فهرست مطالب عباس واعظ زاده

Abstract
Initiation rites are rituals a person goes through to achieve inner growth and maturity, and while getting rid of his former self, he/she can step into the next stage of his life with a refined personality and a new sublime perspective. The story of Khosrow and Shirin, according to Nizami’s narrative, displays many symbols and rituals of initiation. This descriptive-analytical research aims to identify and explain the symbols and rituals of orientation in Nizami’s Khosrow and Shirin. Based on the findings of the research, all kinds of initiation and familiarization rituals, such as vows and prayers, naming, ritual nursing, education, travel, testing, austerity, seclusion, ritual washing, secret learning, and funeral and burial in three stages—break, transition and attachment—can be seen in the four stages of the life (birth, maturity, marriage/kingdom and death) of the two heroes of this story, Khosrow and Shirin.

"Tordiyeh" (Nakhjirgani) is one of the types of poetry in Persian and Arabic literature. The history of this type of poetry in Arabic literature goes back to the Jahili period, but it is in the Abbasid period that the thardiyyah is presented as an independent literary type. The spread of this type of literature in the Abbasid period was influenced by the prevalence of hunting and the great interest of the Abbasid caliphs and nobles in this court entertainment that was common in Iran during the Sassanid period. This type of literature is popular in Persian poetry as well, following Arabic poetry, and it is the focus of some court poets, especially Ghaznavid, Seljuk and Gurkanian court poets. The purpose of this article is to investigate the characteristics/conventions of this literary type in Persian and Arabic poetry, to express its similarities and differences in these two languages, its difference with "hunting poetry" and to provide a comprehensive definition and prevent it. For this purpose, a typological examination of examples of this literary type in Persian and Arabic literature has been done.

Divan-e- Hafiz be-Al-Arabiyyate She'ran (Hafez's Divan in Poetic Arabic) is a poetic translation of four hundred and ninety ghazals by Hafez. This study aims to examine the external music or the prosody of this translation based on the subtleties of the Persian and Arabic prosodic system. Factors such as meter, differences in the number of prosodic elements, meter change, poetic necessities, modifications, or addition or subtraction of words for prosodic reasons were evaluated and criticized. For a deeper analysis, the first twenty ghazals of Hafez's Divan were investigated, while other ghazals, especially Molamm'at, were also considered to confirm the findings. The data were analyzed using a descriptive-analytical method with a prosody-based approach. The results showed that the syntax and sometimes even the rhetoric of Hafez's poetry has been influenced in this translation by external music, which has resulted in modifications and overabundance of poetic necessities in the target language. The changes that the prosody of Persian poetry have found over time, as required by Iranian taste, are not easily translatable. Alterations in the meter of the most Molamm'ats in the present translation seem to be a testament to this claim.

One Hundred Persian Love Verses by Hassan Zolfaghari is one of the most comprehensive and popular books in the field of Persian love stories, which has now reached its third edition, about seven years after its first publication. The purpose of this article is to review this book. For this purpose, while briefly introducing the book, in three sections of structural critique, content critique and critique of sources, by mentioning the evidence and documents, have examined its flaws and shortcomings. Incomplete compliance of the title with the content of the book, problems in book chapters, lack of a single procedure in selecting titles of entries, inclusion of some imitations and stories from which there is not enough information, non-adherence to the structure provided for each entry, writing flaws and poor writing (structural flaws), putting love stories under lyrical and dramatic genre, problems in the morphology of love stories, some inaccurate and thought-provoking comments, incomplete/ wrong reporting of some stories, some incorrect data (content problems), the absence of some sources and some confusions in the list of sources and its inconsistency with references are the problems that will be solved in the second edition, will increase the credibility and acceptability of the book.

