Tarbiat Modares UniversityComparative Literature Research2345-236614120260522Blocked Liminality: A Comparative Analysis of Two Liminal Female Figures in Iranian and Japanese Folklore Based on Van Gennep’s Three-Stage ModelBlocked Liminality: A Comparative Analysis of Two Liminal Female Figures in Iranian and Japanese Folklore Based on Van Gennep’s Three-Stage Model28725FAMaryamHeidarifaculty member of Payam e noor University, Tehran. Iran.0000-0001-8563-3410Journal Article20260210In folklore, there exist heroes who stand on the boundary between two opposing realms (death/life, human/supernatural, nature/culture) and play a decisive role in advancing the narrative and testing the hero. This article analyzes two such "liminal women": the "Weaver Fairy" in the Iranian Folklore Eternal Life and "Yuki-Onna" (Snow Woman) in Japanese folklore. The aim of the study is to identify the pattern of functions of these heroes within the structure of rites of passage. The research method is descriptive-analytical and comparative, based on van Gennep's three-stage model and its extension by Victor Turner. The findings show that although the structure of these tales follows the classical pattern of passage, the two female heroes do not achieve full reintegration and remain in a state of suspension. Furthermore, the comparative analysis reveals that the two liminal women exhibit differences in their passage stages due to differences in the cosmology of the two cultures. The "Weaver Fairy," given the Iranian tradition (Zoroastrian-Islamic), which considers the entry of supernatural beings into the human world as exceptional and forbidden, is condemned to rejection and marginalization. Possessing "epistemic agency" (preserving the hidden knowledge of immortality) and avoiding the performance of feminine roles, she strives to maintain her authority, but ultimately falls victim to structural violence and is abducted and eliminated. In contrast, "Yuki-Onna," within the Japanese tradition (Shinto-Buddhism), where the boundary between human and supernatural has always been fluid and permeable, actively enters the human world by exercising "performative agency" and ultimately leaves it voluntarily.In folklore, there exist heroes who stand on the boundary between two opposing realms (death/life, human/supernatural, nature/culture) and play a decisive role in advancing the narrative and testing the hero. This article analyzes two such "liminal women": the "Weaver Fairy" in the Iranian Folklore Eternal Life and "Yuki-Onna" (Snow Woman) in Japanese folklore. The aim of the study is to identify the pattern of functions of these heroes within the structure of rites of passage. The research method is descriptive-analytical and comparative, based on van Gennep's three-stage model and its extension by Victor Turner. The findings show that although the structure of these tales follows the classical pattern of passage, the two female heroes do not achieve full reintegration and remain in a state of suspension. Furthermore, the comparative analysis reveals that the two liminal women exhibit differences in their passage stages due to differences in the cosmology of the two cultures. The "Weaver Fairy," given the Iranian tradition (Zoroastrian-Islamic), which considers the entry of supernatural beings into the human world as exceptional and forbidden, is condemned to rejection and marginalization. Possessing "epistemic agency" (preserving the hidden knowledge of immortality) and avoiding the performance of feminine roles, she strives to maintain her authority, but ultimately falls victim to structural violence and is abducted and eliminated. In contrast, "Yuki-Onna," within the Japanese tradition (Shinto-Buddhism), where the boundary between human and supernatural has always been fluid and permeable, actively enters the human world by exercising "performative agency" and ultimately leaves it voluntarily.https://clrj.modares.ac.ir/article_28725_3236fb951518ec5f7e607422b67cd180.pdfTarbiat Modares UniversityComparative Literature Research2345-236614120260522Secondary Imagination as a Resolution of the Tension between Human Agency and Indifference: A Comparative Study of Khayyam’s Quatrains and the Play Buddha by KazantzakisSecondary Imagination as a Resolution of the Tension between Human Agency and Indifference: A Comparative Study of Khayyam’s Quatrains and the Play Buddha by Kazantzakis28726FAShirzadTayefiProfessor of Persian Language and Literature, Allameh Tabataba’i University, Tehran, Iran.0000-0002-2773-3074KouroshSalman NasrPhD in Persian Language and Literature,Allameh Tabataba’i University, University Lecturer, Tehran, Iran.0009-0005-1526-1785Journal Article20260211Abstract<br><br>This comparative study examines how “art” and the “secondary imagination” function as a resolution to the