Research in Comparative Literature

Research Paper الادب المقارن

Cognitive-Cultural Analysis of the Metaphor of "Balā" (Affliction) in Selected Persian and Arabic Mystical Texts

Zeinab Akbari; Nasrin Fagih Malek Marzban

Volume 15, Issue 4 , December 2025, Pages 1-27

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 primary objective is to identify similarities and classify the dimensions of variation in "Balā"'s conceptualization, alongside precisely describing the "semantic ... Read More This study comparatively examines the metaphorical conceptualization of "Balā" (Affliction) in selected Persian and Arabic mystical texts. The primary objective is to identify similarities and classify the dimensions of variation in "Balā"'s conceptualization, alongside precisely describing the "semantic focus" of the metaphor in each tradition. The theoretical framework is Kövecses's (2005) Cognitive-Cultural Metaphor Theory, focusing on the interplay between universal concepts and cultural variation. The research employs a mixed-methods (quantitative and qualitative) approach, with data analyzed through content analysis and qualitative metaphor mapping. The results indicate that common source domains such as "CONTAINER," "LOAD," "FIRE," and "FOOD" are used to conceptualize "Balā" in the reviewed texts of both languages. However, significant differences in cognitive-cultural preferences and metaphorical elaborations are observed, which can be classified into four distinct levels: 1) differences in metaphor frequency, 2) congruent and alternative conceptualizations, 3) the scope of the target domain, and 4) variations in metaphorical mappings and entailments. A qualitative analysis of these dimensions reveals that the semantic focus of "Balā" in the Arabic mystical tradition, characterized by a high prominence and frequency of the "FORCE and MOTION" source domain, conceptualizes Balā as an inevitable encounter with a powerful Divine force, directed from top to bottom. Conversely, the semantic focus of "Balā" in the Persian mystical tradition, characterized by the prominent and frequent use of the "FIRE and CONTAINER" source domain, conceptualizes Balā as an active experience essential for achieving perfection and spiritual maturity along the path (Suluk). These findings underscore the necessity of a descriptive classification of the dimensions of metaphorical variation in abstract mystical concepts, as informed by Cognitive-Cultural Theory. Introduction: This research presents a comparative cognitive-cultural analysis of the metaphorical conceptualization of "Balā" (Affliction/Trial) in selected mystical texts from the Persian and Arabic traditions. The central issue addresses the dual nature of abstract concept conceptualization: the coexistence of universal cognitive schemas and the manifestation of cultural variation. The primary objective is to identify both the shared source domains and the specific cultural differences, subsequently describing the precise semantic focus (metaphorical focus) assigned to "Balā" in each intellectual tradition. This study employs Kövecses's (2005) Cognitive-Cultural Metaphor Theory, emphasizing how competing cultural models shape and elaborate universal image schemas. Method: This study employed a mixed-methods approach, combining quantitative and qualitative analyses. The dataset was drawn from canonical Persian and Arabic mystical works. The quantitative phase involved corpus analysis to extract and count the frequency of all linguistic manifestations of "Balā" and classify them into their corresponding metaphorical source domains (e.g., FORCE, CONTAINER, FOOD). The qualitative phase applied Cognitive Metaphor Theory to conduct a detailed mapping analysis. This involved examining the linguistic context to identify specific mappings and cultural entailments (inferences) derived from the source domains. The analysis specifically focused on classifying observed cross-cultural variation across four distinct levels: (1) differences in source domain frequency, (2) congruent and alternative conceptualizations, (3) the scope of the target domain, and (4) variation in metaphorical mappings and entailments. Results and Discussion: Analysis of the collected data confirms the existence of shared global schemas (e.g., FORCE, CONTAINER, MOTION) and common source domains (e.g., LOAD, FIRE, FOOD) for conceptualizing Balā in both traditions. However, the data reveals significant cognitive-cultural preferences that lead to divergent metaphorical models. Quantitative Summary: Source Domain Preference Source Domain Persian Rank (Frequency) Arabic Rank (Frequency) Key Finding FORCE Second (13.46%) First (25.28%) FORCE is significantly more emphasized in Arabic. FOOD/DRINK Third (10.57%) Sixth (3.77%) FOOD/DRINK is a highly preferred model in Persian. FIRE Fifth (8.89%) Thirteenth (1.13%) FIRE is significantly elaborated in the Persian tradition. Qualitative Findings: Semantic Focus and Entailments The analysis of mappings and entailments established the distinct Semantic Focus for each mystical tradition: Arabic Mystical Tradition (Focus on the Inevitable Force): The frequent and detailed use of the FORCE and MOTION schemas conceptualizes Balā as a mighty, external, and predetermined divine force (Qadar). The mappings emphasize top-down direction (using verbs such as NaZal, Ṣabba, Ḥalla), intensity (using adjectives like Ashadd), and the state of containment (using general prepositions such as Fī) rather than a specific vessel. The primary cultural implication is resignation and submission (Riḍā) in the face of inevitable power. Persian Mystical Tradition (Focus on Active Transformation): The high elaboration of the FIRE and CONTAINER schemas, often combined (e.g., Balā is a Crucible/Furnace), shifts the focus to an Active, Internal, and Voluntary Experiential Process. Mappings emphasize Purification, Ripeness, and Valuation. This tradition frequently uses Alternative Conceptualizations not found in Arabic, such as Balā is a "Beloved's Coquetry" (linking affliction to romantic pleasure) or Balā is an "Honoring Garment/Robe of Honor" (linking it to status and spiritual ascent). The key cultural entailment is Perfection (Kamāl) and Voluntary Ascent along the path (Suluk). Conclusion: The findings underscore that while the universal conceptual foundations of "Balā" are shared, cultural models fundamentally alter the metaphorical landscape. The conceptualization of Balā in Arabic emphasizes a necessary Passive Confrontation with Divine Authority, whereas the Persian tradition privileges Active Transformation and the Pursuit of Spiritual Excellence through a sought-after trial. This study provides a necessary descriptive classification of the dimensions of cross-cultural metaphor variation, reinforcing the critical role of the cognitive-cultural framework in analyzing abstract concepts within comparative mystical discourse.

Research Paper الادب المقارن

Recreating Classical Texts as a Way to Confront Tyranny; a Comparative Reading of the Novels The Hellish Life of Mr. Ayaz and The Sand of Maya based on Linda Hutchen's Theory

