Research in Comparative Literature

Research Paper الادب المقارن

An Analysis of Movement Dynamics in Attar’s The Conference of the Birds and Al-Marri’s The Epistle of Forgiveness

Shokrolah Tatari; Farshad Mirzai motlagh; Masood Sepahvandi

Volume 15, Issue 3 , September 2025, Pages 1-23

https://doi.org/10.22126/jccl.2025.11347.2657

Abstract

This paper explores and compares the movement dynamics in Attar’s The Conference of the Birds (Mantiq al-Tayr) and Al-Marri’s The Epistle of Forgiveness. Both works depict a spiritual journey and mystical quest; however, they differ in their representations of movement. Attar’s work, ... Read More This paper explores and compares the movement dynamics in Attar’s The Conference of the Birds (Mantiq al-Tayr) and Al-Marri’s The Epistle of Forgiveness. Both works depict a spiritual journey and mystical quest; however, they differ in their representations of movement. Attar’s work, as a mystical text, uses the evolutionary journey of birds as a metaphor for seekers of God, while Al-Marri, with his unique philosophical perspective, approaches the concept of journey and movement as an intellectual and philosophical voyage. This study explores various dimensions of movement and compares the philosophical concepts presented in these two works. While Attar uses mystical metaphors to depict a spiritual journey toward ultimate truth, Al-Marri adopts a philosophical and skeptical approach, offering a mental journey and a critical examination of the religious and social beliefs of his era. The primary objective of this research is to analyze the depth and significance of movement in both works and to conduct a comparative analysis of this movement from mystical and philosophical perspectives. Employing a comparative approach and content analysis, this study explores the origins, characteristics, and outcomes of movement in the two works. The findings indicate that movement in The Conference of the Birds symbolizes a spiritual journey toward perfection, whereas in The Epistle of Forgiveness, it represents a philosophical and intellectual progression aimed at criticizing traditional worldviews. Introduction:The mystical and philosophical literature of Islamic and Eastern traditions has long provided a rich foundation for analyzing and exploring fundamental human and ontological concepts.Two outstanding works in this field, The Conference of the Birds by Attar of Nishapur and The Epistle of Forgiveness by Abu al-Ala al-Ma'arri, employ narrative and symbolic structures to present a novel perspective on dynamic movement in the spiritual journey and the quest for truth. In this context, the concept of "movement" or "dynamics" is understood not only as physical displacement but also as a metaphor for spiritual and psychological processes. In The Conference of the Birds, the birds' journey toward the Simurgh symbolizes a mystical quest, with each stage marked by challenges, purification, and transcendence. On the other hand, in The Epistle of Forgiveness, the journey of the main character through the afterlife serves as a narrative framework that intricately weaves together religious, philosophical, and social critique. Both works, from the perspective of dynamic movement, present complex models of physical, spiritual, and metaphysical motion, which are analyzed in this comparative study.The primary aim of this research is to analyze and compare the patterns of dynamic movement in these two works to demonstrate how each text, through its unique structural dynamics, deepens epistemological and spiritual themes. The central question is whether the dynamic movement in The Conference of the Birds and The Epistle of Forgiveness follows similar principles and structures or if each possesses its own distinct system of movement. The structure of this article is as follows: first, the theoretical section will elaborate on the concept of dynamic movement and the research framework. Next, the comparative section will analyze selected examples from both works side by side. Finally, the findings will be presented in the conclusion.Method:Despite numerous studies in mystical and philosophical literature, a comprehensive comparative analysis of dynamic movement in these two significant works has yet to be conducted. This article aims to fill this research gap by employing the theoretical framework of movement schemas, offering a fresh perspective on these classical texts. The findings of this study may contribute to a deeper understanding of the spiritual and psychological concepts in the works of Attar and Ma'arri, providing new insights for comparative studies in mystical and philosophical literature.Conclusion:This study examines and analyzes the dynamics of movement in "The Conference of the Birds" by Attar of Nishapur and "The Epistle of Forgiveness" by Abu al-Ala al-Ma'arri. The primary objective is to compare how these two poets utilize the concept of movement and its dynamics in their works. The findings indicate that although both poets use movement to express inner and philosophical transformations, their methods and the associated semantic implications differ significantly. In The Conference of the Birds, movement symbolizes a spiritual journey and serves as a path to attaining truth and mystical perfection. The birds undertake symbolic movements to navigate various cognitive and mystical stages, ultimately reaching the ultimate truth. This movement is not merely a tool for personal and spiritual transformation; it also serves as a means of illustrating the mystical experience. It holds a metaphysical significance, symbolizing an ascending journey from darkness to enlightenment and from ignorance to knowledge.However, in The Epistle of Forgiveness, movement is primarily depicted as a search within the material and human realms. It is portrayed as a complex process filled with doubt and philosophical inquiry. Ma'arri perceives movement not only as a spiritual process but also as a dynamic force operating within both individual and social contexts. In this work, movement is more concretely connected to human and societal dimensions, particularly addressing internal contradictions, intellectual cycles, and spiritual struggles. Here, movement is not merely a path to truth but also an exploration of suffering, sin, and redemption within the human experience. By comparing these two works, it becomes evident that while Attar presents movement as an ascending path leading to ultimate perfection, Ma'arri portrays it as a complex quest filled with unanswered questions in both human and philosophical contexts. This difference in the use of movement reflects their fundamentally distinct perspectives on humanity and existence. Attar perceives movement as a purifying and spiritual process, whereas Ma'arri emphasizes its philosophical and human dimensions, viewing it as an integral part of the human experience with its unique complexities.Furthermore, this study demonstrates that, while previous research has generally examined movement in the mystical and philosophical works of Islamic writers, this comparative analysis reveals new dimensions of movement and its impact on the development of philosophical and mystical concepts in Islamic literature.The findings underscore the importance of movement as a fundamental tool for understanding spiritual and human transformations, demonstrating how this concept plays a crucial role in defining human experience and the pursuit of truth in the works of Attar and Ma'arri.

Research Paper الادب المقارن

The Function of Love in Ibn Rumi and Saeb Tabrizi's Poetry based on Ervin Yalom's xistential Psychotherapy Theory

Ali Khaleghi; Mahmoodreza Tavakoli Mohamadi; Hamid Motavalizade

Volume 15, Issue 3 , September 2025, Pages 25-46

https://doi.org/10.22126/jccl.2025.11631.2673

Abstract

Criticism of psychology and psychoanalysis in the contemporary period, influenced by the growing prevalence of literary criticism and interdisciplinary studies, has occupied a significant portion of literary research. Given the close relationship between literature and psychology in reflecting emotions, ... Read More Criticism of psychology and psychoanalysis in the contemporary period, influenced by the growing prevalence of literary criticism and interdisciplinary studies, has occupied a significant portion of literary research. Given the close relationship between literature and psychology in reflecting emotions, feelings, and individual spiritual factors, this approach has received special attention. Among the topics in psychoanalysis, the theme of love and the exploration of its dimensions and identity as a fundamental human phenomenon are very important. The worldview of poets can be understood by examining their poems on this subject. The concept of love is also a significant issue discussed in existential psychotherapy. The phenomenon of love can be analyzed in the poems and thoughts of poets through Ervin Yalom's theory, due to the conflicts it generates and the dynamics it entails. Using a descriptive-analytical method, this research aims to investigate the theme of love in the poetry of two classical poets—Saeb Tabrizi, a Persian poet, and Ibn Rumi, an Arabic poet—based on Yalom's theory. The study seeks to discuss and examine how this theme is presented and processed, as well as the poets' attitudes toward it. The research results show that both Sa'eb and Ibn Rumi had a profound understanding of love and offered insights for dealing with it. Saeb's poetry primarily explores the mystical and divine dimensions of love, while Ibn Rumi's poetry focuses mainly on the earthly and material challenges associated with love. Introduction: The issue of love has long been of interest to philosophers, scholars, poets, and literary figures, and various views and ideas have been presented about this fundamental human experience. Philosophers and scholars such as Plato, Ibn Sina, and Rumi have spoken about this important issue, but the nature of this phenomenon remains not entirely clear. Contemporary theorists and researchers have attempted to present their own specific definitions of love by examining and defining it according to new theoretical foundations and emerging knowledge. Among the various perspectives and approaches that discuss love, psychotherapy in general, and the theory of psychotherapy developed by Irvin Yalom addresse concerns such as death, loneliness, absurdity, love, fear, and so on. This approach has been influenced by the humanist movement and the philosophy of pragmatism in America. Yalom has offered a newly updated perspective on the definition of love, addressing how human beings experience love in the context of modern conditions. He attempts to provide a clear understanding of how individuals confront the phenomena of love and loneliness. While explaining the principle of communication in his theory, he discusses love and poses the question: What is the original relationship? The original connection is Martin Buber's. The person that communicates with unique individuals, not an object. This original relationship reflects the love described in Maslow's hierarchy of needs, rather than love that merely alleviates loneliness. From Eric Forum's point of view, the genuine love is not about being loved passively. True love is an active process that involves care, self-sacrifice, and attention. Love stops people from communicating with others for mixing and removing loneliness. It should be noted that love, according to the mechanisms of Yalom and in the classical Persian and Arabic literature, is discussed in this literature due to the extensive scope of love. Love can be considered one of the most important themes of classical Persian and Arabic poetry so that the office and poetry of most classical Persian and Arabic poets are considered as special and independent of love and issues. Investigating these poems from the perspective of new theories can further determine the place and importance of such poems and explain how the poet's view and the depth of his thinking about love and related subjects. The present study seeks to examine the same subject in the poetry of two Persian and Arabic poets, Saeb Tabrizi and Ibn Rumi based on the theory of psychotherapy for Erwin Yalom. Method: The present study aims to examine the theme of love in the poetry of two poets, Saeb Tabrizi and Ibn Rumi, from Persian and Arabic traditions, respectively. This is managed via using Erwin Yalom's psychotherapy theory. It seeks to answer the following questions: What are the effects of love in the poetry of two poets based on Erwin Yalom's theory? What is the attitude towards love in the poetry of these two poets according to Erwin Yalom's theory? Results: After examining the love poems of the two poets through the lens of existential psychotherapy, it was found that Saeb Tabrizi resembles a psychotherapist. Anyone seeking solutions to existential disruption can gain insight from his works. By spending time with his poems, reflecting on them, and uncovering their hidden meanings, readers can discover effective ways to cope with various forms of loneliness, including existential loneliness. Conclusion: Saeb's poems, which reflect his view of life, convey that he considers relationships with others—whether earthly or divine—as a way to live fully and alleviate loneliness. To purify the path of love, he suggests that true love lies in the other; in other words, genuine love is to be completely immersed in another person. Saeb suggests to his audience, who are full of purity, kindness, honesty, and trust, that this love is free from superficial friendship. It embodies tolerance, unity, and mutual support, raising the level of both social and individual life. This love also instills confidence in others, which is one of the most important components of healthy relationships. Because it diminishes the intensity of that inaccurate aspect of existential loneliness and, in a proper form, places us as human beings in relation to others. Regarding the outcome of Ibn Rumi's poetry, it can be said that his work contains two types of loneliness: enforced and optional. Enforced loneliness occurs when the poet is cast into a solitary sea due to the absence of family or a lover, experiencing this solitude deeply with both soul and heart. The poet has used this experience as an opportunity for growth and flourishing. The second stage is when the poet prefers loneliness over being among people. He considers loneliness a blessing that leads to self-knowledge, prosperity, and inner harmony. The poet views love as a means to alleviate the pain of loneliness or at least lessen its suffering. Ibn Rumi dislikes the need and expectations in love. Although he is a poet of Maddieh, in matters of love, the focus is solely on the pleasure and alleviation of lonely suffering, and nothing else. He advocates for doubt and patience to truly attain and enjoy love, while rejecting hasty expectations. The poet also advocates self-sacrifice and kindness in love, urging others to create lasting joy. Being united with another is one of the ultimate goals in Ibn Rumi's romantic worldview. The poet views the human being as inherently incomplete, and it is this deficiency that leads to existential loneliness. Man is saved from loneliness, and his pain and suffering come to an end through patience. All in all, both poets have depicted love in various forms, including love intertwined with loneliness, unrequited love, the promotion of friendship, and self-sacrifice in the face of love. Ultimately, love is portrayed in their poetry through the figure of a lover. The poets' attitude toward love is positive; they view it as a source of fulfillment and a means of alleviating human suffering.