enduring tension between human agency and indifference toward a transient world in Omar Khayyam’s quatrains and the play Buddha by Kazantzakis. The point of departure of this study is Samuel Taylor Coleridge’s theory of the “secondary imagination,” which conceptualizes artistic creation as a conscious and unifying process, distinguishing it from primary imagination and mere memory. Within this framework, Khayyam’s quatrains and the play Buddha by Kazantzakis are analyzed in terms of their representation of impermanence, suffering, and the possibility of liberation. The study employs a qualitative methodology based on inductive analysis, drawing upon extensive library and documentary sources. Findings indicate that Khayyam, through poetic imagination, interrogates the instability of the world while enacting an artistic mode of engagement, whereas Kazantzakis, by integrating Buddhist teachings with dramatic form, depicts the conflict between social action and Buddhist detachment in a ritualistic and carnivalesque mode. In both texts, the secondary imagination mediates experience and philosophy into an aesthetically coherent structure, establishes critical distance from reality, and enables avenues for philosophical and artistic resistance. Consequently, art in these works operates not merely as a reflection of the world but as an active process that reconciles human agency with indifference, offering a mode of engagement that is both contemplative and transformative.Abstract<br><br>This comparative study examines how “art” and the “secondary imagination” function as a resolution to the enduring tension between human agency and indifference toward a transient world in Omar Khayyam’s quatrains and the play Buddha by Kazantzakis. The point of departure of this study is Samuel Taylor Coleridge’s theory of the “secondary imagination,” which conceptualizes artistic creation as a conscious and unifying process, distinguishing it from primary imagination and mere memory. Within this framework, Khayyam’s quatrains and the play Buddha by Kazantzakis are analyzed in terms of their representation of impermanence, suffering, and the possibility of liberation. The study employs a qualitative methodology based on inductive analysis, drawing upon extensive library and documentary sources. Findings indicate that Khayyam, through poetic imagination, interrogates the instability of the world while enacting an artistic mode of engagement, whereas Kazantzakis, by integrating Buddhist teachings with dramatic form, depicts the conflict between social action and Buddhist detachment in a ritualistic and carnivalesque mode. In both texts, the secondary imagination mediates experience and philosophy into an aesthetically coherent structure, establishes critical distance from reality, and enables avenues for philosophical and artistic resistance. Consequently, art in these works operates not merely as a reflection of the world but as an active process that reconciles human agency with indifference, offering a mode of engagement that is both contemplative and transformative.https://clrj.modares.ac.ir/article_28726_355cd105f79507780fad8848469baca1.pdfTarbiat Modares UniversityComparative Literature Research2345-236614120260522Comparative Analysis of the Transformation and Re-Creation of Classical Masks in Contemporary Poetry (A Case Study of the Poems of Ajwad Mujbil Khafaji and Mehdi Akhavan-Sales)Comparative Analysis of the Transformation and Re-Creation of Classical Masks in Contemporary Poetry (A Case Study of the Poems of Ajwad Mujbil Khafaji and Mehdi Akhavan-Sales)28737FAFatemehGhovvatiStudent PhD in Arabic Language and Literature, Faculty of letters and Humanities, Ferdowsi University of Mashhad, Mashhad, Iran0009-0008-3453-6344AhmadrezaHeidaryan ShahriProfessor, Department of Arabic Language and Literature, Faculty of letters and Humanities, Ferdowsi University of Mashhad, Mashhad, Iran0000-0002-2671-0727BaharSeddighiAssociate Professor, Department of Arabic Language and Literature, Faculty of letters and Humanities, Ferdowsi University of Mashhad, Mashhad, Iran0000-0003-1877-8243Journal Article20251206The mask is a fundamental device in contemporary poetry and one of the most significant artistic strategies for expressing social and ideological concepts. Through this technique, the poet, by concealing themselves behind another’s façade, not only reflects the general concerns of the contemporary era but also portrays socio-political realities with a profound, critical, and conscious perspective. In this regard, the authors of this study employ an analytical-comparative approach to examine classical masks in the verses of Ajud Mujbal Al-Khafaji (contemporary Iraqi poet) and Mehdi Akhavan-Sales (contemporary Persian poet)—poets who have tasted the bitter flavor of oppression, suffocation, and