Shahram Delshad; Mahdi Torkshavand

Volume 15, Issue 4 , December 2025, Pages 29-52

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

Abstract

The major subject of argument in the current paper is how contemporary writers in many Eastern societies, living in conditions of oppression and tyranny, confront tyranny by recreating classical literary texts as an important and effective tool. This technique allows literary creators to keep themselves ... Read More The major subject of argument in the current paper is how contemporary writers in many Eastern societies, living in conditions of oppression and tyranny, confront tyranny by recreating classical literary texts as an important and effective tool. This technique allows literary creators to keep themselves out of danger behind classical masks and, given the existing cultural backgrounds emerging from classical texts, to present their political messages to audiences easily, widely, and effectively in the role of critics and social activists. Adopting Linda Hutchen's theory of adaptation, this article examines the addressed process in two novels from Iranian and Algerian literature with two novels of “The Hellish Day of Mr. Ayaz” by Reza Baraheni and “The Sand of Al-Maya” by Wasini Al-Araj, respectively. Both novels are adapted from the History of Bayhaqi and the Thousand and One Nights, respectively, and show that this method (i.e., the use of narrative in political actions) is a widespread literary approach in the literature of third world countries. Furthermore, they, under the yoke of tyranny, are unable to directly represent the conditions of society. The results of the research show that the authors have highlighted and eliminated some elements, as well as changing and triying to localize and adapt the work to the existing conditions in society while maintaining the original spirit of the work. In specific, Baraheni has spoken about the tyranny of the Pahlavi regime in Iran by adapting the story of tyranny of Sultan Mahmud, and Wasini has spoken about the Islamic fundamentalist movements in Algeria by adapting the Thousand and One Nights. Introduction: Adaptation refers to the process of taking techniques, methods, and themes that are well-known and successful in other art forms and integrating them into a new mode of expression. This concept was developed by Linda Hutcheon. While adaptation is commonly associated with cross-media transformations—such as adapting a novel into a film or vice versa—the scope of adaptation has expanded to include re-creation within the same medium. Examples include adapting a film from another film, a novel from another novel, or one written work from another. From this perspective, re-creation involves reinterpretation and transformation, effectively making the story one’s own by refining it through personal instincts, interests, and talents. In fact, adaptation in this sense breathes new life into the static body of a classical text by aligning it with contemporary developments and the author’s ideological and social concerns, preparing it for new perspectives and objectives through deliberate changes. This process removes the exclusive control of classical texts from filmmakers and other visual adaptors, enabling literary writers to reinterpret classical works in their own unique style and form. In many East African and Asian countries with similar political and social conditions, innovative and creative writers use the method of recreating classical texts to confront tyranny. In these regions, this approach is regarded as a safe yet symbolic form of protest that helps political and literary activists achieve their goals. Notable figures employing this method include Wassini Al-Araj, a prominent Algerian writer, and Reza Baraheni, a renowned Iranian author. Both authors emerged from similar social and political conditions, with confronting tyranny and addressing social concerns as the central themes in their novels. Some of their works involved adapting classical texts to achieve these goals. Notable examples include the novel The Sand of Maya by Wassini Al-Araj, which is adapted from One Thousand and One Nights, and the novel Hellish Life of Mr. Ayaz by Reza Baraheni, which draws from the history of Bayhaqi. Method: The theoretical basis of this research is based on the concept of re-creation from the perspective of Linda Hutchen. She describes re-creation from three perspectives, of which the second perspective, the act of adaptation as a process of creation, is considered in this article. In this perspective, adaptation requires reinterpretation and re-creation. Depending on the point of view of the individuals, such a thing can be called both the appropriation of the text and the salvation of the text. Against every belligerent appropriation that is defeated by a political opponent, there is a patient savior. Hutchen considers three components for this level of adaptation as follows: highlighting, deletion and displacement, localization. Results and Discussion: The capacities for reproduction and decomposition of the book “Alif Lailat Lailat” in Arabic literature and the history of Bayhaqi in Persian literature have led both authors to adapt and recreate the work. The most important opportunity that the possibility of recreating the One Thousand and One Nights has given to Wasini in creating a protest work is the numerical form of the One Thousand and One Nights, which has given the author the opportunity to create other stories by expanding the number. The marginality of the character Donyazad and his lack of development by the anonymous authors of One Thousand and One Nights have provided Wasini with the opportunity to utilize this silent character for political purposes within his narrative work. Similarly, the specific historical form of Bayhaqi—whose initial and final volumes have been lost, leaving only the middle volumes intact—and the neglect of many turning points in the history of the Ghaznavid sultans have allowed Baraheni to create a new chapter and sequel to this book. In addition, Bayhaqi's style of historical characterization, along with his inclusion of independent anecdotes from historical figures such as Hassanak, Bushel Zuzani, and Abu Nasr Meshkan, enabled Barahini to leverage Ayaz's marginal presence in this book—limited to only a few references and allusions—to create a work of politically charged protest and recreation. Conclusion: An examination of the re-creation process in two novels from Iranian literature (The He llish Life of Mr. Ayaz by Reza Baraheni) and Algeria (The Sand of Maya by Wasini al-Araj) is adapted from the history of Bayhaqi and the One Thousand and One Nights, respectively. It shows that this method (the use of narrative in political actions) is a pervasive literary approach in the literature of third world countries that, under the yoke of tyranny, are unable to directly represent the conditions of society. The research results show that the authors, while preserving the original spirit of the work, have highlighted and removed certain elements, as well as modified and attempted to localize and adapt the work to the prevailing societal conditions. Specifically, Baraheni addressed the oppressive tyranny of the Pahlavi regime in Iran by adapting the story of Sultan Mahmud's tyranny, while Wasini focused on Islamic fundamentalist movements in Algeria by adapting tales from One Thousand and One Nights.

Research Paper الادب المقارن

Sign-semantic Analysis of Color in the Poetry of Sohrab Sepehri and Suzan Alivan

Farhad Rajabi; Zahra Mafi

Volume 15, Issue 4 , December 2025, Pages 53-78

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

Abstract

Semiotics, as a field of knowledge applicable both in the creation and interpretation of texts, is one of the most important approaches in linguistics. Its application is essential in analyzing poetic texts, especially those by poets who primarily use symbolic language to convey their meanings. In this ... Read More Semiotics, as a field of knowledge applicable both in the creation and interpretation of texts, is one of the most important approaches in linguistics. Its application is essential in analyzing poetic texts, especially those by poets who primarily use symbolic language to convey their meanings. In this regard, we will conduct a comparative analysis of the poems of Sohrab Sepehri and Suzan Alivan, focusing on the symbolism of color and examining the meanings derived from these signs. Sepehri and Alivan are among the most prominent poets whose use of color is distinctly articulated in their poetic vision. Both poets depict personal and social life in their poetry by employing the concepts evoked by colors. The semiotic-semantic study of the color element reveals how two poets created meaning through the use of signs, distancing themselves from familiar and established textures. Exploring the semantic implications and internal relationships of the color element facilitates a deeper understanding of their intended meanings. The occasionally similar experiences in the personal and social lives of Sepehri and Alivan have shaped comparable literary paths for both poets, leading to similarities in the symbolism and frequent use of colors in their poetry. This article demonstrates that color, as a symbolic element, plays a significant role in creating meaning. In most cases, the frequency and function of colors are similar between the two poets; however, differences arise due to their distinct moods and experiences. Introduction: Semiotics, as a field of knowledge applicable both in the creation and interpretation of texts, is one of the most important approaches in linguistics. Its application is especially essential in poetic texts, where poets primarily use symbolic language to convey their meanings. Every text has its own system of signs. Literary and artistic texts, which are identified based on their use of metaphorical systems, employ signs on a broader scale—both quantitatively and qualitatively. Among literary genres, poetry stands out as particularly distinctive in this regard. In this paper, we aim to conduct a comparative study of the poetry of two contemporary Persian and Arabic poet-painters by analyzing the semantic functions of signs and employing a descriptive-analytical method. Sepehri and Alivan have extensively used colors in their work. These two poet-painters primarily employ the symbolic concept of color in their poetry to guide their audience’s minds from the superficial meaning of the words to their deeper layers, revealing the secondary meanings hidden behind color-related terms. Examining this literary technique through the lens of semiotics and various discursive systems reveals how meaning is constructed in the poetry of these two poets. The presence of intellectual and philosophical commonalities in their thoughts, along with the social structures of Iranian and Lebanese societies, prompted an analysis of the use of color as an indicator shaped by their mentalities and spirits. Method: In the present research, which is descriptive-analytical and looks at the subject from the perspective of comparative research, painting and painting elements have generally been considered, and of course, color is also mentioned in part of the work, which in the first case is considered in a comparative manner between two poets and in the rest of the cases separately. In other cases, which basically deal with other poets, color has been examined as a semantic context and a subject of study in poetic works. The common focus of the works conducted is the examination of color as a semantic element in literary texts. In these studies, color—primarily serving a traditional and natural function—has been analyzed with this same perspective. The difference between this article and previous studies is notable in two respects: first, the case studies examine the poetry of two poets who are also painters, establishing a tangible and closer connection with color. Second, in the poetry of these poets, color transcends its superficial meaning and natural function to serve as a symbol expressing deeper, secondary meanings. Results and Discussion: Examining the function of colors in the poems of Sepehri and Alivan through a semiotic-semantic framework reveals numerous implicit connotations that form the semantic foundation of their poetry. Among the colors used in the divans of these two poets, black appears with high frequency. This color, the most frequent in Alivan's poetry and the second most frequent in Sohrab's, symbolizes the dominance of black. The disparity in frequency between black and the colors blue, yellow, and white—each appearing less often—reflects a sense of darkness and despair. This suggests a world where qualitative values are overshadowed by darkness and a focus on quantitative measures. The poetic worlds of the two poets are shaped by color and the concepts it evokes. However, Sohrab often imbues color with a romantic and perfectionist quality, while Alivan uses it to convey postmodern themes such as emptiness, anxiety, and chaos. The frequent use of black and white underscores this contrast. Conclusion: The relationship between color and sign is important to us because the human mind considers its relationship with other phenomena and events in the light of specific meanings. In other words, colors find meaning in the human mind beyond a chemical change or a sensory phenomenon; a meaning that is, of course, not unrelated to the tangible world. “Every color is a phenomenon, which is a code or metaphor for the light of its origin, and this meaning must be interpreted according to this manifestation.” Such an approach to color has a wide application in literary texts, and in particular in modern poetry, which has a closer connection with the semiotic system and codes. In addition, the interplay between the arts of painting and poetry and the acceptance of the well-known mentality that painting is silent poetry and poetry is vocal painting have long led us to witness the presence of painter-poets and painter-poets in the field of meaning and art due to the similarity of these two arts in the beautiful and creative recording of subjects. Of course, the effective function of the element of color in these genres is natural. Examining the position and meaning of color in the art of poetry can reveal the communicative position of great truths from language, literature, and society. As Mallarmé, the famous French Symbolist poet, in a French poem, matched color, fragrance, and natural sounds.

