علی پدرام میرزایی

The issue of the narrator's credibility as an intermediary between the author and the readers is a fundamental concern in the field of narratology. In this discussion, the concept of the unreliable narrator will be explored via highlighting the content and linguistic features of this type of narrator, supported by evidence from the story. Also explained, is how the author employs this technical capacity to create defamiliarization at the narrative level. In this story, the author not only incorporates intriguing historical content but also employs an unconventional structure by utilizing the narrator's unreliability. By presenting contradictory narratives and employing multiple narrators, the author creates an element of surprise that ultimately enhances the literary experience. The results indicate that in the realm of psychological and behavioral components, symptoms such as hallucinations, delusions, superstition, projection of problems, pessimism, and distrust are prevalent. Additionally, issues such as emotional dysregulation, contradictions between thought and reality, erroneous judgments, and a lack of situational mastery are noted. In terms of linguistic features, symptoms include a high frequency of incomplete sentences, interrogative sentences, and phrases that convey doubt or a lack of knowledge. The use of short sentences and slanderous language further suggests the narrator's unreliability.

In recent years, the tendency to short-term format has been considered by poets. Priskeh is one of the types of contemporary Persian short poems that was officially registered by the Ministry of Culture and Islamic Guidance in 2012. Based on this research, it was concluded that Priskeh is an independent short format that has its own characteristics and has significant structural and material differences. And the goal is to recognize more and more Priske short template as a short short template and introduce its special features. Some poets take their poems haiku while none of them followed their principles. but declared to the Japanese poem that; Accordingly, sometimes, with the rules of your acquaintance, Priskeh has also made Persian haiku or imitation of them.

According to Farklaf's approach in discourse analysis, narrative texts can play an important role in recreating cultural, political, and social structures and producing meaning. Behjat Afza's version is a long story by Mohammad Mehdi Jarbadghani in the Safavid period, which has a trans-meaning texture in its structure and trans-text; By examining the linguistics of Behjat Afza's story, the underlying and hidden layers of the text, i.e., the state of the relationship between power and ideology in the period of Shah Abbas I and Shah Safi, are revealed; The text is analyzed in three layers: description, interpretation and explanation.The basic hypothesis of the research is that in the story, a discourse worthy of the power and social status of each of the characters in the story rules; By examining this story on the three levels of Fairclough's model, it became clear that the different use of words, the use of different linguistic and grammatical aspects, the difference in persuasive methods, the views of the characters in the story towards each other, and the openness and concealment in the speech directly depend on the difference in the role of power in this story.

Entekhabe-Muntakhab-ol-Tawarikh, abbreviated as Entekhab Muntakhab, is one of the historical texts of the 11th century, written by Abd-ol-Shakur Bin-Abd-ol-Vase Tattavi Hindustani, one of the secretaries of the Gurkanian Empire in India, in order to describe a summary of the general history of humankind from the beginning of creation to the author's living time (1084 A.H.). It has been written in the literary language in five articles consisting of different sections and chapters and dedicated to Aurangzeb, the 6th Gurkanian King. In this research, while introducing the work and its author using the existing manuscript and library sources, with a descriptive-analytical approach and employing the method of textual analysis, it has been tried to examine its stylistic features in three linguistic, literary, and intellectual areas. At the linguistic level, many Arabic, Turkish, and Indian words and expressions can be seen; some of which are attributed to the author's living period style and some to his literacy and literary knowledge. The book's prose in the description section is rhymed, different puns are used, and unique special allusions can be seen in it. From an intellectual point of view, the work contains valuable sociological and anthropological information that can be useful for researchers in this field. Although the manuscript's topic is general history, the inclusion of expressions, words, and information used in the author's lifetime can help examine the progress and development of Persian prose in Persian-speaking regions.

Intertextuality is one of the new topics in literary criticism that deals with the relationship and interaction between texts. According to this theory, any text makes sense with the texts before it and no text is independent and conscious or unconscious speakers have benefited from each other's literary and intellectual sources. Intertextuality was first proposed by Julia Kristova, and later Geragent, as one of the most influential researchers in the field, developed this theory by examining his studies. Genet called his collection of studies transmittent. He divided the transtextuality into five categories, which are: intertextuality, paratextuality, hypertextuality, supertextuality, hypertextuality. Each of these five categories examines a type of relationship between a text and others. Among which intertextuality received more attention. This study has analyzed the effectiveness of the "Unseen Witness" manuscript of Abdolrahman Jami's "Yousef and Zuleikha" Masnavi based on the intertextual approach. The fruits of this research show that although these two works are completely different in terms of subject matter, but they have a lot in common in terms of text, verbal structure and narrative. And the author of "The Unseen Witness" has been influenced by Jami's thoughts and ideas in "Haft Orang", especially his "Bosef and Zuleikha", and intertextual relations are explicitly, explicitly and implicitly.

