Journal of Persian Language and Literature (University of Tabriz)
Year:2019 | Volume:72 | Issue:239|Papers Count:10

An element or elements that unite the story of a single entity, the elements and its elements are interconnected, are called essentials. It strengthens the element or elements of the structure of the story and gives it, in certain narrative situations, its prominence and meaning, due to its repetition, prominence and meaning. These materials, in addition to highlighting, are also effective in moving the story. In many Persian fables, the foundation forms the story structure. In this sense, the story circles around it in its entirety, and the events that occur in the story form around the same material. The most important elements that are active in the epic works of action are: hero, hero journey, dream and dream, concealment of name, prophecy, war, castle, dragon and dragon, magic and wizards, war instruments and more. As a religious epic in the creation of the story and the theme of the work, Khavaranameh has used these materials well and has promoted its artistic and influential influences as well as the prominence of the story. We will look at these materials in this article

Compounding is one of the prosesses of word-formation in some languages. Because simple words and derivatives satisfy just a part of the speakers’ need of vocabulary, the speakers are forced to make compound words using the available language elements and compounding patterns. These patterns always have certain rules and criterions and each language uses them in it’ s syntactic structures and historical backgrounds. Hence, no two languages, even two sibling languages or those that one of them is derived from the other one, can be found to have the same rules of compounding. Among the Persian contemporary poets, Mehdi Akhavan-sales with the full knowledge of Persian language, has created a large number of compound words and used them in his poetry. This knowledge, which is the product of scrutinizing the old and new Persian literary texts has resulted in the words being structured in accordance with the rules of compounding in Persian language. So far, no research has been carried out on the various types of Akhavan’ s compounds. In this research by extracting compound words from several books of this poet, these words are categorized structurally and the poet’ s approach to the structures are evaluated.

Mohammad Hossein Shahriyar, a renowned poet of Iran, and Gibran Khalil Gibran, a famous poet and writer of Lebanese literature are amongst those wrtiers who, in the contemporary world, are more associated with literary Romanticism. However, in the context of life, mystical tendencies are more highlighted in their works. Although Shahriyar was a Muslim and Gibran a Christian, significant common mystical concepts, symbols, and expressions can be seen in their works. The present research seeks to study the mystical thoughts and tendencies of these two well-known men of Literature by employing some mystical concepts such as true and virtual love, unity of being, mystic prayers, submission and contentment, love, intuition, praise and sincerity, as well as the application of some mystical symbols such as night and day, fire and butterflies, wine, morning and night, and light intertextually to illustrate the genius and literary ingenuity of these two well-known scholars who employed vocabulary in an artistic combination

The main focus of this research is to analyze the narrative structure of narrative in the sacred defense novel Ermia, relying on modern models of structuralism and narrative, so since most of the research in the field of sacred defense fiction works in a general way, Or, at the very least, introducing the elements of the story, in this study we will examine, for the first time, relying on modern models of structuralism and narrative, which are emerging literary criticisms, in the novel of Ermiaby Reza Amirkhani. So first, while introducing the structuralism theories Greimas and the narrative paradigm of Jappe Lint Veldt and GeererGennet, a brief history of the two sciences of structuralism and narrative in the fictional literature will be mentioned, followed by the two communication patterns (linkage and rupture) in the plot structure will be analyzed. Based on the research theory, while examining the structure of the plot, we will try to analyze the type of narration and its functions in this work, relying on the mentioned model

The old Burzō-nā ma is one of the most important epic texts of Persian that after Ferdowsi's Shā h-nā ma, has the most plurality and diversity of manuscripts among Persian epic texts; but since it has only an independent manuscript, most of which are the manuscripts of Shā h-nā ma, they are less cognitively reviewed accurate. The identity of this work as an accompanying story in Ferdowsi's Shā h-nā ma is not a specific feature of this text. This essay, by examining the quality of the transmutation of the old Burzō-nā ma, and analyzing and generalizing the findings of the manuscript, designed the triplet model for the classification of the sources of this genre: the Persian National Epic. According to this model, Persian epics are found in the seventh and tenth centuries in three Text Types of manuscripts: Independent manuscript, a manuscript in the epic collection and a manuscript in the Shā h-nā ma manuscript. The literary tradition that created these texts is the tradition of "compiling the Additional stories. " According to this tradition, both the creators of the works and the scribes of manuscripts, instead of creating an independent work, had a motive for adding their story to the genre's standard text (Shā h-nā ma). For this reason, most of the manuscripts of the ancient period (47 manuscripts out of 54 manuscripts) were manuscripts annexed to Shā h-nā ma, and the poet (Kō saj) also probably wrote the work for adding the Shā h-nā ma, or at least in relation to it.

