https://www.jpll.ir/ “Scientific and Specialized Journal of Modern Literary Research” en daily 1 Sat, 21 Mar 2026 00:00:00 +0330 Sat, 21 Mar 2026 00:00:00 +0330 https://www.jpll.ir/article_235794.html This study aims to examine and comparatively analyze the influence of folklore on the contemporary poetry of Ahmad Shamlou and Mu’in Bseiso. The research investigates how these two poets employed oral literature to articulate political, social, and philosophical themes. The methodology is descriptive-analytical, based on content analysis of the poets’ works. Due to the textual nature of the research, no statistical population was required in the conventional sense.The findings reveal that folklore, as a rich cultural source, played a vital role in the poetry of both Shamlou and Bseiso. Each poet used folklore as a symbolic and metaphorical medium, creatively reimagining local tales and myths to enrich their works. However, significant differences are evident in their approaches. While Shamlou focuses more on ancient myths and philosophical or humanistic themes, Bseiso employs Palestinian and Arab folklore to directly convey themes of resistance and nationalism.The central conclusion is that folklore, as an essential expressive tool, has enabled contemporary poetry to transcend direct language and become a medium for expressing identity, protest, and hope. https://www.jpll.ir/article_235781.html This study presents an interdisciplinary analysis of Rumi's renowned verse "Tan ze jān o jān ze tan mastur nīst/Līk kas rā dīd-e jān dastūr nīst" from four perspectives: grammatical, semiotic, semantic, and mystical. Drawing on the theoretical frameworks of Nasr (hierarchy of meaning), Purnamdarian (mystical semiotics), Schimmel (multilayered meaning), and Zarrinkoob (language as the manifestation of meaning), the research demonstrates how Rumi employed the capacities of the Persian language to express sublime mystical concepts.The findings reveal that each word in this verse creates a complex network of significations. Grammatically, the symmetrical structure of the first hemistich reflects the unity of existence, while the asymmetrical structure of the second hemistich represents the limitations of human perception. A semiotic analysis of key terms such as "tan" (body), "jān" (soul), "mastur" (hidden),and "dastūr" (permission) shows that these elements operate simultaneously on both material and spiritual levels.The examination of four semantic levels (literal, allegorical, symbolic, and mystical) and various epistemological layers (ontological, epistemological, mystical-experiential, and poetic-linguistic) confirms that this concise verse can convey profound philosophical and mystical concepts in a condensed linguistic form. Notably, Zarrinkoob's integrative theory demonstrates how three fundamental principles—the equivalence of form and meaning, the correspondence between linguistic structure and cognitive structure, and the symbolic function of language—are realized in this verse.This research emphasizes the importance of interdisciplinary approaches in analyzing mystical texts while proposing a novel paradigm for interpreting Rumi's works, which can serve as a foundation for future studies in this field https://www.jpll.ir/article_235828.html As one of the most outstanding classical works of world literature and mystical literature of Iran, the valuable book of Masnavi Manavi has the most amazing type of narration. In the psychological and sociological structure of this work, Maulana Jalaluddin Muhammad Balkhi has turned it into one of the unique types of educational literature with the help of realistic and meaning-oriented taboo breaking. Humor, sarcasm and the use of crude words, although it seems to create an unpleasant feeling in the current audience of Masnavi.But deep thinking and reflection and paying attention to the funny details of those obscure parts of human life, open to him like a corridor and bring the sad depths of ignorance to the bright world. Beauty and ugliness in speech do not have intrinsic validity. For this reason, these two characteristics are relative. Based on this thinking, the audience considers the inner value of a subject, regardless of what form of speech the creator of the literary work presents to him. Therefore, the validity of the sense and the originality of the meaning explains the literature in the way that it does not match with the custom of the people of the time. The reason for the transfer of concepts in this way by Molavi can be understood from several environmental, educational, jurisprudential and circumstantial aspects. Keywords: Maulvi - Masnavi Manavi - educational language - taboo breaking https://www.jpll.ir/article_235818.html The aim of the present article is that the stories of the spiritual Masnavi, with their signifier-oriented structure and underlying layers, implicit meanings and secondary purposes, are a written text. The textuality of these stories opens up numerous entrances to meaning for the reader. These meanings, whose existential aspect is inevitably related to the relative relationship between the author, the reader and the codes, They guarantee the written nature of the narrative language and free themselves from simplicity, solidity, isolation, and unity. Roland Barthes' theory of five codes is