صفیه مرادخانی

Researchers do not have the same opinion about the extent and nature of the connection between the two schools of thought, Malamatiyah and Futuwwa. The main issue in this study is considering the text of Malamatiyah treatises and the Futuwwatnamehs up to the fifth century AH, to see what common points and differences existed between the principles of Futuwwat and Malamatiyah. The aim of this research is to explain the similarities and differences between the two schools of Malamatiya and Futuwwa. In this way, the reasons for the differences in opinion among researchers are clarified. 

Method and Research:

 The research method in this article is analytical-descriptive. 

The results of the research reflect diverse and different perceptions in this regard. Solami, the author of the first Futuwwat-nama, who was himself a follower of Malamatiya, provides a definition of Futuwwa in his "Risalah Malamatiya", in which Futuwwa is the same as perfect malamaty. However, in "Kitab al-Futuwwa", like other books of this period, he introduced a type of Sufi Futuwwa that has major differences from the principles of malamatiya. The Futuwwa of the Ayyaran, which is represented in the "Qaboosnameh", also lacks any trace of the fundamental principles of the Malamatiyah. It seems that the difference in the researchers' views originates from this issue.  Conclusions In fact, those who have based their work on Sollmi's Malamatiya treatise have considered the futuwwa and Malamatiya to be the same; another group who have considered the futuwwa in the sense of ayyari have found the two to be in contrast. The third group, who consider Sufism, Malamatiya, and Futuwwa to be branches of the same principle, have taken Futuwwa of Sufi as the criterion.

One of the types of approaches to criticizing literary works is criticism from the perspective of psychology. Considering the centrality of personality element in both fields of literature and psychology, we find many common aspects between these two fields. Many components of the definition of personality in psychology can be seen in literary works. In this research, Glaser's theory of choice, which is one of the prominent psychologists of the last century, was used to examine various aspects of choice theory and reality therapy in the selected stories of Samad Behrangi and Hans Christian Andersen as prominent representatives of children's and adolescent stories. This essay examines the stories of Samad Behrangi's Little Black Fish and Hans Christian Andersen's Little Mermaid based on William Glasser's theory of choice. The purpose of the article is to explain the commonalities and differences of these two well-known stories in order to achieve a scientific and clear horizon for children and adolescent writers of the new era. This study was done in a descriptive-analytical way and it is a method of collecting library-documentary information. The research data shows that the theory of choice can be explained in the stories of Behrangi and Andersen. Also, all five needs defined by Glasser and the concepts of external control and ideal world are present in both stories. Both Behrangi and Andersen create characters who face reality, accept responsibility for their lives, and make the right choices.

Conflict is one of the issues that occurs in social relations and is revealed when the goal of an individual or a group is not in line with the goal of another individual or group. This element has been very effective in continuing the story of Khosrow and Shirin. This descriptive-analytical study investigates the conflict and its types in the story of Khosrow and Shirin. Although the conflict between Khosrow and Shirin lasted long, it has led to positive results. However, other conflicts in the story have ended with negative results. The types of story conflicts include 1) Goal conflict: The conflict between Khosrow and Farhad, Bahram and Khosrow, and Shiruye and Khosrow is of this type; and 2) Emotional conflict: The conflict between Shirin and Maryam, and Shirin and Shakar. The strategies taken by the characters in the story to resolve the conflict are: 1) Surrendering strategy: Khosrow's strategy against Shirouye and Farhad's strategy against Khosrow is of this type; 2) Shirin and Maryam have used the avoidance strategy; 3) Win-loss strategy (competition): Khosrow's strategy in disagreement with Farhad and Sheroe's approach to Khosrow is like this; 4) Win-win strategy: This is the strategy of Khosrow and Shirin; and 5) Compromising approach: Khosrow's method in reaching Shirin is like this.

Persian and Arabic poetry have been telling emotions, events and developments over the centuries. In addition to the content and themes of the poems, which are telling these points, the title of the poems, especially in the contemporary era, plays such a role; Because the title is the opening for the audience to the world of the text.
The ambiguous choice of the title causes the meaning of the text to be hidden; This is because the literary and artistic works are usually a collection of references to other texts, currents, literary schools and numerous cultural, political and social issues and the signs that are in the title of the work can come to the mind of the audience. It helps to understand the set of references - which are sometimes in-text and sometimes extra-text.
In general, the title of the poem is the identity of the poem. Every poet, during the writing of his poem, needs to separate the title and the text of the poem from each other so that the reader can remember and examine it when he sees the title of the work For this reason, it is necessary to choose the title for the poem and it makes it easy to study, memorize and recognize the poems.. In this research, the title of the poems of two poets has been examined from different linguistic and literary perspectives, the relationship between the title and the content of the poems, as well as the frequency of sensory-abstract concepts. 

In this research, which has been carried out by means of analytical-descriptive, comparative and statistical analysis, it has been tried to investigate the various linguistic and semantic angles of poetic titles with the structure and content of Ahmed Matar and Seyyed Hasan Hosseini's poems.