Research Paper الادب المقارن

A Comparative Analysis of Yadegar Zariran-nameh, A Similar Text in Gharr-e-Akhbar of Moluk-e-Fars and Sirham, and Shahnameh, Inspired by Wilhelm Geiger’s Theories

Hossein Salimi; Meysam Ghalili

Volume 15, Issue 4 , December 2025, Pages 79-95

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

Abstract

Comparisons and analyses of similar works from different historical periods have always provided valuable opportunities to uncover hidden details and understand the causes of their differences. In this context, represented as a triangle with vertices named Yadegar Zariran, Shahnameh (specifically, a ... Read More Comparisons and analyses of similar works from different historical periods have always provided valuable opportunities to uncover hidden details and understand the causes of their differences. In this context, represented as a triangle with vertices named Yadegar Zariran, Shahnameh (specifically, a thousand precise verses from an entry in Shahnameh), and Tarikh-e-Sha’alibi, also known as Gharr-e-Akhbar, we observe expected similarities that clearly stem from their reference to a specific historical event. At the same time, these works exhibit differences and omissions relative to one another, which reveal points of divergence and invite further discussion. This article, employing a descriptive-analytical method and a library-based approach, aims to analyze the differences and similarities among these three texts through examination and comparison. The results indicate that the differences in the Shahnameh are more extensive and pronounced compared to the other two texts. At the same time, the account of events in Tha'alibi's History shares many similarities with Yadgar Zariran. By identifying and tabulating these differences, the audience can gain a comprehensive and analytical perspective for comparison. Finally, drawing on the theories of Geiger—a German linguist—and other inductive possibilities, the reasons for these differences are explored. Introduction:Today, one method of resolving ambiguities left in historical records is to compare similar works and identify the reasons for their differences. Uncovering the causes of these variations has consistently opened new avenues of knowledge. For this reason, Khaleghi Motlaq, after spending more than thirty years comparing fifty-five different manuscript versions of the Shahnameh, affirms the superiority of ten of them over the rest (cf. Khaleghi Motlaq, Vol. 1, 2015: 92). Here, by examining the similarities, differences, and briefly exploring their causes with the help of Geiger's theories, we aim to categorize and organize these works so that readers can extract the essential points. Similarities arise from shared content, while differences stem from the author's unique style, the historical period in which they lived, and the various sources they used. Through these comparisons, we can highlight the power of precise writing and the inclusion of detail in seemingly brief passages; alternatively, we may gain insight into the existence of more extensive source materials. For example, Tha'alabi’s history, which closely resembles the Khodai-namehs, including the Shahnameh, begins with the creation narrative, describing Kiyomars and continuing through to the end of Yazdgerd III’s reign and the onset of the Arab invasion. This work, similar to the Shahnameh, is written in the prose style of Mursal and adopts a religious perspective. Each of these three works possesses unique qualities that can be critically examined individually or in pairs. Certainly, comparing all three together to form a comparative triangle will reveal valuable and insightful points; the greater the number of comparison branches, the more diverse and enriching the outcomes will be.Method:This essay is a documentary and theoretical research that tries to categorize the differences and similarities of the three works using a descriptive-analytical method and to recognize these differences with regard to Geiger's views in order to cover the ultimate goal of systematically categorizing and comparing the three works.Results and Discussion:The Yadgar Zariran is a pre-Islamic work and the oldest surviving epic recounting the war between two kings over the acceptance of a new religion versus adherence to the old covenant. When Gashtasb embraces Zoroastrianism, he faces the threat of war and the destruction of his kingdom and surrounding regions by Arjasb, the king of Khyunnan. Messengers are exchanged, and finally, with an invitation to war delivered through a letter from Zarir, the location of the battle is revealed. Gashtasb sets out for war with all his wealth and companions, accepting his fate as foretold by the prophet Jamasp. More than twenty-three members of his family are sacrificed, but ultimately, this leads to the victory of Zoroastrianism over Khyunnanism, which was a form of star worship (see: Tarikh Tha'alibi, 170). The Yadgar Zariran was first published in Persian and Pahlavi languages by Mohammad Taqi Bahar in 1314. The Gashtasb-e-Nameh, which contains the same narrative as Yadegar Zariran, was composed by Daqiqi Tusi before Ferdowsi. Ferdowsi incorporated those verses exactly into the Shahnameh to preserve them from destruction and to serve as the third element in the analogy presented in this article.For convenience, we refer to the Shahnameh figuratively as the same thousand verses of Daqiqi and call Yadegar Zariran in imitation of the late great Iranian scholar Wilhelm Geiger (1856–1943 AD). The History of Tha’alabi is also the work of Abd al-Malik ibn Muhammad ibn Isma’il Tha’alabi of Neyshabur in the fourth century AH. Even the exact name of this author has been a subject of scholarly debate among literary historians. Ignoring this minor issue and following the esteemed scholar Mujtaba Minou, we attribute the same name to him (Tha’alabi, 1368: 122). Regarding the significance of this work, it can be said that from the fourth to the sixth century, the only existing account of the Zariran Relic appears alongside the Shahnameh. After that period, only a limited number of works have addressed this event, and those only in a cursory and brief manner (Mahyar Navabi, 1374: 22). On pages 170 to 180, the History of Tha'alabi, corrected by the late Professor Minovi, describes the event of the war of Gashtasb and Arjasb, which contains generalities that are similar in terms of quantity and quality to the Zariran Relic, but also has some differences that will be examined.Conclusion:By comparing Yadegar Zariran with Thousand Accurate Verses and Thaalabi's narration, we observe general similarities that are expected, alongside differences that range from subtle to transformative. Zariran's novella shares many similarities with Thaalabi's "Gharr Akhbar al-Fars" in terms of overall length and content. Differences that detract from the subject are rare, occurring in only one notable instance. The most significant difference lies in Thaalabi's approach to the beginning of the work and his attitude toward Zoroastrianism, its prophet, and its first follower. This perspective, shaped over several centuries, reflects the influence of Islamic thought, which may explain these variations.When comparing Zariran's novella with the Shahnameh, significant differences in the subject matter become apparent. In the former, Zariran is portrayed as the hero, whereas in the latter, the narrative culminates with the heroism of Esfandiar. Additionally, the recipient of Bidarfesh's life is Esfandiar in the Shahnameh, not Bastur as in the novella. Esfandiar's name is more prominently featured in the Shahnameh, reinforcing his role in the continuation of the epic. According to the German linguist Geiger, this marked difference stems from the existence of different sources in the Pahlavi language at the time Abu Mansur Abdol Razzaq Mu'ammari composed the Khodai-nameh. Another factor is the Shahnameh's historical approach, which includes detailed accounts and epic narratives, in contrast to the Zarirnameh, which is brief and written as a lamentation rather than with the intent to document history and preserve its elements.

