mohammad parsanasab

The function of the We-Narrative with the element of perspective in storytelling can take various forms. One of these functions occurs when the story employs two or more points of view for narration, and one of them is presented by the We-narrator. In this case, authenticating one of these points of view is not straightforward. In fact, the intermittent position mentioned requires a pattern to differentiate collective narration as the narrative action of the We-narrator from non-collective narration, which is the product of another story's point of view. The present research aims to address this situation using an inferential method and by utilizing selected narratives from the corpus of Persian fictional literature. The result of such a study, which examines narratives through story and discursive elements, introduces four factors as indicators of the problem under consideration. These indicators, which pertain to the formal and content aspects of the narratives, demonstrate that the story requires extensive representation of the We-narrator to be perceived as collective. The collective narrator presenters must prioritize the other elements of storytelling, align with the central thematic issue, and reflect coherence in their agency.

Khaqani Shervani’s Divan has been published or edited several times, and its audience’s attention is now on the three editions of “Ali Abd al-Rasuli”, “Seyyed Ziya al-Din Sajjadi”, and “Mirjalal al-Din Kazzazi. Considering the introductions of these books, it is concluded that Ali Abd al-Rasuli and Mirjalal al-Din Kazzazi did not follow scientific methods in compiling Divan and Seyyed Ziya al-Din Sajjadi presented an edition with rather scientific methods. Kulliyāt-i Khāqāni marks the first printed collection of Khaqani Shervani; however, a major issue with this edition is the misattribution of poems by other poets to Khaqani. The introduction of this article notes that Kulliyāt-i Khāqāni was printed at least six times in India using lithographic method, and it addresses inaccuracies by scholars such as Ali Abd al-Rasuli, Seyyed Zīya al-Din Sajjadi, and Khānbābā Mushar regarding the number of these printings. In the main body, this article highlights the misattribution of poems by poets such as Aḥmad ibn Manuchihr Shaṣt-Kulih, Mas’ud Sa’d, and Sayf Isfarang to Khaqani in Kulliyāt-i Khāqāni, as well as transcription errors in this edition. In the final section, the status of these attributed poems has been reviewed across seven manuscripts of Khaqani Shervani’s Divan. Of these, only the poem by Aḥmad ibn Manuchihr Shaṣt-Kulih is recorded under Khaqani’s name in three of the seven manuscripts; however, prior studies confirm this attribution to be erroneous.

The ecocriticism that emerged in the late twentieth century in the West often addresses the environmental concerns of writers and examines the extent and quality of their attention to such issues in their works. Iranian critics and researchers, recognizing environmental crises, have studied contemporary Persian short stories with the aim of providing a new and effective reading of these literary works. Their efforts have yielded varying degrees of success, with some cases showing relative success and others facing shortcomings. This article employs a method of critique of critique, aiming to analyze the application of this approach in contemporary narrative literature. We evaluate seven articles published in the last decade of the fourteenth century in the Persian calendar that focused on eco-critical studies of Persian short stories, assessing them in terms of structure, method, and content to understand how well these critiques align with the objectives and nature of ecocriticism. We investigate how successful critics have been in presenting new readings or findings from these works and ultimately identify the fundamental shortcomings of such critiques. The main findings of this research, conducted through a descriptive-analytical method and critical approach, include: neglecting the primary essence of the theory, lacking a correct understanding of ecocriticism, failing to reference authentic sources, limiting articles to case studies and micro-analysis, lacking depth in addressing environmental issues among writers and critics, disregarding the interdisciplinary nature of this style of critique, and finally, overlooking its practical dimensions.

