LITERARY TEXT RESEARCH (PERSIAN LANGUAGE AND LITERATURE)
Year:2017 | Volume:20 | Issue:70 |Papers Count:7

Texts are product of social and linguistic forces. That’s why we should not search the rules of the game in the texts themselves but in the institutional functions that produce them. Reading Ravandi's representation of Ale Seljuk History with the approach of critical discourse analysis shows that the text produced at the end of the Seljuk Empire reflected the set of dominant discourses in the Seljuk era. The relation between power and legitimacy that are characteristics of Seljuk era is reflected in this text as a general principle reproducing certain aspects of social identity. Religious discourses focused on power, opponent or centrifugal discourses and scientific discourses focused on policy get help from other discursive elements reflecting the discursive patterns of the era. Social agencies of the Seljuk Era contain ideological discourse organizations that through panopticon monitoring, connect with different groups in the institution of power.

Epics like Shahnameh are the world of battle and war; however, they also reflects feelings and sentiment. Although the love stories are really marginal and fill little space of the volume, it has greatly contributed to its perfection. If the great national battle of Iran was emptied from these love stories, it wouldn't have this degree of acceptability. Ferdowsi has paid attention to different human feelings like anger, happiness, and sorrow in his work. He has also paid a special attention to love as one of the oldest human feelings and his everlasting pain. The present paper aims at investigating and discussing the issue of love in the world of epic through the analysis of the most important stories and love events in Shahnameh. More clearly, the general characteristics of love in in the world of epic and its different social and cultural factors will be the focus of this study. To do so, first, the differences between and the similarities of love in the epic and historic eras of Shahnameh are analyzed with a focus on the genre of epic, time etc. which have been so effective in the formation of a special kind of love. Next, three characteristics of love in epic stories are presented and analyzed.

Dialogue is usually attended to as an element of fiction along with other elements, while its structural and narrative functions can also be considered. Sa’di's Bustan is among the texts which has presented these narrative functions more than other Persian texts. This paper was an attempt to investigate the relationship between the narrative functions of dialogues in Bustan and its didactic aims. The most important narrative functions of Bustan are movement, extension, and completion of story-line, consolidation of casual relationships, highlighting the oppositions, importing the embedded narratives, interpretative function and aesthetic function. The high frequency of dialogues in Bustan can be due to its didactic aims. These aims compel Sa’di to use a direct expression by narrator or characters. Because of the importance of dialogue in this didactic context, the narrative aspects of these anecdotes are the results of dialogues rather than the actions and direct description and narration of narrator. Hence, in Bustan, most of the narrative changes, conclusions, explanation of casual relationships, extension of story-line, completion of narrative sequences and etc. have been presented by dialogue rather than narrator’s narration and actors' behaviors.

Haft Peykar, the valuable work of Nezami Ganjavi, is one of the greatest lyric masterpieces. Mahan Mesry is one of the legends in this book that is very similar to fairy tales in structure. The morphology theory of Vladimir Prop is one of the theories that is used to classify stories and legend in terms of form and structure. The investigation of Persian legend and stories based on Prop's theory is one way to study their structure and find the differences and similarities between them. This study aimed at studying the fifth legend of Nezami's Haft Peykar, Mahan Mesry, based on Prop's theory. The results showed some examples for the thirty one functions presented by Prop. The legend of Mahan extract of first equalization and finally return to the same equalization with a change in the hero.

Ghasemi Gonabadi is one of the poets who lived in the 10th century. He lived in the era of the Safavid kings Shah Ismail and Shah Tahmasb. He imitated Nezami in the Nazirehgooei method. The effects of Jami and Hatefi is also observable in his poems.  Some of his poems are:  Shahnameh ye Navvabe Ali, Lily and Majnoon, Khosrow and Shirin and Zobdat Al-Ashar. The present study was an attempt to introduce Ghasemi and his great work Khosrow and Shirin. The second purpose of the study was to compare his eminent work with Nezami's Khosrow and Shirin. The two poets are compared for their forms, contents, religions, manner, style and use of images.

Ferdowsi's Shahnameh is one of the main masterpieces of Persian literature that has attracted the attention of many poets and writers and has imparted them from its unlimited capacities. In spite of rarely successful imitations, successful use of its verses and its heroic state can be found in many literary works. A work that has been under the direct influence of Shahnameh is Vassaf. Vassaf studied Shahnameh in a period of time when epic was on the verge of to cadence, but he increased its values by the use of verses, and the capacity of content, language and rhetoric of Shahnameh. It is a reliable source for the accuracies and inaccuracies in Shahnameh's verses and is available for the researchers of this literary masterpiece. The inclination of Vassaf to Shahnameh is am intellectual answer to the mental and spiritual needs of Iranians who drown in a tiresome despair for the bitter taste of failure from Maghols. Vassaf tried to blow a hopeful spirit to the mid-live corpuses of contemporary Iranians by the remembrance of Iranian glory in the inherent poems of Shahnameh. This paper is a descriptive, conceptual, and adaptative criticism of Vassaf's use of Shahnameh.

Bijan Najdi is one of the well-known writers of contemporary Persian literature whose short stories have aroused wonder and admiration of general and specific fiction audiences. Innovative applying of such devices as combining features of prose and poetry in the use of language,  complicating narrative structure with the application of subjective methods of narration and techniques of breaking narration, tendency to metaphorical pole of language, blending reality and fantasy or objectivity and subjectivity extensively, integration of present and past and many other narrative techniques, not only record his writing style as a unique style with the ability to be followed and continued in the history of Persian fiction, but also create a lot of similarities and correspondences in the technical and narrative structure with what the modernist literary theorists like Charles May and Susan Ferguson have explained in their theories about short story. Accordingly, in this article we want to review his short stories from the perspective of the two well-known critics to identify and evaluate the qualitative and quantitative aspects of these adaptations and also study analytically stylistic innovations Najdi made in this field. some examples of his creativity in this area include: Inventing a new criterion for measuring time in the narrative in order to violate the concept of calendar time and give a personal meaning to it; Summoning the past time in the present in such a way that it becomes hard for the reader to distinguish the two tenses; And avoiding the mechanical application of modern fiction techniques and to use them to expand the semantic and signifying aspects of the narrative.