Research Paper الادب المقارن

Gender Study of the Exercise of Power in the Novels Tashari and Forget the Autumn (Referring to Michel Foucault's theory)

Payman Salehi; Somayeh Sadat Shafiei

Volume 15, Issue 4 , December 2025, Pages 97-122

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

Abstract

Feminist criticism seeks to explain the role of patriarchal culture in shaping the portrayal of women in literary works. Literary and artistic creations hold a significant place in the philosophical thought of Michel Foucault, who has extensively drawn upon these works to elucidate his intellectual project. ... Read More Feminist criticism seeks to explain the role of patriarchal culture in shaping the portrayal of women in literary works. Literary and artistic creations hold a significant place in the philosophical thought of Michel Foucault, who has extensively drawn upon these works to elucidate his intellectual project. Foucault views every discourse as emerging from power dynamics, with language serving as the arena where power relations arise, determining the dominant and the subordinate subjects. Accordingly, this study aims to examine and analyze Foucault's theory of power alongside the novel Tashari by Iraqi writer Inam Kajehji and the novel Forget the Autumn by Iranian writer Fahimeh Rahimi, employing the American school of comparative literature and a descriptive-analytical approach. The findings reveal that both novels incorporate various power-oriented discourses as conceptualized by Foucault. However, in Forget the Autumn, certain discourses—such as those of superstition, mastery and servitude, and love—are particularly prominent. The authors of these novels demonstrate that, although women in traditional Iraqi and Iranian societies are often victims of the power wielded by superiors across social classes, through resistance they have progressed from the confines of emotional passivity to the realm of reason and agency, moving beyond folk beliefs into political and social activism. Introduction: Since the late 1960s, feminist literary criticism has emerged as a deliberate and collective approach to literature. Virginia Woolf is considered a pioneer of feminist criticism with her work A Room of One's Own. Aiming to expose the mechanisms of patriarchal society, feminist literary criticism ultimately seeks to transform social relations. Feminists argue that patriarchal society favors men and prioritizes their interests over those of women. In the contemporary era, literary criticism is closely connected to political feminist movements across social and economic spheres, as well as in the pursuit of cultural freedom and equality. The social norms established and upheld by those in power, primarily men, favored the dominant group. Consequently, women adopted various strategies to defend their identity and status. Part of their protest, as a segment of society that became aware of the challenges and injustices imposed upon them, was expressed through women's literature. Michel Foucault's theories on explaining the relationships between power and resistance are useful and inventive for discourse analysis. Literary and artistic works have a privileged position in Foucault's philosophical system, and he has benefited greatly from these works in explaining her intellectual project. Because important political and social events and changes are better reflected in literary works, especially narrative works. Accordingly, the present study has attempted to examine and analyze, the novel Tashari by the Iraqi writer Inam Kajehji, and the novel Forget the Autumn by the Iranian writer Fahimeh Rahimi by refering Foucault's theory of power. Method: This research is based on the descriptive-analytical method and referring Michel Foucault's theory of the exercise of power. First, Michel Foucault's components of power in the two novels under discussion are extracted and then analyzed and examined. Results and Discussion: In traditional Iraqi and Iranian societies, men have the power to act through social norms and in this way demonstrate their dominance over women's performance and lives. However, both authors have tried to use female characters to advance women from emotional and passive beings to the border of logical and active actors, and from folk thinking to the realm of social activities. Conclusion: In both novels, there are various types of power exercises, such as gender and power exercises, the power exercises of superstitions and folk beliefs, the power exercises of social superiors over social inferiors, the power exercises of dominant culture, and the preferential male agency in the formulation of love. In the novel Forget the Autumn, some discourses, such as the discourse of superstition, the discourse of mastery and servanthood, and the discourse of love, are the leading ones. The author of the novel "Tashari" through the character of Verdiyeh and the author of the novel "Forget Autumn" through the character of Rojan have presented different perspectives of traditional society regarding the exercise of power by social elites. A remarkable point is that, in some cases, subordinates have resisted their superiors and spoken out in protest. However, in many instances, subordinates become victims of the power wielded by superiors, who do not necessarily belong to a specific class. This aligns with Foucault's claim that power and resistance exist at all levels of society and within individual relationships. Consequently, this dynamic perpetuates both power and resistance.

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

Abdolahad Gheibi; Mahin Hajizadeh; Mayagozal Bahman

Volume 15, Issue 4 , December 2025, Pages 123-149

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

Abstract

The concept of freedom, one of the most complex and expansive philosophical ideas, has long been a central focus for many scholars. Existentialist philosophy, with its emphasis on the existential and ontological dimensions of human existence, provides a unique perspective on freedom. In this philosophy, ... Read More

Research Paper الادب المقارن

The Function of Collective Memory in the Postcolonial Novel Children of the Ghetto, My Name is Adam by Elias Khoury

Hoda Yazdan; Hosein Abavisani; Hooman Nazemian; Ali Pirani Shal; Fatemeh Parchekani

