LITERARY TEXT RESEARCH (PERSIAN LANGUAGE AND LITERATURE)
Year:2011 | Volume:15 | Issue:48|Papers Count:7

Story narrating has been one of the most important traditions among the Sufis.The mystic writers have always exploited the narratives as a tool for expanding their thoughts. Hojviri is one of those who has been more successful than others in developing and making rich narratives, to the extent that some believe that Hojviri can be known as the best mystic writers of Iran. The major part of the book of Kashfolmahjoub has been devoted to mystic narratives and quasi-narratives. These narratives enjoy high consistency and can be investigated both structurally and semantically. Hojviri has made use of these narratives and quasi-narratives in different part of his book to emphasize his sayings. Likewise, Kashfolmahjoub’s narratives can be investigated according to the new literary theories such as structural narratology. Among various patterns of narratology, Greima’s narrative pattern seems most appropriate for investigating Kashfolmahjoub’s narratives which are very terse and concise. This pattern is remarkably compatible with many folk narratives. After investigating prop’s theory on morphology of narration, A. J.Greimas attempted to achieve a universal grammar for narration. He established the theory of semiotics of narration in his book entitled “Structural semantics”.Accordingly, this proposition that the structure of a narrative is similar to the structure of a sentence has become one of the standard hypotheses in narratology.This study examines the structure of Kashfolmahjoub’s narratives based on Greima’s semiotic pattern of narration. Further, it reveals the flexibility of this pattern in the mystical narratives.

The author of this study believes that the love sonnets of Saadi are highly affected and impressed by the imagination of Ozri Arab poets especially Majnoon on love and captivation. In general, if we consider the eminent Persian or Arabic sonnets of Saadi as a criterion for making judgment, it is revealed that the love represented in Saadi’s sonnet is in fact an Ozri love. The primary purpose of this study is to indicate some of the elements of such influences on Saadi’s poems attributed to Majnoon in terms of meaning and form. It can be realized that some of the poems of Saadi about Leili and Majnoon have been directly influenced by the Arabic poems of Majnoon; a point that none of the earlier researchers of Saadi have focused on.Subsequently, the study defines and explains the characters and various steps of Ozri love and its induction on Saadi’s sonnets. The author believes that “Hobbe-Ozri” (Ozri love) is in fact the main origin of many subjects and issues in Persian poems such as the purity of love, love before birth, love after death, union with God in the resurrection and so on. Hence, the knowledge of “Hobbe-Ozri”, and Ozri’s poems can significantly extend our knowledge of fundamentals of aesthetics in Saadi’s sonnets.

The customary definitions of satire and pleasantries in Persian literature are based on the fundamental contrast between the formal and casual speech.Although being useful in some of the cases, this contrast has enjoyed some defects such as the privilege of formal speech to the casual speech and reduction of humor and satire to social, political, moral, or religious messages.This research is aimed at revealing the defects of the conventional definitions, especially about the mystical satire through resorting to Bakhtin’s works, so that we can depict a great picture of mystical satire which is founded on the carnival characters of language and mystical satire and the extent of boundary between self and the other. In this view, we can imagine a spectrum which specifies a continuum of boundaries between “self” and “other”. Mystical satire is at one end of this continuum which reveals the lowest rate of boundaries, personal satire lies at the other side of that continuum, and socio-political satire is in between these two states.

Mevlana’s Mathnavi is called “Persian Quran”. This valuable and transcendental work is full of mystical thoughts and teachings. This book includes the significant issues of mysticism and Sufism such as trust in God, contentment, submission, abstinence, affection, forbearance, repentance, annihilation, and immortality. By using the form of fiction, Mevlana has enthusiastically paid attention to many mystical issues, which have been also stated in Sufi’s texts, and thus made them more attractive and effective. This method has attracted many addressees as readers. One of these mystical issues is repentance which can be especially studied in the story of Pire Changi. There are different notions about repentance among mystics and Sufis. Mevlana’s point of view, at first, seems paradoxical and ambiguous. In this story, he represents the state of repentance from the beginning stage of soul awakening to the end of total absorption and mortality. Another important element which can be studied in this story is the issue of dream. Hence, dream is a medium for connecting with the world of meaning. In this story, he agrees with those who believe that in the highest degree of repentance, the soberness of the repentant is a sin and such people should forget about their materialistic life and repent of repentance.

One thousand and one nights is a multi-national book which has been written during the consecutive years and has experienced several languages and cultures. It enjoys a particular status among its hometown communities and even among the western countries. Narrators and storytellers of this story either intentionally or unintentionally, have chosen the characters’ names of the story in a way that absolutely coordinates with their actions and personalities. Hence, the women’s naming, in a book which has been compiled through the effective presence of women and has been strongly connected with a mysterious and symbolic universe, is considered extremely important and worthy. The study of the names, in this book, extends our knowledge of the book and reveals the women’s identity during their lost history. This study is an attempt to examine and present the women’s names and their descriptive worthiness through one thousand and one nights based on a feminine approach and considering the women’s social class. The statistical group of this study consists of the anecdotes of one thousand and one nights; the first volume of it has been translated by Abd-Al-Latif Tasooji and published by Hermes publications. The results indicate that the women’s naming in this book has a particular status. It also phonetically, semantically, and symbolically has an inseparable and meaningful connection with their personality and actions. Several examples of different methods that narrators have adopted for naming confirm this idea.

"Haviyeh" is the first collection of short story by Abu-Torab Khosravi. This study is an attempt to grasp the writer’s style and his analysis of the stories, using the structuralism method of Todorof, so that we can analyze the deep structure of the stories after extracting the sequences. The deep structure of this set is based on a battle against time and its representations. Examining the structure of narratives reveals that the writer intends to reflect the deep structure in his style and structure of narrations and provide coordination between the narratives and the deep structure to the extent that is feasible. In simple and mono-dimensional narratives in which sequences are a chain, the writer takes advantage of other elements such as doubt and suspense to reflect the deep structure of battle against time and in cases where the combination of sequences is alternative, he adapts the deep structure to create a sense of remoteness. Only the story of “Haviyeh Akhar” (The Last Haviyeh) is multidimensional and a narrative has been repeated in varieties of ways so that through this repetition the deep structure of combat against time continues in order to eliminate or invalidate it.

Amirol Shoara Shahabodin Amagh Bokharaee is a poet who was living in Transoxiana in the early sixth century. His poetical works was published for the first time in Tabriz in 1307 which contained forty-four pages and was much disorganized. After this publication, Professor Saeed Nafisi collected some of his poems from various poetical works and biographies and published them by Foroughi book store in eight-hundred and six verses. Since there wasn't any reliable manuscript available as a basis for correction, some verses have been distorted and are ambiguous. To this end, this study is aimed at correcting some of these distorted verses based on one of the precious manuscripts of Bokharaee’s poetical works kept in Paris National Library.