فهرست مطالب حجت کجانی حصاری

Rahat al-Sodoor and Aya al-Sorroor are among the few surviving books in the history of the Seljuks that were written in 603 AH. Many scholars have argued that this is a mere plagiarism, and that Najmuddin Ravandi is the one who misused the Seljuk letter, a book written twenty-one years ago, to display it in a different form and by adding material to That or the abbreviation of that book, has achieved peace and has placed its name in the ranks of historians as well as writers of technical and artificial prose. This article, unlike other scholars who have often transcribed each other's beliefs, states that although there is ample evidence of plagiarism in Rahat al-Sodoor; But there are points in this book that indicate that there is evidence that the Seljuk letter was borrowed, not stolen, and this fact is confirmed by the silence of many great literary figures and historians of literature.

Athir-o-ddin Omani is a poet of the sixth and seventh century AH. His only remaining work is the Divan, which includes poems, sonnets, ballade, ode, quatrain and tarkibband (literally composite-tie). The poet's poem is a link between Khorasani and Iraqi styles and because of its inclusion on the words, idioms, verses and interpretations of the poet's covenant, as well as the presence of numerous historical and literary references, it was necessary to pay more attention to the correction of the abovementioned court. Correction of the Divan of the Islamic Republic of Iran by the library, museum and documentation center of the Islamic Consultative Assembly in 2011. The present study, based on the eclectic method, reviews and criticizes the errors and omissions of the revised version. By examining and analyzing the text corrected based on the eclectic approach, the bugs and errors in that text reveal that they are The imperfect title of the Supreme Divan, incorrect prefixes in duplicates, typos and spelling mistakes, incorrect and incomplete references, scientific errors, and errors in the writing of internal and external references and the list of references. Since every version is a valuable cultural and literary treasure, the bugs to correct the text must be resolved in order to preserve the authenticity of the legacy. It is hoped that the findings of this study will be taken into consideration and that these shortcomings will be addressed in the next edition.

A scientific narrative examines the narrative techniques and structures of a narrative, as a report of related events presented in artistic forms. Narration is a way to combine linguistic units into larger structures in the same way as to cover secondhand meanings. Thus, narration is a way of reasoning and one way of its representation and its purpose is to describe the system of rules governing the production and processing of narratives. The narrative of texts such as the “Persians” by Aeschylus, which has different historical, mythical, and religious aspects, creates a new horizons. As long as a person needs communication with others, the narrative is also present in their life; narrative is a way to combine language units into larger structures and almost all language uses. Narration is an inescapable and necessary condition of language, meaning and knowledge, and consists of a variety of genres, from myth and history to plays, and even news titles and conversations, and at any time there is a place and a community. Narrative is a linguistic action that translates meaning, and narration is the review of this transition.Barthes refers to the events of the story, which are logical and time-consuming, the “story” and the word or the text in which that story was formed, “text” or “subject”. Each story begins with an expression of an incident, and each narrator expresses his perception of the story in such a way that the audience can understand it. Narrative analysis explores cognitive, socio-interactive and symbolic environments, and the structures are meaningful. For Barthes, critique was a process of structuring a text, and in his analysis, narration was the product of the combination of functions and themes. He believes reading narratives in a structured way is to illustrate how the meaning of narration is relying on a complete process. Functions are joined to actions, and actions ultimately join narratives themselves. Based on this, in a charting of Barthes’ speech, there are three levels of functions, actions, and narration of the main elements. He divides functions into two sets of “special functions” that follow and give rise to complementary actions, and “profiles” that divide the broad and indistinct concepts which are necessary for the meaning of the story. In Barthes’ theory, a function called “distribution function” is also named, which Propp and Grimes termed “prophet”. Purification means the logical sequence of functions that are interconnected with the correlation and brings the reader to the final text commonly found in classical stories, the result of the story and the writer’s purpose of expressing it. At the level of actors, characters are narrated based on what they do, and they are usually formed with contrasts and contradictions. These dichotomies or bindings are an action structure that enables story analysis. At the level of narration, functions and actions find their integrity and discover the hidden meaning of the story. The narrative and structural analysis of various texts create a new horizon and decode the new meanings of the new window into the perception of the reader; therefore, the “Persians” by Aeschylus, embraces various historical, mythical, and religious aspects. The main focus of the research was to make the reader understand the apparent meaning  –a demonstration of the victory of the Greeks on the mighty Iranian army– which means that the authority of the Greek gods in the face of the Iranian God and the rule of law and democracy is attaining dictatorship and the kingdom. Therefore, the purpose of this article is to use the ideas of Roland Barthes to analyze the narrative structure of this play at three levels of functions, actions and narration, and also examine the functions of narrative, implications and hidden meanings of the narrative. The method of this study is descriptive-analytic with narrative cognitive approach. The research findings show: A) Barthes’ theory is also compatible with the texts and plays of the BC. B) The author at the level of the actions has been able to construct opposites of many human beings with each other and with the spirits of the dead, induce his religious concepts to readers, C) at the level of narration, dreams, horoscope, and peak news, suggests the humiliation of humankind against the virtues of the gods; D) following the narrative model of Barthes’ analysis reveals some of the hidden beauty of the story, a better understanding of the concept, the reason for writing, and the secret message of the text. The narrative narration of the Iranian play makes it clear that the structuralist theory of Roland Barthes can also be found in ancient texts. This will help to better understand the hidden concept and hidden creatures in ancient texts. In this play, there are many aspects of functionalism and narrative of story telling, as well as behavioral and psychological descriptions.

Sequential adjectives, is bringing Continuous adjectives with a particular order for a noun. The usege of sequential adjectives in artifact prose is a common practice, and the authors of these texts use it for reasons such as explicit or prolixity, creating music, fantasizing the text, and inducing new concepts. The vast use of this literary art in Tarikh Wassaf, has made it a lightweight style. The value of Sequential adjectives in the Tarikh Wassaf is to build a composition and original adjective that the author with his creation by the richness of the lexical-linguistic content of the text and the extent of music and imagination. The purpose of this research is to show the generosity of the word in composite Sequential adjectives, the methods of making adjectives, the rhetorical values ​​of this figure of speech, and the effects on the text and the reader. The research method is library and descriptive-analytic study. The results of the research indicate that the construction of adjectives used in Sequential adjectives phrases in Tarikh Wassaf is more than a combination of two simple words (noun / adjective / root)+ noun, and Wassaful Hazarah made many words with this structure. Most of the sequential adjectives of this book are objective and are written in the description of humans and domesticated animals or is about eulogy  which are connected in most cases with e, and most of the Literary techniques created in them, such as symmetry, alliteration, Words of the same weight, simile  and symbol.

Zeidari Nasavi’s Nafsat al-Masdoor is one of the few works which are written in technical prose and mainly aim at conveying meaning rather than affection. Considering the emotional strain of his literary text, Zeidari believes music has the highest effect on conveying the feeling, and in various ways, including the use of elements of prosody, literary figures, and the selection and arrangement of the terms in Paradigmatic and syntagmatic ways, he creates a musical effect in his text. Thus, by working on his style and manner of writing and by employing different diction not only he created music in the text, but also because of the dominance of music, the meaning has changed. This method of writing made him to be more careful in choosing his words, for the changes he affected in the standard language have been the effect of vocal arrangements and defamiliarization. This has also made his work on history more imaginative and closer to lyric literature and poetry.