Volume 15, Issue 4 , December 2025, Pages 151-175

https://doi.org/10.22126/jccl.2025.12892.2730

Abstract

Collective memory emerges from the dynamic interplay between remembering and forgetting within a community or social group. The function of collective memory refers to the role that memory plays in shaping, preserving, transmitting, and redefining our understanding of the past and present. Since the ... Read More Collective memory emerges from the dynamic interplay between remembering and forgetting within a community or social group. The function of collective memory refers to the role that memory plays in shaping, preserving, transmitting, and redefining our understanding of the past and present. Since the colonizer in post-colonial societies seeks to erase and manipulate the collective memory of the indigenous population, it has become necessary to study the functions of collective memory as an act of resistance. Since the colonizer in post-colonial societies seeks to erase and manipulate the collective memory of the indigenous population, it has become necessary to study the functions of collective memory as an act of resistance. This research, through a study of Elias Khoury's novel Children of the Ghetto: My Name is Adam, examines the role of collective memory in constructing the identity of the colonized and reviving their history and marginalized voice, because this narrative, as an alternative archive, reveals the gap between official history and colonial memory. Based on the theories put forward in the field of collective memory and the study of the narrative in a descriptive-analytical style, the researchers of the study concluded that the main character in the story, through recording the experiences of the previous generation of memories of captivity in the ghetto, seeks to revive marginalized narratives by questioning official history. But in contrast, colonialism uses many methods to suppress the collective memory of the colonized, such as cultural assimilation, the abandonment of the credibility of the colonized historical narrative, cultural theft, the imposition of an artificial collective memory by the colonizer, and the use of the capabilities of the visual arts, such as filmmaking. Introduction:Collective memory functions as the shared experiences, memories, and cultural identity of a society and is itself a dynamic process, a process that results from the interaction between collective remembering and forgetting. This continuous interaction helps a society to maintain its identity and values and to adapt to future developments. Maurice Halbwachs, a German-French sociologist and philosopher, who is known as the most important theorist in the field of collective memory, believed that human memories have a social nature, contrary to the common perception that memory and the process of remembering are hereditary and biological. In his view, collective memory is the memory of a group that is formed in cultural, linguistic, and historical contexts and is perpetuated through retelling, rituals, and writing. He says: “Our memories are collective, even though the events are personal to us or things we have seen alone, but it is others who remind us of them. In fact, we are not alone at all” (Halbwachs, 2016: 45-46). Maurice Halbwachs considers history and memory to be two separate things; he says, “History and collective memory are both social realities available to the public, with the difference that history is dead and collective memory is alive... The moment of history begins is when a memory disappears from social memory, in which case the only means of saving those memories is to narrate and write them down” (ibid: 98). He made it clear that our understanding of the past is influenced by the mental images we use to solve the problems of the present. Hence, collective memory is the reconstruction of the past in the light of the present (Coser, 1992: 372).“Postcolonial criticism, as a subject, analyzes literature that is the product of cultures that have emerged in response to colonial domination from the beginning of colonialism to the present” (Saleh Beck et al., 2019: 60). In post-colonial societies, collective memory is gradually suppressed, distorted, and ultimately erased, as the colonizer continually seeks to remove the colonized from the scene by rewriting history to their advantage and imposing their own narrative. In such a situation, literature acts as a tool for reconstructing and recording collective memory and is considered a kind of resistance against the imposition of oblivion. Palestinian post-colonial literature is more memory-oriented than the post-colonial literature of other nations, because, unlike most colonized countries that have achieved some degree of independence, Palestine is still involved in military colonization and therefore lacks an independent system of government, formal education, and an accepted national historical narrative. In the meantime, the novel Children of the Ghetto: My Name is Adam, shortlisted for the Arab Booker Prize (2017), by Elias Khoury, is considered an effective step in the narrative of Palestinian collective memory. Relying on marginalized micro-narratives, Khoury attempts to reconstruct and record a corner of the erased collective memory of Palestine through the memories collected by the character "Adam Danon" as one of the survivors of the Lod Ghetto. This form of narrative falls within the framework of the concept of "history from below", that is, a narrative that, unlike the official history of the ruling class, recounts the past from the perspective of the subordinates and victims of the power system.This research aims to analyze the function of collective memory in the postcolonial novel Children of the Ghetto - My Name is Adam, in the possibility of recovering the voice, history, and identity of the colonized. The present research, relying on library resources and using a descriptive-analytical method, attempts to answer the following questions:How does collective memory in the novel Children of the Ghetto: My Name is Adam help the colonized rebuild their identity and confront the erasure of history? 2. In this novel, what methods does the colonizer use to suppress the collective memory of the Palestinians? 3. According to this novel, what challenges does the fragmentation of collective memory pose for the new colonized generation?Method:In the current situation where collective identities have become ambiguous and forgotten due to historical, social, and political processes, the reconstruction and recording of collective memory has become doubly important. Therefore, this study, which relies on library resources and employs a descriptive-analytical method, aims to analyze the function of collective memory in the postcolonial novel The Children of the Ghetto - My Name is Adam and examines the possibility of recovering the voice, history, and identity of the colonized.Results and Discussion:The function of collective memory in this novel was to restore identity and counter the erasure of the colonized people's history. In this context, the recording, preservation, and deliberate forgetting of collective memory among Palestinians (the colonized group), as well as its fragmentation within the new generation of Palestinians, were analyzed and studied, with numerous examples provided.Conclusion:After examining the function of collective memory in the postcolonial novel Children of the Ghetto, My Name is Man, it became clear that the reconstruction of the colonial identity depends on the revival of marginalized narratives, cultural elements, and indigenous languages. It was observed that literature, especially novels, can strengthen the collective memory of the colonized by exposing cultural distortions and thefts, and retelling oral history, thereby forming a suitable platform for reconstructing identity and confronting historical forgetting. In addition, attention should be paid to the impact of memory formation during childhood and adolescence, as this is the golden age for memory development, so that the new generation does not become lost in the official colonial narrative by forgetting its history and identity.The analysis of the novel showed that the colonialist needs to rewrite collective memory to consolidate his domination and impose his narrative. Therefore, he suppresses and distorts the collective memory of the colonized and pursues his colonial goals through various methods, such as cultural assimilation, discrediting the colonialist narrative of history, utilizing the capacity of the visual arts, including filmmaking, cultural theft, and imposing a prescribed collective memory. Now, the new colonized generation that is experiencing the rupture of collective memory is facing challenges such as a crisis of cultural identity, a sense of lack of belonging, indifference to the historical past, and political passivity in accepting and reproducing the official colonialist narrative. Another challenge is the gap between generations, which causes a severing of ties with the older generation, as they are the bearers and guardians of memory. Ultimately, by erasing memory and legitimizing the colonialist narrative, future generations gradually become the main victims of colonialism without any resistance. Eventually, their voices and history are silenced and forgotten, consigned to eternal oblivion.

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 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 2024, , 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

Psychoanalytic Character Analysis in the Translations of Guy de Maupassant's The Vagabond and Mikhail Naimy's The Dwarf: An Analysis based on Alfred Adler's Theory

Behzad Pourgharib; Mahboubeh Khalili; Sajad Arabi

Volume 15, Issue 2 , July 2025, , Pages 25-50

https://doi.org/10.22126/jccl.2025.11544.2669

Abstract

Among the various approaches in comparative literature, there is an understanding of literature in relation to other humanities. Literature is comprehended not only within its cultural context but also in the context of its connections with other sciences. One notable example of this interdisciplinary ... Read More Among the various approaches in comparative literature, there is an understanding of literature in relation to other humanities. Literature is comprehended not only within its cultural context but also in the context of its connections with other sciences. One notable example of this interdisciplinary approach is psychology, which later contributed to the emergence of psychoanalytic literary criticism. Both Albert de Maupassant and Mikhail Naimy lived during nearly the same period, and the key protagonists in their two stories of The Vagabond and The Dwarf correspondingly reflect similar conditions from a psychoanalytic perspective. These characters can be analyzed comparatively based on Alfred Adler's theory of personality. The five most relevant components of Adler's theory are feelings of inferiority, the inferiority complex, lifestyle, social interest, and life goals. A comparative analysis of the two main characters in these stories can provide deeper insights into the works, their characters, and the personalities of the authors themselves. This can be accomplished by conducting a content analysis within the framework of Adler's theory, following the principles of the American school. It is established that both characters evolved in the conflicting settings of the unstable societies created by their respective authors. The inferiority complex manifests in The Vagabond through both over-attachment and a lack of attachment, while it emerges in "The Dwarf" as a result of physical challenges and a detached social perspective. Introduction:Comparative literature does not merely compare national literatures; it integrates them with other disciplines within the humanities. One such discipline is psychology; this association has resulted in what is popularly known as "literary psychological critique" or "psychoanalytical critique". The most significant psychological theory relevant to this paper, however, will be Alfred Adler's personality theory, known as Adlerian individual psychology. The theory emphasizes the social dimension of human living. To this, Adler had his approach called "individual psychology"; he believed, as well, in an approach that claimed, every individual is a study of one. Individual character, for Adler, is therefore molded by the influence of one's peculiar social environment and individual experiences or interactions. The two main characters in The Vagabond, a short story by Guy de Maupassant, and The Dwarf, a short story by Mikhail Naimy, have almost common characteristics and can be evaluated and analyzed based on Adlerian concept of individual psychology. Most importantly, Guy de Maupassant and Mikhail Naimy lived during nearly the same period. This study, in a comparative context, asserts to add to the readers' understanding of the two writers' fictional works through comparative analysis of their stories within the framework of psychological critique. It would also serve as a bridge between the two countries through psycholinguistics and literature.A comparative psychological study of their principal characters in the light of psychological critique may bring forth the characters as espoused by both the writers and also, in some measure, discover the unknown facets of their personalities. The very significance and necessity of this would arise from the convergence of comparative literature with psychological analysis in their writing to feature their characters. Thus, this present study is necessarily a very relevant one in understanding national literature and further joining that convergence. Such issues have been very largely overlooked by the existing psychoanalytical critique of Adler's personality theory relating to The Vagabond and The Dwarf. Therefore, this research is poised towards answering the following questions:What points of similarity and difference exist between Maupassant's The Vagabond and Naimy's The Dwarf characters based on Adler's theory?What is the ultimate goal of Maupassant and Mikhail Naimy in writing The Vagabond and The Dwarf?What types of inferiority complexes possess the protagonists of The Vagabond and The Dwarf?Method:This study is descriptive-analytical research classified under comparative literature American school, which studies similarities and differences. First, the fundamental psychoanalytical concepts of Adler are expounded, and then two short stories, The Vagabond and The Dwarf, are summarized, listing their primary similarities and differences, and a few examples from the texts of both stories are provided for comparison and psychoanalytical reading based on the theory of Adler. The general theory or framework of Adler personalities examined here would thus very simply state that: Man is raised in and influenced by his social environment; he is born with feelings of inferiority which will govern his acts towards success or failure and frustration. For Adler, success means contributing to the welfare of society and success for all humanity, while failure and frustration are defined as private successes at the expense of others, as elaborated in Adler's theories of personality. The inferiority complex, as understood by Adler under a threefold essence, emanates from the physical inferiority or imperfection, too much attention given, and finally, from the absence of such attention. If you properly compensate for these defects, they become the basis for human achievement and elevation of humanity; otherwise, nothing is done to overcome these thus leading to an inferiority complex, experiences among neurotic individuals. Among them, neurosis, psychotic behaviors, and what Adler termed the protective tendencies are often the most destructive consequences of the inferiority complex. His view enumerated the major protective tendencies such as excuse-making, aggression, withdrawal.Results and Discussion:Results from this study indicate that the characters from the stories The Vagabond and The Dwarf are victims of inferiority, which is the most contributing factor resulting from behavior in society and mistakes committed. The Vagabond happens to be 'A Child from Family' that draws attention to an individual and leaves him out completely from society and results to imprison him nearly for twenty years. The Dwarf claims that such inferiority pretty much stems from physical defects and odd appearance, one of which, incidentally, died due to his long suffering inasmuch as he could not tolerate the loss of limb that mustard gas inflicted upon him. The hero committed suicide, which supports the theory of Adler that showed three amongst many other cause factors of inferiority complexes: neglect, too much attention and physical defect. By his own existence-in Randall's case by not just the absence of valid compensating mechanisms (fantasy) but, also neglect by society-actually reinforces the inferiority complex. Weightlessness into a no-return point into the depths seems to choosing penitentiary living over that of being among the other people as he appears to opt for. However, The Dwarf goes through stages of inferiority that sprout solely from being a dwarf, plus bad looks, but from another experience is aggravated when he acquires his mustard gas injuries in war.Conclusion:It involves a compensatory mechanism related to the development of an inferiority complex due to mustard gas poisoning. One of the compensatory mechanisms is the act of ignoring or being indifferent to one's defects. Consequently, he withdrew into suicidal actions, as the reality of death in his case left no possibility of recanting the horror that death can inspire in a person. The superiority complex is an Adlerian plot structure common to both stories. Adler believed that the social goal of those who are mentally unwell is rooted in a sense of personal superiority. However, for those who are mentally fit, the pursuit of personal interests must be sacrificed in favor of the higher ideals of humanity. Therefore, The Vagabond creates the condition that Randall aspires to human greatness; however, he ultimately remains a two-dimensional character focused solely on personal achievement. In contrast, success for humanity as a whole. Thus, this dwarf embodies a more universal and psychologically healthier character. It is possible to draw comparative conclusions about the personalities of the two major characters in The Vagabond and The Dwarf through the lens of Adler's theory. It is evident that Jacques Randall and the dwarf are both protagonists shaped by the societal environment in which they exist. Against the backdrop of the chaos inherent in their society, they learned to navigate instability, particularly in the case of Jacques Randall in The Vagabond. These characters symbolize the turmoil in their respective countries: France for Jacques Randall and Lebanon for the dwarf, during this period in history.