The poets of Azerbaijan school are famous for using meta-poetic information and common knowledge of their time. One of the arts that appears in the court of these poets is music. Falaki Sharvani, Mojiruddin Beilaqani, Nizami Ganjavi and Khaqani Sharvani are four poets of almost the same period, each of them created imagery and meaning with musical instruments, using their interest, knowledge and ability to compose poems. The purpose of this research is to find out the level of knowledge and understanding of each poet about musical instruments and to compare the aesthetics and meaning of the poems that each of them wrote by using this type of musical instruments. The musical knowledge of each poet, the extent of their knowledge of the musical instruments of their time, the ability and level of creativity of each poet in depicting the way of playing and different components of an instrument, knowing the time and place situations where the people of that time used all kinds of instruments; It is one of the findings of this research. The comparison of sample verses written by the four mentioned poets with various stringed-wound instruments leads to the results, the most important of which are: The instrumental art of every poet, understanding the variety and quality of images made with instruments, identifying narrow-minded, creative and innovative poets in creating fresh and pristine images and meanings with instruments. Of course, in the end, according to the attitude of each poet towards musical instruments, the hypothesis of being a musician or at least a musicologist can be put forward.

Examining the aesthetics and meaning creation with stringed musical instruments in some verses extracted from Divan of the poets in question, as well as comparing the art of each of them in creating pure and beautiful images and fresh and pristine concepts is the most important issue that we face in this research.Using library resources and two methods of structural studies and content analysis, this research deals with the description and analysis of subject images in the Divan of poets of Azerbaijan school and gives significant quantitative and qualitative results.

By carefully examining the divan of the poets of the Azerbaijan School, twelve types of stringed instruments have been used as a tool for illustration and theme development. In order to better organize and order the contents, the poetic evidences of the poets in question are given under the headings of instruments. Harp is one of the oldest stringed instruments that has been commonly played in Iran since before Islam. Among the four poets examined in this research, the "harp" instrument is the most used in Nizami’s poems, but the images presented by Khaqani are more novel and debatable. In the term of music, "Rood" is one of the ancient stringed instruments with strings, which are not commonly played today. Poets have considered various meanings and concepts by using this word. Among the examined poets, Nizami can be considered the only poet who knows and is familiar with this instrument, so that in Nizami's poems, this word has the highest frequency among all the instruments used in the divan of all four poets. In terms of music, “Rabab” is a family of stringed and plectrum instruments, or in other words, a field whose various types can be found in every corner of Iran from the past to the present day. None of the examined poets were strangers to the “Rabab” instrument, but in the meantime, Khaqani has created more and more beautiful images. Of course, Mojir's contribution is also after Khaqani and more than Nizami, and the imagery along with the themes of Mojir's advice with this instrument cannot be ignored. The variety of imagery and imagination of Khaqani with the “Barbat” is more than his other contemporaries. Setar is one of the stringed instruments that today has four strings. This instrument is mostly mentioned as "Seta" in literary texts, especially in the 6th century. Khaqani illustrated four verses of his divan with “Setar” and “Seta”, three verses of which are among the poems and one verse of which is included in his compositions. In terms of comparison, Mojir Beilaqani's poem is somewhat close to Khaqani's from an aesthetic point of view, but the verses of Nizami have more of a narrative aspect and are devoid of significant rhetorical beauty. Among all the poems of the researched poets, only one verse of Mojir Beilaqani can be used to imagine a type of musical instrument from the word "Zir". Kamancheh is one of the stringed instruments that is played with fiddlestick. Today, this instrument is one of the common instruments that many people use both as a soloist and as a band playing. Khaqani used this word twice in his poems and both times with the additional combination of "rebab's fiddle", which undoubtedly meant the same arshe or rebab's fiddle. “Mezhar” is an Arabic name and in most dictionaries and music dictionaries, as well as the opinions and thoughts of music researchers, it is considered to be a family of stringed instruments from the category of Harp or Barbat. Falaki and Nizami have not used this word. Mojiruddin Beilaqani and Khaqani have illustrated with this instrument twice in their poems. "Qanun" is the name of an absolute stringed instrument that is still played today, and in appearance, it is in the shape of a right-angled trapezoid, almost similar to the “Santoor”, but it is most likely older than that. Some have attributed its construction to Farabi. Among the four considered poets, Nizami is the only poet who, among the various meanings of "qanun", considered its musical aspect and illustrated with it. Other poets of the Azerbaijani school have not explicitly addressed the musical meaning of this word. "Tanbur" is one of the instruments that is widely used even today, especially in the western regions of the country and Kurdistan. The only poetic evidence of this instrument in the poetry of the Azerbaijani school is a verse written by Nizami in the poem "Khosro and Shirin" and in one of Khosrow's debates with Shirin:I have not been canny in love with you To come to your neighborhood with a "Tanbur” (Nizami, 1388, Volume 1: 290)

