Literary Interdisciplinary Research

Abstract The elements of the discourse are generally convergent with their existence universe in adjustable regime; if this regime is not adjustable (discontinuity), it behaves divergently with its existence universe. Therefore, the current research tries to deal with the formation of adjustment and discontinuity regime based on discourse semiotics in Puzzle of Architect Mahyar drama by Reza Ghasemi. Hence, eight samples were selected from the whole body and analyzed in a descriptive analytical way. The results obtained in this research indicate that, first, identity is formed in relation to body orientation; Secondly, an identity collapses when it faces the separation of the physical and material body from the phenomenal body. This creates insecurity in the discourse and finally, it causes the occurrence of discontinuity in the conditions of challenge, and it is precisely in this state that the frozen and fixed situation breaks down and semantic transformation occurs.  

Abstract Conducting comparative literary studies is one of the essential subjects and approaches in literature nowadays. American school of comparative literature provides a suitable framework for research on themes, opinions, and hidden concepts of works irrespective of their original language. In this article, we compare the play An Eye for an Eye, by an Iranian playwright Gholam Hossein Saedi, and The Tempest by a French Black writer and poet Aime Cesaire. This research, by using the American school of comparative literature and by drawing from Foucault's theories, scrutinizes the similarities and differences between these two plays. In Discipline and Punish: The Birth of the Prison, Foucault explains various governments' methods of punishment throughout history. People in power, by using their own approved system of thoughts and punishments, put common people of society under pressure, and chastise them. Foucault does not necessarily think these punishments are deterrent or adequate to the crime committed by a criminal, yet his/her body is used as a penal and correctional system. It will be examined that in these two cases the kings’ presence as the highest member of power is the only determinant of punishment. The absence of a judiciary system in both plays highlights the fact that much of the government's actions are baseless and biased. In An Eye for an Eye, the dominant system prefers corporal punishments whereas in The Tempest it privileges the mental/psychological one. Foucault believes that dominant institutions sometimes use punishment for its dramatic nature in order to intimidate people. This nature of punishment is represented and noticeable in both of our selected plays.  

Abstract Evaluations and value patterns are among the things based on which literary texts can be examined and analyzed. This research has investigated and analyzed two collections of stories accompanied by the Hamrahe ahanghaye baabaam and Abshouran by Dervishes, based on text valuation patterns and relying on vernacularism and interdisciplinary knowledge. The research method is descriptive and analytical. These two collections of stories are among the works that were written in the field of realism, and by relying on the valuation patterns in them, the author's focalizations, highlights, and evaluations can be seen. Measure the canvas in them. The results of the research indicate that the dervishes in the form of environmental elements and to express the pains and sufferings of the middle and weak strata of the society in contrast to the affluent strata, environmental manipulations and destructions, although aligned with the manifestations of culture and progress. However, he does not like it and always has negative evaluations towards them. Also, according to the value patterns of the texts, it can be understood that a peaceful life alongside nature and its dangers is rooted in respect for the multifaceted political, social, etc. dependencies of humans with nature. It is necessary to mention that the narrator's social, economic and cultural position has a significant impact on forming a point of view in connection with the environment.

Abstract The nature of metaphor is collective and communal, and since historical issues play a role in the selection of the origin of metaphors and their cognitive function, in the present research, the reasons for the emergence of the conceptual metaphor "the lover is light" in Persian love poetry are discussed. Therefore, firstly, the descriptive-analytical method was used to analyze the lyrical poetry of Sa’di and Monzavi, and then, the motifs of the sun were studied and analyzed using the comparative method. The results of the research show that in Sa’di's poem, one of the factors of the emergence of this macro metaphor is the lover's veiled face and the need to clarify the beauty of the beloved and how he is present, but in the Monzavi's poem where the beloved is not veiled, the cognitive functions of this metaphor change. It has been found significantly and the target area has changed from the lover to the lover, and the metaphor "the lover is light" has found creative aspects that are conceptualized from a different perspective every time. The role of the elements of the sun in the contemporary iranian images and the image of the female sun on the pottery show the extension of the metaphor "the sun is the goddess" which fits with the conceptual metaphor "the lover is the sun" in the Persian romantic sonnet.