ایران القدیم

Comparative Study of the Common Themes of Wisdom of Ancient Iranians and Islamic Sources

Narges Rashidi; Vahid Sabzianpoor; Jahanger Amiri; Ali Dodman Kushki

Volume 15, Issue 2 , July 2025, , Pages 75-102

https://doi.org/10.22126/jccl.2023.8139.2415

Abstract

One of the hallmarks of deep thinking and wisdom among ancient Iranians is their use of concise and meaningful expressions, along with valuable advice that reflects their rationalism, religious orientation, and commitment to moral principles. The Arabs' need for and fascination with Iranian culture and ... Read More One of the hallmarks of deep thinking and wisdom among ancient Iranians is their use of concise and meaningful expressions, along with valuable advice that reflects their rationalism, religious orientation, and commitment to moral principles. The Arabs' need for and fascination with Iranian culture and civilization, along with their eagerness to learn about the ancient Iranians, led to their familiarity with the wisdom and insights of this people. This was achieved through the translation of Pahlavi texts and cultural intermingling, resulting in the incorporation of these wise sayings into Arab culture. This research serves as a supplement to the book "Wisdom of Ancient Iranians in Arabic Sources, which presents over a thousand themes of Iranian wisdom found in Arabic literature. Since some sources were unavailable or omitted in the aforementioned research, he introduced approximately 250 new topics and aligned them with the teachings of Nahj al-Balagha, Gharral al-Hakm, and various prophetic hadiths. This alignment was made in terms of theological structure, and we have demonstrated a cohesive theme. In addition to presenting new Iranian insights, we have sought to explore various possibilities to justify and interpret these similarities using a causal-comparative method. The comparison results based on these possibilities reveal the intellectual and cultural affinity of ancient Iranians with various Islamic themes, influenced by experience, rationality, and religious teachings. However, the potential for forgery and false attribution, driven by religious and tribal prejudices, cannot be dismissed. Introduction:Arabic culture and literature have historically been influenced by Iranian culture and civilization in various ways. Before the advent of Islam, this influence permeated Arabic culture and literature due to several factors, including the connections between pre-Islamic poets and the Sassanid court, the political and military presence of Iranians in Yemen, the settlement of Iranian families and border guards in the Hira region, and trade relations, among others. After the advent of Islam, various factors significantly influenced Iranian contributions to Arabic culture and literature. These included the large number of Iranian captives and slave girls who later became the mothers of the Arab nation, the Arabic writings of Iranian thinkers such as Ibn-e Muqaffa, Ibn-e Qutaybah Dinwari, Abu Ali Sina, and Biruni, as well as the Arabic poetry of Iranian poets like Bashar, Abu Nuwas, and Abul-Fath Basti. Additionally, the translation of Pahlavi texts into Arabic, the establishment of the Abbasid state by Iranians, and their political and cultural influence in the courts of the Abbasid caliphs played crucial roles. The profound fascination and enthusiasm of Arabs for Iranian culture, along with the significant contributions of Iranian scholars in the development of literary and Islamic sciences—such as Sibuyeh, Zamakhshari, and Thalibi—further facilitated this cultural exchange.Factors such as racial mixing and immigration have also contributed to this dynamic interplay. Additionally, literary works and themes of wisdom from ancient Iranian culture, including the Shahnameh, Javdan Khard, Adab al-Saghir, Adab al-Kabir, Menui Khard, and Pahlavi texts, illustrate that rationalism, religious orientation, justice, and adherence to ethics are prominent characteristics of this people and their Islamic culture. This alignment and shared cultural elements led the Arab people to embrace Iranian culture, which was reflected in Arab literary works and ultimately influenced the interpretations of the Quran and Nahj al-Balagha.According to this research, the wisdom of ancient Iranians as recorded in Arabic sources is categorized into eight content areas: Political Affairs which include includes topics such as the responsibilities of the king, divine law, justice, the importance of seeking counsel, the concepts of pardon and forgiveness, and the necessity of overseeing the work of officials. Scientific Matters that are related to encompassing discussions on the significance of science and knowledge, the value of continuous learning, and the praise of reason and wisdom, etc. Moral considerations encompass avoiding undesirable traits such as selfishness, stinginess, self-righteousness, dishonesty, and gossip, while promoting virtues like truthfulness, patience, and contentment. Religious considerations address the significance of faith, the condemnation of irreligion, the importance of adhering to God's commandments, and the avoidance of sin. Additionally, they highlight the transient nature of this world in comparison to the eternal value of the Hereafter. Philosophical matters encompass topics such as the injustice and degradation present in the world, the coexistence of worldly blessings with suffering and hardship, the adversarial relationship between time and humanity, and the concepts of fate and destiny. Economic affairs include discussions on the value of property and wealth, the condemnation of hoarding, the significance of hard work and effort, the denunciation of unemployment and laziness, and the prohibition of trade for the king. Social affairs encompass topics such as the rituals of friendship, the significance of marriage and family formation, and the advantages of marrying relatives. They also involve managing family matters, among other related issues. Military affairs cover subjects such as military reforms, addressing the current state of the armed forces, focusing on military tactics, and ensuring security, among other concerns.One of the most valuable areas of research is to uncover the origins and sources of these wisdoms. Therefore, the book "Wisdoms of Ancient Iranians in Arabic Sources" (2015) presents Iranian wisdom as documented in Arabic literature.This book not only introduces previous research in the field of Iranology but also analyzes the strengths and weaknesses of these works. In a comprehensive introduction, it outlines the historical and political contexts that shaped the influence of ancient Iranian culture and civilization on pre-Islamic Arab literary culture. Furthermore, it explores how Iranian culture and civilization impacted the Islamic period and identifies the areas of alignment and commonality between Iranian and Islamic ideas. The text introduces Iranian wisdom as presented in Arabic sources, organized chronologically. The research highlights over 1,000 themes of Iranian wisdom found in 61 Arabic sources authored by 48 individuals. This book includes quotations from 41 notable Iranian figures, showcasing their insightful contributions. In addition to the 41 figures mentioned, 172 pieces of wisdom from Iranians (Persians) and 22 pieces from clerics have also been cited in Arabic sources. The total number of Iranian wisdoms referenced in the Arabic sources of this study is 1,400, of which 432 are repetitive.Method:In the present study, we employ the historical research method to gather Iranian wisdom from Arabic sources. Subsequently, we utilize the causal-comparative method to compare these findings with the prevailing themes in Islamic sources. Finally, we explore various possibilities regarding the causes of these similarities.Results and Discussion:Among the 249 Iranian proverbs examined in this study, 113 share a common theme with Islamic sources. Of these 113 proverbs, 96 were documented prior to Islamic authors, while 17 were recorded afterward in Arabic sources. The presence of this Iranian evidence, along with hadiths and narrations, indicates both the widespread influence of Iranian culture on Arabic literature and the intellectual affinity of ancient Iranians with pure Islamic ideas. This connection is exemplified in the refined teachings of Islam and the words of its esteemed scholars. Of course, choosing statements that align with Islamic culture while eliminating superstitions and perspectives that contradict Islamic principles is crucial for the emergence of these commonalities. Additionally, the significant influence of the prevailing religious and political atmosphere on the selection of themes that resonate with and support Islamic culture should not be overlooked.Conclusion:Most (85%) of the common wisdom was derived from Iranians prior to the influence of Islamic and Arabic sources. Due to religious fanaticism and the acceptance of religious leaders, these narratives took on the characteristics of narration and hadith, becoming integral to Islamic and Arabic culture. Some extremists within the Shi'a movement and Iranian Islamic historians have attributed 15% of Islamic and Arabic themes to Iranian sages. The similarity of some of these themes may stem from their connection to the origins of experience, rationality, and religious teachings. The dominant themes present in early Islamic sources possess greater authenticity due to their historical precedence. However, this authenticity lacks a solid foundation in the case of later sources.