Research Paper الادب المقارن

A Comparative Study of Novels by Mohammad Sanajleh and Leila Sadeghi from the Perspective of Digital Literature (Based on the novels Shat, Frost, If she is Leila, then who am I? and Give me time to pass)

Ramazan Rezaei; Aiireza Jalali

Volume 15, Issue 3 , September 2025, Pages 47-68

https://doi.org/10.22126/jccl.2025.11460.2664

Abstract

One of the most important emerging literary genres is the "digital realist novel," which uses digital data, information, and technological techniques to construct its narrative structure and content. This genre explores the transformations individuals undergo as they transition from the real world to ... Read More One of the most important emerging literary genres is the "digital realist novel," which uses digital data, information, and technological techniques to construct its narrative structure and content. This genre explores the transformations individuals undergo as they transition from the real world to the virtual world, reflecting on virtual digital reality and contemporary human issues. Mohammad Sanajla, in Arabic literature, and Leila Sadeghi, in Persian literature, have explored this new narrative form and produced works within this genre. This research aims to analyze the motivations of these authors in engaging with this emerging literary style and to identify the similarities and differences in their works. The most important findings of this research, employing a descriptive-analytical method and a comparative approach to examine the novels Shat and Frost by Sanajleh and If that is Leila, then who am I? and Make time for me to pass by Sadeghi, indicates that the mentioned novels are similar in terms of appearance (cover, title, and communication links). Also, they seem similar in terms of content (use of audio and visual elements), as well as in their depiction of the transition of humans from the real world to virtual worlds. However, the manner in which these elements are utilized differs among the novels. For example, Sanajleh used three types of images: moving images with sound, still images with sound, and still images without sound, whereas Leila Sadeghi used only the third type, that is still images without sound. Introduction:Human thought today is witnessing a series of conclusions, including the end of history, the end of man (the writer), the end of metaphysics, the end of philosophy, and the end of ideology. As a new development, it also promises the emergence of a new stage in human history, referred to as the post-human era. In fact, today’s world is undergoing a profound transformation in technology and media, similar to the shift that occurred during the era of printing and writing, which led to the decline of oral culture. Consequently, the power and dominance of the printed book are also being challenged, and its end may be approaching. The information, digital, and communication revolution is the result of technological innovations. Contemporary literary discourse has also been shaped by this digital and technological wave. As a result of encountering the innovations of digital literature, the allure of globalization, the digitization of literary texts, and the transformation of the fundamental structures and elements of texts into technological media, literary discourse has distanced itself from the paper world and transitioned to the digital realm. This new situation has significantly contributed to the emergence of digital literature, literary genres such as digital stories, digital theater, and digital poetry.Method:The present study aims to explore the phenomenon of digital literature, particularly digital novels, as a new social development. It employs a descriptive-analytical approach and draws on comparative literature. Since both authors were pioneers of this literary genre and their works have attracted significant interest within their own societies, this study offers a fresh perspective on the subject.Results and Discussion:Digital literature, or electronic literature, is a relatively new field that has existed for less than two decades in the West. In the East, however, it has only emerged in the realm of fiction and narrative literature in recent years. The text in this literary genre relies on multimedia technology and computer use, particularly the Internet. Therefore, it utilizes information technology services and electronic software to construct both its external and internal frameworks.The emergence of this literary genre can be traced back to a shift in intermediaries; specifically, after the Internet replaced paper as the primary medium. The Internet creates a small world and, according to McLuhan, a "global village". In fact, a digital text is like an embryo born in the womb of technology, nourished through digital tools and relationships. Therefore, literature will not truly be digital unless it offers the audience a space equal to or greater than that of the creator.The technological aspect of this form of literature encompasses the collection of visual and audio elements, which gives it an unlimited potential. In fact, the use of the word "informational" in literature refers to the application of computers to collect, organize, analyze, categorize, and rewrite texts, thereby achieving a level of innovation in literary works. The text is thus set free from the constraints of a linear structure, becoming dynamic and fluid due to its infinite flexibility.These diverse dimensions require various intermediaries and shared sensory modalities—auditory, visual, and tactile. Consequently, computer technology has introduced new tools for editing, communication, and research to both writers and readers, enabling them to convey their thoughts through sound, images, and moving visuals.In Arab literature, the founder of digital literature is considered to be the Jordanian novelist and critic Mohammed Sanajlah. The digital novel Al-Raqmiyah is also known in Arabic as "al-Nasa al-Mutrabat" because its associated text, along with other interactive digital elements and language (HTML), plays a significant role in its creation.Conclusion:After analyzing several digital novels by Mohammad Sanajleh and Leila Sadeghi, this research reached the following key conclusions: The aforementioned authors have utilized various features derived from hypertext technology, which enable the linking of texts to one another. Therefore, the language of their digital novels does not rely solely on words; rather, words are part of a whole that includes images, sound, cinematic visuals, and movement. Movement is perhaps one of the most important elements because the other components depend on it, and without movement, they lack appeal and become dull.Therefore, the structure of their digital novels evolves within the digital shaping triangle: image, music (sound), and word (writing). This approach compels the audience to engage all their senses to derive meaning. The digital novels of Mohammad Sanajleh and Leila Sadeghi represent a new type of narrative in both form and theme (content). The covers of Sanajleh and Sadeghi's digital novels serve as a showcases that attract the audience and readers. Since the cover of digital novels differs from that of classic hardcover novels, the graphic and visual elements—such as geometric shapes and a diverse range of colors—on the cover of digital novels signify their digital nature, creating a unique aesthetic appeal for the audience.

Research Paper الادب المقارن

A Re-reading of the Two Novels Kafka on the Bank by Murakami and Shagarat al-Abid by Ammar Ali from the Point of View of Magical Realism Propositions

Malek Abdi; Mina Pirzadnia; Zaynab Chenani

Volume 15, Issue 3 , September 2025, Pages 69-94

https://doi.org/10.22126/jccl.2025.11910.2686

Abstract

Basically, real symbols are unimaginative, and abstract concepts and forms are not fundamentally connected to realist symbols. However, literature carries a tradition that creates an inseparable connection between these two heterogeneous aspects of illogical thought, so that sometimes the boundary between ... Read More Basically, real symbols are unimaginative, and abstract concepts and forms are not fundamentally connected to realist symbols. However, literature carries a tradition that creates an inseparable connection between these two heterogeneous aspects of illogical thought, so that sometimes the boundary between them becomes indistinguishable. The political and social conditions in the world's troubled societies have likely inspired writers to adopt this style, prompting them to depict societal realities through a mysterious language and a symbolic combination of reality and imagination. This research has analyzed the components of magical realism in the two novels "The Tree of Al-Abid" by Ammar Ali and Kafka on the Bank by Murakami using a descriptive-analytical method. In both novels, elements such as fantasy and imagination, loneliness, socio-political situation, silence and voluntary boycott, the presence of extrasensory beings, disguise, and absurdity are prominently featured. Elements such as metamorphosis and Sufism appear exclusively in Shagarat al-Abid's novel, while absurdism and a stifling atmosphere were used only in Kafka's novel. The most prominent of these components in Shagarat al-Abid is the depiction of a stinky atmosphere and a mystical themes, whereas Kafka's novel is characterized by contrast, absurdity, and diversity. Ammar Ali addresses societal disorder, social problems, and mystical concerns, while Murakami focuses on human issues in his society, including loneliness, emptiness and death, and cultural issues. Introduction: Magical realism is a branch of literary realism in which transformed realities coexist with the real world, connected through cause-and-effect relationships. On one hand, mental or metaphysical elements are portrayed as stable, eternal, and immortal elements, and they are fundamentally distant from the materialistic and tangible elements that can be measured and seen in the real world. Therefore, the mixture, combination, or application of the deep structural components of these two disparate, and sometimes contradictory, literary types requires a conscious approach and the use of precise, purposeful tools and measures. This ensures that, while preserving the originality and literary nature of each type and maintaining a clear and distinct orientation to the dramatic requirements of both genres, they provide a uniform and symmetrical texture from the combination of the heterogeneous components of these two styles, in such a way that mental emanations, fantasy imaginations, and sometimes unbelievable ideas. The author, in the framework of this school, the author integrates objective and quantitative elements in a balanced and non-institutional manner. These elements appear as imaginary or illusory sentences, phrases, or metaphysical predictions—though grounded in real facts—to express societal issues and problems. Method: The method of conducting this research is descriptive-analytic, which is carried out by referring to textual and citation sources in the context of library evidence, and through a comparative process with the analysis of existing data and confrontational inference. Therefore, the necessity of reaching the implementation mechanisms of such a scheme that presents asymmetrical manifestations of narrative methods in the form of integrated and valuable intellectual components - and that in two completely different literary fields (Japanese and Arabic) - clearly demonstrates the necessity of presenting such a research. Results and Discussion: The final and crucial point in this case is the secular, absurdist, and irreligious perspective prevalent in much of Japanese society. This worldview compels Murakami to become trapped in the abyss of nihilism during difficult periods. Through the fusion of some deviant Shinto beliefs such as the pursuit of transcendental concepts and extreme self-surrender, etc., as well as the inability to acquire epistemology and divine intuition, nihilistic propositions are manifested in the mind and language of Murakami's elements, while Ammar Ali is free from deviation in such an abyss. Finally, given the completely different intellectual and cultural atmospheres of the two novels, there is a clear difference and common view among the two authors on this basis, which has been discussed. Conclusion: The elements used in the two novels mentioned, from the perspective of magical realism—both common and distinct—can be summarized as follows: the intertwining of reality and fantasy, opposition, loneliness, voluntary silence, extrasensory beings, socio-political issues, mystery, myth, and defamiliarization. Some of these components appear in one story, while others appear in the other. The elements unique to the novel Shajarat al-Abid include transformation and metamorphosis, and a mystic-centered perspective. In contrast, Kafka's novel features elements such as nihilism and a hallucination, and a fetid atmosphere. In both works, the intertwining of reality and fantasy is so skillfully executed that the boundary between the two becomes indistinguishable. Murakami has created an imaginative atmosphere by introducing surreal elements such as a rain of fish and talking cats. The presence of magical and extrasensory beings in both novels is evident and contributes to the enchanting, otherworldly atmosphere of the stories. These elements create a magical ambiance that captivates the reader. The inclusion of these metaphysical beings within the materialistic world serves to bring resolution to the characters' actions.