Abolhassan Yaqmā Jandaghi, is one of the poets of Qajar era that has criticized verbally the corruption of the times by using the technique of satire in his poems. One of the techniques he has used, is a parody of the antecedent poets of Khorasani and Iraqi styles. The Masnavi of Sokkal-Adal, a poetry that has been composed in 564 verses, satirizes one of his contemporary poets so that in its composition the poet has considered Shahnameh of Ferdowsi. According to the topic, this paper tries to investigate the form, the structure and the theme of Sokkal-Adal based on the components of Mock epic and it compares the Mock epic with other kinds of literary figures including parody and Burlesque. To benefit from the technique of parodying, Yaqma tries to replace the literary imitation with creativity in his poems and He partly achieved its goal, but sometimes changing the tone of poems from heroic tone to doctrinal tone and combining these two tones have kept the poetry away from the textual coherence

As a contemporary literary theory, intertextuality examines the presence of one text in another one. According to this theory, there is no independent text. Rather, all texts are derived from previous texts or texts of their time. Therefore, authors are not creators of their own works and take all their intellectual themes and beliefs from previous texts. By explaining and classifiying intertextuality, Gérard Genette brought it from a purely literary theory into the operational field and textual criticism. Due to the clear influence of sacred scripture on artistic and literary texts, gnostics and mystics have borrowed many of their intellectual sources from the Qurʾan as a supertext and a sacred text. Ain al-Quzat has used Qurʾanic intertextuality many times in his Tamhidat, and many of his intellectual, religious, and even literary sources can be traced and found in the Holy Qurʾan. The present study explores the Qurʾanic intertextuality in Tamhidat of Ain al-Quzat based on Gérard Genette's theory by a descriptive, analytical and comparative method using library sources. The result of this research shows that there is a strong and unbreakable link between the Qurʾan and Tamhidat in the form of explicit and implicit intertextuality, and the Qurʾan has left spiritual and linguistic influences in the mind and language of Ain al-Quzat and his Tamhidat. Qurʾanic intertextuality exists in explicit and implicit forms in Tamhidat, and the findings show that partial adaptation, lexical borrowing, and the implicit intertextuality of illusion prevail over other types. Considering the thinking governing Tamhidat, which is a mystical and interpretive book, requires authors to select pre-text in detail and analyze it in their own text in order to represent their desired result from the intertext according to the form and meaning of the Qurʾanic ayahs.

Historiography one of the main branches of the Persian language and culture received a lot of attention during the reign of the Gurkanian Empire in the Indian subcontinent, and many works have emerged in this period. Many of these books containing valuable information are still kept in uncorrected manuscripts in the libraries of the Indian subcontinent. One of these books is "Entekhab Muntakhab al-Tawarikh," abbreviated as "Entekhab Muntakhab." The book is the summary of Muntakhab al-Tawarikh of Ataki, written in the 11th century by Abd al-Shakur Tatavi, one of the secretaries of the Gurkanian Empire in India, and in addition to its historical, geographical, sociology information, it shows the influence and spread of the Persian language in the Indian subcontinent.Considering the historical, social, and, most importantly, literary significance of this book, while a brief introduction to historiography in the subcontinent is given, the author and information about his life are introduced, and the characteristics of the existing manuscript and its prose style are also discussed in this article.

Ashraf Maraghi is one of the unknown poets of the ninth century and is one of the contemporaries of Pirbudaq and Sultan Baysanghar and his son Sultan Mohammad. The name of this poet is Hossein, and his nickname is Abu Ali, and his pseudonym is Ashraf. Many poems of this prolific poet are in different poetic forms. Among these works, we can refer to his Divan, Nasr-al-Leali, and Khamse Ashrafieh, the latter of which includes Manhaj-Al Abrar, Riyad -Al Asheghin, Leyli and Majnun, Haft Awrang, and Zafarnameh. In this paper, it was intended to introduce the existing versions of all his poems using a descriptive-analytical method along with introducing this poet. Examining the list of handwritten editions, it was found that four of Ashraf's manuscripts are available in the libraries of Hatef Effendi, Fateh, Hagia Sophia, and the British Museum. The Hatef version, written by Mahmud Khomari in 846 and which is the basic version of the current correction, includes odes, lyrics, quatrains, and refrains. Another edition, which was written in 846 AH, belongs to Fateh Library and includes the lyrics of this poet. The third edition is from the Hagia Sophia library. The latest version is the one available in the British Museum, edited and published by Yusuf Beg Babapour.

