JOURNAL OF THE FACULTY OF LITERATURE AND HUMANITIES (KHARAZMI UNIVERSITY)
Year:2001 | Volume:9 | Issue:32|Papers Count:12

The edition of manuscript copies is still of the utmost importantce. This paper presents three manuscripts of Tarikhe Jahangoshai-e Joveiny which have not been available to Allame Qazviny while publishing this book it is assumed that these manuscripts settle some probems concerning the book.

In Sufism literature, going beyond the denotative meaning of aral and written text and interpreting the text freely has been a very common pratice. The Gnostic have interprated the Quraic verses, Hadis, poems, proverbs and even child speeches. In so doing, they have generated a lot of meanings out of nonsense. In this paper, a nonsense and paradoxical tale along with seven odd interpretations of it are critically examined. Also, new ideas about Iranian culture are discussed: 1. The spread of interpretationalism and search for meaning in norsense in Iranian culture. 2. There are no rational or empirical principles in interpretation. 3. The growth and faint of Sufism has in fact been realized in the growth and faint of language and literature of Sufism. 4. Allegory is the basis of intellectualism and metaphore is the means of schizophernia of people.

In this paper, having examined the differnces between classical and modern text, we compare the audience"s position in these two categories of discourse. It is a truism that parallel with changes in factors governing discourse, rhetoric takes new meanings too. Modern rhetoric is dominated by "interpretation"; in classical rhetoric however, exposition is the overriding element and writer rhetoric gives place to reader rhetoric. Here, following some relevant theoretical discussions, Persian poetry is examined with respect to the reader"s relation with the text. It is argued that understanding "Gnostic" and original modern poetry requires reader rhetoric. Overall, based on this perspective, the contemporary Persian poetry can be divided into three classes: 1. Single-meaning poems which are often easy for readers to communicate with them. 2. Explicable poems which have one explanation. 3. Interpretable poems which have extensive ambiguity of meaning.

The term "Tangelusha" has been employed only in three verses of Khaghani Shervani (died in 582 or 595 A.H.) in the sense of "picture", beautiful image" and "picture gallery". This term has been used in various forms and senses in the history of science and has got an old etymology and history. In this paper, attempts have been made to examine the history of the various forms and meanings of the term "Tangelusha".

This paper examines one of Hafiz"s couplets that has been interpreted and discussed extensively in the literature. The ambiguity of this couplet resides in the meaning of the phrase" taking off the Kherghe and burning it to express gratitude". The author has attempted to trace the origins of meaning of phrases "taking off Kherghe", "burning Kherghe" and "mardom-e cheshm" (pupil) in Persian literature and interpret those phrases bosed on the background.

Our main concern in this article is to examine the relationship between sound and meaning as well as the role of word in Nezami"s poetry. Indeed, while reviewing Nezami"s poertry and particularly its unique musical aspects, what originally catches the reader"s attention is the music which results from the frequency of consonants and identical or simillar vowels. The high frequency of a consonant or a vowel in certain verses, quite often and unintentionally, provides clues to the reader to understand the meaning and feelings which the poet, drawing upon his talented and creative mind, has tried to convey. In this paper, attempts have been made to study the relationship between sound and meaning through examining a wide sample of the corresponding verses.

In this paper, employing formalism in literary criticism, attempts have been made to analyze the book of Tarikhe Jahangosha-i- Jovieni written in 658 A.H. (1280 A.D.) and to make a distinction between the historical essence of the text and its literary features. The study reveals that the literary feature of this book overrides its historical essence. Further, it is concluded that, in this book, the content of the historcal account has been employed as a means to create the intended literary form and format.

Historical Novel, a literary form of the 19th century Euroupe, was first born when Sir Waiter Scott wrote his novel entitled "Waverley" and with the help of some prominent authors such as Hugo and Duma quickly developed, achiveved its highest degree of perfection and attracted the attention of many readers of the century. This new literary form, which was first innovated in England and especially in France due to the political, social and cultural requirements of the period before Nappoleon, quickly found its way into Persian language and culture through translated works. As soon as political, social and cultural conditions rather similar to those in France were provided in Iran, the Iranian authors also started to write historical novels by imitating famous writers like Alexander Duma, Victor Hugo and Georgee Zeidan, and in the first few decades after the Constitutional Revolution they worte tens of historical novels in Persian language. In this paper we have tried to explore: 1- The role of translation in the genesis of historical novel. 2- Why in this period, Iranians have paid so much attention to the culture and literature of France more than any other country in the world. 3- The factors causing Iranians to be so much interested in the works of Duma and Gerorgee Zeidan and the translation of theses works 4- The standards the translators considered in selecting the works to be translated. 5- The functional role of early translated works in the formation and development of contemporary litrary and cultural processes, especially in the development of Persian prose. In conclusion, by analysing the above mentioned points and establishing the role of translation in the formation of modern literary processes, it is argued that the genesis of historical novel in Iran (as one of the most prevailing literary forms in the period between the early years of Constitutional Revolution and the decades before it) has been under the influence of the element of translation more than any other factor, and like other literary forms it has been a function of translation.

For over twenty five centuries, attempts have been made to defind "literature". However, no conclusive and satisfactory definition has been offerred yet. In this article, With reference to the process of change in the concept of "literature" through time as well as various efforts into defining it, the author discusses the reasons why literature defies all attempts to define it. The paper is arranged in two parts. The first part examines the background to the concept of politeness and literature and its kinds, in both Arabic and Iranian dictionaries, and how the meaning of this term has changed through time. The second part deals with modem interpretations of the term. It classifies and evaluates the existing definitions in the literature of literary criticism under three categories. It is concluded that, quite similar to the concepts of culture, language, aesthetics, and arts, "literature" is not defiable. Finally, the communa lities in all definitions of the term are examined.

Garshasb is one of the most famous Iranian heroes. An important part of the Iranian mythological and epic literature has been allocated to the description of Garshasb"s deeds as well as his children"s; Nariman, Sam, Zal, Rostam, Faramarz, and Borzu. In Avesta his name is "Garshasp" and his title is "Nariman". He is from Sam"s family. Later, his title is assumed as his son"s name and his family name as his grnadson"s. Description of his great deeds like killing a dreadful dragon and a frightening devil has appeared in some parts of Avesta. Garshasb is one of the supporters and assistants of Soshyans. In the Last Day he joins Soshyans in killing Zahhak who has just been released from the chain. In the texts of Pahlavi era in the post - Islamic literature, the character of Garshasb has faded. Many of deeds are attributed to his grandson so that in Shahname his name has rarely been mentioned. Only in one of the appendices a brief reference has been made to his kingdom. This article examines the process of change of Garshasb"s character in various sources and texts.

In this paper, we have examined Knmal-Esmail"s artistic creativity in the area of personification. Regarding structure, the literary figure of personification is categorized into intensive, semi-intensive and extensive. By the same token, with respect to the two sides of personification, other taxonomies have been presented. Towards the end of this article, the cluster image of Narges throughout Esmail"s poertry has been schematically presented through an image network.

In this paper, having examined the theme of priority of tradition over modernism in folklore, the author concludes that in folkore all matters concerning past are regarded as sacred and every old thing is superior to its modern counterpart. These issues are among the most prominent themes of folklore in traditional static societies. In such societies, the golden age as well as the lost paradise are located in the past.