HISTORY OF LITERATURE (JOURNAL OF HUMAN SCIENCES)
Year:2020 | Volume:13 | Issue:1 (84/1)|Papers Count:9

Situational humor is created by overturning situations and juxtaposing contradictory situations, producing a scene that is funny to imagine. Among contemporary novelists, Ali Ashraf Darvishian uses humorous situations in his works to express social, cultural and economic problems. Therefore in the present study we attempt to investigate the types of situational humors in one of Darwishian’ s collections of short stories, entitled “ Abshouran” , which includes eleven short stories. In the present paper, by using descriptive-analytical methods, we seek to answer three questions: first, according to the theory of situational humor, by what means does Darvishian create humorous situations in his short stories? Second, which component of situational humor can be considered as an indicator of Darvishian’ s style in this short story series? Third, what goals did the author pursue by using humorous situations? The results of this research indicate that with the help of four tricks, "characterization, plot, behavior, scene" and a few subtricks, Darvishian creates situational humor in his stories and in creating such humor he means to express the social, cultural and economic problems of Abshouran village people in particular and the people of Iran in general. Also, the main factor in creating situational humor is the component of "behavior", especially in the use of microtechniques such as "repetition of an action, surprise, incompatibility of behavior with the situation and ridiculous movements. " Therefore, it can be considered as the main indicator of Darvishian’ s writing style.

The present paper reviews the variation of numbers in prophetic texts in Pahlavi language, texts that predict future events: this future may be the end of the world, or events related to the period of a kingdom that will come henceforth, or even the events after death. This article studies the issue of numbers and their variations in Pahlavi texts. There are references to prediction in works such as Bundahishn, Zadspram selections, Zand-I Wahman Yasn, Book of Arda Viraf, and works where Jamasp is present. Among the important features of such works are the references to various numbers or repetition of some, or allusions to numbers that have been mentioned in other texts for a particular event while not similar. This article has been written in a descriptive and library research method and has examined the numbers that were important in the field of prediction and the following results have been obtained: some numbers are repetitive such as the Saoshyant millennium, three, four, seven, or thirty and forty. Some numbers vary in different contexts for the same event such as periods of creation or the end-the-millennium hardships. These differences from one text to another are often produced because the authors of the texts had to change some contents to match predictions or because of some other reasons that have been investigated by the present article.

É criture feminine or Women's writing is one of the topics of interest for literary scholars and stylists which attempts to answer questions such as what women’ s writing is and what its characteristics are. In this regard, Sara Mills proposes a model based on "feminist stylistics" which is one of the socio-cultural approaches to stylistic knowledge, and is considered to be the most concise interpretation of feminism studies using linguistic methods and analysis in texts. In the present study, we answer these two questions: what are these characteristics? And how does it appear in the novel in question? In this regard, Mills and other experts in this field believe that women writers, influenced by feminine emotions, characteristics and views, use different language options in the structure and content of their works. In linguistic analysis, three levels of words, sentences and discourse should be considered. Therefore, this article is conducted based on practical stylistics and descriptive and library research method with the aim of finding the characteristics of women’ s writing in the selected work; and the novel Dog and Long Winter by Shahrnush Parsipour, as an example of contemporary Iranian fiction, was examined at these three levels according to the Mills Model. The findings of the research indicate that the women’ s writing characteristics in the mentioned work are evident by using the following items: morphology, feminine terminology, color words, and multiplicity of female characters; In terms of syntax, the use of declarative sentences, short, descriptive, interrogative sentences in the form of Soliloquy, and meta language sign of suspension point; At the discourse level, inner firstperson point of view, main female character, narrative discourse and female narrator, polite tone and a theme with feminist ideas.

During the period of literary return, the epistemology of the secretary and the teachings of epistemology writing flourished, and abiding works emerged in the form of social-court literature. Understanding the concept of epistemology writing and the introduction of stylistic epistemology writers in Iranian court literature is one of the main objectives of this study, which is revealed through biographies, literary status and stylistic and individual characteristics. This article is descriptive-analytical and where necessary, discusses practical definitions, types of correspondence, epistemology writers (stylist), etc. In order to match the title and content of this article with a historical and literary perspective, we have used all available sources and references, epistemology books, court documents and correspondences. One of the main findings of this study is the causes and factors that have influenced the stylistic characteristics of epistemology writers during Zand and Qajar dynasties. Literary device mastery, gaining posts in state (court), thinkers’ appraisal on their style and following orders on correspondence formats are factors that influenced their particular writing style. Another result of this article is the association with the genre of court literature, in which epistemology writing and epistemology writers can make a significant contribution to the evolution of scribe's prose and social and court lexicography.