one of the content-oriented ways of studying the text. This article intends to examine it from the perspective of one of the seven propositions considered by this "artistic theorist", namely the plurality of meaning, using a descriptive-analytical method and citing library studies. And while applying her approaches to an example of the stories of the spiritual Masnavi, she will show that literature, as the most influential and important manifestation of the language system, always has room for reading, dynamism, and plurality of meanings, and the passion for receiving in it is never satisfied. The results of the research, in addition to confirming Barthes's view that there is no rule for a literary text and that each reader's reading is based on the codes and codes of poetic language. https://www.jpll.ir/article_235854.html One of the most important functions of satire is its humor. When satire is used in relation to noble and tragic concepts such as death and nothingness, it moves away from its basic functions, such as making people laugh, being easy to understand, and making the audience think, etc., and becomes bitter and tragic. Death, as one of the main concerns of humanity, has sometimes been used as a form of humor in literature. In this study, death, as a humorous and derisive theme, has been analyzed in the poems of Ahmad Shamloo. In this article, the satire of death is analyzed as a bridge to identify Shamloo's transgression in expressing the issue of death in his poetry, and the components are extracted from his poems, which include: carelessness and taking death lightly, satire with contempt for life, change in the function of death, mockery of death, mockery of life, human being is more deserving of life in this world, and the certainty of death and giving it authenticity. What makes this research important is the miraculous fusion of two tragic and serious categories, namely death and life, in the guise of humor by Shamloo. https://www.jpll.ir/article_235434.html bstractThis article examines semantic contrasts in the poetry of Hooshang Ebtehaj and Mohammad Ali Bahmani, analyzing how these two contemporary Iranian poets employ this literary device to create unique thematic effects. Semantic contrasts, a crucial element in Persian poetry, enable poets to convey emotional and philosophical complexities. Ebtehaj uses contrasts such as “love and hatred,” “hope and despair,” and “life and death” to illustrate the instability of human experience, evoking a sense of urgency and impermanence. In contrast, Bahmani explores themes like “love and separation,” “justice and oppression,” and “freedom and confinement” to depict social and inner conflicts, engaging the reader with shared emotional and societal struggles.This study reveals that Ebtehaj’s semantic contrasts are largely philosophical and emotional, arising from a melancholic view of the world, whereas Bahmani’s contrasts serve as a critique of society and an expression of complex human emotions. Ultimately, this paper highlights how semantic contrasts serve as an essential tool for expressing poetic perspectives and adding depth to modern Persian poetry. https://www.jpll.ir/article_235788.html Rumi and Ibn Arabi the authors of borderless works. it seems that the pluralism implied in their works is closely related to the requirements of their time and geography.The present essay focuses on the concept of truth and its relationship with tolerance in the works of these two thinkers. To. According to Ibn Arabi's theology, truth is a plural concept and has various examples. According to his comments in Fosus al-Hekam, God is one by nature, but by name he is general and plural. This plurality causes Ibn Arabi to be tolerant towards other ideas. According to Rumi, the truth has been explored according to five headings attention to a personal truth, acceptance of the wayfarers of the truth and their inevitability, attention to the plurality of religions and the multiplicity of this plurality, emphasis on the truth on the way, and finally emphasis on the perspective of the truth. Based on this, in Rumi's epistemological theory, truth and tolerance are based on a relationship. The ratio of truth and tolerance has similarities and differences in their eyes. According to these two, the truth has a two-way relationship with tolerance and total peace with various examples. https://www.jpll.ir/article_236718.html شاعران و اندیشه‌هایشان معمولا با هم مناسبت دارند. در حیطه نقد ادبی، این مناسبت‌ها معمولا تحت عنوان روابط بینامتنی مطرح می‌شود. وقتی سخن از قلّه‌های شعر فارسی و گستره اندیشه‌های بلند آن‌ها و ساختارهای هنری‌شان باشد، بررسی روابط بینامتنی آن‌ها، کاری دشوار و وسیع و بیش از حدّ یک کتاب و رساله است. از این رو، در این جستار به بررسی اجمالی یکی از عناصری می‌پردازیم که سه شاعر بزرگ زبان فارسی؛ یعنی فردوسی، مولوی و سعدی را به هم نزدیک کرده و می‌پیوندند که عبارت از شخصیت‌های اصلی و نقش‌آفرینان در آثار آنان است.