A heroic love story is a genre of the Persian literary that is similar in some aspects to love tales and in others to heroic tales; however, there are also differences that make it different from these two similar types. In the western literature, love and heroic-love tales both are referred as "romance". In the Persian literature, the series of Bahramnameh describing the life of Bahram Gor are considered as examples of romance genre. Meanwhile, some categorizes these poems as love stories. The present study aims to prove the "love-heroic" nature of this story, to understand the narrative structure of the literary type of a "love-heroic story", and to find its similarities and differences with two genres mentioned before. To this end, morphology, as a typological tool for the recognition of types of narratives in literature, is applied. First, Based on tale morphology in five famous series of Bahramnameh (Haft Peykar by Nizami Ganjavi, Hasht Bihisht by Amir Khosrow, Haft Akhtar by Abdi Beyk, Bahramnameh by Rouh-al-Amin Shahrestani-, and Haft Manzar by Hatefi), the paper identifies functions, characters and narrative models of this series as the example of heroic-love stories. Finally, its similarity and distinction with heroic and love tales are presented.

Plagiarism is one of the most unethical research damage that is nowadays growing in our academic research. The purpose of this article is to examine various aspects of plagiarism in academic articles as the most prominent representative of academic researches, and in particular the academic articles of the Persian literature field. For this purpose, plagiarism is firstly defined by mentioning some examples of it in the academic articles of Persian literature. And in the future, the authorities, factors and motives behind the plagiarism of research articles are investigated. Finally, strategies for prevention of plagiarism and retraction of pirated articles in journals of the Persian literature field are offered. This article focuses on the inhibiting role of "plagiarism checker software" (in pre-publication), "review articles" by researchers and experts to study history (perspicacious eyes) is written in different fields of study and the publication of these articles by academic journals, retraction of stuffed articles and the cancellation of their score, as practical solutions in this regard stresses.

Plagiarism is one of the most immoral damages in our academic research studies that is growing today . The purpose of this article is to investigate plagiarism in academic articles (as the most prominent representative of academic research) , and in particular reporting and tracking of plagiarism in two academic articles in the field of literary genre studies . For this purpose, at first evidences of plagiarism in these two articles are shown ; and in the following, undertakers and propellants for doing plagiarism in research articles are expressed ; and eventually, strategies for prevention of plagiarism and retraction of pirated articles in journals are offered. this article focuses on the inhibiting role of plagiarism checker software (in pre-publication), review articles by researchers and experts to study history (perspicacious eyes) is written in different fields of study, and retraction of published articles, as practical solutions in this regard stresses.

Love story is one of the ancient and popular genres of Persian literature. The purpose of this article is to explore the genre. For this purpose, the morphology, which is one of the tools of Typology to identify the genres of narrative literature, has been used. In this article, twenty-two amorous verses – as the dominant and popular form of love story in Persian literature - to identify functions, characters, and narrative patterns of love stories and Typology of them, have been investigated and finally Persian love story as a literary genre, narrative has an opening scene and twenty-two functions that five main characters in the play and a single narrative pattern, have been defined. This genre according to two criteria: the presence/ absence of "resolves an obstacle" function and the final functions, has three sub-narrative patterns or three sub-genres of material love story, spiritual love story and material-spiritual love story.

Genology or genre theory is one of the oldest، most controversial and most problematic branches of literary theory. Approximately two thousand four hundred years in the life of this theory، many controversies surrounding the concept of genre has been and in these controversies، different problems and issues have been raised. Among the many topics of the theory، this article will talk about the issues that need attention in generic studies of Persian literature; such as the definition of the genre، genre and literary works، types of genres (the main forms)، generic conventions and expectations، measure of regard to conventions، genre and intertextuality، genre and time، genre and cultures، genre and literary history، the vicious circle in the selection of genres، and definition and naming of genres. The article also criticizes the traditional approach to genre theory in Persian literature and notes the necessity of retrospective component approach to literary genres.