Research Paper الادب المقارن

The Semiotics "Swallow" in the Contemporary Persian and Arabic Poetry

Mina Ghanemiasl Arabi; Naser Zare; Seyyd Haidar Faree Shirazi; Khodadad Bahri

Volume 15, Issue 3 , September 2025, Pages 95-121

https://doi.org/10.22126/jccl.2025.10464.2603

Abstract

Semiotics is a scientific discipline focused on understanding the fundamental principles of signs and indications. This concept is considered one of the prominent theories in logic. The main focus of semiotics is to explain what semiotics entails. The deviation of explicit signification and the provision ... Read More Semiotics is a scientific discipline focused on understanding the fundamental principles of signs and indications. This concept is considered one of the prominent theories in logic. The main focus of semiotics is to explain what semiotics entails. The deviation of explicit signification and the provision of an implicit interpretation or image of a sign represent the most significant function of semiotics. Following this, we explore the symbol of the the contemporary poetry of several Arabic and Persian poets. In the meantime, we have selected a sample of contemporary poems by prominent poets from Arabic and Persian literature as the scope of this research. This study, conducted using a descriptive-analytical method, examines both contemporary Arabic and Persian poetry to explore the implicit semantic meanings of "swallow" as a symbol. For this purpose, we aim to analyze the new signs associated with "swallow" as a symbol and reveal the positive and negative aspects and factors that have shaped these signs in the poems of contemporary Arabic and Persian poets. Therefore, the actual present research includes both positive and negative implications of the swallow. However, the research findings show that this bird plays an essential role in expressing poets' social and personal concerns and has conveyed such implications as freedom, repatriation, and fertility through thr "swallow" sign. In the following use of the swallow symbol, poets exhibit a more positive attitude than a negative one, which is reflected in their poems. Introduction:Semiotics is a prominent concept in linguistics that studies systems of symbols, signs, and allusions, aiming to uncover the hidden symbolic meanings behind them. Semiotic theory encompasses various approaches and perspectives from semiotic, structuralist, and poststructuralist thinkers who share a particular stance on the science of signs. Semiotics is a profound field of knowledge grounded in principles rooted in disciplines such as philosophy, logic, sociology, and linguistics. Each of these sciences has played a significant role in introducing this knowledge and its impact on other fields, which is why today we observe considerable interest among researchers in semiotic studies. Notably, the word itself serves as a fundamental link between the signifier and the signified. A sign can convey a wide range of meanings. Some semioticians, such as Ferdinand de Saussure, consider the relationship between the signifier and the signified to be fixed—that is, a signifier is always associated with a specific signified for which it has been designated and intended. However, the emergence of insightful perspectives in this field has marked a new chapter for the science of semiotics, liberating it from the framework established by traditional semioticians and offering a fresh outlook. This article explores "swallow" as a symbol in the poetry of contemporary Iranian and Arab poets, uncovering the semantic layers of this symbol and providing an interpretative analysis. In the meantime, we have attempted to organize the research axes in accordance with the objectives concerning the positive and negative semantic meanings of "swallow" as a symbol. This approach will allow us to ultimately examine both the explicit meanings derived from this symbol and its implicit meanings within the poets' works.Method:In this study, the symbol of "swallow" is examined in the poetry of selected contemporary Persian and Arabic poets. Examples have been chosen from prominent Arab and Iranian poets to serve as the focus of our analysis. This study employs a descriptive-analytical method and draws on semiotic theory to examine the relationship between contemporary Persian and Arabic poetry. It aims to uncover the implicit semantic meanings associated with the symbol of "swallow". For this purpose, the study aims to examine the new signifiers associated with the symbol of "swallow" and to uncover both the positive and negative aspects of these symbols, as well as the factors that shaped them in the poetry of contemporary Persian and Arabic poets. Therefore, the present study focuses on the positive and negative connotations of "swallow" as a symbol.Results and Discussion:Swallow is a symbol of return. This symbol has appeared in the poems of contemporary Persian and Arabic poets, paying attention to the emotional, social, and political factors of each poet. For example, in the poem by Houshang Ebtehaj, the word "swallow" contains a sign worthy of contemplation. Sadness and longing dominate this poem. Ebtehaj begins the first stanza of this poem by addressing his old acquaintance (Arghawan) and until the end of the poem, he laments the times and social conditions and the state he is in. In fact, the poet is looking for the spring of freedom, but this spring has a price, and the price is nothing but the blood of swallows. Swallow is the messenger of spring and fertility: The poems of contemporary Arab poets have not been left without this symbol and, in parallel with Persian poets, they have mentioned the "swallow" as a sign of spring, including the prominent Palestinian poet Mahmoud Darwish, who considers the "swallow" a sign of the lost spring. He is in dire need of a spring that brought birth and fertility to his people. Swallow, the messenger of freedom: This symbol is reflected in a poem by Mehdi Akhavan Sales. The poet sends his bitter, sad, and sighing poem flying with the swallows in the hope of freedom of expression. Swallow, the symbol of hope: The Iraqi poet Abdul Wahab Al-Bayati uses this symbol of the swallow as part of this hope and promises the hope of returning. By using the plural pronoun in the poem, the poet introduces himself as one of the Palestinians and considers their wish for return as his own wish.Conclusion:The study of the symbol "swallow" in the poems of contemporary Persian and Arabic poets from a semiotic perspective has yielded clear results, including the finding that "swallow" as a symbol plays a pivotal role in conveying the thoughts and views of these poets. In addition, this symbol can be seen as a reflection of the concerns of Persian and Arabic poets regarding various national, political, social, and emotional issues. They have interpreted the swallow with multiple symbols and connotations, depending on the era in which they lived and the circumstances they faced. Spring, fertility, and the theme of return are two significant and recurring symbols in contemporary Persian and Arabic poetry. Despite differences in language and style, these motifs consistently appear in their works, with the concept of "return" being particularly prominent among Arab poets. This level of benefit stems from the harsh living conditions endured by poets who were constantly harassed, exiled, and lived in exile to preserve national values and defend their homeland. Idealistic poets, who continually strived for the ideal city, employed the symbol of swallow in their poems. This symbol carries connotations such as spring and fertility, hope and desire, as well as migration and separation, serving as implicit meanings within their work. Poets, influenced by societal factors and events, have used the symbol of the swallow to create a hopeful framework for the reader. By interpreting the various symbols of the swallow in their poems, we conclude that they have represented exile, hostility, exile, disorder, occupation, and other forms of suffering and turmoil through positive and hopeful signs and connotations, while giving less emphasis to negative aspects.

Research Paper الادب المقارن

A Comparative Study of Spring Descriptions in the Poetry of Safi al-Din al-Helli and Manuchehri Damghani