Any misinterpretation of a word or a combination by the scribe and "corrector" can lead to semantic ambiguity of a text, and it makes it difficult for the reader to understand the meaning of a poem. In addition, writing commentaries and suspensions on these inaccurate recordings leads to a more sophisticated concept of verses. The effect of these issues on correcting a text is multiplied when the book is corrected from old Persian literature, and inappropriate and sometimes derogatory words are used. This claim can be traced inSana'i'sHadiqat al-Haqiqa; this text, difficult in itself, has become even more complicated by various scripts and corrections, to the extent that in the corrected texts, the recorded form of some verses do not provide any clear meaning. This study seeks to highlight the inaccurate recordings of some of the verses of this poem by using old manuscripts in a descriptive-analytical manner. The most important achievement of the present paper is to offer suggestions for correct recording or reading of some of the words, combinations and verses in Sana'iHadiqat al-Haqiqa, whereby the conceptual node of the verses in question could be resolved.

The theme of the world is one the most important central images in Nā ṣ ser Khosro’ s works that can be analyzed in two philosophical and emotional spheres. In the philosophical sphere he looks into the world as a sage who thinks and speaks about the hierarchy of the existence, the human position therein and their relations. In the emotional sphere, he takes the role of a considerate teacher and preacher who reveals the world’ s inherent nature through creating negative images, and warns the human against it. The main purpose of this study which is descriptive-analytic in its approach, is to investigate and analyze these two spheres of the central world images in Nā ṣ ser Khosro’ s works and to determine his dualistic view of the world in regards to artistic images. The poet’ s particular experience, the breadth ofhis knowledge and his social vocation are the main background of the central world images in Nā ṣ ser Khosro’ s works. Examining various and numerous clusters of the world’ s mega image in his works in addition to displaying his particular style in creating images, plays a pivotal role in discovering Nā ṣ ser Khosro’ s mentality and ideology.

Abu Ali Farmadi (death 477 AH-1088 AD) was one of the erudite of fifth century AH in Khorasan who was not only a master in fields such as Hadith and Interpretation of Quran, but was also known for his eloquent manners and holding preaching and sermons, which gained him titles such as “ Voice of Time” and “ Voice of Khorasan” . This article tries to find an answer to this question: what was the role of Farmadi in organizing and completing Romantic and Wise Mysticism and how did his mystic thoughts and heritage affect others after him. Using a descriptive – analytical method and while giving a brief introduction on his life, we discuss Farmadi’ s significant role in organizing and completing the course and the heritage which began with Rudbari and ended with Farmadi himself. The findings of this research show that firstly, Farmadi was regarded as one of the last mystics of Romantic and Wise Mysticism in Khorasan; a mystical series which began with mystics such as Abu Ali Rudbari and Abul Kasim Nasr Abadani and was developed by grandees such as Abu Ali Daqqaq and Abu Saeed AbolKhayr, and finally Abul Kasim Korkani and Farmadi completed this chain of thoughts. Secondly, there are at the same time some signs of this kind of philosophy and special Sufism in his writings; in a way that he has used this link to greatly affect other philosophers and many other Sufi successions ever since.

Amir Saif al-Dawla Hamdani (916-967 AD; reign 945-967) is the founder of the Hamdani government in Aleppo whose court was a gathering place for poets and writers. This research, done in a descriptive-analytical method and study of historical and literary sources, with the aim of analyzing the manner and consequences of the interaction and relationship of poets with Saif al-Dawla, seeks to answer the following questions: what factors have been effective in the gathering of poets in Aleppo and the court of Amir Hamdani and what are the consequences of this presence and interaction in the field of science and intellectual development. During the weak and recess periods of the Abbasid Caliphate, the flourishing of Islamic culture and civilization continued with the dynamism of independent and semiindependent governments, including the Hamdanians. Unparalleled forgiveness, freedom of speech, financial and spiritual support from Saif al-Dawlapaved the way for the presence of many poets in his court. In addition to the praise of the Emir by poets, this presence has led to the creation of scientific and literary works, strengthening the epic spirit and resistance to Roman invasion, promoting Shiite beliefs and expressing the legitimacy of the Ahl al-Bayt and criticizing the Umayyad and Abbasid caliphates.

Marzbanname is the name of a book which contains narrations and allegories and that Marzban wrote in old Tabari language. Mohammad Ibn Ghazi Maltivi first in 598 AH and later SadoddinVaravini in the first half of seventh century AH translated into Persian and made it one of the key works in Persian Literature; a work whose real author’ s identity is still unknown, despite its fame and fine values. Onsorolma' Ali Keykavos, the writer of Ghaboosname and Ibn Esfandyar, the writer of TarikheTabarestam believe that Marzban Ibne Rostam Ibne Shervin (the 13th king of Bavandiya Kiyosiyechain) is the real writer of Marzbanname. But Sa'daddin Varavini believes that MarzbanIbneShervin (the 5th king of Bavandiye Kiyosiye) is the writer of it. The ancients and the latter have each commented on the matter. This research attempts to introduce the real writer of Marzbanname and to remove the existent questions and is posed in library method, analyzing and criticizing the ideas and citing the sources of TarikheTabarestans. It is concluded that unlike the word of Onsorol Ma’ ali Keykavous and Ibne Esfandiyar, the writer of Marzbanname is MarzbanIbne Shervin as Varavini confirms. Marzbanwho is the son of Shervin and was not a king and had no thought of it; not MarzbanIbneRostamIbne Shervin who is the 13thKing of Bavandiye Kiyusiye.