روش تحقیق در این زمینه پژوهشی- تحقیقی و بر اساس شواهد موجود در آثار این بزرگان است. از رهگذر حضور نقش‌آفرینانی چون شاه، رستم، اژدها و به‌ویژه دیو و معادل‌هایشان در شعر عرفانی، پیوند عمیق و برجسته حماسه و عرفان از بدیهی‌ترین نتایجی است که در مسیر این هدف؛ یعنی یافتن رشته‌های پیوند این سه قله شعر حماسی، عرفانی، غنایی و مردمی به دست می‌آید. نکته مهم این جاست که مساله انسان و زندگی‌اش وجه مشترک آثار این سه شاعر بزرگ زبان فارسی است که این هم عنصری جهت‌دهنده و تقویت‌کننده موضوع بوده و تمام عوامل مشترک موجود در آثار و اندیشه‌های این بزرگان در کنار هم، تصور کوچک‌ترین اختلاف و جدایی بین دین و مذهب اسلامی و فرهنگ و سنن ایرانی را از ذهن‎‌ها می‌زداید. گفتنی است که علاوه بر عنصر نقش‌آفرینانِ پیوندزننده، اندیشه‌ها و مضامین و زبان هم رهنمودهای دیگری در این حیطه هستند که موضوع پژوهشی دیگر در این زمینه می‌توانند باشند. https://www.jpll.ir/article_235837.html Nafsat al-Masdur is a work by Muhammad Zaidari. According to the author, the book was written to express pain and sorrow and describe the suffering and oppression of the Mongol invasion. Excessive attention to verbal and rhetorical devices has fabricated the text and made it difficult to understand the meaning, despite the fact that literature has always expressed the social, cultural and political realities of its time.And the theoretical framework of this article is realism, focusing on the realities of life, society and individuals, as components of this school is important. Zaidari has skillfully created realistic images to depict the realities of everyday life and the social challenges of his time. And by using library resources, he seeks to find the realities expressed in Nafta al-Masdur and the extent to which it conforms to the school of realism.Accordingly, images from this work were extracted and analyzed based on the characteristics of this school, in an attempt to examine examples of the text that are similar and consistent with the characteristics of realism, and to analyze its impact on our understanding of the society of the author's time. https://www.jpll.ir/article_235785.html The concept of the “primordial homeland,” understood as the metaphysical origin of humankind, is vividly manifested in the ghazals of Hafez of Shiraz. Drawing upon his mystical worldview, Hafez conceives of the human being as a creature perpetually bound to the Divine source, whereby existence as a whole acquires meaning as the presence of God. Within this perspective, ethnic, racial, and geographical distinctions hold no fundamental value; rather, what is essential is the human being’s belonging to the Divine origin and the innate yearning to return to it. This study, adopting a descriptive–analytical approach, explores the notion of homeland in Hafez’s poetry, its relation to the covenant of ʿAhd al-Alast (the primordial pact), and the role of “love” in both enduring the separation from and attaining reunion with that homeland. Through the portrayal of a vast and enchanting cosmos, Hafez demonstrates that reaching this spiritual homeland is neither unattainable nor exclusive to a privileged few; rather, it becomes possible through the universal and fundamental force of “love.” Thus, in Hafez’s thought, the mystery of creation and the ultimate purpose of existence are embodied in a passionate attraction that leads humankind back to its primordial homeland. https://www.jpll.ir/article_235789.html The Divan of Zinderam Mobad Kashmiri, an 11th and 12th-century Persian-language poet from India, constitutes a valuable treasury of poetic compositions in diverse forms such as qasida, ghazal, masnavi, ruba'i, and mukhammas, with mystical, historical, and cultural themes. Beyond its formal and thematic variety, this work, through its ornate preface and epilogue—influenced by the styles of Sa'di and Jami and adorned with various forms of saj', janas, and muvazana—attests to the author's literary mastery. Stylistically, Zinderam's Divan falls within the framework of the Indian Style (Sabk-i Hindi) with mystical themes. By employing literary devices such as tashbih, isti'arah, ihām, and talmīh, and under the influence of poets like Hafez, Sa'eb, and Khaghani, it articulates sublime concepts of wisdom and love in an elevated manner. This research, aiming to introduce the manuscript copies of this Divan and analyze its stylistic features, has been conducted using a descriptive-analytical method, relying on two manuscripts held at the Bhandarkar Oriental Research Institute (as the base manuscript) and the British Museum Library. The findings indicate that the study of this work not only represents a fundamental step towards reviving a segment of the forgotten heritage of Persian literature in the Indian subcontinent but also serves as a dynamic document testifying to the cultural exchanges between Iran and India. https://www.jpll.ir/article_235784.html Poetry has always borrowed things from other arts for beauty and impact; it borrowed the rhythm from the art of music and tried to approach music; From the techniques of performing arts in order to approach the art of performance and from painting in order to visualize and objectify concepts. The poetry flow of concrete poetry, which is also known by other name visual poetry was formed in the early 20th century in Europe under the influence of visual arts,cubism and imagism. This type of poetry aims to approach the art of painting, and the poet tries to present many concepts in a visual form, in the form of paintings and images, by using the visual possibilities of writing. Contemporary Iranian poets, inspired by this poetry movement. The reason for the tendency towards this movement lies in its artistic nature;Because art aims at perfection in deep structure and surface structure, and visual