Ahmad Lamei Giv; Somaye Eghbali

Volume 15, Issue 3 , September 2025, Pages 123-148

https://doi.org/10.22126/jccl.2024.10444.2598

Abstract

The spring season has long been a central theme in descriptive poetry, creatively expressed in verse since ancient times. Safi al-Din al-Hilli, an Arabic poet, and Manuchehri Damghani, a Persian poet, have composed valuable and beautiful odes celebrating spring. Familiar with the science of music and ... Read More The spring season has long been a central theme in descriptive poetry, creatively expressed in verse since ancient times. Safi al-Din al-Hilli, an Arabic poet, and Manuchehri Damghani, a Persian poet, have composed valuable and beautiful odes celebrating spring. Familiar with the science of music and blessed with a remarkable ability to observe the vibrant nature and wondrous world around them, they could depict the manifestations of spring more beautifully than reality itself. The present study aims to examine the literary status of these two renowned poets through a library-based approach and to analyze the most prominent themes of spring description in their poetry using a comparative-analytical method. The research findings indicate that, by employing various similes and simple language, they elegantly portrayed the transformations of spring. The rebirth of nature, rain-bearing clouds, azure skies, roaring rivers, the melodies of birds, vivid buds and blossoms, colorful flowers, fragrant breezes, and the perfumed atmosphere of gardens frequently appear in the poets' verses. For Manuchehri, spring is constantly blossoming, and he does not forget to describe it, even in his panegyrics. In Safi al-Din al-Helli's poetry, the praise of the patron sometimes assumes a more prominent role. Introduction: Comparative literature, a significant trend in literary criticism, aims to assess, analyze, and explore the history of interactions among literary works, genres, styles, periods, and even literary figures across different cultures. The close proximity of Iran and the Arab nations, along with their religious, commercial, and cultural ties, as well as the presence of relatively similar conditions in both regions, have created common grounds that have led to mutual influence in various fields, including literature. Descriptions of nature's manifestations, especially during the spring season, have made a major and significant contribution to lyric literature as one of its broad and substantial thematic areas. In this domain, poets and writers from various nations (such as Iran, Arab countries, etc.) have written extensively across all historical periods. The descriptions of poets in portraying the beauties of spring, especially the fact that each poet has a unique perspective shaped by their environment and the emotions they experience in facing nature, have given their work distinct color and luster. Poets, through their diverse worldviews and their remarkable ability to organize words, each carrying a wealth of meaning, have created extraordinary works. The subject of describing nature in Arabic literature has a long and ancient history. Arab poets of the pre-Islamic era depicted its elements and transformations by closely observing the harsh environment in which they lived. In the second century AH and the centuries that followed, as Arab society became acquainted with urban culture, descriptions of nature took on a more vivid and detailed character. During this period, poets began to appreciate the beauty of nature shaped by human hands. Magnificent palaces, mansions, and gardens filled with fruits and colorful flowers enhanced the splendor of their surroundings. Poets of this era captured and expressed these scenes through their poetic artistry. In Iranian culture and literature, the fourth century and the first half of the fifth century represent a period known as the era of period begins with the Samanid dynasty in Transoxiana and Khorasan. This period, regarded as one of the most significant in the history of Iranian literature for its focus on nature and spring, witnessed substantial growth in literary sciences due to the Samani kings' familiarity with science and knowledge. Consequently, poets held an important and esteemed position within their tribes and society. On the other hand, the encouragement of poets by the Aryan rulers was accompanied by valuable gifts. Poets of this period received substantial rewards for composing poems and presenting them to the reigning king. Consequently, poets not only enjoyed a high social status but also lived in prosperity. The poets of this era held a horizon-oriented and extroverted perspective toward the manifestations of nature. They depicted nature exactly as they observed it, using beautiful arrangements of language, vivid imagery, and detailed descriptions. Rudaki, Farrokhi Sistani, and Manouchehri, who is renowned for his exceptional portrayals of nature and spring, are among the leading figures of this literary period. Safi al-Din Hilli is considered one of the outstanding and distinguished poets of the Arabic language and literature of the 7th century AH. With his unique talent in describing the manifestations of spring, he has brought noteworthy works to the field of poetry. His poems are famous for their elegance and use of literary techniques. Manouchehri Damghani is also considered one of the unique Persian-speaking poets, capable and stylish in describing spring, to the point that he has been called “the master painter of nature” (Zarrinkoob, 1993: 55). The poems of these poets in describing the exquisite manifestations of spring are worth considering. By living in such an environment, the poets have created works that reflect their careful gaze, delicate feelings, pure thoughts and loving fantasies in facing the manifestations of spring. These descriptions, which undoubtedly come from the poets’ hearts and souls, have never become dated and their freshness has not diminished with the passage of time and will not. Method: The present research aims to examine and clarify, in an analytical-comparative manner, the prominent and common themes in the poems of the poets, Safi al-Din Helli and Manouchehri Damghani, with the theme of spring, by citing library sources and based on the theory of comparative literature of the French school. Results and Discussion: The studies conducted indicate that Safi al-Din Helli and Manouchehri Damghani grew up in a lush geography, a peaceful nature, and were highly respected by the rulers of their time. Helli in Arabic literature and Manouchehri in Persian literature have been described as the leaders of their era. The two selected poets have undoubtedly imitated their predecessors in some of their poems. However, they have not remained in the dilemma of imitation and have achieved noteworthy innovations with their own style and manner of expression. Their method has been a model for many writers and poets among their contemporaries and in later periods. Helli and Manouchehri have paid special attention to the spring of nature and in every field they have performed, they have introduced the manifestations of spring in a delicate and precise manner into their poetry and created masterpieces. They have often made spring a preface to their praises. Helli, through his careful and delicate look at the world around him and his attention to the affairs and changes of nature, has tried to adorn the emanations of his thought with the cover of aesthetic rules, and this can be one of the points of strength and attention of contemporaries and poets after him to his works. Manouchehri Damghani also did not neglect nature in his praise poems and considers each part of nature as a manifestation of the praised one. In all his praises, Manouchehri constantly observes the manifestations of spring and has explored nature and its changes at every opportunity he finds. This is while Safi al-Din Helli pays more attention to Mamduh. The elements of spring, along with the imagery of the resurrection of the earth that experiences renewed life, gray, rain-filled clouds that shed tears of joy from the distance of the beloved and beloved (spring flowers and plants), roaring and flowing springs and streams, melodious and beautiful birds that promise spring, fruitful and refreshing rains, the birth of buds, blossoms and colorful flowers of nature that are the fruit of rain and the gift of spring, the blowing of spring and life-giving winds and the air filled with the fragrance of fragrant flowers, are among the frequent images of spring in the poems of poets.On this basis, it becomes clear that they not only experienced relatively similar conditions geographically, but the reflection of their art in the novel and innovative imagery, the use of simple arrays and similes is very evident, to the extent that it is conceivable that they lived in the same place and had the same observations.

Research Paper الادب المقارن

The Poetry of Hafez and Saadi and Shab Zarif in the Light of Intertextuality

Ziba Mahmoudi; Alireza Manouchehrian; Mohammad Hasan Hasanzaeh Niri; Gholamreza Mastali Parsa

Volume 15, Issue 3 , September 2025, Pages 149-175

https://doi.org/10.22126/jccl.2025.11094.2645

Abstract

Analyzing and comparing texts within the fields of criticism and theory is considered one of the innovative and practical research methods. In this context, the theory of intertextuality holds significant interest for critics of both classical and contemporary works, as it is closely related to comparative ... Read More Analyzing and comparing texts within the fields of criticism and theory is considered one of the innovative and practical research methods. In this context, the theory of intertextuality holds significant interest for critics of both classical and contemporary works, as it is closely related to comparative literature. The main challenge in the theory of intertextuality is to identify the similarities between texts. Scholars of this theory argue that a text is never closed; rather, texts engage in a dialogue with one another, and no text exists without a pretext. Every text is created based on previous texts; therefore, adapting the literary works of different nations may lead to the discovery of common themes among poets' works. Hafez and Saadi are two renowned Persian lyric poets and among the most famous poets in the world. Their works often explore romantic themes. Another notable poet is the Arab lyricist who lived in the 7th century; he is considered elegant and contemporary with Saadi, and predates Hafez. The main theme in his diwan is love, focusing on expressing the emotions of both the lover and the beloved. His poems share various thematic similarities with the sonnets of Hafez and the general themes found in Saadi's works. These include motifs such as the lover's imprudence, the faithfulness of promises, the lover's tears, the meeting of lover and beloved, and parting. These similarities may stem from the intellectual connection among the three poets or from a shared tradition of influence. We are not attempting to prove any of these cases; however, in this essay, using Kristova's theory of intertextuality, we have analyzed and examined some of the similarities in Shab Zarif's themes with those of Saadi and Hafez. We have provided examples demonstrating the unity and convergence of their themes and uncovered the shared ideas among these three poets. Hafez and Saadi have similar themes across four types of poems: romantic, mystical, romantic-mystical, and social themes. Among these, romantic themes occur most frequently. Introduction: Intertextuality has been one of the most prevalent and extensively studied topics in literary criticism over the past century, attracting significant attention from numerous scholars. Since its inception, this theory has fascinated researchers and critics alike and is widely employed to analyze textual similarities. Moreover, this approach is not limited to literature; it is applied across various artistic and cultural fields, including non-literary texts. Intertextuality examines the relationships and similarities between two or more texts. This theory was developed by identifying these connections, which may occur among works by the same author or within the same language, as well as among texts from different cultures, sometimes involving varying degrees of influence or adaptation. There are numerous thematic similarities between Persian and Arabic literature, some of which have been studied and analyzed. However, an extensive path still lies ahead for researchers in the fields of literary criticism and comparative literature. In general and comprehensive terms, the theory of intertextuality states that literature is not created in a vacuum. No text is solely the product of a writer's creative mind; rather, every text has pretexts. Writers and poets compose their works based on knowledge acquired through study, and whether they intend to or not, their studies influence their work. This results in texts sharing similarities and engaging in a dialogue with one another. Discovering these similarities is fascinating and enhances our understanding of the texts. Sometimes, writers and poets develop a single theme—whether intentionally or unintentionally—and this is one of the most prominent features of comparative literature. Intertextuality and comparative literature share common origins. Comparative literature is a relatively young discipline that originated in France and quickly established itself within the literary traditions of various nations. It has now existed for nearly two centuries. One key area of interest for scholars in this field is the exploration of similarities in ideas among writers and poets from different linguistic and geographical backgrounds. This focus has, whether intentionally or unintentionally, led to the identification of common themes across the literatures of diverse cultures. A literary text originates from the inner feelings and emotions of the writer or poet and flows through their pen. The study and knowledge of its creator, combined with their emotions give rise to a literary work, which may encompass one or more distinct themes. Sometimes, writers and poets create a single theme—whether intentionally or unintentionally, knowingly or unknowingly—which is one of the most prominent features of comparative literature. This fundamental-applied research is based on Kristeva's theory of intertextuality. First, we extracted and translated verses from the Divan Shab-e-Zarif that share similar themes with the poems of Hafez and Saadi, presenting them in twenty comparative entries. We have attempted to include examples from both renowned Persian ghazal poets whenever possible; however, in some instances, we found similar themes represented by only one of these poets. To practically demonstrate the theory of intertextuality and the similarities between texts, in some entries, we have not only identified themes from Saadi's general works and Hafez's ghazals but also included examples from the works of other poets. This article features the words of two renowned Persian poets and one Arabic poet, all of whom have expressed their thoughts on love—what God created humanity and the universe for. Love is a divine gift that never grows old. The quality of the expression of love in the works of these three poets varies, yet many of their themes share notable similarities. In this article, we explore and analyze these common themes. The subtle allure of love evokes feelings and moods in all humans, regardless of culture or language. However, poets and writers from different nations respond to and perceive love in unique ways, each expressing it distinctively. Hafez, Saadi, and Shab Zarif are all romantic poets. Shab Zarif was a contemporary version of Saadi and preceded Hafez historically. He is also known as the poet of love and ghazal. Regarding the quality of love in Hafez's Divan, Saadi's general works, and the verses translated from Shab Zarif, the following observations can be made: Shab Zarif predominantly portrays the earthly lover in his ghazals, whose themes reflect pure and innocent feelings, although these emotions are not yet fully matured in love. In Shab's poems, there is little indication of attachment. He remains in eternal waiting, mostly in the initial stage of love. When describing the lover's state of mind toward the beloved, Shab often portrays an indifferent lover who is not eager to win the beloved's affection, unlike Saadi and Hafez, whose beloved is cherished, respected, and is in the position of affection. Shab's themes are limited to a few specific subjects, such as alcohol, imagery involving the bow and arrow (symbolizing the lover's eyes and eyebrows), descriptions of the beloved's body, the morning breeze, insomnia, the lover's reproach, and his rejection of advice. ShabZarif is highly skilled in both verbal and spiritual arts. Hafez and Saadi are also considered the foremost figures in Persian literature and are the undisputed masters of Persian poetry. According to researchers, ShabZarif's poetic style is as simple as Saadi's, yet his themes are often complex and difficult to understand. Hafez's poetry, as well as Saadi's works in "Bustan" and "Golestan" and occasionally in his ghazals, contain elements of didactic literature. However, Shab is primarily a ghazal singer, and his divan shows little evidence of didactic literature. Thematically, Hafez shares a closer similarity with this Arabic-speaking poet than Saadi does. The comparative entries discussed in this article take three forms: some are shared between Hafez and ShabZarif, with the primary common themes being the morning breeze and the roles both poets assign to this natural element; most entries are common to all three poets; and some are shared between Saadi and Shab Zarif. In concluding the categorization of themes based on their subject matter, we have identified four categories, which may sometimes overlap: romantic themes, mystical themes, social themes, and alcoholism. In this article, we explore thematic similarities among these poets by applying Kristeva's theory of intertextuality and citing evidence from the Divan of Shab Zarif, the ghazals of Hafez, and the works of Saadi. Method: This fundamental applied research is based on Kristova's theory of intertextuality. Accordingly, we have extracted and translated verses from Shab Zarif's Divan that share themes with the poems of Hafez and Saadi, presenting them in 20 comparative entries. To practically demonstrate the theory of intertextuality and the similarities between texts, in some sections, we have not only identified themes from Saadi's general works and Hafez's lyrical poems but also included examples from the works of other poets. Results and Discussion: This research has several notable achievements. First, it is based on one of the widely used theories in literary criticism, namely intertextuality. Second, it focuses on a branch of literature known as comparative literature. Within this framework, we translated selected verses from Divan Shab Zarif and compared certain poems by Hafez and Saadi. Third, by examining thematic similarities, we have effectively demonstrated the theory of intertextuality through examples from three classical literary texts. Fourthly, in what ways are the verses of these three lyric poets similar: Romantic, mystical, romantic-mystical, and social? This article presents a method for analyzing non-synonymous texts within the fields of literary criticism and comparative literature. Conclusion: In this research, using the theory of intertextuality, we present evidence of thematic similarities between Shabzarif's Divan and the Divans of Hafez and Saadi's Koliat. ShabZarif is an Arab poet from the 7th century, and some of his verses closely align with the poems of Hafez and Saadi in terms of content. The common themes in Shab Zarif's work, shared with those of Hafez and Saadi, can be categorized into four aspects: romantic, mystical, mystical-romantic, and social-ethical. Among these, the "romantic" themes occur most frequently and often align with common Persian and Arabic themes. Some themes, however, are very rare and may reflect the unique relationship between this poet and Hafez and Saadi