Due to its unique features derived from ancient Iranian history and culture، Ferdowsi’s Shahnameh has captured the attention of all Iranian social classes including the folk. The interest of the folk in the Shahnameh can be witnessed in the common proverbs they use. The hemistiches، couplets and themes of this great masterpiece used as proverbs، or the proverbs including allusions to the epic stories and characters as well as the very word “Shahnameh” and the poet himself all bespeak its widespread and profound influence on the Iranian folklore. The aim of this article is to investigate the role and contribution of Ferdowsi’s Shahnameh to Persian proverbs as they appear in Dehkhoda’s Amsal-o-Hekam (i. e. Proverbs and Aphorisms) and to further examine such proverbs. For this purpose، proverbs derived from the Shahnameh are considered in terms of typology and themes using work-based and proverb-based approaches. Finally، it has been considered why there are so many proverbs and paroemiac verses in Dehkhoda’s Amsal-o-Hekam derived from the Shahnameh.

Khamseh/Quintet composing is one of the long-standing traditions of Persian literature. This literary tradition was founded by Nezami Ganjavi in 6th/12th century and continued to 14th/20th century in Iran and its cultural realm. During these 8 centuries, many Iranian, Indian and Turkish poets imitated Nezami’s Khamseh. This literary tradition is the most popular tradition in Persian literature, after Shahnameh composing; but extensive research has not been done on it, and a lot of quintets have remained unexplained, and the detailed list of them is not available. This article introduces and criticizes the major researches done in this field and notes the deficiencies of these studies. Finally it offers some recommendations for research into this field.

Some of contemporary poets, at a certain period of time due to distressed political and social situation and individual and social successive defeats, some poets find conviction in "Absence of god,'' which is one of the fundamental Western philosophical ideas; but because of human's intrinsic tendency towards the concept of ''God'' and under the influence of Western philosophical ideas, belief in a "different God" appears. This subject caused to appear a different form of theism. In this article, the authors review the history of this topic in religious tradition and Western philosophy, and then study their emergence, durability, wane, difference and similarities in poetry of the three prominent contemporary poets - Akhavan, Foroogh and Shamloo.

Loneliness is a matter with which man has been faced all the time. In different fields such as Sufism, mysticism, psychology, philosophy and so on, a particular concept of the word is meant. Literature as the appearance arena of human thoughts and emotions has manifested these concepts and meanings in different ways. In the mystical Persian poetry, as the most prolific branch of Persian literature, loneliness has become mooted as a subject matter and a special attention has been paid towards the subject both in the classic and contemporary periods.In the persent paper, the authors examine the term of solitude in the mystical Persian poetry and conclude that its meaning in the classical Sufi poetry has been originated from early Islamic mysticism and is the same as literary meaning of the word.Of course there are some differences in the viewpoints of Sufi poets. Some of them like Sanāyi emphasize more on the outward meaning of solitude but for some others like Hāfedh the inward meaning of it is more important, while in the eye of Rumi both sides are of the same value.The concept of solitude in the classical branch of contemporary Sufi poetry which its real representative is Shahriār, follows the literary meaning of the term, while in the Sufi free poetry i.e. in the poetry of Sohrāb, it is under the influence of Buddhism and mostly used in the meaning of a spiritual silence necessary for contemplation and illumination.

The Shahnameh is the scene of the battle between the good and the evil, and man is the inactive spectator of this battle. Existentialism challenges this view of humanity and by breaking up the two forces replaces a third and superior power i.e. the human being. Existentialism therefore is a kind of humanism.According to Shahnameh, man’s effort has no effect on his destiny and man is powerless in the hands of destiny. Existentialism repudiates this view and considers man as the only builder of his destiny. In existentialism, no person is born a hero or an anti-hero, while in Shahnameh, all the heroes were born heroes and all the non-heroes were born as such. The keywords in existentialism are choice and anguish. Sartre’s heroes always find themselves in a situation charged with choice and anguish, a situation which many heroes of the Shahnameh, in most stories like Rostam and Sohrab, Rostam and Esfandiyar, Siavash, etc., also find themselves in many times. The purpose of the present article is to study parts of the Shahnameh from an existentialistic point of view and to show that in principles existentialism is in agreement with the Shahnameh but in certain minor points it agrees with it.