 The title in the term "is an appearance that indicates the inner or absent, and they say about it: an appearance, a sign or a sign for the inner; The title is a set of words that is the starting point of a research or a story or a key for a branch of science or an entry for a subject.
According to the mentioned definitions of the title, the title can be considered as a complete message and parallel to the text, which by choosing the title for a book is actually a kind of sign selection for the book because "the one who puts a title for something, in In fact, he chooses that title based on a certain sign; So the title is a sign and a name that indicates something.
The criteria for naming traditional poems are different from contemporary poems. These criteria can be achieved by referring to rhetoric books and tazkerehs. Naming based on the line of the poem, naming based on one of the focal words of the poem (such as the poem of Tarsaiyeh Khaghani or the poem of Hurayya Abu Saeed Abul Khair) or naming based on the rhyme have been among the ways of naming in traditional poetry
Considering the importance and role of the title in poetry, contemporary poets are constantly trying to choose different and varied titles. With the beginning of new poetry in Persian literature, many naming principles of poems were changed. Of course, the emphasis on the naming of poems had started before Nima and during the constitutional period. Printing and publishing newspapers and magazines and translating poetry played an effective role in this matter.
Sometimes, the spatialization of the poem is done by means of semantics. Vocabulary is one of the factors that help to expand the semantic implications and cause the expansion of the semantic domain of the poem. In literary texts, each word can take on new meanings apart from literal meanings. For example, the word winter means "the fourth season of the year"; But it has many implicit and symbolic meanings such as "coldness", "suffering", "prison", "tyranny" and... This is the reason why the mind familiar with symbolic poems, for example, upon hearing the name of the poem "Zimestan" by the Akhavan –e- Sales, finds itself in the space of poetry from the very beginning.
Ambiguity is one of the prominent features of contemporary poetry, and in literary criticism, it is considered one of the essence and basis of poetry. In some contemporary poems, the title of the poem can help to understand the topic and content of the poem and resolve this ambiguity. Many factors can play a role in the author's choice of title; In-text elements and extra-text elements.
The main tool that the author has for naming his work is the theme. The relationship between the title and the content can have two completely different sides. Sometimes the poet chooses a title for his poem that is in line with the text, and sometimes he may choose a title that is opposite and opposite to the theme. If the title is in line with the theme, it provides the reader with an image of what will come in the poem and what will happen.
Intra-textual or intra-thematic elements are said to be the elements that arose directly from within the text and establish a kind of dialectical relationship with the main text. Selecting the title based on the in-text elements with direct implication and relying on the text somehow creates a conversation between the title and the text. Usually, such titles play a prominent role in forming the horizon of the reader's expectations and provide the audience with more detailed information about the atmosphere that governs the poem.
Any factor outside the text that affects the atmosphere of the literary work is called extratextual elements. These external elements may be a cultural, socio-political event, a historical phenomenon, etc.
From studying the poetry titles in Matar and Hosseini's poems, we come to a number of social-political concepts, which include themes such as mocking ignorance and superstition, openly naming enemies, the spread of corruption and class differences, and the spread of poverty. These poets of sustainable literature have depicted their common spirit in their poems in similar conditions and with a close point of view in relation to the issues that have arisen at the level of the country, region and the world.
From the linguistic point of view, the poetic titles of both poets have a high frequency in word formation, two-part construction, and then three-part construction and more. This issue shows the relationship of both poets to word-making and presentation of concepts through words.
From a literary point of view, although Hosseini and Matar have used literary arrays in the titles of their compositions, and this indicates the use of lexical capacity to expand images, but they use a lot of euphemism and less use of metaphors, similes, etc. In the critical titles of Matar, it is due to the choice of exile and sojourn and being away from the impeachment and accountability of the government.
In terms of the relationship between the titles and the text of the poem, the research shows that these two poets pay attention to both the lexical connection (choosing the title from within the text) and the semantic connection (choosing the title from outside the text) in choosing the titles. have had However, by choosing simple titles from outside the text, Hosseini tried to express the meaning and purpose of his poems more eloquently and expressively.

From the results of the comparative analysis of the poetry titles of Ahmad Matar and Seyyed Hassan Hosseini, it can be concluded that choosing the appropriate title for the poems was one of the main concerns of both poets. They express the poetic titles with rhetorical techniques such as eloquence, metaphor, and allusion. Unlike Ahmad Matar, who mainly paid more attention to the lexical connection (choosing the title from within the text) in choosing poetic titles, Hosseini paid attention to the semantic connection (choosing the title from outside the text) by choosing simple titles to make the meaning and purpose eloquent. Express more and more clearly.

First forged in the writings of French philosopher Jacque Derrida, deconstruction undermines the Platonic philosophy and dominant Western discourses to negate the metaphysics of presence, logocentrism, and binary oppositions. In this standpoint, although Derrida subverts such dichotomies as speech/writing, absence/presence, and truth/virtuality, he does not aim to privilege writing, presence, and virtuality above their oppositions; instead, he seeks to overcome the limitations of textual meaning to reach pluralism in interpretation. Shahriar Mandanipour’s Again Facing the River bears abundant metaphysical assumptions which the narrator endeavors to undermine in order to present galore signifiers and signs by constantly deferring meaning to provide the ground for new interpretations of the text. Based on a descriptive-analytic approach, this article attempts to investigate such concepts as the rejection of ultimate truth, death of the author, poststructuralist semiotics, the dominant ideology of the text by negating binaries and values, and so on.

Text stylistics is one of the most important ways to reach the historical boundaries of works; by studying the stylistics of a text and examining its linguistic, intellectual, and literary domains, one can determine its type of prose and its period. Therefore, what is important in these studies is form and content. Bahar defines style as: "Style in literary terms refers to a specific method of perceiving and expressing ideas through the combination of words, choice of vocabulary, and mode of expression-style gives a literary work its own unique aspect in terms of form and meaning. Therefore, style in its general sense is the realization of a literary type of perception in the world that determines the main characteristics of its product (a composed or written work)", (Bahar, 2014: 1/16). Bahar considers form and content as important in determining style (Bahar, 2014: 1/17). Farshidvard also refers to the importance of form and content in determining style: "Style emerges from the combination of spiritual and formal features of a literary work" (Farshidvard, 1999: 2/219). Mahjoub considers style as the expression of the writer's or poet's thought in his own special way (Mahjoub, n.d: 49). Shamisa considers three conditions of a special perspective, selection, and deviation from norms necessary for achieving style (Shamisa, 2001: 15). However, today there are different approaches to style that can be referred to for further understanding of stylistics (Fotouhi, 2012: 125-196). In any case, it must be acknowledged that what is important in the analysis of the style of a work is the formal and content analysis that encompasses the three linguistic, intellectual, and literary domains. These three domains can help us in determining the type of prose and its historical boundaries.


The method of collecting information in this study is library research and data extraction. This research was conducted using an analytical-descriptive method, and its statistical population includes the book "Noz’hat-ul-Oqul fi Latayef el-Fosool" and books on stylistics.
 


