Journal of Kavoshnameh in Persian Language and Literature
Year:2010 | Volume:11 | Issue:20|Papers Count:12

The Sassanied Dynasty was one of the most brilliant period of ancient Iran. The adjacency of this period to the Islamic era has opened ways to study the whole period better. Even so as most of the books and written works of the time were ruined, and the remaining is scattered in the Arabic texts of the beginning hundreds of years, it is difficult to fully understand those days. This difficulty is more reflected when the official, political, or social structure of the Sassanied period is being studied. The reason lies behind the fact that a considerable part of the resources that could wipe off the dust of mystery are gone, and we can only indirectly enhance our knowledge through the books that have probably gained their information directly from Pahlavi literature of the time.This article restudies the army arrangement and martial techniques of the Sassanied Dynasty in two phases: firstly, through the historical books of the beginning hundreds of years in Islamic era, which are most often written by the well educated Iranians, and also those written by the contemporary researchers.Secondly, through comparisons and contrasts with the army methods elaborated on in Shahnameh. The results demonstrate significant similarities, indicating that the army techniques in Shahnameh are true reflections of the Sassanied culture and customs.

Hierarchically speaking the image is prior to conception and speech. For human beings before starting to generate speech open their eyes to see the concrete form of reality and having gone through the experience begin to practice imagining and thinking about them and then the medium of language comes as a means of expressing those thoughts and communicating with other people. In terms of image order and replacement of one fact and reality for another first stands allegory through which the pictorial totality of a passage is a virtual reality that replaces a general image of a concrete reality. Second in ranking is symbolic image, and third metaphorical imagethe metaphor specifically used in poetry rather than its general sense that includes symbols and synecdoche. In this paper a different classification of allegory is presented: reflectivedidactic, beast, mythological, fantastic-imaginary, legendary, symbolic, truthful, fictional, pictorial, and instantiating.

The lack of paragraph spacing in post-islamic Persian manuscripts has caused some people to think that there is not the paragraph in Persian prose at all. To show how this fallacy is rude, we have tried first to explain the concept of paragraph as an indispensable discourse unit that can be or not marked formally as only a question of punctuation. Then reviewing the history of paragraphos sign in old Greek, we have pointed that even from a historic point of view there are proofs from Avesta text and the Achaemenian inscriptions to demonstrate the consciousness of pre-islamic writer toward the paragraphing the texts by sign "∴ " or simply by spacing between the paragraphs. In Pehlevid text one can discover how the rhetorical and linguistic paragraph-markers such as -a kind of-"and" replace the spacing. The most interesting finding in this article is the continuation of this tradition in post Islamic Persian prose while the great Persian writer insist to begin the most their paragraphs by this special “and”unrecognized by now.

Sufism terminology that has been originated from Holy Quran, and Hadith, was developed and completed by Sufi masters, Sufi orders, and sufie's sayings in ecstasy situation (shath). But Sufie's writing was the most important cause in developing and completing of Sufism terminology: Sufi writers allocated the great part of their books for collecting of Sufism terms, as we can see in Alloma (written by Sarraj-e-toosi), al Taarrof le mazhabe tasavvof (written by Kelabady).But among these famous works, Kashf-al-Mahjoob, written by Ali ibn-e-Othman-e-Hojviri is a masterpiece in the field of Sufism terminology. Hojviri appointed a systematic classification for Sufism terms and determined an active interrelationship between them including subtle semantic links. He also arranged a comparative hierarchy for most important Sufism terms that explained the relationship between terms.This article considers the above mentioned subjects and other categories related to Sufism terminology in Kashef-al-mahjoob.

The poem of 1360s in Iran, although following former periods formally, contains different thoughts and ideas. A new poetic image resulting from new events in Iran – Islamic revolution and imposed war-distinguishes this poem from other periods.Despite of his short life, Salman Herati was one of the famous poets of mentioned decade (1360). His simple language and vivid speech has created tangible images. He has experienced various forms but his most outstanding poems have been shown in the form of "blank verse". The present paper intends to examine content and image in his first collection entitled "Green sky" (Aseman-e-Sabz) in the form of blank verse.

To understand any language including Persian entails to know its grammatical rules.As Persian language has borrowed some grammatical rules from Arabic language, in the study of Persian, more attention is paid to the Arabic rules underlying Persian grammar. Thus, it seems to be necessary to lead studies toward the Persian basis of grammar. In this respect, the prominent use of Persian in the countries like India and Pakistan has caused many publications in the field of Persian language. Among them the Persian grammar book "Sarfe Parsi" by Data Ram Brahman which was written and published in India in years, in turn 1241 (A.H.) and 1281 (A.H.) is considered as one of the oldest printed books in Persian Grammar. The writer of the book, Data Ram Brahman, has shown special taste and interest to find evidence in terms of Persian morphology, lexicon and poem to support the basis of Persian grammar. Regardless of some rare cases, the book matches with modern Persian grammar. This study tries to introduce the book and show the mistakes used there.

The scientific nature of Literature as the intuitive embodiment and reflection of the human psych has not been thoroughly investigated sofar. And literary theorists have studied it from aesthetic Point of view. Therefore, have turned a blind eye to epistemological and thought provoking approaches to the study of literature.Sometimes they have also reduced its value to physical enjoyment. Someothers have Limited them selves by explanation of moral aspects of literature as a source of espistomological as well as historie knowledge and science. Because of apparent nature of the From of Literary works, the study of the other aspect has been ignored. However, there is a close relationship between instinctive workings of between human Feeling and thought and the world which is established through literary imagination. The rhetorics of literary works expressed through symbol, metaphor, anecdote, Falacy, tale, etc.Are all different Forms of Knowledge and thought in Literature. The present article is an attempt to study the views of the signification literary theorists of the world and identify the scientific and thought Provoking components and Features of literature.

Genealogy is one of the major approaches among social science researchers. In this method researchers attempt to study their topic through put it in its historical conditions. Authors of this article attempt to utilize this method for studying the reasons of Khayam’s fame in the west.Beside wonderful translation of Jerald of these poems, beginning of First and Second World War, dominance of materialism and existentialism (with death and nihilistic approaches) had great impact on the Khayam’s fame. This study tries to investigate these aspects through genealogical method.

Haft Peykar by Nezami Ganjavi (533-602 AD) is about the journey of Bahram e Goor (483-520 BC) into the drankness in his search for drinking the AB e Hayat.This journey starts with the Black Dome and passes through different stages (the five Domes) finally leading the White Dome 7doms is equal to 7 stars in 7 colors in which 7 princess from 7 realms wear clothes having the same color as 7 Domes and narrate stories to the hero (Bahram) in each and every night. These tales in fact are the expression of his seven dreams all of which are interpretable and explainable.In the present research the researcher has first studied the form of the seventh tale (white Dome) and its structure in term of fairy tale morphology. Then the mythical and ceremonial structures have been analyzed according to the tale etymon logy (external structure). Next the symbolic agents of this text are analyzed in terms of psychological symbology which corresponds to the mystical pattern.In this paper the author attempts to present a critical and psychoanalytical review while extracting the individual unconscious manifestations of the poet as well as the unconscious collective patterns of the literary text from the archetypal elements and constructions. This will in turn reveal the real them of the text its hidden angles which will provide further studies and comments in this regard.