By examining and analyzing the sample poems of Azerbaijani school poets, we find out that Harp, Rabab, Rood, and Barbat instruments are among the stringed instruments that have the most frequency in the divan of the discussed poets.The repetition rate of each of these four instruments alone is even higher than the total frequency of the other eight stringed instruments, and this shows their use and importance in Azerbaijani style poetry. From this statistical comparison, we can find out some important points:1- The low frequency of stringed instruments in the divan of Falaki and Mojiruddin Beilaqani's poems shows that these two poets were not very interested in writing poetry in the field of music, in other words, they are one of those poets who are not concerned with music. Of course, Mojir Beilaqani's musical knowledge is far more than that of Falaki.2- On the other hand, if we cannot or do not want to call Mojir and Falaki, Nizami and Khaqani musicians, then we are forced to call them musicologist poets. They have a high level of musical understanding, both statistically and literary, as discussed in the text of the research.3- The high frequency of sample verses in the poetry of the poets in question with the instrument "Harp" shows that this instrument was very popular in that historical period and in the geographical region of Sharvan and Arran at that time. This point can be a reason for the spread and prevalence of playing the “Harp” in that erea.Khaqani Sharvani is the most image-creating poet of this group, whose range of literary arrays and frequency and type of use are more abundant and distinct than other poets. From the point of view of meaning creation, it can be said that in the few verses that he wrote with stringed instruments, Falaki sharvani has mostly praised his praise. He has used less knowledge and other sciences in composing his poems. Mojiruddin Beilaqani is also a praiseworthy poet, but unlike Falaki, he uses musical instruments. Variety in Concept processing makes his speech more pleasant. In this way, in addition to his astronomical knowledge, he has also entered into religious, philosophical and wisdom issues. The content of most of the verses he wrote with stringed instruments is advice and admonition. Perhaps it can be said that in terms of moral and philosophical conclusions, none of his contemporary poets have done as well as him.But about Nizami Ganjavi, it can be said that according to the Masnavi poetic form that he used, his poetry is different from the other three poets in terms of form and meaning. The audience, faced with the narrative and story of Nizami style, should prepare themselves to enter a long and continuous story, so reading a verse from him without considering the vertical connection of the verses is not a favor. Khaqani's poetry is more prominent in its comprehensiveness and breadth of meanings and themes than the other three poets. Deep thinking and subtlety is a characteristic of Khaqani's poetry, which sometimes leads to the creation of novel and new meanings and concepts. simulating musical instruments to living things is a feature that is rarely seen in the poetry of other poets of his time.

By breaking the everyday and known language standards, the poet or writer takes the language away from the norm of normal speech and gives it a new shape and color; In such a view of the poem, we encounter deviation from the norm. Norm avoidance, as it is related to determining proportions with different styles, also finds special coordinates in children"s poetry. In order to distinguish literary language and poetry from normal and mechanical language as much as possible, the norm-avoidance technique requires more use of highlighting and de-familiarization. Geoffrey Leach for the first time determined eight types of norm avoidance and tried to show that the prominence of the text and moving away from the automaticity of the text occurs at eight levels: lexical, syntactic, phonetic, written, semantic, dialectal, stylistic and temporal. In this article, norm deviation in children"s poetry is examined based on Leach"s theory.