الادب المقارن

A Comparative Study of Gholam-Hossein Saedi's Beggar and Najib Mahfouz's Beggar, (Alshahath) according to Hegel's Dialectic

Kamal Rasoulian; Fatemeh Modarresi

Volume 15, Issue 1 , April 2025, , Pages 1-24

https://doi.org/10.22126/jccl.2024.10304.2579

Abstract

Introduction:It is evident that Hegelian dialectics has is based basis principles of thesis, antithesis, and synthesis. Hegel Has Explained has elaborated on these three principles in detail in his work. entity (thesis) has summarily an a corresponding and by the through of these both, a result ... Read More Introduction:It is evident that Hegelian dialectics has is based basis principles of thesis, antithesis, and synthesis. Hegel Has Explained has elaborated on these three principles in detail in his work. entity (thesis) has summarily an a corresponding and by the through of these both, a result is created. produced.Two prominent fiction writers from Iran and Egypt, Hossein Saedi and Najib Mahfouz, address significant in the contact their respective works titled both conducts descriptive-analytical way based on investigation of both authors, utilizing its three axes. The beggar axes as a framework. Saedi's the narrated of view perspective woman who elderly the who, of her husband, none of her finds herself unwelcome in her children's homes turns is compelled to resort and acting.Al-Shahath is a significant narrative from the third decade of Najib Mahfouz's life, illustrating a portion of the life of the protagonist, Omar Hamzawi, who represents the intellectuals of Egyptian society. Respect for family and elders is a traditional value in Eastern cultures, where older individuals are afforded special honor and respect, and many issues are resolved through their guidance. By emphasizing this principle, Mahfouz delves into the underlying layers of his text to depict the disrespect and insults directed at an elderly mother by her children. This portrayal not only highlights the problem but also underscores the societal pain of his time, inviting reflection on the broader implications.The contrast between the bustling city and the tranquility of the village is one of the manifestations of modernity in Najib Mahfouz's The city continually seeks to attract immigrants to satisfy its insatiable economic demands through the influx of capital. Consequently, urban congestion becomes a defining characteristic of modern society, contributing to the exacerbation of materialism. Another prevalent theme in the two stories discussed is absurdity.Absurdity does not exist in the life of the old lady (khanom bozorg) with the same clarity and directness found in Najib's story. Additionally, the intense fear and anxiety experienced by Saedi's protagonist are not present in this narrative.Examining these two characters can assist the researcher in analyzing this matter. Omar Hamzawi is an intellectual with philosophical inclinations, and the concept of life is one of the primary concerns for thinkers like him. However, Omar struggles to grasp this complex idea. In contrast, the character of Khanom Bozorg lacks the knowledge and cultural background necessary to seek the meaning of life, ultimately arriving at a nihilistic conclusion. In her view, the meaning of life is reduced to fulfilling basic instincts and needs, which are satisfied in various ways despite the accompanying challenges.Method:This research has been conducted using a descriptive-analytical approach, and its findings indicate that the central theme in these two novels is its antithesis is on this framework, various confrontations and conflicts have emerged, such as the clash between urban and rural life, the tension between science and art, and the balance between familial responsibilities and individual freedom.Results and Discussion:The studies conducted in relation to the aforementioned stories reveal that the synthesis of these narratives highlights a conflict and antagonism faced by the main characters, Khanom Bozorg and Omar Hamzawi, in modern society. As a result, these characters experience feelings of loneliness, despair, anxiety, and confusion. The reader observes the disintegration of family foundations and numerous issues, including a disregard for societal values. The protagonists in both of peace and comfort within modern society, which, unfortunately, remains elusive.Conclusion:The statistical data obtained from the research in these two stories indicate that the traditions and societal issues related to family dynamics are significant. The focus on the village as a safe haven, the portrayal of villagers as naive and simple individuals, and the emphasis on their religious beliefs are prominent themes in both Egyptian and Iranian societies. Central to these narratives is the collapse of societal values, the disintegration of the family unit, and the proliferation of corruption and disorder within these institutions, which serve as contrasting points of view.It is through modernity, and by examining Hegel's dialectic alongside a historical analysis of society, that this tradition cultivates a seed of modernity within itself, leading to a historical conflict. As a result, Saedi effectively portrays Iran's traditional society through the character of the grandmother, highlighting its struggles. Similarly, Najib Mahfouz illustrates Hamzawi's confusion, moral dilemmas, and illness as manifestations of the conflict between tradition and modernity. This emphasizes the concept of dialectical synthesis.

الادب المعاصر

Study of Conceptual Metaphor in the Poetries by Saadi Yousef and Ahmad Shamloo Based on Cognitive Semantics