الادب المقارن

The Iranian Presence in the Poetry of Al-Sharif Al-Radhi

Mohammad Hassan Amraei

Volume 14, Issue 4 , December 2024, , Pages 1-25

https://doi.org/10.22126/jccl.2023.8254.2431

Abstract

One of the symbols of civilizational unity among Muslims is the literary interaction between Iranians and Arabs, which has begun since the advent of Islam in ancient Iran and intensified in the Abbasid era. The Abbasids, being influenced by the Iranian culture and civilization, became fascinated with ... Read More One of the symbols of civilizational unity among Muslims is the literary interaction between Iranians and Arabs, which has begun since the advent of Islam in ancient Iran and intensified in the Abbasid era. The Abbasids, being influenced by the Iranian culture and civilization, became fascinated with luxury, beauty, and prosperity like the Sassanid kings. Accordingly, the ancient ceremonies entered the Abbasid court because of their emergence from the roots of the Iranian culture, which gave its knowledge, the Tazian poets a great literary identity, which made Arab poets pay attention to the Persian language and transmit knowledge, rituals, diaries, and Iranian myths, to the Arabs through poetry, despite their influence on the Arabic language. Al-Sharif Al-Radi is the committed poet of the third Abbasid era, who was influenced by various aspects of Iranian culture and civilization. This article aims to identify various aspects of this Iranian cultural and literary influence in the poems of Sharif Al-Radi in a descriptive and analytical way, based on the indicators of comparative literature and the French school. One of the results of the research is that Sharif Al-Radi, with his extensive knowledge of Iranian culture and literature, was influenced by its various manifestations, especially in the axes related to recalling Iranian cities such as Ahvas, Al-Sus, Al-Arbaq, Tus, Daylam, and Al-Bam, as well as the intense presence of Arabicized Persian vocabulary in his poetry. Additionally, his interest in Sasanian culture and civilization has been revealed by remembering aspects of Iranian culture and customs such as the ancient Nowruz and festival celebrations, and mentioning the names of Iranian kings, personalities, and heroes in his poetry. Introduction:Arabic and Farsi are the primary languages of Islamic culture and civilization, and the cultural exchange between these two languages was established centuries before the advent of Islam. The influence of Persian words and Iranian customs and traditions in pre-Islamic Arabic poetry exemplifies the interaction between the Arabic and Persian languages. However, the peak of Iranian culture and civilization's presence in Arabic poetry dates back to the Abbasid era, a time when the literary, cultural and civilizational interactions between Iran and the Arab world flourished, leading to the emergence of a rich Islamic culture and civilization. The first part of this cultural transfer focuses on ministers, secretaries, teachers, writers, and ordinary people, while the latter part addresses the poets who lived during this period. Al-Sharif Al-Radi is regarded as one of the most significant Arab poets of the 3rd Abbasid era. He adeptly shouldered the cultural and literary responsibilities of his time, via incorporating various elements of Iranian culture and civilization to Arab culture and literature skillfully. Therefore, Arab culture and literature. Therefore, this article tries to explain the aspects of this effect in the works of this Shiite poet, employing the approach of the French school of comparative literature. Among the key questions this research seeks to address are: 1. What motivates the reason behind the use of Sasanian culture and civilization in al-Sharif al-Radi's poetry? 2. In what ways does al-Sharif al-Radi reflect the diverse influences of Iranian language and culture on Arabic language and culture during the Abbasid era? 3. Which aspects of Sasanian culture and civilization exerted the most significant impact on al-Sharif al-Radi's poetry.Method:Arabic and Persian are the primary languages of Islamic culture and civilization, and cultural exchanges between these two languages occurred for several centuries prior to the advent of Islam. The introduction of Persian vocabulary into Arabic reflects Iranian customs and traditions in Arabic poetry, because of particularly evident during the pre-Islamic period, which exemplifies the interaction between the Arabic and Persian languages. The height of Iranian culture and civilization's influence on Arabic poetry occurred during the Abbasid era, a time when literary, cultural, and civilizational interactions between Iran and the Arab world were unprecedented. This fusion contributed to the formation of a rich Islamic culture and civilization. This article aims to explore the manifestations of Iranian culture and civilization in the poetry of one of the prominent poets of the Abbasid era, known as "Sharif al-Radi", based on the French School of Contemporary Literature. We will identify examples of this influence in Al-Sharif al-Radi's poetry. It can be concluded that Iranian civilization is a significant component of Islamic history and culture. Furthermore, a careful examination of Divan al-Sharif al-Radi reveals insights into Persia and its cultural, literary, and linguistic characteristics in poetry. Numerous elements of deep-rooted Iranian culture and civilization are present, including references to Iranian customs and traditions from the Abbasid era, the incorporation of Arabized Persian words in poetry, and the mention of various Iranian kings and notable figures within the poetic works. Reason: Improved clarity, vocabulary, and technical accuracy while maintaining the original meaning. Below is a brief summary of the manifestations.Results and Discussion:After the invasion of ancient Iran, the Arab community encountered a systematic and complex governance that clashed with their customs and desert lifestyle. However, following the conquest of more civilized territories, particularly Iran, they began to adopt the unique traditions of the Iranian kings, transitioning from a simple way of life to the opulence of the Iranian court of Khosrow. The Caliphate system increasingly mirrored Iranian customs and culture, particularly in civil law, to the extent that Iranian titles, traditions, and cultural practices became deeply integrated into their lives. In the same context, Nowruz is considered the Akbar Eid of the Iranians. Before the advent of Islam, the Arabs had limited knowledge of Al-Nurooz. However, with the rise of Islam, the significance of Nowruz persisted in Magda. It is said that during the reign of Imam Ali (A.S.), the Al-Majjus presented silver dishes on which they poured sugar for Eid al-Nuruz. Before Imam Ali distributed the sugar among his companions, he would pour it onto the plates. There are also reports indicating that farmers offered gifts to Imam Ali (A.S.) during the Caliphate, referring to them as Al-Dhi Gadham Hadiya al-Nuruz or Al-Mahraghan for the House of wealth.The theme of formalizing Al-Nuroz during the Caliphate period is noteworthy, particularly as it is believed that the philosophy behind celebrating Al-Nuroz at that time was to receive gifts. Umar bin Abdul Aziz attempted to abolish the gifts associated with Al-Nuroz and the festival itself, but he was unsuccessful. The greatest interest in Nowruz, however, occurred during the Abbasid era. The Abbasid Caliphs, influenced by the traditions of the Sasanian Empire, continued to observe many customs related to Nowruz, including the reception of valuable gifts from Muslim sheikhs and rulers. Al-Jahiz notes that on the occasion of Al-Nuroz, al-Mutawakkil Al-Abbasi ordered five million assorted coins to be distributed to courtiers as Nowruz gifts. Additionally, Al-Hakam celebrated the Al-Nuroz holidays, inspiring poets to compose verses in honor of the occasion. One of the prominent poets of the Abbasid era, Al-Sharif Al-Radi, wrote exquisite poems celebrating Al-Nuroz and the festival, while also praising the Iranian caliphs, ministers, and leaders. Among his works are several poems dedicated to the grand and patriotic celebrations of the Iranians, including praise for Amir Baha Al-Dawlah Abu Nasr Firoz bin Azad Al-Dawlah bin Boyeh, who served as the Amir of the Al-Bayhites in Iraq (988-1012 AD), Fars, and Kerman (1012-998 AD). Reason: The revised text improves clarity, enhances vocabulary, and corrects grammatical errors while maintaining the original meaning.Conclusion:The direct relationship between Arabs and Iranians during the war, along with the presence of secretaries in al-Dawain and Arab courts, significantly influenced the caliphs, the nobility, and Arabs in general, with Iranian culture. This fascination with luxury and aristocracy began during the Umayyad era and intensified during the Abbasid period. The presence of Iranian trustees and secretaries in the Abbasid courts, the amicable relationship between the caliphate and the distinguished Iranian class, and the coexistence of the two cultures made Iranian customs and culture more adaptable than ever. Al-Sharif al-Radi, a Shiite poet active during the 4th century of the Hijri era, produced poetry that reflects a deep understanding of Iranian culture and literature. He adeptly utilized the political influence of the ministers and prominent Iranian families at the Abbasid court, particularly the Al-Bawhiyin and Baha Daulah al-Dilami, to celebrate Nowruz and various festivals, showcasing the vastness of Persian civilization. In his Qasa'idah, Al-Radi's poetry addresses Nowruz, the festival, Persian kings, ministers, Iranian families, cities, places, and traditional clothing. He also incorporated numerous Arabic-Persian words into his poems, reflecting aspects of daily life, social gatherings, and games, which enriched the Arabic culture of ancient Iran. Throughout his extensive body of work, Al-Sharif al-Radi consistently elevates Iranian culture and its contributions, indicating his profound admiration for Iranian heritage and literature. Reason: Improved clarity, vocabulary, and technical accuracy while maintaining the original meaning.

