PERSIAN LITERATURE (BAHARESTAN SOKHAN)
Year:2016 | Volume:13 | Issue:32|Papers Count:14

Multicultural education, as one of important necessities of teaching and learning in present time, is an instrument which creates interaction and understanding among cultures so as people with different cultures find possibility of peaceful existence with the least tension. The aim of this research, in this domain, is studying and analyzing the Persian books of elementary and secondary level based on multicultural components. The statistic society of the research included Farsi books of primary level" Let's Read in Farsi "published in 92-93 which, regarding the quality of the topic of the research and limitation of static society was regarded as a sample. The analytical method of the content of the present research is based on Anthropy Shanon and the unit of analysis is paragraphs, pictures, and activities (sentences). The results attained from the research indicate that from 4112 registered units in the text books in the first period of elementary and secondary classes, there was only 375 frequency (less than %9) in direct relation to the implications in multicultural education from. which the highest load of information and importance coefficient in all the enumerated units belonged to ethnic, religious and environmental conditions, strengthening the national correlation to the religions and lowest rate related to the information load, and the important coefficient belonged to the equal distribution of the resources and learning and teaching opportunity.

Abu Taleb Kalim Kashani (990-1061) was of the distinguished poets of Isfahani or Indian style. Some people say that his birthplace is Hamadan and argue that because of his long stay in Kashan, he's called Kashani. However, the stylistic evidences indicate his being from Kashan. He went to India in the time of" Jahangir" - the Goorkani King - and returned to Iran later and went to India for the second time and was promoted as the laureate in the court of Shahaboddin Shah Jahan (1037-1068 A. H.). By the order of Shah Jahan he brought the victories of the Shah into verse which was called "The Zafar Nameh Shah Jahan" or "The Padeshah Nameh". Not only does it have lots of literary values, but it includes the ethical points and traditions of the era when it was being composed. We've tried to deal with some of them.

In this article, we've studied the Iranian and Scandinavian mythological themes carefully which include exchanges between these nations in mythology and their ancient beliefs. We've also tried to cast light on their axial and basic similarities in the mythological tenets which have been disregarded in centuries. We are to offer new items with new authenticity with the same root like the relations of mythological gods with animals like boar and horse, virgin goddesses like Anahita and Gofiun in the two cultures, their imprisonment in the deep well, the winter end of the world, the similarities between "Jame Jam" and "Hilarious Throne of Kialof Oden", and figures hypnotized with magic. All of them are the joint points which we are going to discuss here.

Mahmud Mosharraf Azad Tehrani is of the propounded poets of the 40s; studying the forms of fantasy in his poetry, as an impressive poet on modern Persian poetry, not only leads to the discoveries of innovations in the imaginative context, but also reveals the social and political conditions of the time. Three hypotheses have been posed as the base of this study. That Mosharraf, like many other contemporary poets, from the forms of fantasy has paid attention to the distinguishing elements, and from the elements of the fantasy makers has also paid attention to the nature and sensible natural things and the mixture of these with his imaginations and emotions and created his poetical experiences are not of his individual emotions but are the social ones which have stemmed from the pains and sufferings and common hopes which he had shared with his society. Mosharraf was a poet who could create beautiful pictures of the community, at the same time could accomplish his responsibility as a skillful man toward his society.

We have studied, in tis article, the similarities and differences of the types of genitive cases and their methods of construction and the number of their compounds in the two languages of Azarbaijani Turkish and Farsi in which the differences are much more than their similarities. Constructing of the kinds of genitive case and its components and their links in the two languages are thoroughly different. The construction and number of the elements in each additional compound in the Turkish Language are more extensive than the Farsi Language and in the number of genitives, we don't find the affiliation genitive in the Azarbaijani Turkish language; similarities were seen in the variety and the addition of addend and genitive and mediocre words in the components of the sentences.

Shahriar's poetry is a harmonious and melodic collection of color, sound, and life which repeats inhaling and exhaling rhythms of the hearts. He's talking in a special language and outlook in traditional poetry. His works are remarkable in any mold, strength and quality. One of Shahriar and his companions' services are the transformation in the Persian lyricism; that's, the dynamic current which continues its life as "modern lyricism" parallel to modem poetry, and in this way Shahriar's School is formed with its long form and literary pieces. The poetry of this school is recognized with the mold of romanticism rather than with their apparent mold and form. The versified system of "Greetings to Haydar Baba" is of Shahriar's first poetry in his mother tongue which is written in a simple and fluent style. The events are narrated in a live and hilarious language in the villages of Azarbaijan. Despite" The Haydar Baba", the poet talks in a literary language in "Sahandieh". It may be considered the climax of his 31i in Azari language.

The scholars of knowledge precinct, because of the reputation they gain, are judged by people in their own view capacity. Shams Tabrizi, the great Azarbaijani mystic, in his book "The Essays /I which includes his ethical words in different situations, sometimes appears as a judge which is mixed with sarcasm and irony, tells his ideas about the numerous problems of society, religion and politics. These blunt judgments are either related to the questions posed or as the results of interactions, meetings which took place; or they are about what was heard or the personal experiences which Shams had in his life. In this case he praises some ideas and thoughts and rejects the others; at the same time he expresses his own ideas. The purpose of the writers of this article is to expound Shams's mystical view points about Prophet Mohammad and some contemporary mystical characters in a simple language.