The present study aims to examine the stylistic features of the text in the three linguistic, intellectual, and literary domains using textual data, while enumerating the features of the handwritten version of "Noz’hat-ul-Oqul fi Latayef el-Fosool" by Abu Tahir Muhammad ibn Muhammad Yahya Aufi. Since the name of the writer and the date are not mentioned in the single manuscript of "Noz’hat-ul-Oqul" (Ayatollah Marashi Library No. 9084), this research aims to determine its historical period and type of prose based on stylistic features. The present research was conducted using a descriptive-analytical method, and based on the conducted analysis, the linguistic features of this text date back to the sixth to eighth centuries. Moreover, from a literary point of view, it is a technical prose that focuses mainly on description and literature. It has benefited from new literary industries based on technical prose, such as simile, metaphor, innovative themes, interpretive use of letters, and author's analogies. From an intellectual perspective, this work is included in texts that represent Islamic ethical concepts. The author's respect for Shia Imams is also evident in the text. However, based on the present research, there is doubt and skepticism about attributing the text "Noz’hat-ul-Oqul" to the author of "Jawame ul-Hikayat". The reasons for this suspicion are as follows:
Inconsistency in attributing the authors of these two works to Abdur Rahman Aufi

 In the twenty-fourth chapter of "Noz’hat-ul-Oqul fi Latayef el-Fosool", which is written about gratitude, the author speaks of Abdurrahman Afui, who is the great uncle of the author: "It has been narrated from Abdurrahman Auf-may God be pleased with him that he is the great uncle of the author of these chapters..." (Aufi, n.d: 110 a). The same phrase appears at the beginning of a story in "Jawame ul-Hikayat" in the fourteenth chapter of the second part, which is about gratitude, with the difference that instead of uncle, ancestor is mentioned: "It is reported that Abdul Rahman Auf - may God be pleased with him - who is the ancestor of the author of the book.." (Musafa, 2014: 367.  

No reference to "Noz’hat-ul-Oqul" in other works of Aufi

If we are based on Aq Qala's claim that "Noz’hat-ul-Oqul" is from the author of "Jawame ul-Hikayat", there are two possibilities for when this text was written. One is the same one given by Safari Aq Qala, which is based on the fact that this text was written before "Jawame ul-Hikayat": "The author of these lines thinks that Aufi wrote "Noz’hat-ul-Oqul" before "Jawame ul-Hikayat", and later, when he wanted to compose a huge text such as "Jawame ul-Hikayat", he wrote parts of "Noz’hat-ul-Oqul" is included in the text. The fact that confirms this point is that at the beginning of "Noz’hat-ul-Oqul", the author mentioned his two books named Ghoniyat el-Awsaf and Maniyat el-Wasaf, as well as Zubadat ol-Maali, and if he had written this work after his two voluminous and valuable works - "Lobab ol-Albab" and "Jawame ul-Hikayat", as a result, he should have mentioned those two writings in the preface of "Noz’hat-ul-Oqul". (Safari Aq Qala, 1391: 14). The opposite of this possibility can also be true. What can be the reason that the name of "Noz’hat-ul-Oqul" is not mentioned in the "Jawame ul-Hikayat" and "Lobab ol-Albab"?! If there was no reference to other works of Aufi in any of the mentioned texts, this concern would not have arisen in the minds of the writers. In the historical books, there is a mention of Lobab, Jawme and the translation of Faraj bad al-Shadat, but there is no mention of "Noz’hat-ul-Oqul". Can't this be a place of doubt?! The second possibility, which is not considered by Safari Agh Qala, is that he wrote "Noz’hat-ul-Oqul" after the "Jawame ul-Hikayat" and "Lobab ol-Albab". If so, one should ask oneself what is the reason for not mentioning this great work of his in the preface of "Noz’hat-ul-Oqul"? While in the preface of this book, the author of "Noz’hat-ul-Oqul" has even mentioned his booklet, but he has never mentioned the two great works of "Jawame ul-Hikayat" and "Lobab ol-Albab" (Aufi, n.d: 1a). It seems that this issue also creates doubt in identifying these two aufis as one.

Incompatibility of the style of the Jawame ul-Hikayat with Noz’hat-ul-Oqul

In stylistics, Bahar has pointed out a key point in connection with the "Jawame ul-Hikayat". He believes that: "It is better to obtain the true style of Aufi from the "Lobab ol-Albab"; because it is not clear whether a story is written by him or it is directly quoted from a Persian book (Bahar, 2013: 3/38). According to Bahar's opinion, these anecdotes can be directly quoted from another Persian book. This case can seem reasonable to the owner of "Noz’hat-ul-Oqul". Based on this, can these similarities be a convincing and sufficient reason to recognize them as one?
 


"Noz’hat-ul-Oqul" is a technical prose written by Abu Tahir Muhammad Aufi, in which its technicality is reduced in some parts of the text to match the narrative style. However, it cannot be denied that the majority of this text is technical. The stylistic features of the text and the use of poetry by poets before the seventh century place this text in a period before the seventh century. Linguistically, there are stylistic features in it that belong to texts from the sixth to eighth centuries. Some of these linguistic features include: the letter "ya" indicating continuity, omission of pronouns referring to verbs, writing "Ke" connects letters as "kei", special pronunciations and writings, neglected Persian and Arabic words. From an intellectual point of view, "Noz’hat-ul-Oqul" includes narratives with Islamic ethical content. Throughout these narratives, in addition to their content, important mystical figures such as Bayazid Bastami, Junaid Baghdadi, Mansur Hallaj, Rabia bint Qazdari are mentioned. Respect for Shia Imams is also seen in these narratives. From a literary point of view, it has extensively used various literary industries based on its stylistic features. These industries include: simile (in various forms), metaphor (in various forms), various types of allegory, various types of ambiguity, innovative thematic compositions, interpretive use of letters, and author's analogies. In the final part of this research, the authors conclude that the attribution of this work to Aufi (the owner of "Jawme ul-Hikayat") is doubtful.

Mahdavi poetry and the thought of expectation have always been among the themes of Persian poets. In the poem of expectation, the poets have addressed the subject of Mahdism based on their belief in the savior of the end of time and considering the governments of their time. Obviously, there are differences in their themes and interpretations in different periods, and the change and transformation of themes in this type of religious poetry, especially in the last century, is remarkable. In this research, while examining the content of the poetry of waiting in the three periods of the first Pahlavi, the second Pahlavi and the Islamic Revolution, the influential factors in the content changes of this important branch of religious poetry have also been discussed.

This research was done by content analysis method and using the library method in collecting information.