poetry, in addition to beauty and listening pleasure, also has visual beauty and an effort to create harmony between the theme and the form of writing. In Sepanlu's poems, we can see beautiful examples of concrete poems. By visualizing the poems, he has sought to convey and induce concepts and create harmony between the theme and the visual body of the poem. The necessity of the present research comes from the fact that so far no research has focused on the visual effects of Sepanlu's poems. The current research aims to analyze Sepanlu's concrete poems with descriptive-analytical method. https://www.jpll.ir/article_237132.html With an environmental look at the literature, it is possible to analyze and evaluate the human view of nature and how he interacts with the nature around him throughout history, providing the basis for the formation of works that offer a new attitude to nature by taking into account the environmental considerations. In this research, by studying the works of some contemporary poets such as Nima Yoshij, Sohrab Sepehri and Ahmed Shamlou, while examining the view of these poets on nature, the influence and confrontation of literature and the environment, the approach of poets towards environmental issues and issues, as well as human relations with Nature has been investigated. It should be said about the achievement of this research; Nima's poetry is full of oneness with nature, which can be seen as the result of his close observation and blending with nature, in Nima's opinion, human and nature are two inseparable parts. In Nima's poetry, nature with its beautiful elements has always been a source of peace, vitality and happiness for mankind. Sohrab's poem is also very dim human existence; But on the other hand, it pays special attention to the surrounding environment. By returning to nature, he is looking for the simplicity of the past and pristine natural landscapes. Sepehri's connection with nature is a direct connection. With proper reflection, Sohrab has reached a new level of awareness and experience. https://www.jpll.ir/article_237133.html مبحث اعتدال یا میانه‌روی که حدّ وسط افراط و تفریط است، از برجسته‌ترین مفاهیم اخلاقی به ‌شمار می‌رود که سبب انسجام در چرخة زندگی می‌شود. عدم تعادل و دوگانگی رفتاری در فرد موجب انحطاط و از بین رفتن تعادل شده و آسیب‌هایی را در پی خواهد داشت. هدف نوشتار حاضر، شناسایی بنیادی این عنصر و تأثیر آن در عملکرد افراد است که با روش بنیادی و نوع توصیفی‌- تحلیلی در نظر دارد تا ابعاد اعتدال‌گرایی در پادشاهی جمشید را از منظر ارسطو بررسی نماید و نشان دهد چه عواملی در نداشتن اعتدال و سقوط وی مؤثر بوده‌اند. حاصل آنکه ابتدای حکمرانی جمشید میانه‌روی و بسندگی در فراهم ساختن امکانات معیشتی وجود نداشته‌؛ زیرا از جنبه‌ی روان‌شناختی او خود فاقد شخصیت میانه‌گرا، به‌ویژه در سیاست بوده‌است. با توجّه به نظریة اعتدال ارسطو، عامل بی‌ارزشی کارهای خیر جمشید و به مراتب بروز منیت، افراط‌گری در نمایان کردن ارزش‌هاست. واژه‌ی فرّ نُه بار تکرار شده‌ و به همان میزان نیز خوبی‌هایی که انجام داده، تخمین زده می‌شوند. واژه‌ی دیو و ابلیس نیز ده مرتبه آمده و نشان می‌دهد تمایلات اهریمنی وی را از هدف‌های اوّلیه‌اش، دور ساخته که بیانگر وفور رنج ناشی از ناسپاسی و نابخردی است. https://www.jpll.ir/article_237134.html Animus refers to elements of masculine characteristics and masculine movements that are more or less present in women's personalities. These traits have also been formed in the subconscious of women over time and through centuries and the mixing of men and women. Animus has positive and negative manifestations that have been deposited in the subconscious of humans, both women and men, throughout human history. This research examines and analyzes the manifestations of animus in Parvin Etesami's poetry. The purpose of the research is to conduct a comparative analysis of the archetype of animus in Parvin Etesami's poetry based on Carl Gustav Jung's theory, a case study of a fragment of a letter to Noshirvan. The research method is descriptive-analytical and library-based. The research findings show that in the collective unconscious of Parvin Etesami and her inner male part, regardless of the characteristics of a ruler, there are characteristics and characteristics of an animus such as decisiveness, fairness, compassion, forgiveness, and support. Of these characteristics, compassion and support, which are among the most important characteristics of the animus, have a high frequency in the letter to Noshirvan. https://www.jpll.ir/article_237135.html Freedom is one of the concepts that has always been one of the great concerns that has occupied the minds and thoughts of mankind throughout the centuries and also in the transition from various periods and countless ages. Every page of the history of freedom has been and will be full of wars, blood, revolutions, coups, suffering, imprisonment and torture. This research, using a descriptive-analytical method, systematically examines studies on the concept of the word freedom in Fereydoun Moshiri's poetry; in this research, a library method has been used to collect information and data. Logical reasoning has been presented to document the texts in order to analyze the theories, and in this method, an attempt is made to publish qualitative and conceptual strategy discussions in this research The results show that Moshiri is one of the contemporary poets whose poetry is a means of awakening a dormant