The Persian language is of the combined languages. Connecting the words to each other or adding the affixes to them are of common methods in combining the words. Neologizing is the most common ways of coining a language and the main cause of its continuity. Khagani, as a poet who was aware of the science of alchemy, to express his mental and artistic implications, has used the language extensively to create new compounds. Therefore making compounds has become the main element in his language characteristics. The high frequency of new compounds, their special melody and rhythm, the stable language and strong imagination, familiarity with science and current belief, and molding of these compound structures have had immense impact on the fertility of his poetry. We have studied Khagani's creative structuralizations under the titles of compounds with affixes, semi-affixes, subjective adjectives, apocopated compound, ordinary adjectives and compound adjectives. The achievement of this article is that Khagani has used unique words by utilizing the creative traits of language; among them one can enumerate the compound adjectives which are considered highly significant in innovative and rhetoric point of view.

The development of Azarbaijani style was the climax of the illustration of the nature to present the poets' thoughts and desires; poets like Anwari, Khagani, and Nezami were the leading figures in this method. The Moon is natural and distinguished tool to make poetical illustration. Its beauty and glory aroused the joy of thought which led to the richness of pictures and compounds in Persian Literature. In their studying and comparison of the aesthetics of the moon, it became clear that these poets, by using their senses of the moon and utilizing the implications and beliefs among the common people and combining their thoughts like similarities between things and the moon, symbolic meaning like beauty, and using the sensations and descriptions, created general themes. However, in description of the moon, by using special tools like dependence and addition, verbosity and terseness in expression, simplicity and complexity and utilizing of numerous arrays and different methods have had different view points.

The present article is to show the Sang Saboor novel by the writer's sharp social look and live and exquisite descriptions which has carefully illustrated the settings and characters of his story. In this book women are subjected to struggle to survive and are not able to change the social, natural and economical factors which dominate their fate. The aim of this article is to analyze and report the presence of the women in this novel. Therefore, the problems of prostitution, violence, temporary marriage (concubine), cursing and polygamy which are posed in this book have been emphasized on. One can conclude that Sadegh Choobak, by creating the Sang Saboor tries to make his readers speculate on the frightening humiliation, violence, authority, social control, masculine domination, aggretion towards women and suppression which are mingled in the whole existence of women. This article has been written analytic-descriptively based on the library studies.

Structuralism, as the most important school of literary criticism, glorified in 1950 and 1960s and dominated the folklore studying domain. The structuralists, opposite to the previous researchers categorized the fictions based on their units and were regardless to the topic. The aim of this article is to analyze" The Khosrow and Shirin" of Nezami and "The Golo Nowrooz" of Khajooye Kermani " which is an imitation of Nezami's masterpiece. To do this, we've posed an introduction about structuralism, structural analysis method in folkloric stories with intended verses. Later, the functions, beginning stage, the way of story extension, characters and the people of the fiction traits are surveyed and the structural similarities and differences of these two works are analyzed by the related tables. Findings of present article show the adaptability of "The Khosrow and Shirin" and "Golo Nowrooz" with the analytic pattern in the folkloric stories. Although "The Golo Nowrooz" of Khajooye Kermani is an Indian story, in character, traits of people involved in the fiction, kind of extension and the beginning stage, have similarities with Nezami's story.

Mourning is an Irano-Islamic ceremony that takes the three arts of poetry, music, and play on the stage and presents skillful, poetic, and musical report of the historical conflicts, especially the Ashoora tragic event. This art, with centuries of precedence, in addition to historic narratives has borrowed numerous points from Iranian culture and civilization, specifically from The Shahnameh, either directly or indirectly. The present article is a research on these affectabilities in Horr's mourning assemblies, taken from the work of great cleric Mirza Mohammad, entitled with Mir Anjom - Zamaneh Arak. We have tried to show this adaptation in words and meanings. The conclusion of these studies indicate that the mourning transcribers specifically Mir Anjom have taken advantages front the symbols and myth 0 logic stories of the Shahnameh to illustrate the epic conflicts of the mourning to associate the readers I mind to what happened in those tragic events.

By deliberation on the ancient texts, we access some new information and expressions which make us familiar with the different dimensions of the life of previous generations. Although the mentioned capability lies in most previous works, this has multiple importance in the Azarbaijani style. Khagani and Nezami as the great figures of this style, having rich cultural and literary background, have utilized the different themes to express their ideas. One of these themes is the chess playing. In the present article, we have tried, to bring verses from" The Eghbal Nameh "of Nezami:If the pawn takes steps in its right custom, will overthrow the queen and replace it And in two verses from Khagani:Does it worth anguishing for the world treatment? – NeverDoes it worth visiting the lamenting idols? – NeverPoor pawn when replaces the queen! Is it doomed being overthrown once more? – NeverThe outcome of this research shows that the chess players, when they promote pawn by queen, they put it in head down position as the second queen to distinguish it from other men.