Abbas Najafi; Khodadad Bahri; Rasoul Balavi; Haydar far Shirazi

Volume 14, Issue 3 , September 2024, , Pages 149-171

https://doi.org/10.22126/jccl.2024.9128.2495

Abstract

Metaphor, being addressed either as a decorative element or as a cognitive process, has attracted the researchers' attention for a long time. According to the findings of cognitive linguistics, humans create and store fundamental conceptual constructions called image schemas in their minds so that when ... Read More Metaphor, being addressed either as a decorative element or as a cognitive process, has attracted the researchers' attention for a long time. According to the findings of cognitive linguistics, humans create and store fundamental conceptual constructions called image schemas in their minds so that when thinking about abstract matters by transferring these concrete constructions to language facilitate and complete the perception process. Saadi Yousef and Ahmad Shamlou have conceptualized many abstract concepts in their poems with the assistance provided by schemata. This research, descriptive-analytical method, while examining and analyzing the schemata in two selected poems of these two poets, to explain the way of thinking and, also, the foundations of their understanding of the world around them. As being indicated through the results, abstract concepts such as death, life, change, and immortality have been embodied in the form of these images and the three schemes of volume, movement, and force have been able to communicate in an organized, organic, and coherent manner with each other and in line with a certain goal. This may lead to the production of meaning and finally put the abstract concept of immortality and impact in the form of a visual tableau before the audience.Introduction:Schemas are considered a tool for conceptualizing and simplifying incomprehensible concepts and a tool for deeper understanding of the text and adding a new meaning to the existing meanings. One of the important functions of schemas is reaching a first-hand, different, and sometimes contradictory reading of the text with the assistance of studying its examples. The feature that caused the emergence of multiple voices from the text, frees the text from freezing and monotony, and in this way provides the possibility of producing new meanings.The poetry of Saadi Youssef and Ahmed Shamlou has become a difficult and difficult poem due to features such as the use of symbols, frequent defamiliarizations, language and social context specific to the creation of the work, and the intellectual geometry corresponding to this behavior.Since pictorial schemas are formed aligned with the framework of objective experiences and, furthermore, the origin of conceptual metaphor is human perception and conceptual system, these schemas can act as a tool to delve into the depths of the intellectual and ideological system of the creators of the text and open the problems and dilemmas of these two poets' poetry to come to the help of the audience. Iran and Iraq are two neighboring countries. This neighborhood and the cultural closeness has resulted in creating a remarkable kinship and similarity between the literatures of these two countries. Countless common themes and concepts used in the poetry of Saadi Yousef and Ahmad Shamlou clearly prove the validity of this claim. What has happened in Arab poetry in this hundred years has also happened in Persian poetry, with slight differences arising from the different conditions of the cultures and structures of these two peoples" (Shafi'i Kodkani, 1380: 15). The commonality of concepts and themes, as well as how they are presented in the poetry of these two poets is due to their benefiting from common ideological sources and the proximity of these two geographies to each other. The commonality of concepts and themes in Yousef and Shamlou's poems is to a great extent that it is possible to show a similarity in Shamlou's poetry in terms of the concepts and themes compared to Yousef's poetry correspondingly and one by one. There are undeniable similarities between the two odes "Al-Qatli Yasirun Lila" and "Song of Ibrahim in the Fire", since it is a praise of the freedom and freedom of the fighters who made their lives the support of their immortality, in terms of structure and content. This provides the basis for comparing these two poems.In the upcoming research, an attempt has been made to examine and analyze the schemas in the two odes in the interactive space that are formed between these schemas, in a descriptive-analytical approach and a library study manner. In what follows, the given research questions are being addressed.What are the most important conceptual metaphors used in the ode "Al-Qatli Yasiron Lila" by Saadi Yousef and "Song of Ibrahim in the Fire" by Ahmad Shamlou?How are the provided metaphors in the two poems related to each other?How have these metaphors led to the production of meaning?Method:This research is based on the descriptive-analytical method, while examining and analyzing the schemata in two selected poems of these two poets, and followed by that, explains the way of thinking and the foundations of their understanding of the world around them.Results and Discussion:The victims of Yousef and Shamlou's poems are multi-layered and multi-meaning characters, and the image schemas used in these two poems generalize the coordinates of these characters to all the "awakened" and "non-awakened" people in history. The three schemes of volume, movement, and force have been able to produce meaning in an organized, organic, and coherent relationship with each other and in line with a certain goal. This means, the volume and movement design provide the ground for the presence of free people in the dimensions of space and time. Followed by that, the design reflects the power of intransigence and non-compromise with the status quo to ultimately lead to the embodiment of the abstract concept of immortality.Saadi Yousef personifies the martyrs in the form of voices that have not been silenced to show that their physical removal has not been able to have an effect on silencing their voices. This way, the abstract concept of "immortality" and the concept of "effect" are firstly made. The presence of the dead in the dimension of space (night is a place) and in the dimension of time (night is a path) reinforces the presence of the metaphor "meaningful death is life". It goes without saying that the march in all the authoritarian nights is an expression of the constant and historical presence of the martyrs.Yousef and Shamlou do not find a word to describe their hero and they inevitably start a composite creation with the help of schemas to make the understanding of the dimensions of the quasi-abstract hero's personality objective and comprehensible. With the help of the metaphor "these dead are sound" and "sound is a compound being", Yousef personifies the dead in his poem as a group of voices that have not been silenced. In Shamlu's poem, an objective aspect is found beyond imagination with the help of the metaphor "a different kind of man is a complex being". A man who has inherited courage from a lion, stubbornness from iron, steadfastness and permanence from a mountain, and the sum of these qualities makes him a different, immortal, and transhistorical personality.In Yousef's poem, the general and simple concept of change is understood through the concrete concept of awakening; the path that begins with sleep and ends with waking. Also, considering the movement that is moving during the night, the metaphor of "these dead are walking" can be extracted. This is not a night stay because the verb "Yiseron" refers to movement. By directing intangible and aimless concepts such as death and its types in the language of poetry, Shamlou tries to make these concepts tangible by means of up-down directions. After giving up his life, a common person goes beyond the sky and joins the immortals.In Yousef's poem, in addition to the resonance of the "voice" of the awakener and the current time of the martyr, his "blood" is also an obstacle. The blood mentioned in the final stanza will remove sleep, which is an obstacle on the way to awakening and, consequently, the realization of consciousness. The eyes of the dead are open forever. Their voices flow in time and space and no obstacle, even a shroud, can cover or erase their bodies. All the above characteristics are the coordinates of "immortals". In Shamlu's poem, fire is an obstacle that stands in the way of Abraham and finally produces the third form of the metaphor of power that is, crossing the obstacle. In the following, by using the adjective "other species" for his praised hero, the poet reminds us of his non-surrender to the existing obstacles. The metaphor of power in these two poems can have a motivational role. It means to show the audience the way to overcome the obstacles in a society disillusioned with social changes. This scheme expresses the hope of human will to change his destiny.Conclusion:The findings of the research indicate that abstract concepts such as death, life, change and immortality have been embodied in the form of these images and the three schemes of volume, motion and force have been able to lead to a certain goal in an organized, organic and coherent relationship with each other produce meaning and finally put the abstract concept of immortality and effect in the form of a visual tableau before the audience.

الادب المقارن

The Influence of The Thousand and One Nights in A Thousand Nights in a Night Novel by Sawsan Jamil Hassan

Jahangir Amiri; Tayebeh Amirian

Volume 14, Issue 4 , December 2025, , Pages 27-44

https://doi.org/10.22126/jccl.2023.8402.2445

Abstract

Revealing the feminist narrative discourse that the narrator introduces in feminist fiction is an attempt to uncover the reality of women. It also becomes evident that Scheherazade, in the original story of “The Thousand and One Nights,” was able to narrate and shape the image of women, thereby ... Read More Revealing the feminist narrative discourse that the narrator introduces in feminist fiction is an attempt to uncover the reality of women. It also becomes evident that Scheherazade, in the original story of “The Thousand and One Nights,” was able to narrate and shape the image of women, thereby preserving their presence in front of Shahryar, who represents the male gender. In this context, Sawsan Jamil writes her novel “A Thousand Nights in One Night,” inspired by The Thousand and One Nights, as a model of female authorship. Through her work, she addresses the issue of femininity under the authority of masculinity in society from various perspectives. The comparative-descriptive approach has been selected to compare the novel "Thousand Nights in One Night" and the introductory story of Thousand and One Nights in this examination. The title encompasses the themes of night and its significance in both vigil and conversation. The narrator, addresses a man with the title “Mawlay” and identifies herself with the word Scheherazade through the available stories considered narrator’s memories experiences. In Jamil's novel, the title has its own significance and purpose. Furthermore, there are notable differences between the mythical Shahrazad and Dima, who embodies the identity of an Arab woman. They do not fully conform to the Scheherazadean archetype, as the narrative also explores the identity of women in contemporary Arab society, particularly through Dima's life experiences. This exploration highlights the challenges she faces in relation to the expectations associated with Scheherazade's Sawsan employs innovative narrative techniques to explore the restoration of heritage, infusing it with contemporary significance and experience. She redefines the traditional roles of Scheherazade and Shahrayar, inviting a deeper examination of the dynamics between male and female characters and the implications of their relationship. Through the character of Dima, Sawsan articulates a vivid portrayal of self from the perspective of the other, expressing her views in the form of intellectual reflections and striving to assert her femininity through storytelling. Introduction: The literary creativity presented in the feminist novel has its own specific features, highlighting the level of culture in which it is immersed in order to express its vision regarding women. Hence, several phenomena and effects may contribute, from the treasures of the literary heritage to the horizons of the new civilization, in the context of the feminist novel. Certainly, the Arab feminist novel, thanks to its benefit from the literary heritage, such as the mother novel The Thousand and One Nights, awakened the horizons of women’s awareness. Resorting to the characteristics of literary heritage figures, especially the characters of The Thousand and One Nights for instance, unveils the goal of demonstrating the ability of novelists to refer the situation to the past, to build ideas and meanings for the reality in which they live, and to describe the life they wish for in two important ways. Sawsan Jamil Hassan, the Syrian novelist, in her novel A Thousand Nights in a Night including in the path of feminist narrative discourse, touched on the title, contents and connotations that are unique to the characters of The Thousand and One Nights and its heritage data throughout the extension and expansion of her work. Method: The research topic necessitates the use of comparative criticism. The researcher aims to explore the influences of Sawsan Jamil's novel, which incorporates elements from The Thousand and One Nights. This analysis employs a comparative approach to examine the narrative structure and to identify the similarities and differences between the two works. The goal is to uncover the reasons behind the relationship with The Thousand and One Nights and to understand the evolution of the night features in Sawsan's novel as an example of feminist literature. Results and Discussion: In Jamil’s novel, the title has a temporal characteristic that runs through the novel and creates a special time field, like The Thousand and One Nights. One of the most important features of the two novels is that they both rely on the number in their titles. The timeline in The Thousand and One Nights is associated with the darkness of the night and the night in the title of the novel by Jamil focuses on setting up a narration session with the love between Dima and Mawlay in one spacious night, not multiple nights. There are two types of characters in the two stories: Scheherazade and Shahryar relate to the narrative heritage, and Dima and Mowlay grow in the literary creativity of Sawsan Jamil. Like The Thousand and One Nights, the multiple voices of women are present in Jamil’s novel, and each voice is linked to an essential nature associated with the social status of women within the narrative discourse. By following the narrative path in A Thousand nights in one Night, we found women whose inner worlds we can penetrate in three voices: The voice of the traditional woman The voice of the obedient woman The voice of the strong woman. The novel contains representative memories within the original text that talk about the image of women and the conditions of Dima, whose role is like the contemporary Scheherazade, the owner of pain and hop, not just the owner of beauty and body within the framework of the male world, and tries to create multiple stories like Scheherazade, but without the adventures of the nights. Dima, like Scheherazade, does not come from the depths of myths and tales that are a thousand years old, but she comes from the reality of society to be a witness to her deep desire to revive a new life in a space of freedom. Conclusion: Sawsan Jamil used heritage to bring characters from it to enter the creative narrative world and obtain new narrative techniques about the path of restoring heritage and loading it with a contemporary role and experience. Sawsan Jamil added a new role to the traditional role of Scheherazade and Shahrayar and opened a door for closer consideration of what indicates the relationship between male and female and what is announced about their relationship. Sawsan Jamil sought to describe a vivid and forgiving image of the self on the other side, while expressing her opinion through Dima in many places in the form of intellectual and mental impressions, seeking to prove her feminine self through narration. However, the ego in Scheherazade’s character tries to escape from the other being in Shahryar’s character so that she can save herself and her kind from his oppression and narcissism through the act of narration.