The method of this research will be descriptive-analytical, and the method of collecting information in a library-like manner relies on study and comparison to get the foundations of theory explanation and then analyze them.

In children"s poetry, the use of less commonly used words or words that are suitable for children"s tone and language are examples of lexical deviation. When the poet is trying to direct the audience"s mind from the message to the text, he uses a wide variety of semantic avoidance. Although the child does not understand imaginary arrays, the mental images resulting from metaphors and similes are attractive and entertaining for him. The use of words of geographical dialects causes the dialect deviation of the text, but this type of deviation is very rare in children"s poetry.

The most specific and appropriate form of stylistic deviation in children"s poetry is the use of colloquial and colloquial words, which the child is more familiar with. Abnormality of time is less seen in children"s poetry.

By studying literary works, the person can identify the cultural and ideological discourses in the community and analyze the culture dominated over various generations and multifarious literary genres. In the current study, the authors have focused on how the ideology expressed in the historical novel titled Ten Ghezelbash according to the Jean Baechler's view point. According to this view point, ideology encompasses fivefold function as "alignment and orientation, justification, denial, positioning, perception and understanding"; Therefore, according to these criteria, we also study how the ideology presented in this novel and we explain some concepts of these functions, in terms of importance, frequency of presence and analysis respectively. Since Hossein Masroor in Ten Ghezelbash has united and depicted the dominant ideologies with explanation of the historical events in the Safavid era, studying study and discovering the hidden ideology in the text can reveal a picture of the cultural and ideological discourse of community in the domain of author's era. The obtained results of the reacher in the study demonstrate that the historical novel of ten Ghezelbash has been written by using an ideological approach in the national-religious domain and religion and government are considered as two important ideological contents in this work.

Boasting (Mofakhereh in Persian) as a poetic theme or as a sub-genre has a strong presence in the books of poems of classical Persian poets. Adopting an analytical approach, this research attempted at analyzing ‘boasting’ in poems of Manouchehri Damghani, Sanaei Ghaznavi, and Khaghani Shervani based on Pierre Bourdieu’s field theory. To do so, after extracting instances of their ‘boasting’ odes and considering the historical and social issues of their times and their different habitus and mindsets, we tried to analyze the poems based on Bourdieu’s four literary field principles (habitus, capital, struggle, and disinterestedness). The results showed that Manouchehri, due to his inclination to the power filed, and to make a name and a living and to stabilize his position, used his art and poetry for boasting. He did not observe the principle of disinterestedness in the literary field which attempts at purifying literature from personal intentions. As a result, he was pushed to the margin. But as the power field changed during the second Ghaznavid and Seljuk periods and some new problems and instabilities affected poets’ conditions, poets such as Sanaei and Khaghani distanced themselves from the power field, due to their specific habitus, and attempted at purifying literature and fighting the power field. From the two poets, Khaghani was more successful due to his disinterestedness and observance of the rules of the literary field.

This study, employing a descriptive – analytic method, criticizes the existing definitions of war novels and defines it by studying eight war novels considering the structural features of this type of novel, regardless of the features related to the content. The structural study of these novels shows that the narrative elements of some of them have more relation to war, so that they could be considered as full war novels and some common elements, which have been analyzed in all novels, could be found. It can be claimed that the most distinguishing feature of war novels compared to other novels, is the motifs which are repeated in such novels. Therefore, based on the motifs which are employed in war novels, they can be divided into two following categories: full war novels and novels which have indirect relation to war. Based on common elements which are present in these novels, war novel can be considered as the novel which deals with the subject matter of war and its consequences, it takes place in the historical period in which the war happens and the years thereafter, and in the battlefield, cities under enemy attack or the places far from the front; the soldier's character and the incident of death are the main motifs of this type of novel and armaments and ammunitions and the social effects of war constitute its secondary motifs.