tyranny in their homelands.These figures, who exist as symbols of values in mythological, literary, religious, philosophical, narrative, and allegorical domains with their original and familiar appearances, are transformed in contemporary poetry through transmutation (change in the traditional structure of the mask; change in their positioning) and reimagining (the poet’s application of the mask according to their own viewpoint; depiction of contemporary concerns) into symbolic tools for delineating socio-political issues.The ultimate finding of this study demonstrates that Khafaji and Akhavan-Sales transcend the boundaries of familiar narratives and established roles by altering the traditional structure of the mask and reimagining their narrative frameworks (absent/addressee/speaker). Within the context of contemporary poetry, these figures transform into conscious, dissenting, and contemplative masks, thereby reflecting the crises, thoughts, and aspirations of modern humanity and giving meaning to the continuity of tradition with the dynamism of the present moment.The mask is a fundamental device in contemporary poetry and one of the most significant artistic strategies for expressing social and ideological concepts. Through this technique, the poet, by concealing themselves behind another’s façade, not only reflects the general concerns of the contemporary era but also portrays socio-political realities with a profound, critical, and conscious perspective. In this regard, the authors of this study employ an analytical-comparative approach to examine classical masks in the verses of Ajud Mujbal Al-Khafaji (contemporary Iraqi poet) and Mehdi Akhavan-Sales (contemporary Persian poet)—poets who have tasted the bitter flavor of oppression, suffocation, and tyranny in their homelands.These figures, who exist as symbols of values in mythological, literary, religious, philosophical, narrative, and allegorical domains with their original and familiar appearances, are transformed in contemporary poetry through transmutation (change in the traditional structure of the mask; change in their positioning) and reimagining (the poet’s application of the mask according to their own viewpoint; depiction of contemporary concerns) into symbolic tools for delineating socio-political issues.The ultimate finding of this study demonstrates that Khafaji and Akhavan-Sales transcend the boundaries of familiar narratives and established roles by altering the traditional structure of the mask and reimagining their narrative frameworks (absent/addressee/speaker). Within the context of contemporary poetry, these figures transform into conscious, dissenting, and contemplative masks, thereby reflecting the crises, thoughts, and aspirations of modern humanity and giving meaning to the continuity of tradition with the dynamism of the present moment.https://clrj.modares.ac.ir/article_28737_b34cff5ba1f72525e525dd444eceaa99.pdfTarbiat Modares UniversityComparative Literature Research2345-236614120260522A Comparative Reading of the Simile and Its Intellectual and Cultural Motifs in the Rigveda and the AvestaA Comparative Reading of the Simile and Its Intellectual and Cultural Motifs in the Rigveda and the Avesta28773FAMaryamGhafourianKermanshah University of Technology, Faculty of Basic Sciences. Kermanshah, Iran.SaharYousefiEducation،, Kermanshah,، Iran.0000-0002-4592-3111Journal Article20250918The use of similes constitutes a fundamental element of literary imagination and imagery as one of the pillars of rhetoric. In addition to serving as an ornamental device, it functions as a means of expressing the underlying worldview and intellectual framework of the text. As such, the simile serves as an effective tool for examining the literary and conceptual dimensions of works. An analysis of its structural elements, particularly the principal components of simile and the tertium comparationis, reveals the prevailing ideas and worldviews within these texts. The ritual beliefs and intellectual traditions of India and Iran in the millennia before the Common Era are reflected in the rhetorical forms, particularly similes, found in their ancient religious texts and sacred hymns. With a comparative and descriptive–analytical approach, this study explores the similes used in the Rigveda and Avesta, the oldest extant texts of the Indo-Iranian peoples, to identify the intellectual and cultural similarities and differences between them. The results show that similes in an array of forms significantly influence these texts' rhetorical features. Furthermore, the two primary components of simile and the tertium comparationis reflect both different and shared worldviews; at times, they are indicative of the two peoples' independence and development of thought, while at other times, they are anchored in