In the first Pahlavi period, poets based on the style and trend of the past, expressed their desire for the promised meeting and also on the basis of traditions, and did not promote any specific goal or direction. In the second Pahlavi period, due to more political and social freedoms and the expansion of religious poetry as well as political and social disturbances, poets connected the theme of waiting with the issues of the day and created a kind of hope for the future. In the poetry of waiting for the revolution, which is the last period examined in this research, we are faced with the emergence of new approaches in this type of poetry, and the poet, by linking waiting with political and social issues of society, addresses the orientation and mentions the duties of those waiting.

The desire for changes in the poetry of expectation has reached its peak since the 1940s, simultaneously with the emergence of the discourse of resistance and struggle, as well as the spread of new religious ideas, at the beginning and after the Islamic Revolution.

Ashura poetry has always been the strongest branch of religious poetry in different eras. Despite the fact that the issue of Ashura is suitable for design in various fields and subjects, often in this type of Persian poetry withMatmazdeh looks at repetitive and monotonous concepts, which have been influenced by various factors, including social and political conditions.In the last century, many changes have taken place in Persian poetry, although Ashura poetry in the early decadesAnd especially in the first Pahlavi period, it was not accompanied by these changes, but gradually and cautiously, it experienced unprecedented changes.This study, while examining the content and type of attitude of poets towards Ashura themes in the three periods of the first Pahlavi, the second Pahlavi and after the Islamic Revolution, to the why and how of these developmentsWith the focus on the movement of Ashura poetry, it has turned from elegy to epic.

This research has been done by content analysis method and using library method in collecting information.

The study and evaluation of contemporary Ashura poems shows that Ashura poetry in the first Pahlavi period was completely mourning and with a mournful look and with limited and repetitive topics. In the second Pahlavi period, while preserving the previous themes, it moves towards change in some cases, but after the revolution, Ashura poetry encounters completely new horizons and distances itself from the repetition of the past, and with an epic and authoritarian look at Extensive Ashura topics are covered

The result of this study shows that the desire to move from mourning to epic in Ashura poetry, from the forties and simultaneously with the emergence of the discourse of resistance and struggle and the spread of religious modernism, the beginning and after the Islamic Revolution to Especially with the start of the imposed war has reached its peak

Investigating the Role of the "Descriptive" Element in Creating the Absolute Space Ruling on the Stories of Malone and LiveAbstract"Descriptive" is one of the main and integral features of any story. Among contemporary writers, such as Sadegh Hedayat, an Iranian writer and researcher, and author and playwright Samuel Beckett have used the "descriptive" element to appropriately appropriate spatiality. The purpose of the authors in this article is to examine the role of "description" in creating the absurd atmosphere that dominates Beckett's "Malone dies" and Hedayat's "Tales of the Living." The type of research is descriptive-analytical and the method of data collection is library and catch-up. Analyzed material shows that, unlike classical writers, Beckett and Heday intend to use the "description" to represent the world inferior to it and to make the atmosphere of the stories hopeless. To this end, they have used narrative, narrative, humorous, or epic, and mimetic or imitative roles.Keywords: Beckett, guidance, description, absurd space, maloney dies, alive.

In the history of Iranian culture and civilization, the name of Arvandrūd can be seen in different historical periods. In Iranian mythology and in the holy book Avesta, the name of this river is mentioned as "Ranghā", "Arang" and "Aurvant". In the early centuries of Islam, in the Mazdayasnian religious and historical texts (in Middle Persian) the name of Arang and Arvand mentioned as "Tigris". In Shāhnāmeh and in the battle of "Fereydun and Zahak", Ferdowsi uses the Arabic word "Tigris". Mentioning the name of the Tigris in Behistun Inscription with the term "Tigre" indicates the historical background of the river in ancient times. Also, mentioning the name "Shatt al-Arab" in some historical and literary texts is controversial. Using library sources and descriptive-analytical method and by a morphological approach, the present research, for the first time, explains the most important names of Arvandrūd from ancient times to modern times, the names which have been presented in the form of mythological, historical and literary narratives. The results show that the mythological river of " Ranghā" or "Arang" is the same as Arvandrūd and it is created by Hourmazd (Ahuramazda) in a metamorphosis; and in the myth of Creation and Rain, it takes on a sacred and divine aspect. It seems that mentioning these names in Avestan and Pahlavi texts as well as Iranian national epics is a kind of celebration and revival of the ancient name of Arvandrūd.

The present research investigated the corrective damages of the text of Nuzhat Al-Oghul Fi Latifa Al-Fosol and presented various evidence and examples to prove this issue. Nuzhat Al-Oghul Fi Latifa Al-Fosol is written in prose on the subject of Islamic ethics and mysticism, by Abu Tahir Muhammad Bin Muhammad Yahya Aufi. This one-copy text has been corrected by Iraj Afshar and Javad Bashari. The basis of this research was a comparative critique of the work corrected with the original version, and similar examples of ancient texts have been mentioned in some cases to confirm and complete the correction of defective samples. Although the text is a single copy, and the editors have considered the texts’ margin effect as a copy, there are several correctional damages that the authors of the present study have to investigate. These damages are classified into several headings titles, including ignorance of the original version, ignorance of the metre of the verses, false meaning of verses, text extensions, text shortcomings, ignorance of the sentence structure, and such examples that have been obtained by matching the text of the book with the original version. Moreover, only the obvious errors of the work were examined to avoid the prosaic prolixity.

Nuzhat Al-Oghul Fi Latifa Al-Fosol is a single copy text (with serial No. 9084, Ayatollah Marashi Library) by an author named Abu Tahir Muhammad Bin Muhammad Yahya Aufi. Iraj Afshar says, "It is an unknown text" and has corrected it (see Afshar, 2011, p. 13). Little is known about the owner of Nuzhat. There is also doubt about the correctness of the author of the book. At the beginning of the book, some have called him "Al-Oumi" due to the author's name being distorted in the version (see Version: 1a). Afshar has corrected it as "al-Aufi" since the author of the Nuzhat Al-Oghul says about his uncle "Abd al-Rahman Auf" (see: Afshar, 2011, p. 167; manuscript: p. 110a).