The main purpose of this study is a comparative study of the position of Iranian teachers in the political systematization of the Islamic Caliphate and the specialized administrative and organizational cadres before the revolution in systematization in the first decade of the Islamic Republic of Iran. have been. The purpose of this article is to compare the two historical periods and their systematization patterns to show how the continuation of the political tradition can maintain the administrative-bureaucratic structures of society or cause functional disorders in society by interrupting political traditions and institutions. The approach of the article is historical-comparative and the documentary method is used to collect data. The article concludes that the process of state-building after the revolutionary developments required some structural continuities that were not possible in their absence. On this basis, the establishment of a new political order was not possible except by applying the political experience of specialized cadres of institutions and organizations of the modern government, which could be used with the insight and careful consideration of the intellectuals of the revolution, including Imam Khomeini. Undoubtedly, in the absence of such a possibility, the process of developing political order in post-revolutionary Iran would be flawed and would probably create unexpected and unresolved crises.

Manuscripts are valuable resources recognizing and for examining the evolution of thought and feeling in Persian literature.Manuscripts of many poets, such as Dehlavi's silence, have not yet been corrected and published.The purpose of this research is to study and critique the intellectual, linguistic and rhetorical level of the poems and lyric poems of this poet.

This research examines the content of Dehlavi Khamooshi Divan and her thought and poetry style by analyzing the content with the help of library tools.

The time of the poet's life is mentioned on the back cover of the King's library version, "Qajariyya, zero 1193 lunar".No information can be obtained from studying the two versions of this poet's divan. In the culture of orators, only one manuscript of the poet is mentioned and several silences are mentioned, and the poet of the present court is apparently Ali Hassan Khamoushi or Khamoosh Dehlavi, the poet of the 11th century, on the occasion of his poems about India. The results show that Dehlavi's silent poem has Indian style themes and attention to the poems of Saadi, Khaghani, Attar, Hafez, Rumi and Orfi Shirazi is another feature of it. This poet's style of poetry is similar to the Iraqi and Indian style, and his poems are in praise of the Prophet and more than that in praise of the Amir (AS). His lyric poems are also mystical and romantic.

The verbal and spiritual forms of her poetry have used the two dimensions of literary tradition, innovation and innovation;Sometimes there are weaknesses in her poems that are very weak against her poetic values. The weights of her poems are the most widely used weights of Persian poetry, and the rows and rhymes of her poems are simple, and most of the rows of her poems are current.Silence poems have more artistic value and variety of rhetoric and stylistics than her sonnets.

"Rite of passage " refers to rituals such as birth, puberty, initiation, death, etc. in ancient societies that have a mythical structure. The theorists of ‘rite of passage’ believe that the mythical structure of these rituals follows a single pattern. By using analytical-descriptive method, the present article attempts to investigate the degree of conformity of the structure of ritual myths with the spiritual journey (Suluk) and behavior of Sheikh Sanān in Mantiq-ut-Tayr of Attār. Emphasizing the ritual nature of Sufism, the present study, while offering a psychoanalytic interpretation of each stage of Sheikh Sanan's mystical passage, shows that the narrative structure of the story is consistent with the four-stage model of theory of "rite of passage" (separation, crisis, transition and reincorporation).

There will be always a connection between artistic creativity in a poem on one hand and the meanings and concepts conceived by the poet on the other hand, created either consciously or unconsciously. Viewing versed texts from a poetics standpoint will help us discover this connection and may deepen our understanding and pleasure from the text. This treatise seeks to clarify the various dimensions of the music of poetry in the long story of Sheikh San'an, and shows the existence of a connection between musical manifestations and what the poet intends to reveal to us. At the beginning the aesthetic capabilities of the four types of music discernible in poetry (external, internal, lateral and spiritual) which can affect and change the tone of speech, are studied and taken into account. Then manifestation of each type is detected and analyzed in the story of Sheikh San’an. From this study we can arrive at the following conclusions Firstly, the connection between music of poetry and its meaning and content is much more significant than what may be expected when texts are skimmed. Secondly, there are some capabilities in those four musical element of poetry that make contribution to meaning, which are not much considered and  are not studied yet. This research has shown how changing the semantic position in different parts of Sheikh San'an's story has caused musical changes in each section and how through a  fixed meter of prosody, musical adjustments have come to the aid of meaning.

