https://www.qparsi.ir/ Critique, Analysis and Aesthetics of Texts en daily 1 Mon, 22 Dec 2025 00:00:00 +0330 Mon, 22 Dec 2025 00:00:00 +0330 https://www.qparsi.ir/article_235984.html The 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 works https://www.qparsi.ir/article_236238.html 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_237547.html 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_237549.html 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_237550.html 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_237548.html 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_224479.html Identification and Analysis of Lyric Elements in Contemporary Persian Poetry with a Focus on the Poetry of Gholamreza BrousanAbstractThis study aims to analyze the lyrical elements in the poetry of Gholamreza Brousan through a descriptive-analytical approach. The primary research question investigates the extent to which the characteristics and positive effects of lyrical poetry can be identified in Brousan’s works. As one of the oldest and most widespread poetic genres, lyrical poetry reflects individual emotions. Examining this genre in Brousan’s poetry—where personal lived experiences are transformed into verse—is therefore of scholarly significance. Drawing upon diverse theoretical perspectives on lyrical poetry, this study seeks to extract and analyze shared lyrical components within his poems. The hypothesis suggests that Brousan’s works embody the core elements of lyrical poetry, which accounts for their effective engagement with readers. Findings indicate that his poems are marked by emotional depth, individuality, artistic language, imaginative imagery, and philosophical reflection. The analysis shows that in the contemporary literary context, despite the growing tendencies toward linguistic complexity or prose-like structures in poetry, reinforcing lyrical components not only enhances the aesthetic and literary quality of poetic works but also helps restore the reader-poem connection and prevents the erosion of poetic form into prose. https://www.qparsi.ir/article_225781.html in the works of contemporary women writers; Many Problems And Social Harms of Women have Been Discussed; Among Which We Can Mention Munir Ravanipour. She is Among Those Who Clearly Express Some Social Harms in The Form Of Stories in Her Works. The Most Serious Social Harms Of Women in The Story Of The long Night Of The Child Are Infidelity And Physical Violence That Affects The Entire Story. In Addition To Child Marriage; Superstitions And illiteracy are also among the things that have appeared in the story. In the novel Ahl Ghareq; we can also mention Social harms such as forced marriage; betrayal and rape; superstitions and illiteracy. With the help of his pen; Ravanipour Expresses the above-mentioned content clearly in his writings to inform The audience about The Society in Which he Lived and The Customs that Plagued The Traditional life Of Women at that time. This Reserch has been done With Analytical-descriptive method and the author has Analyzed The Social harms in Them While Extracting Examples Of Evidence From The Studied Works. https://www.qparsi.ir/article_227947.html Abstract of the article "Irony in the Poetry of Mohammad Hossein Shahriar"Irony, as an artistic technique, refers to different layers of meaning in the text by creating semantic contrasts within it. This research, using a descriptive-analytical method and using library resources, while explaining the theoretical framework of irony, examines how types of irony are used in Shahriar's poetry. Using irony as a powerful tool, Shahriar has criticized social and human issues in his poems. He expresses complex concepts in a humorous and at the same time effective way with simple and fluent language, and with the help of types of irony, especially lexical and structural irony, creates vivid and tangible images in the mind of the audience. Shahriar has analyzed social inequalities and anomalies by intelligently using irony and has created lasting and influential works in contemporary literature using this technique. In this study, while analyzing examples of Shahriar's poems, the effect of irony on the depth and appeal of his works is examined, and the role of this technique in expressing the poet's critical and social views is analyzed. https://www.qparsi.ir/article_233500.html Literature interacts with the emotional forces and inner world of humans, and it may sometimes help alleviate psychological issues and strengthen the emotional balance of individuals. Therefore, by properly analyzing a literary work, one can trace the existence and essence of the author. This article examines the character typology of the lover and beloved in Nezami's Leyli and Majnun based on Karen Horney's theory. Horney, as a reformist psychoanalyst of Freudian theory, has either completed or revised Freud's concepts. Her perspective on personality, like that of other personality theorists, reflects her personal experiences. According to her view, the methods and strategies an individual resorts to for self-protection lead to the emergence of three personality types: compliant, aggressive, and withdrawn. The research method is descriptive-analytical. The results indicate that the society depicted in Leyli and Majnun is closed, filled with oppression and humiliation, and the attainment of rights and the realization of desires can only be achieved through force and the sword. In such a society, Leyli and Majnun are inevitably forced to choose a compliant strategy. Leyli, in a society that grants no rights to women and where her life has no value, sees the solution in lowering her head, remaining silent, and submitting to the fate that others have predetermined for her. Ultimately, she exits this world in a plaintive and unsuccessful manner, harboring the hope that perhaps she may find her desires fulfilled in the afterlife. https://www.qparsi.ir/article_238256.html Persian literature, throughout its various historical periods, has been enriched by poets who, according to their artistic character, poetic prowess, and influence on history and society, have played significant roles and contributed uniquely to its depth and richness. Among the thousands of Persian-language poets from the early days of Dari Persian to the present, some have achieved fame and renown, while others remain relatively unknown. This article introduces and examines the poetry of Salah al-Din Sarfi Saveji, a poet of the 10th century AH (16th century CE). Brief information about Sarfi Savji is found in contemporary sources from the 10th century, and later sources also quote from them. These sources do not contain much information about the details of the poet's life. Often, one can find his name, title, and poetic evidence in literary annals. By analyzing biographical sources, poems, and historical evidence, a clearer picture of his life, personality, and literary status within the 10th-century literary movement can be drawn. Sarfi Saveji was a follower of the Woqoo school, yet his poetry also reflects elements of the Iraqi style and traces of the Indian style. While adhering to the Woqoo school, Sarfi at times draws upon the subtleties of the Indian style, and this fusion gives his poetry a distinct character. The structure of traditional ghazals, familiar language, along with a fractured yet sorrowful tone, shape his poetic identity. https://www.qparsi.ir/article_239949.html Anvari is a 12th-century (6th century AH) poet whose ghazals, like those of Sa'di and the poetry of Iraj Mirza, are considered deceptively simple (sahl-e mumtani'). Beneath this apparent simplicity lie complex artistic intricacies whose analysis requires an understanding of the textual context. This study employs the framework of Riffaterre's Stylistics to uncover the hidden discourse within Anvari's ghazals. The research methodology is descriptive-analytical and focuses on identifying linguistic mechanisms, including "hypograms" and "semantic accumulations".Key findings reveal that binary oppositions—such as love and suffering, union and waiting, meaning and meaninglessness—function as tools for encoding Anvari's social and ideological critiques. The inversion of traditional symbols (e.g., transforming patience into self-annihilation, or substituting waiting for union) serves as the primary mechanism for challenging the dominant discourses of Anvari's poetic era. The results confirm that these techniques transform the text into a resistant network against superficial readings and provide the capacity to engage in dialogue with modern discourse theories.