society. This poet has been able to portray the issues and problems of society directly and using symbols and act as a social reformer. https://www.jpll.ir/article_237136.html The concept of homeland and its derivatives such as: homeland, land, country, etc., is a vital concept for Iranians and has undergone many political and social changes throughout history. Many poets tried to include these concepts in their poems due to their importance to the people and courtiers. In places, the poems of Hakim Toos, Malek al-Shoara Bahar, and Farrokhi Yazdi feature the concepts of patriotism, sacrifice for the homeland, etc. In contemporary times, poets used the concept of homeland to stir people's emotions and help them overcome tyranny. In Ferdowsi's poems, the homeland is a utopia that is protected by heroes and intellectuals. However, in the contemporary era, the homeland has become a country under socio-political influences that no longer has the glory and greatness of the past and is involved in corruption, tyranny, foreign interference, and domestic traitors. In Ferdowsi's poems, the homeland has a glorious aspect, but in the poems of Bahar and Farrokhi, the homeland is involved in many problems. In this article, we will examine the concept of homeland in the poems of these three great poets, examining the differences and similarities of the concept of homeland in the poems of these three poets. In the rest of the article, you will see how the concept of homeland has lost its high position over the years. https://www.jpll.ir/article_237137.html Intertextuality, as one of the prominent pillars of postmodernism, transforms the narrative identity of characters in Persian postmodern plays into a multilayered, fluid, and fragmented structure by creating connections among ancient, modern, and global texts. This study analyzes three key plays—Sleep in an Empty Cup (Naghmeh Samini), It Doesn't Snow in Egypt (Mohammad Charmshir), and Death of Yazdgerd (Bahram Beyzai)—in terms of how intertextuality contributes to the formation of characters' narrative identities. The findings reveal that mythological, romantic, historical, and contemporary references shift character identity from traditional unity toward postmodern complexity. The results also show that intertextuality functions not only as an aesthetic device but also as an identity-forming mechanism in the reconstruction of characters within the dramatic text. In these plays, character identity is not fixed or purely psychological but rather a diverse and linguistic process that emerges through constant interaction with other texts. This study emphasizes the role of intertextuality in redefining identity in Iranian dramatic literature and suggests that further comparative research with global works and analyses of additional plays should be pursued. The outcomes of this research may contribute to a deeper understanding of postmodernism in Persian theatre. https://www.jpll.ir/article_237139.html The Islamic Revolution, like any other major event, brought about changes in the cultural and political atmosphere of Iranian society. In this way, children's and youth literature was also affected, like other phenomena. The poetry of the Islamic Revolution, whether in the early years of the revolution, during the eight years of the Sacred Defense, or after that, has undergone a growing trend and has produced successful and lasting works. Among the literary genres, children's and youth poets have paid more attention to lyrical, educational, and epic literature. Therefore, the role of emotional themes such as: mother, father, teacher, etc. is abundant in children's and youth poetry. The most important topics of children's and youth poetry after the revolution include moral, social, scientific, and cultural issues, and sustainability. During the years of the Sacred Defense, poetry was an effective weapon on the scene, praising and recording enthusiasm and resistance.In this essay, by analyzing the most important examples of children's and adolescent poetry after the revolution, and drawing on research and criticism, we examine various social themes and themes, as well as their moral and educational issues. https://www.jpll.ir/article_237140.html A work like Saadi's Golestan, which is undoubtedly one of the pillars of Iranian-Islamic culture and Persian language and literature, should be fully and accurately investigated and analyzed; But with a deeper study, many unexplored angles can be identified in this precious work. Perhaps, the reason for that is the easy and restrained nature of Saadi's language, which has made the commentators think that what Saadi said is common sense and does not need to be scrutinized. But since the author of this article has the mission of teaching language and literature and has to discover the fine points of the text and express it in a simple and transferable language, he has tried to answer a challenging grammatical point of the Golestan text by study various descriptions written on Golestan and also using the library research method. And of course, he tried his best to make his answer convincing and logical. https://www.jpll.ir/article_237141.html Abstract:Certain approaches in the sociology of literature regard the novel as a reflection of everyday life within the literary sphere. Consequently, novels