Pazhuhish-i Zaban va Adabiyyat-i Farsi
Year:2011 | Volume:- | Issue:21|Papers Count:10

In this research all text books of primary school for the academic year of 1387– 88 are studied word by word, (with especial focus on the words having different written forms), the way they are written regarding inflectional and derivational morphemes and the degree of consistency in attaching/ detaching different morphemes to/ from each other. The work is conducted for all grades in a comparative way.Research population consists of all books of different grades of primary school studied in the academic year of 1387 – 88; data of the research consists of all words in books. Since all the words in these books are considered, no randomization is made. The research is descriptive, regarding the type of the research, and data collection and their analysis. Data analysis is done determining the frequency and percentage of morphemes in their attached/ detached spelling, and the probable inconsistency in their spelling. According to the findings of the research, there is some inconsistency within the same textbook, or textbooks of different grades in attaching/ detaching morphemes.

There exists important information about a Greek book on Persian history and legends recorded in the writings of Movses of Khoren, the first Armenian historian of the 5th century. Part of the book seems comparable to Karname-e Ardesir-e babakan) or Book of the Deeds of Ardesir, Son of Papag. In his short report, some of the legends relate to Ardesir, and some relate to other Persian mythical and historical figures.However, most researchers, and among them Theodor Noldeke, have attributed these legends exclusively to Ardesir I, a mistake that caused some inaccurate conclusions particularly about the legend of Cyrus’s childhood and upbringing. Besides, Khorn’s report, including the author’s name, and the name of its Persian translator, has totally been ignored.The present paper explains our reasons for rejecting the false common claims, and tries to make a close analysis of Khoren’s report based on linguistic principles and the latest researches of the Armenian researchers, and then compare it with Karname.Meanwhile, it clarifies the identities of the book’s author and the translator, giving their correct names already recorded disorderly and in just few resources. To make sure, legends in Khoren’s text is contrasted with its French and Armenian translations, Karname, and Shahname.The findings of the research can be used in studies on Karname-e Ardesir-e babakan, the mythology and literature of the Ancient Iran, the ancient history of Persia and the West, and particularly the lost resources like Khoday- Namak (Book of Kings).They can also be beneficial in evaluating Khoren’s style of historiography.

This article is an investigation into the position, importance, and effect of image on Iranian portrait painting. It is an intertextual analysis of Persian poetry and painting, focusing the elements of mysticism in both. The discussion is documented offering paintings from different Persian painting schools so that it can better show how this field of art has always used the element of image and mystical understanding to convey a figurative universe. The article, first, introduces image and its position in Iranian painting, then contrasts the figurative elements in both Persian poetry and portrait painting, and finally concludes that Persian painting, using institutionalized signs and symbols in poetry has created its own figurative and ideal human.This feature can be found in Persian painting up to the first half of Qajar reign in the 13th century A. H.

Underlying structures of literary or artistic works are shaped by implied and multilayer semantic relations among their constituents. At the surface structure, they manifest as aesthetics of the works. So, their key concepts and symbolic meanings should be sought at the layer of deep structure.Shahnameh is a literary work having rich meaning depth, and broad underlying semantic relations. The variety and multiplicity of its constituents open it up to study from different perspectives.Focusing on two frequent structural elements in an episode in the story of 'Rostam and Sohrab', namely', the color of Sarapardeh' and ' the figure of Darafsh', this article reveals the their implicit relations, and sheds light on one part of the colorful and mysterious world of this masterpiece, in order to show to what extent the overall meaning and the numerous concepts of the text have been conveyed through these two elements alone.

Moulawi (604-672), both a great mystic and great poet in Persian mystical literature, has left behind so glorious works that, being appreciated during and after his life, have always remained fresh, and a source of contemplation and subtle thoughts. Moulawi is poet and mystic, thus he understands pain and sufferings of human well, and of course offers the ways to get rid of them. Solitude, that is one crisis of contemporary human’s life, has been considerably reflected in his Mathnawi When a person thinks there is no one in the world loving him, caring about him, lightening the burden of his sufferings, he is trapped in solitude. Moulawi doesn't believe in human’s solitude, while stressing their need to companions of either spiritual or physical types; the need that may brings with it pain. That’s why he tries to find the ways to treat the pain. The present article is an attempt to classify types of solitude in Mathnawi and analyze them, regarding concepts and terms like meaning, origin, reason, types of deliverance from pains and the ways of the deliverance and classifies and analyzes it.

The present article is a semiotic analysis of some animal symbols in poetry of Saib and Bidel, two prominent poets of ‘Indian poetic style’.Its main objective is to show how the symbols function in the structure of poetic language. Such symbols have repeatedly been used as motives in literary works in all history of literature, and accordingly caused shifts in their signification paradigms. The analysis is mainly aims at symbolic status of the signs, and the role they play in expansion of the semantic domain of the poems; it ends in formal classification of the symbols based on their possible significances in both communal mind and the poet’s mind.

Sheikh Bahaee, the great religious scholar of the 10th and 11th centuries (A.H.), was also an architect, poet, mathematician, and astronaut. His high religious status as Sheikh- ul- Islam in the Safavid court and among the people makes it hard to think of the presence of satire in his works. Nevertheless, the fact is that Sheikh Bahaee has strategically employed satire as an effective means of criticism of society and morality of his time, as well as promotion of social awareness. In addition to some satiric poems and writings found in his works, he has also two completely satiric works named Kashkool (collection of writings), and Moush- o- Gorbe (Mouse and Cat), a symbolic story. Existence of hese works alone shows how Sheikh Bahaee concerned with satire in criticizing deeds and sayings of particular groups of people. This study then is an attempt to show the potential of satire, as well as social and moral criticism in Sheikh' s Bahaee's Persian works.

Jalal Al Ahmad is an influential writer in Iran’s contemporary literature. There has always been a big controversy over him because of the social conditions of his time, and his own specific character.Most of his literary works are rich in references to social and historical events, so that they mirror the social and cultural context of his time.Jalal was frank in both personality and his political stance. He was not a man of hypocrisy; so was in his writings, where he appears as a careful observer of the facts.The present research is an attempt to give a picture of the social and cultural context of his time, studying Jalal’s works (with focus on his three stories: Modir-e Madrese, Noon va-l-Qalam and Nefrin-e Zamin), as well as the books and writings about him. The finding of the study has provided good evidences on how concerned Jalal was about the society and the events around him, and how well he has portrayed his personal and social life in his works.

Royaee invented and introduced a style in Persian poetry which he named Spacement Poetry. His poetry renewed debate about the relative value of form and context in modern Persian Poetry. The present article is a semiotic study of narration in his poem named “Sokoot Daste Gol-I Bood” (Silence seemed a bouquet of flower in my larynx), from his Sea Poems. The findings of the research show that he has employed an implied narration; narration occurs using repetitive spacements in short lines, without using any explicit narrative elements. This differentiated his poetry from the prevailed poetry of the time-symbolism, and romanticism.

Brothercide as a religious and historic myth, and originating from its archetype in the murder of Abel by his brother Cain, has always been associated with human’s triple concerns about ‘death’, ‘sin’, and‘feeling of emptiness’. In classical Persian literature it has been expressed in different forms according to the prevail discourse of the time. In the present Article, the author tries to provide a contrastive analysis of Bon-Bast (a short war story by Mahmoud Dehghan), and Samfoni-e Mordegan, (a bestseller by Abbas Ma’roufi). First, an analysis of Bon-Bast is given; focusing the theme of brothercide, then it will be contrasted with Samfoni-e Mordegan.