The data collection method in the present research is the library and tacking note. In this research, the printed text of the book Nuzhat Al-Oghul Fi Latifa Al-Fosol was compared with the original version by the analytical-comparative method. Corrections in this text have been cited by matching the printed version and text to prove a more societal example of ancient texts in some cases.

This research has addressed the corrective damages in the following categories:Grammatical Errors: the ignorance of the grammar in some cases has caused corrective (criticism) damages. A sentence is presented in a position of the text, which is not grammatically correct. In Afshar's correction, it is stated, "Let each of us speak the truth, so that there was no wrong in it, which, by its blessings, will free us from this prison" (Afshar, 2011, p. 187). The verb "not being" is mentioned in the version, and the sentence ends with the same verb (see 120a). In the following, "be that" is the beginning of the following sentence, and that "be that" means hope that has been used, "Let each one speak the truth, as there is nothing wrong with it. May it really free us from this prison with its blessings" (Version: 120a). Damages of Pun and Saj: Due to the calligraphy of the version of Nuzhat Al-Oghul and continuity of words in prepositions, plural signs, compound words, and similar examples, pun and saj in this work need serious revision. Failure to pay attention to the connection of words with these devices destroys the artistic beauties of the work, mainly that they have been acquired by ancient calligraphy (see Jalali & Forouzandehfard, 2018, p. 108). In an example of Afshar's correction, it is stated, "He did not extend his hand and finger towards the bread" (Afshar, 2011, p. 106). In the version, "hand and finger did not extend towards the bread" is mentioned (Version: 71a). It is clear that the author's construction was creating punctuation between the two words of finger and towards the bread. The neglect of this critical matter has destroyed it in correction. Lack of attention to the metre in the poems: Persian metres are one of the things that the critic and the corrector can comment on decisively. Ignoring this vital point is sometimes misdiagnosed. In some parts of the text, the wrong correction has disturbed the verse’s metre and meaning (Afshar, 2011, pp. 44 and 175). Additionally, items such as text deficiencies, text redundancies, serious spelling mistakes that had a significant effect on correction, as well as grammatical errors, were examined. Examples of these damages were provided during the research. The most important achievement of this research is to prove the revision of the correction of the text of Nuzhat Al-Oghul Fi Latifa Al-Fosol.

Among contemporary stories, Malone Dies by Samuel Beckett and Blind Owl by Sadegh Hedayat have a superior place. These two works, with their secretive theme, rambling structure and unbroken narratives that do not have a specific chronology, have also influenced the plot of the stories. The aim of the authors in this article is to compare the effect of the components of surrealism on Beckett's Malone Dies and Hedayat's Blind Owl . The type of research is descriptive-analytical and the method of data collection is library and note-taking. The collected material analyzed shows that Beckett and Hedayat were able to push the boundaries of the traditional plot and create a new plot by using surreal components such as: dream, autobiography, doubt and ambiguity, creating an odd and unexpected atmosphere, rupture and disorder and surreal images. Create unconventional and sometimes artistic.

 The type of research is descriptive-analytical and the method of data collection is library and note-taking.

One of the main components of the narrative in the story is the plot. Various theories have long been proposed about the importance and necessity of this basic element. Most theorists believe that the main characteristic of the plot is to create a certain kind of unity and integrity in the narrative. Before examining the plot of the two stories Malone Dies and Blind Owl, it is necessary to include basic definitions of plot in this article: the traditional and original definition of plot and plot is the same as saying: "The framework of the story based on causative relations and "Disabled" (Forrester, 2012, p. 118). In fact, this look at the plot of the story is an answer to the question of what the story was about! The plot is also "an argumentative network that gives a logical character to the story by rationally arranging and conjoining events" (Mirsadeghi, 2001, p. 64). Beckett and Hedayat in these stories, copying the surrealists, combine dream and reality so that they may be able to induce an unbalanced plot in the reader. To examine this plot in more detail, it is necessary to examine the surrealist components of the modern plot in these stories: The first and most important characteristic of surrealism is the automatic writing in a novel. Automatic writing is one of the most direct surrealism techniques for expressing inner truths in Beckett's text and guidance: "That evening life that is like going through a recovery period. Of course, if the memories are really my memories, the memories that man tastes without wandering and following the path of the sun, without discipline, or perhaps deeper than the place of the dead, in the subway corridors and the stench of the free and humiliated groups running away, they are burying themselves to arrive at the right time." (Beckett, 2010, p. 84). The author carefully intends to create a resemblance between evening life and recovery, and in the flicker of an eye, thinks that the subway corridors are deeper than the place of the dead. Doubt, which is characteristic of modern day stories, is moving through the two stories. These mental conflicts, which also happen to reflect the author's unconvinced attitude, bring the story to a standstill. Of course, the author does not seem to want to tell us what happened or is about to happen. He wants to show the impact of what happened because in modern stories, "what matters is the effect of the event on the reader, not the event itself" (Payendeh, 2010, p. 29). This mental disturbance also makes the plot irregular. Disruption and disorder is also one of the surrealist components that has disturbed the logical order in the narration of stories, and this disorder shows the struggle between the conscious and the unconscious in the psychic of the main character of the narrative. Shed: "Order is related to how the events and actions of a story are arranged in time. The narrator may present the events in the same order in which they occurred; That is, the order of the calendar, in which case the narration of the story is direct and linear or he can quote them without order; "That is, the non-calendar order, which in Genet's term is called apocalyptic, creates a nonlinear narrative" (Shakeri, 2016: 206-223). Creating a wonderful atmosphere is another type of surrealist component that has a direct effect on the plot in the stories in question: "The last night I went for a walk like every night was windy and rainy and thick fog covered around Was. "I felt a kind of freedom and comfort in the rainy weather, which reduced the vitality of colors and the vagueness of the lines of objects." (Hedayat, 1972, p. 13) The narrator has created a wonderful atmosphere by imagining a rainy and cloudy weather, the presence of thick fog, the vibrancy of colors and the indecency of the lines of objects, etc., in which he has reached a kind of freedom and comfort. Another influential surrealist component of the plot of Malone Dies and Blind Owl is the dream and the association of the dream. This association of dreams in the two stories is so clear that it can be said that reason and logic are somehow wandering in their space. The last important component is the surrealist images, which are different from the images in realist works: "The surrealist text is shattered and scattered because of surrealist images like dreams" (Shamisa, 2011, p. 175). These images are the creators of impossibilities and disruptors of rational and logical systems that create surprise and wonder and separation from the real world in addition to expressing the purpose, create a special attraction in the mind of the audience. Exactly the same images as in the text of these two stories; The story begins with a logical word, but after narrating a few lines, the narrator describes a nightmare that shows him wandering in a world between reality and dream; The world and the horrible images that are born of the author's imagination and delusion, and in which the real, fixed and identical elements do not remain.