In the thoughts of Muslim mystics, converting of human attributes, is considered as a key idea, which is the basis for the explanation of further fundamental topics like: The identity of human and the quality of his mystical conduct. Before Hujwiri, the concept of Human being, frequently, has been described as an unknown isthmus between the Animal and the Angel. In the meantime, the Human, by annihilating of his attributes, takes distance from the being of the Animal and gets closer to the concept of the Angel. However, the conceptual convergence between the Human and the Angel, only, evolves over a historical process. During this historical evolution, the thoughts of Hujwiri plays as a milestone, because, for the first time, he formulates the idea of Converting Human Attributes to Angels, in the form of cohesive structure. In Sufias' compilations, the story of Joseph (The Prophet) and the Egyptian women, which origins from Quran, has been used frequently as a narrative context, in order to provide an explanation about the matter of converting of Human attributes. The present Article, plans to provide a historical analysis to reveal the path of evolution of the idea of Converting Human Attributes to Angels. Therefore, with an analytical and historical comparative approach, it studies the mentioned narration, throughout various Sofia's work, before and after Hujwiri. Also, this analysis is centered on Hujwiri's thoght, as an important turning point during the historical evolution of this idea.

The mythical critique as one of the approaches to contemporary literary criticism explains the nature and characteristics of myths and their role in literature. In this article, we analyzed Garshaspname Asadi Tusi's based on Pearson's view, which is one of mythical critique viewpoints. Garshasb's life consists of various trips that each journey gives rise to one of the characteristics of his personality. And then his personality is complete. The giraffes of the Gershaphas show his passage from his stage to life and then himself. With the advent of the ancient pairs of the pattern, the background to the birth of the sacred child, Khodabano, the death and rebirth, the ideal of the city and. . . . Garshasb, the hero of these trips, fell in love with his inner and social journey through various obstacles and trials. And conquer on fairy instead of blending with him and perform Sacrifice ceremony And what inspires the immortality of the spirit of Garshasb is the awareness and cognition that the traveler gains from the father and other helpers during the journey.

Narrative love poems constitute a part of Persian classical literary texts, and they are divided into three areas of epic, lyrical, and mystical literature. One of the common features of these works is the extensive presence of the and mythological archetypes and elements in them which could be described, evaluated, and discussed using mythological criticism. In this paper some of the poems of the collection of One Hundred Persian Narrative Love Poems are discussed using the comparative mythological approach of Max Muller regarding the structure and character interaction. Reading the poems in the light of this approach allows us to determine why the protagonists journey lasts one year, to what purpose the orient and the occident are mentioned (China and Roman Empire), the reason behind the presence of a guide, witches and seducing women, horoscopic names, fictional characters and the manifold adventures of the protagonist of the poems. . .

Perhaps there is no text like Divan-I Hafiz in which the author himself makes so much changes in it. In fact the main variants is the work of the poet himself who has developed the poem to literal and spiritual perfection. If we want to make a meaningful relationship between poetical aspects of Hafiz that is to say short of words, exemplifications in speech, the broken form of discourse, resemblances of the poet with predecessors and his contemporaries, the hypothesis that Hafiz has had frequent studies on others steady works is reinforced. Sometimes his variant transcriptions in his poems exist exactly in past literary texts and sometimes the difference in the transcriptions is at the result of different scientific sources which Hafiz has refered to them and meditated in them. As if, it is probable that one of the creative factors of this different variants is because of the Hafiz research texts themselves. Searching in intertextualities of Hafiz poems make it possible for reader the reasonable understanding of Hafiz mind and language and also the scientific and critical edition of his poem. Up until now, the Hagia Sophia manuscript-copied in 1410 AD-and the Khalkhali manuscript-copied in 1424 AD-have been considered as two head / base-text in the valid editions of the Divan-I Hafiz, By introduction and publishing facsimile edition of Noor Uthmaniya Library manuscript-copied in 1398-99 AD, it seems to be necessary the critical review / edition of this manuscript's readings compared to existing ones

In rhetorical books, the eloquence is defined as "presenting one sole meaning in several ways by the difference in clarity and secrecy". The choice of these various forms of expression according to the conditions and characteristics of the factors that contribute to the creation of a word is vital for rhetoric. Considering that the speaker, the audience, the situational context and the word are of the factors of creating the verbal communication, the harmony of the features of the word with their status is the condition of the rhetoric of the word. In this study, the role of the requirements of these four factors has been explored in how and why of the various topics of the eloquence, alongside the necessity of considering these requirements, both in the stage of using the rhetorical figures of speech and in the stage of their recognition. The status of these factors in the structure of the various forms of similes, metaphors and their differentiation elements is essential. The creation of the ironies also depends on the situational context. Furthermore, the forming and use of the symbols is also influenced by the conditions of these factors.