Literary Research
Year:2018 | Volume:15 | Issue:59|Papers Count:6

The preface is the beginning of communication and contact between the creator and the audience of a text and the writer or poet in this encounter expresses his personality and presence before the reader’ s thought. This research seeks to elucidate the preface of the Masnavi by analyzing – descriptive qualitative research methodology and the method of studying the text. The results show that the structure of the coherent prepositions is combination of worship, praise and exhortation, and repeat this triangular interconnected structure has turned it into a macro modle of the standard for all Persian Masnavi’ s that have preface, which finds controversy from the early Masnavi to the next, but the components of this pattern are influenced by thr political, social, and the religious era of the epic, lyrics and mysticism of theme of Masnavi, the prevailing taste of time, and the attitude and personality of Masnavi sara is fluctuating. More over, the lack of prefaces in some of the Masnavies is questionable, there are other proverbial prefaces and some of them have coded startups.

In the Persian language grammar resources, there are disagreements about the matters such as construction of verb from infinitive or infinitive from verb, dividing the verbs into regular and regular verbs, the number of past morphemes, and originality of phonemes "t" or "d" at the end of the present stems; and even sometimes there are "negligence" in the categorization of causative, prayer and imperative verbs as the regular or irregular verbs. In this article, the views of the syntax authors are criticized through studying the grammar books and articles, and after concluding in each case, a relatively new classification of the construction of the verb is presented under the new titles as follows: "1. Regular verbs; 2. pseudo-regular verbs; 3. Irregular verbs; 3. multi-root verbs". Other major results are as follows: the past stem is constructed during the initial construction of the present; and infinitive is constructed from the past tense of the verb, but after the emergence of infinitive, the stems are usually recited and recalled on the basis of the infinitive. Out of the last two phonemes of the past stem, the originality is with the phoneme “ t” and frequency prevalence is with the phoneme “ d” . Today, there are eight past morphemes in Persian language:-d,-ad,-id,-t,-st,-est,-ist,-oft, Regular verbs include pseudo-verbs, causatives, prayers and imperatives, and a few other delicate points.

Literary genres in Persian literature are divided into three Epic, Lyric, and Didactic types. Each of these main types includes sub-branches; the didactic genre has several sub-genres, one of which is the genre of the dream interpretation (Dictionary of Dream). The issue of the present paper is whether Persian dream interpretation can be considered as a sub-genre and why. The results of the research show that Persian dictionaries due to: subject, plurality, variety, and literary characteristics are a genre. Independently written dream interpretation (Dictionary of Dream) have the most characteristics of the didactic genre, but the abilities that come from other genres are epic and lyric, the theme and features of these genres can be found in them. The genre of dream interpretation (Dictionary of Dream) is rooted deep in history and myth, but it can be said sacred texts: Torah and the Quran are the most important origins.

Fiction works with children and adolescent audiences, such as adult’ s Fiction works, have special Aesthetics and specific narrative Standard. Mariya Nikolajeva has been working on exploring narrative theories based on Fictional element such as Plot, characterization, Voice and Point of View and Narration time to Recognizing and explaining the Aesthetic of literature of children and adolescents. In this article, based on the Nikolajeva’ s narratology theory of children and adolescents, we analyze one of the selected works of the child and adolescence, one Thousand and one Year Written by Shahriyar Mondanipour, to find out which structure Narrative as it is used in childhood and teenage storytelling literature. Which different Elements and narrative Techniques was used by The Writer of children and adolescent to write special story for special audiences. Mondanipour, by using episodic plot with open End, creating fantastic characters with fantasy actions, using an adult narrator to guide the characters of the story, and using special techniques of narrative Time, try to distinguish narrative stories from children and adolescents And adults. He, along with saying the deep concepts adapted to the mental world of children and adolescent, has tried to express an ontological issues for adult audiences to pleasure of reading the text.

Kalila and Demna is one of the invaluable works of the Persian literature. As a result, numerous translations and adaptations have been made of this work. Nasrallah Monshi, a 12-century translator, rendered the work from Arabic to Persian. Mulla Hossein Va’ ez Kashefi, a writer in the Safavid period, provided an adaptation of Kalila and Demna which is similar to the original work in its entirety and themes but is different in some other respects. However, given the fact that he adopted a paraphrasing approach, from linguistic and literary points of view, this version is a free adaptation of Nasrallah Monshi’ s Kalila and Demna. Rather than adhering to the original work, it has followed the writing and technical rules of the Safavid literary period in India, adopting the literary style of that era. Drawing on the abovementioned textual changes, this study aimed at discussing Nasrallah Monshi’ s translation and Kashefi’ s adaptation of Kalila and Demna from a comparative critical point of view using a descriptive-analytical method. The results indicate that, in his adaptation, Va’ ez Kashefi has not adhered to Monshi’ s style and, given the peculiarities of the language and the literary style of the Safavid period, has created a different work. Moreover, his free style of writing has distinguished his work from Monshi’ s Kalila and Demna.

Review and compare writers of childrenchr('39')s stories Theme comparative and world literature plays an important role in understanding the childchr('39')s position in the world and attitude towards childrenchr('39')s authors. The aim of this study was to evaluate the comparative Theme author of childrenchr('39')s stories both Iran and the world (Ahmad Reza Ahmadi and Megan McDonald to review practices Theme fit with a childrenchr('39')s audience and author’ s attitude towards children. Donald theme stories on issues like the curiosity and the increasing amount of information about your child and encouraging children to protect the environment and so on. Ahmadi could be to include the theme stories, questioning the way for a better understanding of the world. Depression and sadness caused by loneliness and its impact on childrenchr('39')s audience. Seizing opportunities and moments. Childrenchr('39')s stories Donald self-esteem and confidence so that could save the world, but the child in the stories Ahmadi, compared to children stories Donald, self-esteem are less and less adventurous and curious.