Contemporary Persian Literature

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.

Abstract After a century of changes and developments in contemporary Iranian song, today it is possible to study its evolution in its last movement, the song of the nineties, with an analytical approach. the poetry collection "Khane Taraneh" includes works by more than fifty songwriters of this decade, which has made such research possible, using the approach of discourse analysis theory, examines the social, political, cultural, artistic and philosophical role and function of the song genre and discovers its existential truth in the postmodern era; because the theory of discourse analysis can be one of the signs of the postmodern era and the period of moving beyond the one-dimensional reality of objects in today's social life. this essay examines the songs of this decade as one of the general manifestations of cultural and social action and has reached the following findings on topics such as: history of songs, love, language and prohibition. according to the results of this research, the songs of the nineties, in a modernist and postmodernist mechanism, under the influence of two factors: ideology and power in society, follow an intellectual and philosophical hegemony that has led to the creation of a new discourse in this art. a discourse that, in the deep layers of its investigation, shows the impact of issues such as: technology, politics, culture, the interests and tastes of youth, the authority of the music industry mafia, the negative attitude of national radio and television, etc.

Abstract The present article studies irony in postmodern poetry. Irony is a rhetorical style and a style of conversation in which a special kind of contradictory and sometimes humorous expression can be seen. conversation in different ways; Such as duality, polyphony, self-reflection and free expression of thoughts are among the characteristics of postmodern poetry; Therefore, irony can be investigated as a conversational style in postmodern poetry; Therefore, the authors try to answer these questions with a descriptive-analytical method based on the text of postmodern poems: ironic method is used in postmodern poetry to explain what themes and which ironic methods are used in these poems and which one is more frequent? Studies show that irony is used in postmodern poetry to express political, social, moral, religious, romantic themes and to express individual feelings, and postmodern poets have used verbal, situational, dramatic, and Socratic types of irony. Among these, the irony technique of the situation, which has created an ironic atmosphere in contemporary poetry dialogue with an unexpected and often surprising expression, has the highest frequency.

Abstract The collection of legends, folk ballads, folklore, beliefs, ideas, tales, customs, songs, and the early arts of a nation is called “folklore”. Alongside official literature, which is crafted and endorsed by those in power and is aligned with various structures of “authority”, “folk literature” does not originate from official sources within society and no “authority” plays a role in its creation and continuation. This research examines the “anti-authoritarian” discourses within folk literature and analyzes how folk literature, by distancing itself from sources of power and authoritarianism, strives to limit and oppose manifestations of authoritarianism. It also explores the tools and strategies used in this endeavor. Rarely has literature and literary works been devoid of anti-authoritarian concerns, but from the early 1940s to the late 1970s, influenced by socio-economic changes and the teachings of political parties, and based on the prevailing political-philosophical trends in the contemporary world, a type of combative literature emerged in Iran. This literature made the struggle against despotism and colonialism the main theme of the prevailing culture, and in the interactive relationship between literature and society, militancy and revolutionary spirit gained theoretical and practical authenticity. Influenced by this environment, where power and authoritarianism were subjected to criticism and challenge, Ahmad Shamlou, with his special interest in folk culture and literature, succeeded in creating a type of folk literature, one of the achievements of which was “opposing and limiting power and authoritarianism” using the language and capabilities of folk literature.

Abstract Dialectic is an old word, which has been used throughout history and in different topics with different meanings. One of the meanings of dialectic, which is the basis of this research, is the process during which the reconciliation of opposites creates a third entity or concept. Based on this, fifteen poems by Nima and the poets after him have been examined and analyzed in the following essay. The mentioned examples have been selected from prominent poems such as "Ai Adamha" and "Zemestan", which have as much as possible poetic indicators that can be generalized to most new poems, and also include different types of social, mystical and philosophical and different styles of dialogues and introverted & extroverted monologues. Studies show that poets have used the dialectic process on a large scale for messaging and secondary meaning of speech. Although, in combining and reconciling the opposites, according to the taste and style of each poet and the necessity of the subject, they have benefited from different linguistic and semantic possibilities. Therefore, all kinds of new poems have found a similar structure based on the three pillars of thesis, antithesis and synthesis. The reader's consideration in this dialectical structure can facilitate their entry into the meaning depth of the poem (synthesis) through the concept-creating and meaning-creating combination of two external pillars (thesis and antithesis).