The Rhree-Dimensional Model of Critical Discourse Analysis Allows the Analyst to Examine the Reflection of Ideology and the Domination of the Power System by Intertextual Description of the Linguistic Signs and their Social Interpretation and Explanation. The Purpose of this Study is to Investigate the Ideology and Domination of the Power System in Different Intertextual and Extra-Textual Layers of Hajj Sayyah Memoirs. Research Findings Show that the Level of Description, Method and Frequency of vocabulary use, indicators, action verbs, positive and definite verbs, simple Sentences, and the Naming Process, at Three Levels of Vocabulary, Syntax, and text have a prominent relationship with the power system. In the section of Relational Values, the Use of Quotations, the Dominance of the Declarative Aspect, the Use of Pronouns Commensurate with the Social Dignity of the Reference, and the Organizational Aspects of the Dialogue are among the Factors Representing the Relationships between Actors and commensurate with their position of power and the relationship between Power and Ideology. At Expressive Values’ Level, the Non-Metaphorical Nature of Language and the Use of Few Examples of it, Show the Author's explicit and reckless confrontation with the system of power. At the text Level, Two Different Constructions are Used in this Work. The Conclusion is that in the Reviewed work, the System of Power and Position of the Writer Regarded to it, has a Prominent Effect on the Use of Linguistic Signs at Different Lexical and Syntactic Levels.

Through the genealogy of novelistic prose, which is a ground for polyphony, an objection to idealism and cultural monophony in every society, Mikhail Bakhtin examines the phenomenon and notion of “carnival”. According to Bakhtin, a novel, just like carnivals of old times, as the domain of togetherness of all dominant and submissive voices, is the presence of all rejected forms of human beings and languages and ideas, and is a domain where democracy is manifested along with freedom from every constructed hierarchical subjugations. In his theory of the carnivalesque, the novel’s capacity to oppose any dominion along with a capacity for critical thinking, lies the ability to construct a network of polyphonic items, Grotesque realism, vulgar language, alienation, crowning and eviction. Through developing indeterminate subject, threshold chronotope and contrastive plot, Shahram Rahimian, in his novel Doktor Noon Zanash ra Bishtar az Mosaddeq Doost Darad (Dr. N. Loves His Wife More than Mosaddeq) manages to create a carnivalesque universe which challenges many ruling discourses and constructed norms. This article starts with a brief introduction to Bakhtin’s carnivalesque theory and offers a re-reading of the abovementioned novel through this theory. The findings of this critical view on the novel confirm the dominance of the discourse of “commitment” in Iranian contemporary history, the development of self-consciousness in the reader towards the possibility of subjectivity and his/her ability to leave behind the boundaries of dominion, and the interaction between society’s political sphere and critical thinking.

Most of the Persian war novels, have been written with ideological approach. Therefore, the present study, with the aim of studying the level to which these novels are subject to Dialogism and comparing literary value and then ideological dimension of them, tries to demonstrate that these works have been able to approach the concept of novel in Bakhtin's perspective or have remained in the realm of Monologism. Although researches have already been done in this area and with regard to the importance of this issue, considering other war novels there is a need to fulfill it. Hence, the present study concerns a Bakhtinian reading of three war novels and the study of components such as Chronotope, Dialogism, and Carnivalesque in these works utilizing a descriptive-analytical method. The results of this study reveals that among the novels which have been studied, Ahmad Mahmoud, who has a different view from the dominant discourse has narrated the war with a critical view by choosing characters from different walks of life in The Scorched Earth and Polyphony plays a more prominent role in this work; but in the novel Headless Palms, Monology has a more dominant effect over the text due to the predominance of ideological approach. Straying from the atmosphere of war, Ahmad Dehqan, despite believing in the values of Holy Defense, tries to narrate the war with a comprehensive viewpoint and also reflect the opposing voices; but in the end, due to the authoritarianism of the narrator, polyphony is not established in his novel. It can be claimed that the story tellers of war could not fully accomplish this historical event from an ideological perspective and at last focus on depicting the tragic dimension of war that intensifies the emotional aspect of such works.