The revival of the manuscript is an effective step in recognizing the cultural and literary heritage of each nation. Progress and advancement of any nation is not possible unless it is aware of the background of its culture and literary history. Therefore, transferring the works of the past people in a proper way and far from manipulation is the cultural necessities of any society. The manuscript of "The Absent Witness", one of these mystical works in the form of Masnavi in Bahr Hazaj Mosades Mahzuf is in the Persian language which was written by the poet "Ahmad" in 1953. This unique version has two parts: A: The first part describes the circumstances of Mir Mohammed Zivar Al-Din son of Mir Hossein Baghdadi, whose ancestry reaches Sheikh Abdul Qadar Gilani, and the second part deals with the Naghshbandieh dynasty and the practices of this conduct. The present study, while providing an explanation about the content of the manuscript of "absent witness", examines its structure and most important stylistic features at three levels of intellectual, literary and linguistic levels. The research method was library and content analysis and based on the principle of works and evidence derived from it.

This research is a linguistics analysis of "Nafthat al-Masdoor" by Shahabuddin Mohammad Zaidari with a critical discourse approach based on the analytical model of Yarmohammadi (1391) and Van Leeuwen (1996). Discourse analysis reveals the relationship between the text and the author's ideology, and attempts to pay attention to the general analysis of the text and its deep and complex structure with a particular focus on the nature of the use of language. Given that the purpose of the critical analysis of discourse is to decode the underlying layers of the text, the findings of this research show that the author has used the deletion component in addition to the use of verbal and emotional expressions as the dominant aspect of the work. At first glance, this silence or gap in the discourse of concern refers to a constantly delayed referent inducing the reader to think of the author as an introverted person. However, what is pushed to the margins is the fact that despite his severe objection to Kharazmashah’s court and its unfriendly atmosphere, Zaidari in fact attempted to develop a corpus featuring his contemporary events by arranging the pieces of his works, consciously or unconsciously, in such a way as to rely on a discourse consonant with his thought. The corpus generally reflects a theme of fate and determinism. The macrostructure of this work prompts the readership to assume that in shaping the unfavorable bitter end of this account Zaidari's beloved king, Jalaladin Kharazmshah, and his oppressed people could do nothing but succumb to this doomed destiny.

Abstract The extent and complexity of tribunals and court structures during the semi-autonomous states of Samanid, Ghaznavi, and Seljuk in post-Islamic Iran has had a great influence on the evolution of the secular prose prose; With the expansion in bars and courts, especially the Divan of the mission, the importance and position of teachers was added; As a result of the increased prestige of secretaries and secretaries, prose and mediator prose also found a special place. It seems that simple and prose prose has become an artifact and prose prose in the past, with the expansion of courts and courts, and this relationship has been affected by important causes such as political, socio-cultural and psychological factors. Each of these factors has been effective in some way in the perfection of the prose of the scribes and secretaries. In this article, in addition to getting acquainted with the teachers, the evolution of the style of prose prose and also its relationship with development And the expansion of the court and court.

Ballad (Tasnif) is the best and most beautiful manifestation of the connection and affinity between poetry and music. Constitutional period is considered the period of the evolution and eminency of the genre of ballad which enters a new level by the work of Aref Ghazvini. Meanwhile, Malek Al-shoara Bahar along with Aref enters this field with a huge literary and methodical knowledge. In this study, in addition to introducing “ballad” as a “literary genre”, Bahar’s ballads are studied and structurally analyzed. The forms of these ballads and their main aspects including rhythm, format, and the interaction, and interrelatedness of these two categories, and other deconstructions found in them have also been analyzed. The results show that “melody” and “rhythm” play a major role in the external structure of ballad, and through full dominance on it, make the structure and form of the ballad different from the structure and accepted format of the traditional poetry, and accompanies it with “rhythm” and “musical system”. The use of several prosodic metres in one ballad, changing the speech metre in accordance with a change in
rhythm, and the application of rare and unprecedented prosody, and innovative poem forms are all the results of this attitude and the dominance of rhythm and melody over the speech.