hold significant value in sociological studies of literature. Female authors, in particular, have consistently reflected the conditions of women’s lives across different historical periods in their works. Among these authors is Belghis Soleimani, who in her novel Bazi-ye Akhar-e Banoo narrates the life story of a woman across various stages of her life, intertwined with the political and social transformations of society.In this study, based on the theory of Pierre Bourdieu — the prominent French sociologist and critic — the positions of women, the types of capital possessed by female characters, and the fields in which women engage to acquire greater capital are examined. Applying Bourdieu’s framework enables a deeper analysis of the underlying layers of the literary text, a study of its social dimensions, and a more scholarly interpretation of the novel.The findings indicate that the most prominent field women enter is the field of knowledge, while the most pervasive field is that of politics. In acquiring capital, women tend to prioritize mutual support and empathetic interactions over competitive behaviors. Furthermore, attaining high levels of cultural capital can lead to the acquisition of symbolic, social, and even economic capital, ultimately enabling a change in one’s social class. https://www.jpll.ir/article_237143.html According to the definition of the early rhetoricians, an irony is a word that requires the original meaning to be intended, but the intention of the original meaning is also permissible during the necessary intention of the original meaning, and this restriction distinguishes irony from "metaphor" and "simulation." The sources of irony are diverse, and reflection on them indicates that a group of ironies are linked to body language; that is, body postures, physical changes, or gestures made by members of the body ironically express a secondary meaning; for example, raising the head, frowning, stepping forward, rolling up the sleeves, etc. In this essay, which has been prepared using the analytical-descriptive method and relying on library resources, such ironies in the book "Marzbannameh" have been analyzed and analyzed as a statistical community. For this purpose, after extracting the allusions in the Marzban-nameh, these allusions have been classified with their central core in mind in order to show what role body language plays in producing allusions and how it works. In addition, Saad al-Din Varavini expresses expressions derived from body language that have an allusive connotation, in line with his goal of literary re-creation of an ancient text, using aesthetic and rhetorical techniques, in various literary forms and commendable imagery that are worthy of recognition and examination. https://www.jpll.ir/article_237145.html This study applies Norman Fairclough’s Critical Discourse Analysis framework to three selected poems from"Keshmakesh", a collection by "Ehsan Mahdian" representing the emerging poetic form known as “Vibration Poetry.” The research aims to identify the linguistic, discursive, and social mechanisms of meaning construction in these poems and to explore their relationship with contemporary cultural and political discourses. The study adopts a qualitative approach based on Fairclough’s three-dimensional model: textual description, discursive interpretation, and social explanation. Findings indicate that Vibration Poetry, through its departure from formal syntax and its fusion of colloquial, political, and literary registers, reflects the plurality of discourses in Iranian society. The interaction of everyday and violent discourses, the redefinition of freedom as resistance, and the subversion of official language constitute key discursive strategies in Mahdian’s poetry. It is concluded that Vibration Poetry functions not merely as a linguistic experiment but as a cultural act situated at the threshold between language and society. https://www.jpll.ir/article_237146.html Verbs of proximity indicate the nearness of the action, and verbs of expectation indicate the hope for the action. verbs such as "kad" and its other forms, and only the verb "asi" and the form "asitam" also used in the Holy Quran. The main goal of the present study is to recognize the position of verbs of proximity and its position in Persian grammar and semantics. Therefore, the present study seeks to clarify the position of these verbs while examining the cases of use of verbs of proximity and raja in Persian grammar and semantics, citing some classical Persian poetry and prose texts. The findings of the study show that verbs of proximity and raja, in addition to indicating proximity and hope for the action, play an important role in creating semantic and rhetorical subtleties in the Persian language. These verbs can create a sense of suspense and persuasion in the audience by adding the semantic load of possibility and expectation to the sentence. For example, the use of the verb "kad" in a verse of poetry can indicate the poet's effort to achieve the goal or his failure in this way. In semantics, the verbs of conjunction and hope can also be used as a tool for creating brevity and conciseness. In the sense that sometimes by using these verbs, a broad concept can be expressed in the form of a short phrase or, conversely, by emphasizing