Contemporary Persian Literature

Abstract Dramatic adaptation of classical texts for children and adolescents serves as an effective approach to familiarizing young audiences with literary heritage while simultaneously offering new capacities for embedding educational and social themes within children's dramatic literature. Studying the structure of adaptations enables us to better identify strengths and weaknesses and to take steps toward addressing them. Employing a descriptive-analytical method and drawing upon both traditional and modern perspectives in adaptation criticism, this research examines the structural elements of three adapted plays by Abbas Doust-Gharin: Dokhtar-e Mashgholi Khan, Gonjeshk-e Ghahreman (The Sparrow Hero), and Khaleh Suskeh (Auntie Cockroach). The primary objective of this study is to identify the extent and manner in which narrative structure, characterization, thematic content, tone, and spatial atmosphere have been recreated in these adaptations, thereby proposing a framework for evaluating adaptation quality in children's dramatic literature. The findings are categorized under the following headings: character and characterization, theme and content, atmosphere and setting, and resolution. Each of these elements is comparatively analyzed across both the source text and the adapted version.

Abstract Long narrative poems in contemporary Persian poetry represent one of the most distinct yet underexplored manifestations of modern literature, often overlooked by critics and readers alike. This study seeks to revisit and redefine the concept of the manzumeh (Long Narrative Poem) in contemporary literary discourse. Through a descriptive-analytical methodology, the present paper reviews previous definitions and investigates a more suitable approach in order to conceptualize this classical form in a modern context. Drawing on Ludwig Wittgenstein’s theory of “family resemblance,” the research moves away from rigid, essentialist definitions and instead proposes a flexible framework to understand the defining features of long narrative poems in the contemporary era. These features—which form an interconnected network allowing for the identification of such works—include thematic unity, spatial continuity, temporal continuity, a central character, narrative presence, and scene construction. In the final section, a table of prominent examples of contemporary long narrative poems is provided, which explains the defining features of each poem. In addition to offering a systematic definition of the long narrative poem, the present article has, to the best of its ability, introduced several examples from contemporary Persian poetry in order to create, for the first time, a reliable reference for researchers and enthusiasts in this field.

Abstract In the course of Persian poetry, we sometimes encounter viewpoints that, in their contradictions or coexistence, open new doors for those who encounter them. The viewpoints raised about Bahar's poems - which have a different aspect in terms of characters and literary positions - are one of these areas that require a comprehensive analysis. In general, a group of critics absolutely reject Bahar and his poems, while a group accepts his poetry in their own era with certain conditions, and another group considers him the initiator of a new style in Persian poetry. In this study, based on these views, the main themes of Bahar's poetry are expressed in five categories: lyrical, didactic, epic, critical, and narrative, with mention of content subgroups. The views of the critics were first categorized into two areas: formalisms and contentisms, and then subgroups were created for each case. The type of approach of the critics was also divided into three categories: extreme, moderate, and extreme. The results of the research show that Bahar's poems emerged under the conditions of his personality, politics, literary mentality, and social environment. The method of this research was carried out by quantitative-qualitative analysis and by presenting charts and tables. The aim of this research was to achieve a correct and final understanding of the position of Bahar poetry in Persian literature.

Abstract Loneliness and isolation are modern-day sensibilities whose consequences are very different from the achievements of isolation, seclusion, and seclusion in the classical era. For this reason, this concept is being rethought and redefined in the modern era. Hortolanus and his colleagues are among the theorists who have defined this concept in the modern world with its components and evaluated it in the field. The definition of loneliness in this framework is a mental and cognitive state that is linked to other concepts such as intimacy, a sense of belonging, and emptiness. The present study aims to examine and analyze the three novels ", An Madaran, In Dokhtaran " (2018), "Atash" (2018), and "Rehesh" (2017) based on this approach with an analytical-descriptive method. Accordingly, first, narrative data based on the central components of the concepts of loneliness and isolation were separated, and then the manifestation of loneliness, types, and contexts of the emergence of lonely and isolated characters in the narrative were analyzed. The main characters of these novels are each a type of loner, the most important manifestation of which is emotional loneliness, especially in the family. Also, the impact of the structure of society and culture on this loneliness is a special emphasis in these novels, and thus social loneliness and environmental isolation are a prominent feature in the narratives and characterization. The difference between the religious beliefs of the characters and the practical and realized manifestation of religion in society and the lifestyle narrated in the novel has also caused loneliness and isolation to be more prominent for the characters and they are more aware and sensitive to it.