their early unity.The use of similes constitutes a fundamental element of literary imagination and imagery as one of the pillars of rhetoric. In addition to serving as an ornamental device, it functions as a means of expressing the underlying worldview and intellectual framework of the text. As such, the simile serves as an effective tool for examining the literary and conceptual dimensions of works. An analysis of its structural elements, particularly the principal components of simile and the tertium comparationis, reveals the prevailing ideas and worldviews within these texts. The ritual beliefs and intellectual traditions of India and Iran in the millennia before the Common Era are reflected in the rhetorical forms, particularly similes, found in their ancient religious texts and sacred hymns. With a comparative and descriptive–analytical approach, this study explores the similes used in the Rigveda and Avesta, the oldest extant texts of the Indo-Iranian peoples, to identify the intellectual and cultural similarities and differences between them. The results show that similes in an array of forms significantly influence these texts' rhetorical features. Furthermore, the two primary components of simile and the tertium comparationis reflect both different and shared worldviews; at times, they are indicative of the two peoples' independence and development of thought, while at other times, they are anchored in their early unity.https://clrj.modares.ac.ir/article_28773_4c1d160c669f361c1e48dac11891ff84.pdfTarbiat Modares UniversityComparative Literature Research2345-236614120260522The Fusion of Sensory Perception and Narration in Literary Impressionism: A Comparative Study of "Youth" by Joseph Conrad and "Tan-e Abi, Tanabi" by Bijan NajdiThe Fusion of Sensory Perception and Narration in Literary Impressionism: A Comparative Study of "Youth" by Joseph Conrad and "Tan-e Abi, Tanabi" by Bijan Najdi28829FAMasoudFarahmandfarAllameh Tabataba&#039;i University0000-0001-8194-6719AhmadRezaei-JamkaraniDepartment of Persian Language and Literature, University of Qom, Qom, Iran.Journal Article20260521The present study, adopting a comparative-analytical approach and drawing on the theoretical tenets of literary impressionism, compares two stories: "Youth" by Joseph Conrad and "Tan-e Abi, Tanabi" by Bijan Najdi. Literary impressionism, which has its roots in the visual arts, breaks with linear narration and emphasizes the recording of sensory experiences, fragmented narrative structures, and the exploration of individual self-awareness. Instead of physically representing reality, it employs language to evoke the feeling and idea of things. The research methodology is qualitative, employing comparative content analysis; the data have been analyzed using thematic analysis, based on the ideas set forth by Rebecca Bowler in her book Literary Impressionism (2016). The findings indicate that both stories are grounded in the principle of “sensory impression” rather than objective reportage. However, their fundamental difference lies in how they engage with reality: although Conrad represents physical phenomena (such as fire and storm) through the sensory perception of the narrator (Marlow), he does not go beyond the framework of objective events. By contrast, Najdi, transcending the boundaries of realism, intermingles reality and fantasy, creating an imaginary creature named “Pepsi” from within a modern industrial commodity. Furthermore, Conrad employs the techniques of “narrative framing” and “delayed decoding,” whereas Najdi enters directly into the mental world of the character (Mansour). In conclusion, it can be said that Najdi has indigenized the devices of literary impressionism within a more surrealistic and poetic space, unlike Conrad, who remains committed to the representation of physical events (albeit through a sense-centered perspective).The present study, adopting a comparative-analytical approach and drawing on the theoretical tenets of literary impressionism, compares two stories: "Youth" by Joseph Conrad and "Tan-e Abi, Tanabi" by Bijan Najdi. Literary impressionism, which has its roots in the visual arts, breaks with linear narration and emphasizes the recording of sensory experiences, fragmented narrative structures, and the exploration of individual self-awareness. Instead of physically representing reality, it employs language to evoke the feeling and idea of things. The research methodology is qualitative, employing comparative content analysis; the data have been analyzed using thematic analysis, based on the ideas set forth by Rebecca Bowler in her book Literary Impressionism (2016). The findings indicate that both stories are grounded in the principle of “sensory impression” rather than objective reportage. However, their fundamental difference lies in