the importance and impact of a topic with more detail and explanation. https://www.jpll.ir/article_237147.html The literary structuralist approach is a text analysis method that reached its peak in the 1960s, and its origins can be found in structuralist linguistics. The issue of contrasts is one of the most valuable topics for the structuralist approach, which can be considered to be rooted in human historical and cultural thoughts and ideas. Today, dual contrasts have gained a special place in the world's literary theories and schools. By examining dual contrasts, a better understanding and appreciation of literary texts can be achieved. On the other hand, Mehdi Akhavan Sales is a poet who has shaped poetic and narrative images and spaces in many of his poems by utilizing dual spaces and mutual contrasts. These contrasts, which are rooted in literary traditions and philosophical ideas, have been recreated in Akhavan's poetry in a new and innovative way. By breaking the common frameworks of dualistic oppositions, Akhavan creates a space of intertextuality and blurs the boundaries between tradition and innovation. The results of the study show that Akhavan has been able to implement one of Nima's most important recommendations for modern poetry (the use of argot and archaism) in this poem by using dualistic oppositions. https://www.jpll.ir/article_237148.html The concept of 'literariness,' as one of the most fundamental issues in literary theory, was first systematically introduced by the Russian Formalist school. Theorists such as Shklovsky, Jakobson, and Tynyanov, by emphasizing elements like linguistic foregrounding, defamiliarization, and deviation, sought to provide scientific and linguistic criteria for distinguishing literary texts from non-literary ones. On the other hand, Nima Yushij's poetry, as a turning point in the evolution of Persian poetry, fundamentally differs from the classical tradition in terms of structure, language, and imagery, placing it in a suitable position for examining the concept of literariness. The present study, utilizing a descriptive-analytical method and relying on the theoretical framework of Russian Formalism, examines the components of literariness in Nima's poetry. For this purpose, a number of his prominent poems such as "Daroug," "Qoqnoos," "To Ra Man Cheshm Dar Raham," "Afsaneh," and "Ey Shab" have been analyzed. The research findings indicate that Nima's poetry, with features such as linguistic foregrounding, a break from traditional norms of meter and syntax, and the creative recreation of lived experience through linguistic innovation, largely conforms to the criteria of literariness in Formalist theory. This article strives to facilitate a dialogue between classic intellectual traditions and contemporary Persian literary texts by rereading a classical theory in light of modern Persian literature https://www.jpll.ir/article_237458.html Ferdowsi’s Shahnameh is one of the most fundamental texts of Iranian culture, rich in symbols and imaginative structures with profound mythological and mystical potential. While these symbols have been extensively explored in fields such as miniature painting and literature, their systematic application in fashion design has received comparatively little scholarly attention. The present study aims to analyze the mystical symbols of the Shahnameh based on Gilbert Durand’s theory of the “Anthropological Structures of the Imaginary” and to translate these symbolic structures into applicable elements in fashion design.This research adopts a qualitative–analytical methodology with an interpretive approach. Data were collected through content analysis of selected sections of the Shahnameh related to mystical symbolism and were categorized according to Durand’s diurnal and nocturnal regimes of the imaginary. Subsequently, in accordance with principles of fashion design, the extracted symbolic concepts were transformed into visual elements, including line, form, color, texture, material, and motif. The resulting visual language served as the conceptual basis for designing a fashion collection centered on the theme of the “reconciliation of opposites.”The findings indicate that Shahnameh symbols such as fire, mountain, sword, and sun correspond to the diurnal regime of the imaginary, whereas symbols such as the Simurgh, water, mist, embrace, and circle align with the nocturnal regime. This classification enabled the extraction of two complementary visual logics: one rigid, angular, and ascensional, and the other soft, fluid, and encompassing https://www.jpll.ir/article_237459.html This study aims to analyze the imaginary structures of the Shahnameh based on Gilbert Durand’s theory of myth criticism and to examine the reflection and continuity of these structures in modern Western literature. Durand’s approach, through the articulation of two modes of the imagination the “diurnal regime” and the “nocturnal regime” provides a framework that enables the narratives of the Shahnameh to be examined beyond conventional historical or literary analyses and to be interpreted within symbolic and imaginal systems. In the first stage of the study, the fundamental imaginary structures of the Shahnameh including symbols of light and darkness, heroic patterns, trials, metamorphosis, and the role of