Abstract In addition to its political and social impact on Iranian history, the Constitutional Era marks an important period in the simplification of Persian prose and literary texts. The press of that time, especially the newspaper Sur-e Esrafil and its satirical column Charand Parand, played a significant role in this transformation.
This article examines the function of grammatically incongruous combinations in Dehkhoda’s writings within the Charand Parand series in Sur-e Esrafil.
These satirical texts are rich in linguistic innovation, one of the most notable aspects being the creative use of grammatically incongruous combinations. These are structures that, while inconsistent with the syntactic or semantic norms of standard Persian, are employed deliberately within a humorous framework to enhance the critical, ironic, and satirical tones of the work.
This article presents and analyzes examples of such combinations that deviate from standard language in terms of syntax, semantics, or both.
It demonstrates how these linguistic deviations, which often reflect elements of colloquial speech, serve as effective tools for conveying social and political satire.
By disrupting conventional linguistic logic, these combinations surprise the reader and provoke laughter or reflection.
Moreover, the study shows that the use of these combinations contributed to the simplification of prose and helped bridge the gap between written and spoken language, making them a transformative element in the evolution of modern Persian prose.

Abstract Music is one of the factors that characterize poetic language, which includes two internal and external aspects. The external aspect of music, namely prosodic meter, rhyme, and radif, underwent changes in contemporary poetry with the emergence of ghazal writers such as Simin Behbahani and Hossein Manzavi. These changes have continued until now and, after going through ups and downs, reached relative stability in the last years of the fourteenth century. The analysis and study of music in the ghazals of the poets of the nineties, especially the anonymous poets, yields significant results, which is the main subject and goal of this research. For this purpose, the library research method is used and the music of the ghazals is studied.
The study of prosodic meters and the frequency of their use, the method of using rhyme, mid-rhyme, radif and its types, the use of new and difficult radifs, departure from meter, rhyme, and radif, and the strengths and weaknesses in the music of ghazals of this period are the issues that have been addressed in this research.
The results of this study show that despite the experimentation of poets in innovative meters in the 1990s, traditional and ancient meters continue to be more popular than new meters. Meters that are less flexible and musical have been eliminated from the realm of Persian ghazals over the years, and among the innovative meters, those that have made minor changes to the ancient meters have remained stable.

Abstract Pezeksezzad’s novel Hafez Nashnidepand is a multilayered text that challenges the established structures of history, power, and narrative through the use of paradoxical techniques. This study, based on Linda Hutchen’s theory of paradox, attempts to examine the three main components of paradoxicality in this novel: the destruction of power displays, the inversion of history, and the displacement of narrative elements. The results of the study show that Pezeksezzad, by using ironic language, caricatures of characters, and creating semantic contradictions, has removed history from its linear and definitive narrative and transformed it into an arena of rewritten contradictions. Furthermore, the display of power in this novel is formed both on the basis of real actions and through symbolic displays and performances, which in turn leads to the collapse of the legitimacy of the rulers. Also, disproportionalization of narrative elements, such as the presence of disparate characters in a parliament or changing the function of social places, breaks the narrative coherence and highlights the contradiction in the text. The research method is based on the qualitative analysis of the novel based on Hutchen's theory of contradiction, and the research findings indicate that Pezekzzad, with his complex humor, has removed history and power from their absolute position and exposes them to a critical reading

Abstract Abstract
The element of "character" is one of the main pillars of fictional literature and is considered its fundamental element. On this basis, multiple manifestations of personality form the foundation of psychological criticism. Personality theories in psychology are explained and developed with two categories of needs and motivations. In general, according to these theories, human personality is a reflection of controlled behaviors. behaviors that originate from needs and motivations. In the meantime, Murray's theory of artistic personality has a special application in psychological analysis; In such a way that one of the psychological components in literary texts is the list of needs formulated by Henry Murray. Based on this approach, the novel "Prince of Ehtejab" by Houshang Golshiri is clearly compatible with Murray's list of artistic needs. The main interest in the current research is to analyze the character of Prince Ehtejab according to Henry Murray's theory in fiction literature during this study, it is clear that the personality of Prince Ehtejab is mainly in anxiety due to environmental factors - which is included in the category of (Alpha Press) - this causes psychological pressure (Beta Press) and subsequently causes the formation of special needs in Prince Ehtejab's personality. Based on this, the same character is able to overcome his internal pressures by solving needs such as understanding, affection, harmavoidance, injury avoidance, sexual desire, reciprocity and self-reliance; however, this reaction eventually causes the collapse of his personality.