Abstract Cognitive poetics, as one of the main branches of cognitive sciences, allows the reader to analyze a text with the help of tools and text builder elements. The present study aims at identifying the builder elements of poetry, an excerpt from the poems of Shirko Bikas entitled “Ma’rouf Aghaee, a rhythmic poem and a dead rain" from the collection of “lights above the peak” to study and analyze it by descriptive-analytic method and based on Text Worlds Theory proposed by Paul Werth in 1999. The results were obtained by identifying the different layers of Shirko Bikas poem, which was accompanied by a departure from the world of the original text to the sub-worlds and then a return to the world of the original text. The results showed that the most important feature of his poems is the use of special names, conceptual metaphors and also the use of adverbs as the most important world building elements in the building of the sub-worlds and the text world. The findings showed that the use of mental processes in the building of sub-worlds and the use of relational and material processes in the building of the text world are the most important function advancing propositions. And also, the findings indicated that in the selected excerpt, the reason for the tendency to read these poems is in the high frequency of the want-worlds and the collapse of the layer of the discourse world and the text world.

Abstract Emotion is one of the most important and vital element of poetry. Every poem is a kind of reaction of the artist's self-interactions. Psychic interactions are one of the main stimuli for the formation of works of art. Thus, Mawlana's lyric poems are the result of pure mystical experiences and the arousal of his powerful emotions. In this very article, the predominant aspect of the reflected emotions of Shams's lyric poems has been investigated using Robert Pluchik's theory of "fundamental emotions" in a descriptive-analytical method. In this research, one point (mark) has been considered for each verse and in the analyzing of verses, linguistic elements (sounds, words, compounds, sentences), direct lexical signification, and rhetorical techniques have been used. In Mawlana's sonnets, different types of emotions (primary and complex) have been expressed to different degrees of intensity, which is more than ninety percent of the expressed emotions. This research shows that 24 emotions of Pluchik model are reflected in Mawlana's sonnets. The reflected emotions in Mawlana's sonnets are love, happiness, astonishment, hope, acceptance, humility, respectively. The emotion of love is at the top with 50.92 percent points and despair is at the bottom of the table with 0.02 points.
 

Abstract The present article, as a qualitative research, has been written with an analytical approach and aim to explain the concept of adaptation from the perspective of intertextuality theory, and has examined intertextuality theory and several other key concepts. It seems that the concept that is presented in the performing arts as an adaptation is in fact a traditional preparation and technique and idea about the meaning of taking from previous texts, which can be explained basically by the theory of intertextuality. The concept of adaptation traditionally emphasizes a kind of omnipresence and explicitly highlights an aspect of the broad and complex dimensions of the various relationships between texts. In general, one of the most important consequences of the development of intertextuality theory and intertextuality theories has been the gradual dissolution of the concept of text as a coherent and autonomous semantic unit, which in turn has led to a shift from a single, independent and mythical text to a new concept of it. That is the way in which texts are related to other categories and texts. Therefore, explaining the nature of adaptation and its relevance to intertextual theory requires our familiarity with some important theoretical concepts proposed by Genet under the theory of hypertextuality, which we have examined in this article.