Important surrealist components are persuasive in shaping the plot structure of Malone Dies and Blind Owl, which include: automatic writing, ambiguity, rupture and disorder, the creation of a wonderful atmosphere, dreams and surreal images. In these stories, the sequence of images that the narrator sees in reality or fantasy advance the plot of the story, rather than the causal connection and sequence of the scenes. In general, it should be noted that Beckett and Hedayat, by breaking with tradition, have opened a new perspective in modern storytelling by following the modernists by creating an unusual plot in their stories.

The type of humor as a literary genre has always been present in the literature of this land with intensity and weakness for a long time. Humor is a critical writing that is mixed with the nectar of delicacy, that is, a humorist who cleverly and consciously expresses his protest in an artistic and beautiful way that makes the audience laugh, not a laugh of enthusiasm, but a bitter and biting laugh. In fact, humor is an evolved form of satire. This means that criticism became public insteed of personal, and also defended the right of society instead of defending individual rights. obaid zakani is one of humor who uses various techniques to create different types of humor. in this article, we have tried to examine them.

the present research has been done by the method of theoretical study and using library sources. Our study area and community is the generalities of obaid zakani, edited by Abbas lqbal Ashtiani and the efforts of parviz Atabaki, published by zavar publications.

Humorous poets and writers each deal in an almost ordinary way, but obaid zakani himself is the creator of various methods of satireeach deal in an almost ordinary way, but obaid zakani himself is the creator of various methods of satire. Sometimes in prose and sometimes in poetry, sometimes in the form of jokes and sometimes in the style of a humorous letter of advice, sometimes he invents humorous words, sometimes he interprets words in a humorous way. Characterization is also one of his tricks, sometimes he uses historical characters as his humor and sometimes fictional characters. He sometimes chooses animals as the characters of his stories. Obaid is so interested in expressing the facts and problems of his society that he does not hesitate to use vulgar words.

Obaid uses tricks such as the metaphor of Tahkmiyeh, janas, playing with words, exposing the horseshoe, inverting Persian and Arabic anecdotes, and humorous interpretation of common proverbs and humorous reasoning.

 Introduction  :

During The First World War, most of the poets and writers participated in the war fronts and wrote their poems, experiences, observations and stories in the forms of story, drama or memory. This issue established a new genre in the western literature called 'war literature' or 'resistance'. Often, these works are merely 'war literature' that focuses on the martial men's war  in war fields, destruction caued by war, as well as killing people in the front line and behind it.

Regarding to the cinema adaptation of literary works, the following articles can be referred to: “The comparative analysis of five cinema adaptive films in Iran cinema with the stories text related to them” written by Siyavash Golshiri and Nafise Moradi.”  “One thousand and one night in literary recreation mirror”  written by Rohollah Rozbeh, and, “The role of the media in production of meaning: The comparative analysis of Dash Akel’s story and film” written by Zahra Hayati and Reihane Ghandi.  