liminal beings are identified and classified within the regimes of the imagination. The findings indicate that figures such as Rostam and Esfandiar can be interpreted within the diurnal regime, while characters such as Siavash and Zal are more appropriately understood within the nocturnal regime; together, these dual structures constitute a persistent layer of Iranian mythic imagination. In the second stage, the research investigates the continuity and manifestation of these imaginary structures in modern Western literature. An analysis of selected works of contemporary fantasy literature particularly those of J.R.R. Tolkien, C. S. Lewis, and postmodern writers demonstrates that many of their narrative patterns symbolically overlap with structures found in the Shahnameh. These include the archetype of the singular hero, the battle between good and evil, the trial-based journey, and the presence of transhuman or supernatural guides. https://www.jpll.ir/article_239842.html The main purpose of this article is to examine the function of al-ta'tif and the impact of its application methods on the mental form of New Persian poetry. "Then After the Thunder" and "A Child Named Shadi", respectively; A collection of poems by "Mehdi Akhavan Sales" (1307-1369) and "Mohammad Reza Shafi'i Kadkani" (1318 AH) in the form of modern poetry, in which the present study intends to describe and analyze the function and effect of al-tafat in a post-structuralist perspective. The hypothesis of this article is that al-fatfat has an effective function in the mental form of modern poetry by influencing image, narrative structure, and meaning. What distinguishes the present study from mainly rhetorical studies with a classical and traditional approach to al-fatfat is that. Its theoretical foundations are based on the findings and interpretations of recent researchers on attention. Principles in which attention is not limited to "presence", "distance", "transition from address to absence or movement from absence to address" and "formalistic de-familiarity"; Rather, with the help of Wangeri, the movement and creation of conversation and discourse between subject and object can be considered as a poetic technique and arrangement in language. A technique that informs the presence of two metaphorical and figurative aspects of attention in the mental form of modern poetry. https://www.jpll.ir/article_240623.html Suvashun, the novel by Simin Daneshvar, is one of the most significant narrative works of contemporary Persian literature. In addition to representing a critical historical period, it contains complex linguistic and ideological layers. Drawing on Lesley Jeffries’ framework of Critical Stylistics, with particular emphasis on the component of opposition and synonymy, this study seeks to demonstrate how meaning and ideology in the novel are constructed not merely through content, but through systematic linguistic choices. The primary aim of the research is to elucidate the role of oppositions and synonymy in organizing the fictional world, shaping characterization, and directing the reader’s evaluative judgments.The research adopts a descriptive–analytical method and is based on qualitative textual analysis. Data are extracted from the text of Suvashun and analyzed according to Jeffries’ critical stylistic framework, especially the mechanisms of opposition and synonymy. This approach focuses on the micro-level of language and on semantic relations among words, phrases, and narrative actions in order to reveal how meaning is produced and how ideology is naturalized within the text.The findings indicate that Suvashun is fundamentally structured around semantic binary oppositions. Oppositions such as self/other, resistance/compromise, awareness/passivity, and tradition/modernity recur throughout the novel and are reinforced through networks of synonymy. By creating semantic equivalence among characters, actions, and concepts, synonymy consolidates each pole of these oppositions and intensifies the evaluative stance of the text. https://www.jpll.ir/article_243901.html The first step in understanding phrases and verses in texts is to understand the correct and precise meaning or meanings of the words and combinations used in them. “The blood of the poppy” is one of these combinations in Hafez’s poetry that has been overlooked by Hafez scholars and commentators of Hafez’s Divan. In this article, after looking at several explanations and explanations from Hafez’s Divan on this phrase and the verse in which it is used; its meaning is explained and it is shown that Hafez, considering its primary meaning, created an image in the verse he intended. It should be noted that since Hafez lived in the land of Persia, he based many of the artistic images of his poetry on the beliefs and convictions as well as on issues related to the lives of the people of this land. So that many words, terms, beliefs and convictions of life in the south of the country, especially Shiraz and its surroundings, can be extracted and examined from his poetry and speech. The flower of the stolen crocus is the name of the crocus flower in the south, especially Fars and Bushehr, which has become the subject of artistic images in oral romantic literature. Images that are reminiscent of Hafez's image of this flower in his ghazal.