how they engage with reality: although Conrad represents physical phenomena (such as fire and storm) through the sensory perception of the narrator (Marlow), he does not go beyond the framework of objective events. By contrast, Najdi, transcending the boundaries of realism, intermingles reality and fantasy, creating an imaginary creature named “Pepsi” from within a modern industrial commodity. Furthermore, Conrad employs the techniques of “narrative framing” and “delayed decoding,” whereas Najdi enters directly into the mental world of the character (Mansour). In conclusion, it can be said that Najdi has indigenized the devices of literary impressionism within a more surrealistic and poetic space, unlike Conrad, who remains committed to the representation of physical events (albeit through a sense-centered perspective).https://clrj.modares.ac.ir/article_28829_b11d57a6dd02023e6acdd5174baae917.pdfTarbiat Modares UniversityComparative Literature Research2345-236614120260522A Comparative Analysis of the Discourse of Resistance in The Will to Live by Abū al-Qāsim al-Shābbī and Palestine Is Ours by Shihāb MuḥammadA Comparative Analysis of the Discourse of Resistance in The Will to Live by Abū al-Qāsim al-Shābbī and Palestine Is Ours by Shihāb Muḥammad28927FAMahdiFarhaniAssistant Professor, Velayat Iranshahr University - Arabic Department, Faculty of Humanities0009-0006-1540-1247Journal Article20260210Situated within the framework of the American School of Comparative Literature, this study examines the discourse of resistance in contemporary Arabic poetry, focusing on the linguistic and discursive mechanisms through which resistance is articulated. The analysis is grounded in close, text-centered reading while remaining attentive to the historical and social contexts in which the poems emerge, without assuming any direct relationship of influence or intertextual transmission between the texts. Within this framework, resistance is not approached as a merely reactive response to crisis, but as a coherent semantic system through which poetic language gives form to experiences of steadfastness, perseverance, and collective agency.Methodologically, the study adopts a descriptive–analytical approach based on a close reading of two poetic odes and a comparative examination of the shared constitutive elements of the discourse of resistance. The analysis shows that, despite differences in historical and social conditions, both poets construct a common constellation of concepts underpinning this discourse. These include the foregrounding of collective agency, the articulation of will as inseparable from the continuity of life, the rejection of stasis and submission, and the reconfiguration of horizons of hope and futurity.The findings indicate that these elements are articulated differently in each text according to their contexts of production. of return. The study thus highlights the capacity of contemporary Arabic poetry to articulate the discourse of resistance across diverse semantic horizons while remaining grounded in shared conceptual foundations.Situated within the framework of the American School of Comparative Literature, this study examines the discourse of resistance in contemporary Arabic poetry, focusing on the linguistic and discursive mechanisms through which resistance is articulated. The analysis is grounded in close, text-centered reading while remaining attentive to the historical and social contexts in which the poems emerge, without assuming any direct relationship of influence or intertextual transmission between the texts. Within this framework, resistance is not approached as a merely reactive response to crisis, but as a coherent semantic system through which poetic language gives form to experiences of steadfastness, perseverance, and collective agency.Methodologically, the study adopts a descriptive–analytical approach based on a close reading of two poetic odes and a comparative examination of the shared constitutive elements of the discourse of resistance. The analysis shows that, despite differences in historical and social conditions, both poets construct a common constellation of concepts underpinning this discourse. These include the foregrounding of collective agency, the articulation of will as inseparable from the continuity of life, the rejection of stasis and submission, and the reconfiguration of horizons of hope and futurity.The findings indicate that these elements are articulated differently in each text according to their contexts of production. of return. The study thus highlights the capacity of contemporary Arabic poetry to articulate the discourse of resistance across diverse semantic horizons while remaining grounded in shared conceptual foundations.https://clrj.modares.ac.ir/article_28927_c643c4d937abd1fce58c8794e90c5840.pdf