3.1. A Summary of The Third Eye Novel This novel is, in fact, a story about thirteen teenage students residing in Bijar, who decided to go to the war frontline together. Despite their parents' dissatisfaction, they could finally get their permission. after having finished their educational course, they all departed to war. The first operation they took part in was Valfajr  Mogadamati. They arrived at the paved road between Fakke and Chazabe sooner than they had predicted. These students realized that the military operation was unveiled to the enemy because of the enemy’s trick. As a result of this, some of these students were lost, some became captive among this dispatched group. Only one injured person succeeded in coming back to the homeland. All of captives returned to Iran after passing seven years in prison. Also, after fifteen years, lost people’s corpses were brought to Iran. But, the main theme in the above mentioned novel is their families’ restless waiting. 3.2. A Summary of Akhtar and Agitation Days Story This book consists of eleven stories, the last of which is Akhtar and agitation days. In fact, this story is a summary of The third eye. Here, the story writer has omitted the Bajarian’s days in captivity and considered Akhtar the same as the hero's mother in The third eye. In The third eye, Ja'far was Akhtar’s son, but he was replaced with Yousof  (Joseph) in this story. 3.3. Track 143 Film Actually, this film is about Olfat and Younos (Joneh). Younos and his three friends went to war. Among these, Younos was lost, one of them was martyred, one person got captive, and only one man became injured and could come back. Throughout fifteen years, Younos’ destiny was unknown to Olfat. She was aware of Younos’ martyrdom after the returning of the captive man to home. 3.4. Similarities between Film and Book 1- Some teenagers’ going to war is the story of the book and film. 2- In both cases, one person became injured and then was hospitalized in Mashhad Hospital. 3- The village inhabitants became informed of captives’ conditions through one of the captives.  4- One of the young men was martyred.   5- One of the villagers’ inhabitants went to the war zoon as the representative of the villagers.  6- One villager that travelled to the war zoon in order to find the dispatched teenagers got disappointed. 7- In both the book and the film, the missing person’s mother did not know anything about his lost son. 8- The lost person’s mother became hopeful after a man’s calling, but she came to realize that there was no news about his lost son when visiting that man in his home. 9- The lost soldier's mother was suggested to visit a fortune-teller. 10- The density of Akhtar’s or Olfat’s lost sons became clear after fifteen years. 11- Akhtar or Olfat believed in the superstitions. 12- Akhtar or Olfat tied a radio to her waist to be aware of her lost son’s conditions.   3.5. Differences between Film and Book. 1- In The third eye Novel and Akhtar and agitation days Story, all people from Bijar that went to war, were students. But in the film, all people were working in the mine factory. 2- In the novel and book, the dispatched people came from Bijar in Kordestan. While the dispatched people in the film, were from villages of Kerman. 3- In The third eye Novel, the teenagers, at first, were fifteen people. Finally, thirteen people remained after two persons’ leaving. In Akhtar and agitation days, there were nine people. Seven people remained after two people left that place. And in Track 143 Film, four people went to war. 4- In the novel, the names of mother and her son were Akhtar and Ja’far Rezaee, whereas in the book, they were Akhtar and Yousof. Their names were Olfat and Younos Mirjalili in the film. 5- Younos gave her mother a radio in the film. While this was not the case in the mentioned books. 6- in The third eye, Akhtar had five children and also had a closer relationship with Ja’far in the novel. In Akhtar and agitation days, Akhtar had five children, too. But here, she had a closer relationship with Yousof. But, in the film, Olfat had two children, she had a close r relationship with her Younos.  7- In the books, parents did not permit their children to go to war. In fact, the students got permissions based on Imam’s order telling that going to the war was a collective duty. While in the film, the teenagers attended the training course secretly. 8- In both books, Ja’far and Younos fell in love with the girl in their neighborhood, called Nahid. But in the film, Younos fell in love with his aunt’s daughter named Maryam. 9- Akhtar’s husband was alive and helped her in the books. But, Olfat's husband had died long before, in the film. 10- The Bijari teenagers received training in Yazd in books. While in the film, the teenagers' training was in Kermanshah. 11- In the books, the Bijari inhabitants gathered in a special place called Maghar (the site) and asking about their children’s conditions. But, in the film, while behind the carpet loom, Olfat got informed by TV about how the military operation was unveiled to the enemy.   12- In the books, one of the parents of those from Bijar came to know about  Khalil Agha's son being hospitalized in Mashhad. Whereas, in the film, Olfat went to the mine to see Sayyed Ali where she was informed about Habib being found in a hospital in Mashhad. 13- Samad Agha, as a military man, went to the war zone to get some information about the lost people, in the books. But Sayyed Ali who was a miner, did it in the film. 14- In the books, Akhtar heard from Batoul that Iraq Radio announced the lost people’s names after each military operation. But, in the film, Olfat got aware of this by Sayyed Ali. 15- In the books, there was no news about the marriage of Ja’far and Yoosof's beloved. While, in the film, Olfat’s sister visited her and got permission from her to accept Maryam’s suitor's proposal. 16- In the books, Akhtar’s husband wanted her to give Kheirat (eleemosynary) to people. But, in the film, Nane Jan demanded this activity. 17- In the books, one of the neighbors told Akhtar a fortune-teller’s name. Then Akhtar visited him. However, in the film, Hossein Agha, working in telephone booth, gave Akhtar the name of a fortune-teller. 18- In the books, an unknown man telephoned Akhtar and told her about her son’s being in captivity. Akhtar found that the news was not true and this false news was done by Komalea and counter-revolutionary people. But in the film, a man called Younos Mirjalili’s mother instead of Yoonos Mirrahimi. 19- In the books, there was not any news regarding how the martyr’s corpse were found. While in the film, a soldier dreamed of the martyr telling him about his burying place. 20- In the books, the martyr’s mother tied a radio on her waist for a long time. Ultimately, she heard that her son’s corpse was found while she had the radio on her waist. But, in the film, Olfat heard that news when she was separating the radio of her waist.  21- Mash Bagher told the news of the war ending to Akhtar in the books. However, Sayyed Ali announced this news to Olfat in the film. 3.6. Track 143 Film Addaptaion Type of The Third Eye and Akhtar and Agitation Days Books The type of adaptation in the film was 'Free Adaptation', because the adventure site has been changed from Bijar into Kerman. In this film, the students were replaced by the mine workers. By reducing the characters, she created some new characters. The narration of the novel and book was omniscient and a flashback. The writer changed some names. Also, she deduced the characters into four. There were no parallel story in the film. The success of Track 143 Film was due to two reasons: First, the film tried to arouse the audiences' identification by its realism. Second, the director borrowings from the film The immigrant produced by Hatamikia.

Narges Abyar wrote Akhtar and agitation days Book and The third eye Novel. Later, she made Track 143 Film based on these books using 'free adaptation'. By some changes like omitting war scenes and the dispatched characters’ captivity period, the change of students into mine factory workers, the change of Bijar into Kerman, and especially highlighting the relationship of the mother and one of her special child, the film producer tried to showing a loving relationship between mother and a child. also, the radio was a barrier for mother and child’s meeting. When the radio was put aside, this mother reached her child. It is necessary to know that the film producer had no way to achieve her goal except by 'free adaptation.

BACKGROUND AND PURPOSE:

The text of the Shahnameh despite the common perception , is not a uniform text and if we accept the views of some Shahnameh scholars on the division of Shahnameh into two parts, mythological and historical , it can be said that in addition to the subject from a stylistic point of view , there are differences between these two parts.

In this research , which has done by analytical – descriptive method , nearly two hundred verses of the two mentioned parts were linguistically examined and compared . The verses have been selected in such a way that from the beginning to the end of Shahnameh, with the exception of Daghighi "s verses, after every thousands verses , four verses have been selected and examined . The obtained statistics are presented and analyzed in three branches of linguistic stylistic , namely phonetic , lexical and syntactic .

Relying on the study of verses that were selected from two parts of Shahnameh and analyzed , it can be said that this book , contrary to some theories based on its uniformity ,does not have a unified structure and from a stylistic point of view , at different linguistic ,intellectual and literary levels ,there are significant differences in it . In other words , the separation of Shahnameh into two parts , mythical and historical , is not only discussed by the themes , rather , Ferdowsi"s different language and style of expression in each of these two sections is the basis for separation .

The research results confirm the aforementioned assumption. Phonetically , the differences indicates the variety and musical and phonetic strength of the first part compared to the second part . Literally , the first part has an older color than the second part by having ancient words and names and using more prefix verbs . At the syntactic level , the precedence of verbs and additional group is effective in blowing the epic spirit to the first part and distinguishes it from the second part .