Abstract The story is the character in action. As the characters get more consistent, new signs of their characteristics are revealed, and this causes reactions from them to each other that are completely different from what was previously in mind. Therefore, personality is the result of two impulses. Impulse of individualization and type impulse. Ernest Hemingway in the novel Pirmerd wa Darya and Sadegh Chubak in the novel Tangsir have used common and diverse methods in the characterization of their novels, which include presenting believable characters, using few names in the opening chapter of the story, people with unclear motivation, physical and psychological description of the character, Giving information through secondary characters, expressing the psychological background of the character, brief and useful characterization, accidental characters, intermediate characters, permanent characteristics of the character. The purpose of this research is the comparative analysis of one of the important elements of the story (characterization) in the novel The Old Man and the Sea by Ernest Hemingway and Tangsir Sadegh Chubak. The research method is descriptive-analytical and in a library style. The findings of the research show that in both works, three indicators are prominent and have a high frequency in common, which are: describing the character, believability and truthfulness of the people in the story, mentioning a small number of names at the beginning of the story.

Abstract With the collapse of unitary and absolute narratives in the postmodern era, the concept of love has transformed into a collection of individual and diverse experiences. It's a multifaceted and fluid concept intertwined with social, cultural, economic, and technological changes. Love in this era is viewed differently by each individual and is constantly being redefined and reconstructed. One of these definitions is the concept of liquid love that Zygmunt Bauman used to describe the nature of emotional bonds in postmodern society. He argues that emotional bonds in this era have undergone a profound transformation from traditional definitions. The image presented of liquid love in Houshang Golshiri's novel Christian Va Kidd provides a clear picture of the transformations in emotional bonds in postmodern society. The results of this research show that the bonds in this novel are heavily influenced by the concepts of liquid love. Love is no longer a fixed feeling, but rather changes based on the inner references and individual desires of the characters. Loyalty and commitment to a covenant are not observed in any bond. What shapes a relationship or ends it from the characters' perspective is the presence or absence of the pleasure component. Sexual relationships exist extensively among the characters, which are not afraid to engage in them without fear of exposure. Incompatibility and conflicting emotions are frequent. Bonds end easily without any individual or social anxiety, and individuals freely seek new experiences.

Abstract This research is based on the fact that a message transmitter can communicate with several levels of receivers by using language devices, one of the methods is the use of symbols in the realistic context of the text, which is referred to as symbolic realism. In order to achieve this goal, two fictional works by Simin Daneshvar, "Wandering Island" and " Wandering Sarban ", which can be analyzed as research samples, were selected. In this research, the method of text analysis was used. The findings of the research are as follows: the most frequent parts of the text from the point of view of the connection between symbols and reality in the formation of the secondary message are words, combinations, descriptions and characterization in the texts, and they are the most used in social and political issues; Also, by using this method, Daneshvar has been able to send different messages to his readers in a single text, both general readers and special readers who have the same password or close to him. This research shows that Daneshvar has simultaneously used two direct methods in the form of realism and linguistic structure and indirect methods in the form of symbols and implied meanings to express the human, social and political realities of his contemporary period, and to receive the message, according to the type The audience has placed the codes and symbols within the text in relation to external realities. The use of this method, while meeting the desired goals, has increased the enjoyment of the text and has also reflected the closed and limited space governing the text and in the text.

Abstract Modern historicism is one of the approaches of literary criticism. In this method, the boundary between history and literature is removed so that the relationship between the text and its historical context can be examined based on that. Considering the social and historical influences of different eras on literature, this research examines how history and its social issues are represented in the novel of Malekan Azam by using the descriptive-analytical method from the perspective of historical criticism. This is a novel; the main questions are whether the real and true examples of the characters, place, time and events and actions of the story point or refer to real and historical issues? Most likely, the author in this novel refers to historical and fictional events and characters. It puts together and analyzes and explains the historical contexts related to the Babiyya and Baha'i sects, and in fact, parts of the beliefs and actions of the owners of these two sects are reflected in this story. Also, the characters of the novel are introduced as symbols of historical figures and important events in the history of Iran. This research, in a new and hypothetical reading, seeks to find the historical and real meanings of the characters, place, time, and special and ritual actions of the fictional characters, even if it is assumed, to show how the novel Malekan Azab not only represents history, Rather, it also deals with a deeper analysis of the beliefs, ideas and contradictions in the Babi and Bahai sects. One conclusion that can be obtained from this research is that according to the themes and especially the Sufi beliefs and actions in the work, it is possible to describe artistic views. He assumed the sect of Bab and the personalities related to that sect. In fact, it is assumed to understand the existing sectarian concepts based on various evidences.