Abstract The narrative of " Sabzeh ghaba" is one of the folk tale, how trajectory of hero in mythic journey in story of "sabze ghaba" Based on monomythic model of Campbell's hero's journey Also, identification of protagonist's psychological Tibi Kahler based on T.A. theory, is main issue of research. This research purpose is study of subconscious mind of story audience and find out narrative motivation of story of hero's journey in mythic story of "Sabzeh ghaba".This article analyzes story of "Sabzeh ghaba" with mythological and psychological approach.This study shows that total levels of initiation and departure levels exist in pattern of hero's journey theory and return levels do not see in story of "Sabzeh ghaba". In addition, research proves existence of interaction between psycho-moral and narrative motives in formation of symbolic story of "Sabzeh ghaba". This study also concludes that going through personality development as an archetype in collective unconscious in human beings is trans-regional value.This research shows existence of Tibi Kahler “be hardworking" in the draft of the protagonist's life. Therefore, this study concludes that Eric Berne's Tibi Kahler theory is reflected in tests of Campbell's hero's journey; And indicates existence of Tibi Kahler in Iranian mythology.Research method is descriptive-content analysis and data collection is field and library.

Abstract Based on the findings of linguists, Alamuti dialect can be divided into the subgroup of North-Western languages of ancient Iran. Iranian languages can also be examined in the form of the large "Indo-European" language family. The horizon of comparison and connection of Alamuti dialect with English language in the beginning and origin in terms of form, phonetic and semantic structure, expands a wide range of research before the eyes of researchers, still many words with its old form and phonetic construction are used in the language of Alamuti speakers. In this article, some ancient morphological features of this dialect will be briefly mentioned. According to the research method which is descriptive and analytical, to prove the above attitude, twenty words and three suffixes that overlap with some English words in terms of phonetic form and meaning are examined and compared; First, he explores the words in the ancient origins and roots of Iranian languages (Pahlavi and Avestan), then he compares the words in a deeper view in the context of the Indo-European language family, and to these questions He answers that: What are the semantic and phonetic similarities of some words of Alamuti dialect with the words of the English language in their roots and origins? Are these similarities coincidental or does it indicate a common origin in a large language family?  Based on this research, the ancient identity and originality of this dialect can be seen in the collection of Iranian languages and its connection with the family of Indo-European languages.

Abstract Based on the findings of linguists, Alamuti dialect can be divided into the subgroup of North-Western languages of ancient Iran. Iranian languages can also be examined in the form of the large "Indo-European" language family. The horizon of comparison and connection of Alamuti dialect with English language in the beginning and origin in terms of form, phonetic and semantic structure, expands a wide range of research before the eyes of researchers, still many words with its old form and phonetic construction are used in the language of Alamuti speakers. In this article, some ancient morphological features of this dialect will be briefly mentioned. According to the research method which is descriptive and analytical, to prove the above attitude, twenty words and three suffixes that overlap with some English words in terms of phonetic form and meaning are examined and compared; First, he explores the words in the ancient origins and roots of Iranian languages (Pahlavi and Avestan), then he compares the words in a deeper view in the context of the Indo-European language family, and to these questions He answers that: What are the semantic and phonetic similarities of some words of Alamuti dialect with the words of the English language in their roots and origins? Are these similarities coincidental or does it indicate a common origin in a large language family?  Based on this research, the ancient identity and originality of this dialect can be seen in the collection of Iranian languages and its connection with the family of Indo-European languages.

Abstract All authors have long sought to find attractive and lasting names for their works, and the discussion about the entitling of literary works has been as important as study on their structure and content, in the discussions of literary criticism. The main approach of the article is based on an interdisciplinary foundation, between literature and linguistics. The article aims to present a comprehensive classification of naming methods of literary works using the knowledge of linguistics and based on the construction rules of the Persian language. The claim of this article is that the writers of Iran and the world have used very definite and limited methods in the construction of language to entitle their works, whether in Persian or in other languages, and many of these methods are similar. This article is written in a descriptive and analytical way, using the approach of analyzing the names of literary works, based on “construction” and “Persian grammar”. The author of this article has used syntactic and grammatical classification methods in the classification of names. The article tries to reach this conclusion, contrary to what is believed, entitling a literary work is the most difficult part of creating a work; the naming of works follows simple and repetitive patterns, familiarity with which can facilitate the naming of literary works for any contemporary writer.