 The present article examines Siavash Kasrai's narrative poem "The Long Ode to Suffering to the Resurrection" employing the critical approach given by Laclau and Moff. It is to show the social conflict and the issues prominent in terms of gaining power in the discourse of the fifties. Substituting the status of " Ummah " for " nation ", together with emphasizing freedom and equality in the struggle against the dominant discourse, is the technique of the critical discourse employed by Kasrai. The main purpose of this study is to introduce the discourse of Siavash Kasraei which is in conflict with the dominant discourse of the time as well as the way issues (concepts) are formed and created by discourse. The most remarkable finding of this research is the discursive techniques used by Kasrai, i.e. highlighting discourse and focusing on metaphorical aspect of discourse, which during social crisis presents ideal images of 'we' against 'others'. The artistic and poetic aspects of this poem are overshadowed by its ideological and political aspect.

 One of the valuable literary activities in the contemporary era is correcting the texts left by the predecessors. The Divan of Shervani, the poet of the sixth century (AD 540), is one of the texts from which has not yet received a proper revision.This is mainly because of the unavailability of a reliable manuscript, collected during or close to the poet's era. In addition, those who have attemplted to correct the available manuscripts, have not observed the proper critical methods of text correction. The existing version corrected by Taheri Shahab in 1345 AH suffers numerous methodological and typographical defects. In this study, while showing the main correction defects of the existing version, such as "improper recordings", "displacement of verses", "scattered poem lines " and "typographical errors", it tends to introduce the new versions and explain their role in correcting the poems of Shervani. The poems of this poet are discussed in order to highlight the necessity of re-correcting the Divan of  Falaki Shirvani, which, in addition to presenting a revised text of his poems, undoubtedly has a great impact on recognizing the stylistic features of Azerbaijani poetry and solving some problems of poems following this school .

Despite the variety of electronic resources, textbooks continue to be the main medium of language teaching. Thus, criticizing them can improve the quality of education. This paper reviews the 1st volume of the 2nd Edition of “Farsi Biamuzim”, based on a set of standards and criteria for evaluating academic textbooks. Among the five criticism axes of structure, content, language, method, and society and culture, the advantages of this work can be found in the general way of teaching the alphabet, providing innovative exercises, selecting practical topics, and designing useful topics in the content of lessons. Its disadvantages can be attributed to the structural inconsistency of the book in the instruction of letters and grammatical materials and the lack of a list of sources and a defect in its list of contents.

Using Norman Fairclough’s approach in critical discourse analysis, this paper aims to study Nima Yushij’s narrative poem Maneli in order to shed light on Nima’s ideology regarding the social identity of the intellectuals and the deprived classes of society. Therefore, what is considered here is the narrative agents’ social identity in the poem’s conversations and scenes. Pari and Maneli, as imaginary characters, represent Iranian society’s life-world and ideology in the years 1945-1957. In contrast to the ruling discourse and other discourses, Nima creates Maneli during these 12 years. Maneli is the symbol of escaping from reality and society to the land of Nowhere (the land of the sea) in the process of social changes. At the end of the narration, Maneli’s despair and escape from his corrupt community is reminiscent of the social status after the 1953 coup d’état. Nima’s poem describes the fate of the movement of class determinism towards Utopia. The data has been collected through documentation, and the text has been analyzed in a descriptive-analytical manner.

From the discourse analysis perspective, texts reflect ideology and social relations. In the present article, the poem Maneli is analyzed based on Fairclough’s critical discourse analysis. Nima Yushij’s Maneli was created in response to Sadegh Hedayat’s translation of Urashima. This poem, which took twelve years to complete, retells the story of a poor fisherman who faces the inequality of social relations and the utopian world of fairy tales. The main question in the present article is: what discursive and ideological space affect the production of the social identity of the characters in this poem.

