab from Ferdowsi's Shahnameh is one of the most prominent examples of Iranian epic literature, which, in addition to literary and artistic values, has high capacities in teaching cultural, moral and social concepts in classrooms. This research has been done with the aim of analyzing the narration of this story and P4C it, i.e. turning story concepts into philosophical topics for children and teenagers.In the present research, first, the main elements of the desired story such as characterization, intellectual and behavioral contrasts, and hidden messages in the narrative are examined. Then, using the P4C method, a structure is designed that invites students to think critically, creatively, and care through question-oriented, philosophical dialogues, and cooperative activities.The results of this analysis show that the story of GordAfrid and Sohrab can be a suitable platform for teaching thinking skills and improving the cultural capacities of students due to its features such as the female protagonist (GordAfrid), the contrast between reason and emotion, and deep moral messages.The research method is descriptive-analytical, which finally provides practical suggestions for teachers to use this story to create a dynamic and attractive environment for learning. The results showed that by focusing on this approach, it is possible to help children to understand the complex concepts of care and philosophy in a simple and understandable language and to use them in facing the problems of daily life.https://www.qparsi.ir/article_237550_40a7139c37e105304cdaff011aeb9d7f.pdfًQand-E Parsi Scientific AssociationCritique, Analysis and Aesthetics of Texts278341668420251222The Influence of Nezāmi Ganjavi’s Layli o Majnun on Parviz Eslampour’s Shaqiqah-ye Sorkh-e LayliThe Influence of Nezāmi Ganjavi’s Layli o Majnun on Parviz Eslampour’s Shaqiqah-ye Sorkh-e Layli11513323754810.22034/caat.2025.529959.1139FASaharNajafi ParPhD student in Persian Language and Literature, Mohaghegh Ardabili University, Ardabil, Iran.0009-0009-6402-8065HadiTitePhD in lyrical literature, faculty of literature and humanities, Urmia University, Urmia, Iran.0000-0002-8646-6017Journal Article20250611The re-creation of classical romantic narratives in contemporary Persian poetry stands as one of the most significant manifestations of the interplay between tradition and modernity in Iranian literature. Nezāmi Ganjavi’s Layli o Majnun, as one of the most influential romantic works in Persian literature, has perpetually inspired poets across various epochs. In the contemporary era, some poets have adopted a critical and deconstructive approach to reinterpret this narrative. Parviz Eslampour, a prominent figure in modern poetry (sheʿr-e now) and the "Other Poetry" (sheʿr-e digar) movement, offers a distinct reimagining of the Layli and Majnun story in his long poem Shaqiqah-ye Sorkh-e Layli, employing innovative language and a socio-philosophical perspective. This study aims to examine the extent and methods of Eslampour’s appropriation of Nezāmi’s narrative and to analyze thematic divergences between the two works. The research employs a descriptive-comparative methodology. Findings indicate that Eslampour, while utilizing the core motifs of Nezāmi’s narrative, intervenes in its structure and meaning through a critical lens—redefining Layli’s role, critiquing social traditions, and foregrounding feminine suffering. By departing from classical lyrical diction and incorporating novel, often somber imagery, he constructs a space that challenges the classical narrative and advances a social-gendered interpretation of love.The re-creation of classical romantic narratives in contemporary Persian poetry stands as one of the most significant manifestations of the interplay between tradition and modernity in Iranian literature. Nezāmi Ganjavi’s Layli o Majnun, as one of the most influential romantic works in Persian literature, has perpetually inspired poets across various epochs. In the contemporary era, some poets have adopted a critical and deconstructive approach to reinterpret this narrative. Parviz Eslampour, a prominent figure in modern poetry (sheʿr-e now) and the "Other Poetry" (sheʿr-e digar) movement, offers a distinct reimagining of the Layli and Majnun story in his long poem Shaqiqah-ye Sorkh-e Layli, employing innovative language and a socio-philosophical perspective. This study aims to examine the extent and methods of Eslampour’s appropriation of Nezāmi’s narrative and to analyze thematic divergences between the two works. The research employs a descriptive-comparative methodology. Findings indicate that Eslampour, while utilizing the core motifs of Nezāmi’s narrative, intervenes in its structure and meaning through a critical lens—redefining Layli’s role, critiquing social traditions, and foregrounding feminine suffering. By departing from classical lyrical diction and incorporating novel, often somber imagery, he constructs a space that challenges the classical narrative and advances a social-gendered interpretation of love.https://www.qparsi.ir/article_237548_7c0e2dcad5953831123425f0ee16312f.pdf