الادب المقارن

A New Reading of Women in Iranian and Lebanese Society based on Giddens Theory

Shirin Soroush; Jahangir Amiri; Yahya Marouf; Ali Salimi

Volume 14, Issue 3 , September 2024, , Pages 25-48

https://doi.org/10.22126/jccl.2021.5948.2206

Abstract

The togetherness of literature and society is one of the subjects of interest in literary research. In this respect, social novels, more than any other literary work, can reflect the events and realities of society. The association between tradition and modernity is also reflected in these works as a ... Read More The togetherness of literature and society is one of the subjects of interest in literary research. In this respect, social novels, more than any other literary work, can reflect the events and realities of society. The association between tradition and modernity is also reflected in these works as a social issue and the sociology of literature attmepts to explain this relationship. Alongside the arrival of modernity in Iran and the Arab countries, there was an obvious confrontation between it and the existing traditions in the society, and, accordingly, the authors portrayed this confrontation with special delicacy in their works. Since common infrastructures and cultural similarities are the factors for matching the two literary works, this study examines the two novels Ana Ahia by Leila Balabaki and Adat Mikonim by Zoya Pirzad. The authors of these two novels embark on Anthony's theory. Giddens represents a new look in the four areas of culture, society, economics, and politics as a theorist whose views on Eastern societies and women's issues are groundbreaking and reflect on the interaction and interaction of tradition and modernity between the Iranian and Arab societies. Examining the common themes of these two novels reveals the conflict between traditional and modern beliefs about women. Furthermore, traditional, cultural, and social features are being observed more than modern elements in these two novels. The efforts of the main female characters of the novels that reflect the confrontation between their modernist beliefs and the traditions that govern the family and society are in vain. Introduction: Dynamisms of the society, thoughts, and social customs are a number of issues that are reflected in the language and literature of societies. The relationship between tradition and modernity is also one of these issues. Zoya Pirzad is a contemporary Iranian novelist who pays much attention to social realities in her works. Adat Mikonim is one of his most prominent works, in which he also talks about the contrast between tradition and modernity. Leila Balabaki is also one of the great Arabic-language novelists who pays attention to social realism in her works and, in her most important work Ana Ahya, she has depicted social realities. It is the challenges that are faced by the contemporary man in the movement of developing societies from tradition to modernity. Since the authors of the novels Ana Ahya and Adat Mikonim are almost contemporary and their societies have gone through the same cultural changes, it is crucial to conduct a comparative research considering the cultural infrastructure of the two Iranian and Arabic Societies. Therefore, the current research tries to investigate tradition and modernity as social phenomena, relying on Giddens' theories and implying a descriptive-analytical method. In this article, the elements of tradition and modernity are categorized into four parts; culture, society, economy, and politics, and some of the examples mentioned in both novels are analyzed according to the mentioned indicators. Method: The current research is an attempt to investigate tradition and modernity as the two social phenomena in these two novels, relying on Giddens' theories and using a descriptive-analytical method. Common infrastructures and cultural similarities can be counted as a reason for comparing the two literary works. Besides, since these two authors have given great importance to society in all their works, their novels can be a suitable platform for studying society. Among the different schools of comparative literature, the current research is based on the Eastern European School. Results and Discussion: The novels Adat Mikonim and Ana Ahya are both written by women writers whose main concern is women and their related issues, and they have selected the main characters of the novel among the women. Attempt has been made to reflect their efforts for independence, freedom, and gender equality. Due to the many cultural commonalities between the Iranian and Lebanese societies, the traditions governing these societies were examined in the four domains of culture, society, economy, and politics. In the cultural field, the selfishness of some characters in the form of consumerism and luxuries to cover up old thoughts is one of the issues that can be targeted in both novels. In the social arena, the writers are welcoming modernity by rejecting patriarchal culture, women's freedom, equal rights with men, women's managerial role in society, etc. In the economic field, the employment of female characters is a manifestation of their independence. In the political field, it can be declared that the presence of women in politics is one of the signs of modern societies. Conclusion: Examining the common themes of these two novels reflects the conflict between traditional and modern beliefs about women, and traditional cultural and social indicators are seen more than modern elements in these two novels. The efforts of the main female characters in the novel that reflect the confrontation between their modernist beliefs and the ruling traditions of the family and society remain fruitless. Furthermore, based on Giddens' theory of social structure, tradition continues to exist even in the most modern societies. Dodhed, holds the idea that it is these traditions that determine their path, and the authors impose the social reality of their time on the main characters of the novel, despite their tendency towards modernity.

الادب المقارن

Marked words and their Significances in the poems of Wadī‛ Sa‛ādah and Hafez Mousavi

Hediyeh Ghasemifard; Naser Zare; Mohammad Javad Pourabed; Rasoul Ballavi

Volume 14, Issue 4 , December 2025, , Pages 105-128

https://doi.org/10.22126/jccl.2022.8280.2437

Abstract

In all languages, a word is recognized as the core term, serving as the foundation for other words that maintain the same meaning while appearing in new forms based on the perspective of the speaker, writer, or poet. These variations are referred to as marked words. Wadī‛ Sa‛ādah and Hafez Mousavi ... Read More In all languages, a word is recognized as the core term, serving as the foundation for other words that maintain the same meaning while appearing in new forms based on the perspective of the speaker, writer, or poet. These variations are referred to as marked words. Wadī‛ Sa‛ādah and Hafez Mousavi are two poets whose poems contain numerous similarly marked words in terms of both structure and meaning, to the extent that the use of these words can be considered a literary trick of the poems of these two poets. This study, which employs a descriptive analytical method, aims to examine the structure of the highlighted words in the poems of Sa‛ādah and Mousavi, as well as to articulate the most significant meanings of these words in relation to the American School of Comparative Literature. An analysis of the prose poems by these two poets reveals that, in addition to their sentences, they present the highlighted words in descriptive and supplementary combinations, utilizing straightforward language that is accessible and uncomplicated. The highlighted words in their poems are either derived from societal conditions or inspired by the beauty of nature. Consequently, both poets employ techniques such as simile and metaphor to craft meaningful words and phrases that occasionally attribute human characteristics to inanimate objects and elements of nature, while at other times, they visualize the impossible through historical references. This approach facilitates an engaging experience for readers by transforming their works into open texts. The predominant theme of the highlighted words in the poems of these two poets is the portrayal of the suffering and pain experienced by contemporary individuals. Introduction: Marked words are terms that carry implicit meanings and appear in the text for some reason and are derived from the marked words that underlie the speaker's speech, feelings, viewpoints and ideas. Marked words in poetry have a broader scope for usage because the language of poetry is implicit and aligns with the meanings of these terms. Wadī‛ Sa‛ādah (1948), a Lebanese poet, and Hafez Mousavi (1954), an Iranian poet, employed similar contexts and meanings in their literary styles. Although the two poets are not historically connected, their stylistic similarities, thematic resonance, and shared literary influences allow for a comparative analysis of marked words and their meanings in their respective poems, as per the principles of American comparative literature. Sa‛ādah and Mousavi frequently utilized marked words, likely due to the nature of their poetic language, which addresses painful issues such as war and the struggles of contemporary humanity. Their texts vividly depict scenes of suffering and human anguish, prompting the use of marked words in an implicit and imaginative manner. Unmarked words, in contrast, fail to convey the depth of these pains, tragedies, and challenges to the reader. The most important questions that this research attempts to answer are: How did the marked words appear in the poems of Wadī‛ Sa‛ādah and Hafez Mousavi? What are the connotations of the marked words in the poems of the two poets? What are the similarities and differences between the marked words are employed in the poetic literary works of these two poets? Method: This research, which was conducted using a descriptive-analytical method, aimed to analyze the poems of Hafez Mousavi and Wadī‛ Sa‛ādah with a focus on marked words. To establish a cohesive framework for studying the works of Mousavi and Sa‛ādah, this research examines marked words in the context of descriptive combinations, additional combinations, and complete sentences. Results and Discussion: - The marked words in Sa‛ādah and Mousavi’s poems are presented as descriptive and supplementary structures, in addition to complete sentences. These structures and sentences are considered marked due to their contradiction with the realities of the world. - The vital marked additional structures appear in the poems of the two poets based on implicit metaphors and their characteristics. In these structures, the additions correspond to the unmarked words, and these additions guide the structures toward the marked words, providing a suitable platform for expressing the diverse positions and ideas of the two poets through their choice of words. - The additional marked inanimate structures are the most marked words in Saadeh and Mousavi's poems, which are presented through the use of simile. Both components of these marked words can be compared to the unmarked words, allowing for various meanings to be inferred from these structures. Consequently, this is one of the factors that renders the texts of both poets open to multiple interpretations by readers, enabling them to derive different concepts from these words based on their individual perspectives. - Another part of the marked words in Saadeh and Mousavi's poems is dedicated to marked sentences. The two poets consider the most improbable and imaginary actions arising from history, myth, or culture in these sentences. Most of these sentences, in addition to the aesthetic aspects, contain specific meanings, social or human discourses, and many symbols. - One of the most prominent features of the marked words in the poems of the two poets is their adaptation from the natural world. Most poets who have grown up in the bosom of nature - if not all of them—cannot remain indifferent to this source of inspiration. In contrast, the poems associated with the postmodern style often diminish the vibrancy of nature, drawing their imagery primarily from everyday life. The function of the marked words is to convey emotions and feelings, translating their poetic experiences in relation to the universe, man and his beliefs. Their poetic style tends towards imaginary and suggestive images away from directness, and is often intertwined with unrealistic events to foster creativity and uniqueness in poetic discourse. Some of this creativity is achieved through the use of marked words. These two poets employ a style that occasionally offers a space to forget what happened to them, and so we find them traveling through words in the world of dreams. The two poets have succeeded through their poetic endeavors by utilizing both distinctive language and through the use of marked words and other ancient and modern poetic arts, and they were even able to share the suffering and hopes of the recipient through the imagination of interpreting the hidden meanings and connotations of the two poets’ poems; because Sa‛ādah and Mousavi are dedicated poets who have chosen to articulate the pain and sorrow of society as a central theme in their message, and so we find the majority of the meanings of marked words in their poems directed to the problems and failures of contemporary man. Conclusion: The research findings indicate that the poems of Sa‛ādah and Mousavi blend romantic tendencies in the early stages of their literary works and the postmodern style in their later works. It is evident that their use of marked words is influenced by these two styles. Both poets aimed to employ simple and unambiguous language to convey marked words, deliberately avoiding mythological symbols and an epic tone. The marked words in their poems are presented through descriptive and supplementary structures in addition to standard sentences. These structures and sentences are considered marked due to their contradiction with the realities of the world. The additional marked inanimate structures are the most marked words in the poems of Sa‛ādah and Mousavi, which appear based on the simile technique. One of the most obvious features of the marked words in the poems of the two poets is the adaptation of some of these words from the natural world.