Genetic stylistics seeks to identify the individual and social origins of personal style. Since the theme is a stylistic feature and affects the other stylistic elements, too, identifying it in Beizaee’s historical screenplays is effective for recognizing and analyzing personal style. In answer to this question, “what is the dominant thought in Beizaee’s historical screenplays and what is its origin?”, it can be said that the theme: “life is Shamiran”, is the dominant idea of Beizaee’s intellectual level and is expressed by motifs as disability or death of king, rape, homelessness of woman and child, murder, nightmare, return of the dead, ritual display of Shamiran and the persistence of turmoil in a chaotic and disorganized historical context. The origin of this idea is rooted in two reasons. The first is Beizaee’s attention to oral literature and folklore, since Beizaee is one of the first scholars in the field of dramatic literature and dramatic rituals of Iran. He took the word Shamiran from folklor and used it as the equivalent of Chaos in his researches. The second reason is attention to history. Iran’s defeat against Russia led Iranian to consider history as a way to save and develop the country and for this reason, translation, compilation, rewriting and recreation of history and production of historical dramas and novels are expanded. This affected Beizaee on the way that he became acquainted with the failures of Iran in the study of history from ancient times to the present and by examining the sufferings of the people in turmoil and failures, the statement “life is Shamiran” was generated in the intellectual level of his historical works.

Abstract"Absolutism" is a thought that is rooted in various factors such as ideal poverty, materialism, lack of purpose, death of thought, failures, etc. Some " empty formalism" and " nihilism " even the same idea, but the reality is that the mean difference of the overlapping, consider a man absurd oriented, value for the purpose of fall Not , but the nihilism essentially no value or purpose .In the contemporary writers, Sadegh Hedayat people like the writer of Iranian intellectuals and Samuel Beckett writer which entitles him " father Khvandە Po Chi " is called , the message afferent philosophy of emptiness are . The aim of the authors in this paper , the investigated adaptive" empty formalism "in the works of the famous writer These two emphasis on two well-known work of the name of" Malone Dies" and "Owl blind " is .Type of study ,descriptive - analytic and method of data collection ,library and taking advantage of books by two authors and the content . The contents of the collection of the analysis indicate that the authors of the intellectually addition to the similarity of a lot of thought ,differences that have ,both to the impact of the Surrealist school, imitation and the thoughts and fancies himself the world of the absurd and despair Misty shows up ,with the difference that the ideas Beckett in this story more " absurd philosophical " ideas and guiding opinions " nihilists are " close

Archetypal criticism is one of the approaches of contemporary literary criticism that explores and explains the influence of myths and archetypes as well as their role in literature. Individualization is one of the most prominent archetypes of Jung's archetypal theory. In the story of Khorshid-Va-Mahpareh, Khorshid, as the hero of the story, encounters a lot of hardships and sequels to reach his beloved, including magical Arghaván, crafty Aín-balay, cannibal Negros, rival Marzbán, stormy sea, etc. In addition to the archetypal phenomena in the collection such as magic, witches, supernatural actions, and archetypal symbols, archetypes such as journey, individuality, dream, mother, hero, and so on have been used to investigate and analyze individualization from the perspective of Jung's archetypal theory. Accordingly, Khorshid, the protagonist of the story, reached out to his beloved after going through a heroic journey, overcoming shadows and negative anima, and achieved self-individuality through the help of the Old Wise Man and the essence of love, and then had a rebirthed.

In the last two decades, stylistics studies have grown dramatically. One of the branches of the new style is the style or womanly writing that has attracted the attention of social linguists. In this research, womanly style layers have been studied based on levels such as phonetic, lexical, syntactic, applied and rhetorical. The results of the study of female style layers in the writings of women can be summarized as follows: The phonetic level in the language of women is not much different from the language of men, except in the difference in the tone, which is the tune of the tune that expresses the emotional and patriotic tone of women . The level of the vocabulary related to the sex of women and the expressions and phrases of the female word, such as the use of colorful words, erotic curses, which are in their words. The syntactic level is related to the use of simple sentences, related sentences, the elimination of sentences and emotional terms. The level of rhetoric shows that in the works of women, likenesses, indignation and metaphors are widely used. The applied level expresses the polite and official tone of the language of women.The main purpose of this research is the discovery of the structural features of Novels which is based on the womanly stylistics view

After the end of the Iraqi imposed war against Iran, Sacred Defense poetry into a new phase of his life, the poet of the period to take a more realistic war began, one of the poets of the period Masrkhvzstan poem "February Saki", he published the first collection of poetry "The old gazelles" as a poet in the field of literature the literary community stability introduced after the war, this research, first by descriptive analytic, literary themes stability "gazelles old" detected, then the analysis of the use them in different areas of his personality in literature to introduce sustainability.
Studies and analyzes show that diverse literary themes of sustainability in office "old gazelles" are: triple expectation, hope and idealism, triple Ashura, Jihad and martyrdom; Jamandn long convoy of martyrs, condemned the remembrance of the martyrs, to draw the consequences of space and expression inevitable and horrible war; Jngstyzy (anti-war and the factors leading to it); protest, worry and anxiety from the chaotic world, to protest against the shortcomings of modern life (urbanization), concerned with awakening and resistance, mysticism and stability in the war; stability mystical love, stability fight passion; stability in the care of thinking and behavior, using expressions and mystical terms.
Percent indicate that the use of themes: Feb Saki in terms of sustainability literature is the first poet of universal human attitudes and religious views religious poet in the second and third time and the fourth poet mystic poet with preoccupations with interests National Native

Lexicography is one of the most important efforts to keep a society's language and culture safe; not only Iranians residing in the country but also Indians who know Persian language have fully endeavored to develop the lexicon of Persian. In spite of the fact that there are some errors in the dictionaries written by Indian Farsi people, the works areappreciable because they help improve and extend Farsi language and literature.MOAYED–OLL- FOZALLA is one of the oldest dictionaries of these series that acts as a bridge among 14 dictionaries formerly existed, also affecting the dictionaries following it. It has been compiled into three languages of Persian, Arabic and Turkish in 925a.h. Regretfully, a complete correction has not yet been accomplished over it and it has only been corrected and printed in the press at "naval keshoor" in India with numerous errors. Therefore, the purpose of this paper is to have a critical analysis of the lithographic errors. It is hoped that we can specify the reasons proceeding to the further correction of this dictionary.