Allusion enriches the form of a work and gives its meaning depth by association of familiar events; consequently, it makes readers mind overfilled of literary pleasure. Poets enjoy this figure of speech as a poetical device for various purposes. Mohammad - e Salmani, contemporary lyric poet (born 1334), in his two books; Ghazal-e Zaman (Times Ghazel) and Dar be Dar Darpeye Nayaaftanat (Looking for Finding You Not) that have made published by now, had a special tendency to the allusion.
This article has paid attention to his allusions to the Shahnameh and has analyzed all 22 founded specimens in that two absolved-named books in a rhetorical specifically poetical method. Meanwhile according to Salmani’s manipulations, innovations, negligence and possible mistakes, the main purpose of the article is to show aesthetically some of the poet abilities that concerned with association of allusion.
In this deep research, it was found that Salmani in the application of mythical allusions to the Shahnameh has avoided from raw story telling as far as possible and observed other necessaries like ambiguity as well as. Also it was revealed that Salmani is very interested in character of Siavash. Also it was found that Salmani, concerned with the name of some characters, has made some few mistakes.
It is necessary to say that with this approach no research has been done about Salmani’s poetry.

This study aims to investigate the teaching method of Persian verb prefixes to Azeri-Turkish people through comparative analysis. Since there is no verb prefix in Azeri-Turkish language and this can create problems for learners, this study tries to provide a partial solution to such problems. At first, verb prefixes and divisions of Persian prefixes were defined semantically, and then the verb structure was stated in both Persian and Azeri-Turkish language. Next, the structures of Persian and Azeri-Turkish languages were described and a brief explanation was provided based upon a contrastive analysis. Then, the third transmissions were mentioned in the process of learning a foreign language in mother language. Moreover, some samples of Persian verb prefixes and their equivalents which change into simple or complex verbs in Azeri-Turkish language, were given in Azeri Turkish. Finally, the tense of verbs in both Persian and Azeri Turkish languages were investigated and their similarities and differences were discussed in detail. At last, a test was administered. This test proved that the transfer and translation of Persian verb prefixes in Azeri Turkish language can be helpful and often these verb prefixes change into simple or compound verbs in Azeri-Turkish language except when there are subtle differences that make learner confused. The result of this test showed that this transfer is positive in 85 percent of learners and is negative only in the remaining 15 percent. Finally, the test’s chart and the conclusions of the paper were presented.

Manuscripts reflect the glorious past of the culture and language of every nation. Introducing Persian manuscripts is turning over the golden pages of Persian language and culture and the Iranian civilization. There are a lot of Persian manuscripts in Ganjbakhsh library of Islamabad in Pakistan. One of these manuscripts is a book on medicine from the seventh century of Hijry، registered with number 15597. This manuscript is very important considering its style and Persian lexicon. On the other hand it is an unknown text on medicine with the scientific terminology and combinations. By introducing such texts it is possible to find the potential of Persian language in finding equivalents for modern terminology. This research is conducted using the Content Analysis Method and the results were analyzed based on descriptive – analytic one.

This descriptive correlation study is aimed at constructing and standardizing a test to measure personality based on Golestan Saadi. 276 students (137 female and 139 male) from Allameh Tabatabaee University were participated in this study. The questionnaire with 108 items was based on content analysis of the characteristics mentioned by Saadi in the first chapter of Golestan. In order to gathering the data, the questionnaires were filled by the students. Exploratory factor analysis by SPSS software was used to determine the numbers of the basic factors. The findings of this study confirm the questions. The calculated Cronbach Alpha coefficient was high (α= 0/96), which shows high reliability and internal consistency of the questionnaire. Construct validity (calculated by exploratory factor analysis with Varimax rotation) was also desirable. An exploratory factor analysis with Varimax rotation was administered on the questionnaires. According to the results, the final questionnaire consists of 63 items categorized in 5 basic components, including: ‘social maturity’,’ searching for connection’, ‘economical time use’, ‘kindness’ and ‘generosity’. The results also showed that discriminant validity of the questionnaire (its power for differentiating between groups) is desirable, as if two groups of healthy participants and clients of counseling centers can be distinguished by the questionnaire. On the other hand, norm tables of Z and T scores have been plotted for ’economical time use’ component separately because except for ‘economical time use’ component no difference between females and males’ mean scores were found (by independent sample t-test). Therefore, the tables were plotted generally for other components and for the total score. The criterion-related validity of the questionnaire with five factors of NEOPI-R is within acceptable limits. Cut-off point of the test was determined by calculating the confidence interval of total score and each scale of the test.

Comparative literature as a dynamic and evolving science had become into existence first in Europe and America then came to Iran. In the beginning of its information in Iran it studied and considered only its general concepts, but later it found its main road and some studies on comparing Persian literature with the literature of other nation have beendone.