Research Paper الادب المقارن

An Analysis of Contemporary Arabic and Persian Novels Based on Foucault's PowerTheory (Case Study of the Novel "Tashari" by Inam Kojeji and the Novel "Forget the Autumn" by Fahimeh Rahimi)

پیمان صالحی; shafiei Somayeh sadat

Articles in Press, Accepted Manuscript, Available Online from 30 June 2025

https://doi.org/10.22126/jccl.2025.11879.2683

Abstract

Literary and artistic works have a prominent position in the philosophical system of Michel Foucault, a French philosopher and theorist, and he has benefited greatly from these works in explaining his intellectual project. Discourse is the keyword of Foucault's theory. He sees every discourse as ... Read More

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Research Paper الادب المقارن

sign-semantic analysis of color in the poetry of Sohrab Sepehri and Suzan Alivan

فرهاد رجبی; zahra mafi

Articles in Press, Accepted Manuscript, Available Online from 07 September 2025

https://doi.org/10.22126/jccl.2025.11112.2647

Abstract

The science of semiotics is very practical in poetic texts and specifically in the poetry of poets who basically use the language of symbols and symbols to express their meanings. In this regard, we are going to do a comparative reading of the poems of Sohrab Sepehri and Suzan Alivan, relying on the ... Read More

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Research Paper الادب المقارن

Recreating classic texts, a way to deal with tyranny; a comparative reading of Mr. Ayaz's and Ramel Al-Mayeh's novel "The Infernal Times

shahram delshad; mahdi torkshavand

Articles in Press, Accepted Manuscript, Available Online from 09 September 2025

https://doi.org/10.22126/jccl.2025.11165.2649

Abstract

This article argues how contemporary writers in many eastern societies that live in the conditions of suffocation and tyranny deal with tyranny by recreating classical literary texts as an important and efficient tool. This method allows the literary creators who are considered to be political and social ... Read More

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Research Paper الادب المقارن

An Existentialist Analysis of the Concept of Freedom in the Novels The Old Man and the Sea by Ernest Hemingway and When We Left the Bridge by Abd al-Rahman Munif

عبدالأحد غیبی; مهین حاجی زاده; Mayagozal Bahman

Articles in Press, Accepted Manuscript, Available Online from 23 September 2025

https://doi.org/10.22126/jccl.2025.12113.2691

Abstract

The concept of freedom, one of the most complex and expansive philosophical concepts, has always been at the center of many scholars' attention. Existentialist philosophy, with its focus on the existential and ontological dimensions of human beings, offers a unique perspective on the concept of ... Read More

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Research Paper الادب المقارن

خوانش تطبیقی دو داستان کوتاه «پرلاشز» زویا پیرزاد و «آخر قصة غیر بیضاء» غادة السمان بر اساس تحلیل گفتمان روایی ژرار ژنت

elyas nooraei; shiva sadeghi

Articles in Press, Accepted Manuscript, Available Online from 30 June 2025

https://doi.org/10.22126/jccl.2024.11039.2643

Abstract

تحلیل گفتمان روایی یکی از راههای مؤثر و قابل اتکا در بررسی ساختاری داستان است که با تکیه بر توضیح و تفسیر راههای پرداخت روساخت یک متن روایی، راه را برای کشف معنا و مفهوم ... Read More تحلیل گفتمان روایی یکی از راههای مؤثر و قابل اتکا در بررسی ساختاری داستان است که با تکیه بر توضیح و تفسیر راههای پرداخت روساخت یک متن روایی، راه را برای کشف معنا و مفهوم پنهان نویسنده فراهم میآورد. دو داستان کوتاه "پرلاشز" از پیرزاد و "آخر قصة غیر بیضا" از غادهالسمان، دارای زبان و سبک زنانه هستند و هر دو نویسنده سعی کردهاند با تمرکز بر شخصیت زنان در داستان خود، نوع نگرش زنان به جامعه را نشان دهند. این مقاله سعی دارد تا با بررسی تطبیقی این دو داستان، و ترسیم تکنیکهای گفتمان روایی آنها، علاوه بر کشف الگوی ساختاری، به معنا و مفهوم پنهان در متن نیز دست یابد. روش پژوهش، تحلیلی توصیفی بوده و با استناد به منابع کتابخانهای و مطالعۀ موردی نمونههای داستانی دو نویسنده، به ترسیم تفاوتها و شباهتهای این دو داستان بدون توجه به بحث تأثیر و تأثر بپردازد. در پایان مشخص شد که هر دو داستان، در کنار تفاوتهای محتوایی، از منظر ساختاری بسیار به هم نزدیک هستند و قابلیت بررسی از منظر تحلیل گفتمان روایی را دارند. بازگشتهای زمانی، تکرار، وقفۀ توصیفی، خلاصه، کانون بیرونی، راوی دانای کل، کانونیسازی دوگانه و عنصر گفتگو از مهمترین تکنیکهای روایی این دو داستان است. داستان السمان بر آشفتگی ذهنی و روحی شخصیت اصلی استوار است، اما داستان زویا پیرزاد، از حدت و صراحت لهجۀ السمان خالی است و سعی کرده است تا نوعی همراهی زن با مرد را به تصویر بکشد.

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Research Paper الادب المقارن

Analyzing and examining the homogenizer of Yadgar Zariran, the similar text in Gharar Akhbar Meluk al-Fers and Sirham and Shahnameh inspired by the views of Wilhelm Geiger

حسین سلیمی; meysam ghalili

Articles in Press, Accepted Manuscript, Available Online from 01 October 2025

https://doi.org/10.22126/jccl.2025.9605.2534

Abstract

Comparisons and analysis of similar works in different eras of history have always been a good excuse to find hidden points and the cause of those differences. In this triangle, whose angles we have named Yadgar Zariran, Shahnameh (a thousand precise verses of entries in the Shahnameh) and Tarikh Thaalabi, ... Read More

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Research Paper الترجمة

Linguistic study of the Arabic translation of Mustafa Wahbi al-Tall from Al-Khayyam's Rubaiyat based on Catford's theory of change (1965)

Mohammad Hassan Amraei

Articles in Press, Accepted Manuscript, Available Online from 01 October 2025

https://doi.org/10.22126/jccl.2025.11097.2646

Abstract

Balance means access to familiar words, phrases and grammatical patterns of the target language against the elements of the source text. One of the problems that occur in the translation process is the inadequacy of the grammatical and lexical structures of the target language compared to the source ... Read More

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Research Paper الادب المقارن

Comparative Study of the Novels “On the Red Blue Roads” and “Frankenstein in Baghdad” (Based on Yuri Lotman’s Semiotic Sphere Theory with Emphasis on Border and Center) (Based on

Raoof Ibrahim Sameen; Mousa Parnian; Khalil Baygzade

Articles in Press, Accepted Manuscript, Available Online from 01 October 2025

https://doi.org/10.22126/jccl.2025.11310.2656

Abstract

Cultural semiotics is the study of intercultural relations among interactive, conflicting, and confrontational poles, that explains the scope of one's own culture and its codes against the constraints of another culture or non-culture. Lotman's prior understanding of culture is in the form ... Read More

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Research Paper الادب المقارن

A Cognitive-Cultural Analysis of the Metaphor of 'Affliction' in Selected Persian and Arabic Mystical Texts

zeinab akbari; nasrin fagih malek marzban

Articles in Press, Accepted Manuscript, Available Online from 05 October 2025

https://doi.org/10.22126/jccl.2025.11826.2681

Abstract

This study comparatively examines the metaphorical conceptualization of "Balā" (Affliction) in selected Persian and Arabic mystical texts. The main problem is identifying similarities and classifying the dimensions of variation in "Balā"'s conceptualization, alongside precisely ... Read More

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Research Paper الادب المقارن

Manifestation of Persian culture and literature in the poetry of Abu al-Ala al-Ma'ari

Mohammed Hassan Amraei; Abolfazl Rezaei

Articles in Press, Accepted Manuscript, Available Online from 11 October 2025

https://doi.org/10.22126/jccl.2024.10252.2575

Abstract

The victory of the Abbasid Revolution was often seen as a victory for the Iranians over the Arabs, and with the arrival of the Iranian Barmakids, secretaries, and ministers to the Abbasid court, the contribution of Iranians to Arabic literature and Islamic civilization increased. Iranians have actively ... Read More

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Research Paper الادب المقارن

A comparative look at the category of "resistance to acculturation" in the two novels "Qalandar and Qaleh" and "Little Death" based on Maslow's hierarchy of needs

Mahdi Yari; sayyed mahdi nori keyzghani; Mahdi Khorrami Sarhozaki; Hosein Shamsabadi

Articles in Press, Accepted Manuscript, Available Online from 26 October 2025

https://doi.org/10.22126/jccl.2025.12579.2713

Abstract

This study explores the component of “resistance to enculturation” in the characters of two prominent Islamic mystics, Suhrawardi and Ibn Arabi, as represented in two novels written in Persian and Arabic. The research is grounded in Abraham Maslow’s hierarchy of needs, one of the most ... Read More

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