Theoretical Framework

According to Fairclough, critical discourse analysis is a combination of textual analysis, the analysis of the process of production, distribution and consumption of texts, and the socio-cultural analysis of the discursive event as a totality. An important goal of critical analysis is to eliminate power/hegemony in both theory and practice. Within the framework of critical discourse analysis, Fairclough considers textual analysis to be a combination of linguistic and inter-textual analyses, and examines the discourse at three levels of description, interpretation and explanation.

Maneli was selected for the present article based on purposeful qualitative methodology. Of different types of critical discourse analysis, Fairclough’s approach, due to its methodology, was the most applicable here.

Maneli and Pari, as the main characters in the poem, appear as opposing subjects at the beginning of the poem and their relationship and identities are represented through semantic relations. Maneli is the product of his socio-historical context and production system and, because of his social class and poverty, has a lowly social status. Based on the expressive and experimental values of the narrator, Pari has a paradoxical lover-beloved quality. In this poem, Nima Yushij represents power in the socio-economic system of production, which suffers from inequality.

Nima Yushij draws on verbal-visual discourse and narrative poetry to express his ideology in the literary tradition of the contemporary era. To oppose the despotic, capitalist discourse of the Pahlavi era, and the materialistic discourse of the Tudeh Party, he relies on the idealistic-realistic discourse, revolving around freedom, love and humanism. Pari and Maneli are two imaginary characters that formulate the social identity of the intellectuals and the lower class. This poem somehow shows the movement from the Marxist class determinism to idealism. The discourse followed by the second Pahlavi monarch, through freedom of the press, modernism, establishment of parties and civil institutions, such as the Association of Iranian Writers, affected social activists, such as Maneli, moving him from realism to idealism. Disappointment with a corrupt society at the end of the poem is typical of the intellectuals and lower classes in the years following the 1953 coup d'état in Iran.

Present research has reviewed and compared the satire of socialist and Sufi (Sophist) poets during 1300 and 1400 (A.D) in order to indicate to what extent the different thinking attitudes have been influential in the emergence of specific kind of satire. Assessed criteria have been reduced to three aspects: personification, satire techniques and satire purposes. By analyzing data, it seems that the satire of socialist poets, their thoughts have been more adjusted to realism aspects, have an objective feature in regard to languages rhetoric's, techniques, purposes and content, i.e, a satire originated from lingual creativity, showed it self in the surface structure. In contrast, sophist poets with their mystical viewpoint, the purposes and content of their satire in accordance to their thoughts emerged in a subjective manner, accordingly, their satire emerged on the haven of rhetoric's and appeared in the bed of lingual based satire, meanwhile, the satire of sophist poets, as their internal state, have penetrated in the structure and provided a context to the formation of structural satire.

The theory of intertextuality is one of the major discoveries of the twentieth century that investigates the network connection between the texts, and so far has proceeded the new approaches in human science and specially literature and art through various methods by many researchers. In Geocriticism of Bertrand Westphal in the Post-structuralism period, as one of the important approaches of this pervasive knowledge, intertextuality deals with the importance of space, place and geography in literary-artistic works. Until now, the role of geography hasnt grown to such an extent in the formation of knowledge. Sanny-al-Molk's Qajar Manuscript of Thousand and One Nights in Golestan palace is considered as one of the unique illustrated versions in the world which has a special intertextual position in pre-text conversations and images. This version is also in interaction with theoretical and methodological principles of Bertrand Westphal that has an important irony and interdisciplinary position in geocriticism. By considering this approach and selecting seven interwoven tales of "the porter with girls" which have been portrayed with fifteen images of pictorial narratives of Sanny al-Molk in the mentioned version, as well as analyzing the position of intertextuality in different periods of its emergence, the present article analyses this literary-artistic work in the field of geocriticism of Westphal. Writers have paid attention to the analytical-descriptive approach and its application in analyzing the text and the figures. Qajar's Manuscript of Thousand and One Nights of Sanny al-Molk is a polyphonic work with a human-cultural boundless geography which has been talking to us with the two layers of text and figure.