Abstract Avant-garde ghazal, the first signs of which were seen in Persian poetry in the 1970s, has been mentioned by many names. Form ghazal, postmodern ghazal, metaghazal, varied ghazal, automatic ghazal, text ghazal, etc., each of which implements a part of avant-gardism in ghazal. The main feature of all these types of ghazal is that they have included changes in the normal structure and form of the classical ghazal and they claim to create a new and fresh structure in the ghazal.
This article examines the structural damage of the avant-garde sonnets and answers the question of what effect the structural damage has had on the sale of the collection of sonnets related to these trends. To investigate this question, a self-made questionnaire was used, and the data were analyzed with the statistical software spss and the univariate t test. The results show that changing the form of ghazal and adding inappropriate words and breaking language are the most important harms that have affected the audience's happiness.

Abstract Multiple factors influence the interpretation of a poem. Each literary work can contain specific semantic possibilities that aid in its better interpretation. The mention of the time a poem was written, as provided by the poet, is one of the paratextual elements that contributes to the interpretation of the poem. In this research, conducted using a descriptive-analytical method, the issue of the poet's own interpretation of their poem and the mention of the time of composition as a factor for this self-interpretation is first addressed. By examining the works of some prominent contemporary Iranian poets, the impact of the poet's mention of time on the interpretation of poetry is categorized into five groups: 1. Mention of time in service of sociological critique of the work. 2. Mention of time in service of psychological critique of the work. 3. Mention of time in service of understanding the poet’s poetic evolution through developmental critique. 4. Mention of time in service of the discourse of the era in which the poem was written. 5. Mention of time in service of critiquing seasonal images and metaphors in poetry. In examining these categories, evidence from contemporary poets' works is presented for each of the five groups, followed by an analysis of them. The mention of the date of composition in each of these five categories reveals the social, psychological, political, and aesthetic contexts of the poem, facilitating a more precise critique through examination, analysis, and interpretation.

Abstract All artists, including creative poets, before expressing the meaning; They provide the context of visualization and sense of meaning for the audience and place him in a space where he imagines that the meaning is the same as Nimayoshij in order to induce his mental concepts to the audience and give depth and visualization of the desired concept in his mind, from the elements and Mechanisms such as image, space creation, allegorical story, emotion, color, phonetic harmony, syntactic avoidance, ambiguity, symbol, etc. have been used and have been able to leave a single impression on the reader and influence his view on the political and social situation. By using the element of emotion, Dehed and Nima connected all the poetic elements in a network, and directed the feelings and emotions of their poetic audience in the direction of their desired feeling and emotion.

In this research, the author relied on the descriptive-analytical method and on the basis of library-documentary studies in the examination of 42 prominent pieces of Nima's poetry, and came to the conclusion that in most of these pieces, Nima uses elements and mechanisms to induce meanings such as "color, creating space and creating images, He used "emotion, phonetic harmony and syntactic norm avoidance" at the same time, but in 27 pieces 2 of it, in addition to the mentioned elements, he used "symbol and ambiguity" and in 24 pieces 3, he used the mechanism of "allegorical story" to induce meanings and was able to The mechanisms of inducing meanings to words, terms, native and local names and even colors give a new meaning and creatively expand their meaning and conceptual scope. Instead of directly describing his emotions and his ideal world, Nima displays an image of them before the eyes of the audience and unintentionally involves him in a space of his creative thoughts that allows him to see the world from another perspective. Look at the phenomena and give up your habitual and traditional mentality, go to welcome new and different ways of thinking and do something that Iranian man after centuries has turned away from the sky, look at the earth and earthlings and see man and his pains from the point of view. Another one has experience, to consider the political and social situation of the country from another perspective.
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