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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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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

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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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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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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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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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Research Paper الادب المقارن

A comparative study of cultural-social issues in Persian and Arabic travel books My trip to Isfahan is half of the world and the vinegar fruit in the trip to Japan is a model

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Articles in Press, Accepted Manuscript, Available Online from 25 November 2025

https://doi.org/10.22126/jccl.2025.9470.2526

Abstract

Culture, as a broad and complex concept, is a part of society, and as institutionalized beliefs, it has a significant impact on people's lives and is effective in the literary works of poets and writers. Travelogues are among these literary works that well express the cultural and social issues ... Read More

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Research Paper الادب المقارن

A Comparative Analysis of Narrative Temporality in the Novel New York 80 by Yusuf Idris and the Short Stories of Az Nistan va Digarestan by Seyed Mehdi Shojaei

Seyyed Mohammad Razi Mostafavinia,; Elham Baboli Bahmeh; Zeinab Mohammadi

Articles in Press, Accepted Manuscript, Available Online from 06 January 2026

https://doi.org/10.22126/jccl.2026.11675.2674

Abstract

Time, as a fundamental component of narrative structure, is not merely a representation of the real or imaginary events an author seeks to recreate. Rather, it functions as a signifying system that constructs and imparts meaning to the author's subjective world. As a relational structure, time shapes ... Read More

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Research Paper الادب المقارن

Analysis of the Masnavi "Aql va Ishq" by Mohammad Khaghani Isfahani; In the Transition from the Perfection of Parnassian Form to the Mission of Meaning and Unity

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Articles in Press, Accepted Manuscript, Available Online from 24 January 2026

https://doi.org/10.22126/jccl.2026.12524.2708

Abstract

Abstract This study presents an in-depth comparative analysis of Mohammad Khaghani Esfahani's significant work "Reason and Love," examining its relationship with the aesthetic principles of the Parnassian school through an analytical-comparative approach. The research explores the dynamic ... Read More Abstract This study presents an in-depth comparative analysis of Mohammad Khaghani Esfahani's significant work "Reason and Love," examining its relationship with the aesthetic principles of the Parnassian school through an analytical-comparative approach. The research explores the dynamic interplay between form and content in this prominent piece of contemporary Persian literature, employing contemporary literary theories and scientific methodology to reveal its distinctive characteristics. The investigation begins with a meticulous examination of the masnavi's formal and structural elements, demonstrating the poet's mastery of classical masnavi form, precise metrical composition using the ramal musaddas mahzuf meter, sophisticated rhyme schemes, and intricate rhetorical devices. The work's unique bilingual presentation (Persian-Arabic) and coherent dramatic structure across five principal acts showcase its alignment with Parnassian standards of formal perfection and material aesthetics. However, at deeper conceptual levels, the study reveals fundamental divergences from core Parnassian principles, as Khaghani Esfahani consciously employs artistic form to serve profound mystical, philosophical, and religious themes rather than adhering to the "art for art's sake" doctrine. Through its innovative transformation of form into a vehicle for content expression, the masnavi establishes a dramatic dialogic structure that facilitates fundamental ontological and epistemological inquiry, creating an intellectual-spiritual space that transcends mere plastic description. The poet's active narrative presence as both artist and concerned intellectual introduces an existential-personal dimension that distinguishes the work from Parnassian objectivity. Situated within the Persian literary tradition, "Reason and Love" extends the didactic-mystical masnavi heritage while synthesizing tradition with innovation, ultimately presenting a unique model of reason-love unity

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Articles in Press, Accepted Manuscript, Available Online from 09 February 2026

https://doi.org/10.22126/jccl.2026.12760.2724

Abstract

Ahmad Matar is one of the Iraqi political and committed poets,who has addressed political and social concepts with his own expression,and on the other hand,Jafar Qoli Zangli,nicknamed the King of Kermanj poets in Kurdish literature, is considered one of the most prominent Iranian Kurdish poets.It is ... Read More

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