One of the unanswered questions of the field of literature of the Constitutional Era is the reason behind the tendency of authors of this era toward common people’s culture and inclusion of the lives of people from lower classes in their writings, especially their tales. In other words, has the authors’ inclination to study the lifestyles, language, culture, and inclinations of the lower classes of the community maintained a recreational and ultimately aesthetical nature and/or has it been rooted in the socio-political outlook of authors. In this article, in order to respond to this question and to study the terms of combination of tales with the language and culture of common people, we take into consideration one of the most distinguished and distinctive texts of the Constitutional Era, being Ali Akbar Dehkhoda’s “Charand Parand”. As a reminder, the author of “Charand Parand” has created completely different works in a variety of conceptual fields such as history, translation, and lexicography, in different phases of his life, which maintain major differences to “Charand Parand”.

This article studies the structure and contents of mystical stories, and presents role models on the themes of these tales, revolving round the characteristic of Sultan Mahmoud Ghaznavi. In this analysis, two role models have been extracted to study the characteristic of Mahmoud Ghaznavi. Terms of collection of data in this article is based on study of mystical articles and extraction of tales and anecdotes in which Mahmoud Ghaznavi and at times Ayaz were present. Thereafter, the tales were analyzed and role models were introduced. Attainment of these role models is of paramount importance in understanding stories and their commonalties, and the rate of repetition of each theme. In this writing, nearly 70 anecdotes and tales (In prose and verse) were studied up to the 7th Century and it was finally found that the inclination of authors is to study the romantic aspects of the characteristic of Mahmoud and Ayaz, more than other themes. Findings of this study show that this characteristic can be studied from different angles and the numerous facts which are mentioned in this article show the hidden potential of Farsi stories.

Identification, collecting and studying on the local dialects, cause not only consolidation of cultural relation between today and yesterday, but also prevent destruction of dialects and provide a condition for improving and developing of national language and culture. Eshtehardi Tatty dialect, the dialect of the south-west Iran, with all that antiquity, is still alive and regarding its geographic region, had been remained intact until a few decades ago. But now for various reasons is eliminated against the power of national language. The presence of some elements of relation with the ancient language in this dialect, the maintenance of relation with the ancient languages of Iran and also the extent of lexical scope and diversity of grammatical structures are the main features of this dialect. In this article, according to a phonetic comparison between the common words of this dialect with Persian language, we have tried to present a clear picture of its phonetic features. Such a work has not been done so far and it can be very useful in understanding the nature of Tatty dialect and in discovering the relation and interaction of this dialect with the dialects in the same root. Our study shows that the phonetic distinctions of Tatty dialect with the Persian language appears in the first, middle and final part of words, and follows four phonological transformation, deletion, addition and metathesis.

Julia Kristeva's intertextuality was first used in the relations between texts . also after him some ones examined the issues from different views and changed it’s concepts. One of these characters was Julia Kristeva who considered it more organized and comprehensive and examined it with all it’s variables and called it metatextuality. Versed eskandarnameh have been effected by pretexts in their formation during their life history have mixed with many cultural elements and beliefs of different nations and languages and found mythical and romantical content. Despite the distinctions of the authors intent, social and mental requirements of each work day, and then "Fear Effect" created in the works, the borrowings and being effective and effected of these texts demonstrate their vivid intertextulity . Persian versed eskandarnamehs could be considered based on his opinions and to explore relations between these textes via novel perspectives . In this paper, the characteristics of intertextuality of (Ferdowsi’s Askndrnamehs, nezamy’s and Amyrkhsrv’s)are considered through intertextuality view point (co-attendance) and extra-textuality (being effected and effective ) of gerar gent , to recognize quality and quantity of their being effected and effective on each other determining intertextuality common features of these works and will show on which areas it has been realized more often and how much is informative .