ساختارشناسی

Asli and Karam are among the Turkish oral love stories that have been popular among the people of Iran, Caucasus, Central Asia and Asia Minor. The action of discourse, space creation, characterization, which are interconnected with the plot of this oral story shows its coherent narrative structure. Today, narratology is one of the most influential and successful fields under structuralism. In this research, we have analyzed the narrative chains, action pattern and semantic square in the main story of Asli and Karam throug qualitative and quantitative analysis using library and documentary methods and based on Grimas's theory of narratology. Our findings show that this story has a consistent plot, and six components of Grimas' narratological action model have a meaningful match with the narrative components in it.

Persian classical literature is enriched with poetic and prosaic works that have flourished through the manifestation of unique structures, shaped by the profound musings of their brilliant authors. As the starting point of the structures in literary works, prefaces also have a special structure. Utilizing the historical documentary research method, this study seeks to unveil the fundamental structure that shapes the prefaces of five distinct types of works: narrative, didactic, moral, mystical, and historic. With a descriptive and analytical approach, the research seeks to extract a generalized structure, providing valuable insights into the topic. Most, if not all, of the prefaces to Persian literature are worthy of attention. The research conducted has revealed a consistent and systematic structure comprising 9 parts in the prefaces of the works under study. These parts follow a consistent pattern, with variations reflecting the authors' mental states, social and political circumstances, and other factors. As a result, certain aspects of these structures may either expand or be constrained depending on these influencing factors. But, in general, these 9 parts have been maintained. The extracted structure can be summarized in the macrostructure of three structures “other, self, other”. In the prefaces examined, we can observe a high level of informative content that showcases the authors' impressive abilities. With utmost dedication and remarkable precision, these prefaces demonstrate a conscious or perhaps even unconscious loyalty to their intended structure.

The story of Rustam and Zanün is a masterpiece of the epic literature of Iran in Gurani. It has no counterpart in Avestan, Middle Persian, Zoroastrian Persian, the national epics, and oral documented literature. The story can be divided into two general parts, i.e. “the story of Rustam and Zanün” and “the story of Aẓīm-Shāh”. While there are several manuscripts and rivayats available at our disposal, the nonacquaintance of scribes and story-tellers of the connected structure of the story has caused the division of the story into two independent sections. The most complete version of this story appears in the manuscript of the Haft-Lashkar in Gurani with 2722 couplets. This story has a coherent structure. The outer structure of the story begins with the cycle of the kingship of Tūs in the land of Tūrān and ends with his second kingship in the land of Tūrān. The inner structure of the story has a bilateral symmetry due to the coming and return of Afrāsiāb, Rustam, and Kay-Khosrow. The core of the story begins after an introduction and an introductory story. Then, the two main stories are given. They are connected together by a connecting story. Finally, the story ends with a concluding story. In general, the outer and inner structure of the story has a symmetrical approach. The oldest and rarest example of such usage is the symmetrical structure of the Gathas.

In the Holy Quran, the stories of many prophets are told in the form of stories. Including the story of the creation of Prophet Adam (PBUH) which has been narrated in various surahs including Surah A'raf. Quranic narrations and stories, including the story of Adam (AS), have served the educational and guiding purposes of the Quran without imagination and exaggeration. Based on this research, which has been written with a descriptive-analytical method and with the aim of structuring the narration of Prophet Adam (AS) in the second rak'ah of Surah A'raf (thematic list including verses 11 to 25 of this Surah) and Imam Reza (AS) statements (debates and interpretive hadiths) Is, the plot of Razavi (AS) and statements on the subject of the creation of Adam (AS) is based on the relationship between cause and effect, and the events of the story are closely related to each other. The angle of view in bowing in most cases is in the third person (omniscient) and in the first verse as the speaker is different. The point of view in the statements of Razavi (AS) is narrative because Hazrat as a person absent from the scene and the narrator, explain the story. The characters in the story, each with their own characteristics, are Adam, Eve, the angels, and the devil. According to Ruku, the actions of the story take place on the two main axes of Iblis and Adam (AS), both of whom disobey the divine command. The actions of the story in Razavi's statements are the narrator's question (knot) and the Imam's answers (solving the knot). There are conversations between the characters in the story that give the story a special artistic effect. Staging in both time and space helps the reader's mental imagination to make the story tangible. Each of the elements of the story plays a role with a specific educational purpose, which ultimately achieves the main purpose of the story, namely the guiding dimension

One of the most famous literary forms is "Encyclopedia of Literature." In Persian and Arabic literature, this type of poem has become more widespread. The story of "Varghe and Golshah", based on the story of "Orve and Afra," is the first story of Arabic exorcism, and Ayooghi, a Persian poet, made it to the Farsi order in the fifth century, with the name Varghe and Golshah, and also epic and heroic themes. Added to it. On the other hand, the story of "Leyli and Majnoon" is similar to the Lilac and Golshah of Ayooghi derived from "Orve and Afra", which are of Arabic origin.
The comparative study of Persian love poems as an example, its measurements, and its position with other other systems, including Arabic and Russian, have been the main goals and issues of research in this field. In this research, we want to find out whether the poems of romance Farsi, have the ability to investigate with folkloric analytic theories, including the Arabic and Russian love poems. Therefore, the present research attempts to explore the romantic themes of these three fascinating stories with the model of the function of Vladimir Prop's personality and create a distinct relationship between these romantic poems. Since the poems of "Varghe and Golshah" and "Leyli and Majnoon" and "Orve and Afra" all represent love of excuse and purity, the quest for the adventures is that the adventures that occur for lover and beloved and the reactions of each Check it out and compare it. And the presence of rational thought and rational thinking and love, which is rooted in Iran's ancient civilization and culture, will be clearer in this study.
In addition to analyzing and interpreting the results of these stories, it will reveal some of the theoretical issues and the application of folklore structuralism and the importance of this method in Persian and Arabic, Russian and European fiction scripts, and the generalization and inclusion of folklore And whether these designs are global and general, or limited to certain areas or specific cultures, are the objectives of this research.
2-Research This is a descriptive-analytical method and content analysis. The theoretical foundations of the research are based on the love of excitement and sources of Persian and Arabic literary riches and the work of the Vladimir Prop's Russian character. Since the story of Lilly and Majnon Military and Varghe and Golshah Ayooghi derived from Orve and Afra, which are of the original Arabic, this study, based on Arabic sources such as the book of Orve and Afra, narrate Asbat-e-bne eesa Alozri in the book of Aboul Faraj Isfahani and Varghe and Golshah Ayooghi and Lily and Majnon are military and in the function of the character of the story, relying on the book of Morphology of Vladimir Prop. Excitement love: love excellence is a love that lover and beloved, in addition to deep affection towards each other, must adhere to principles. Because among the Arabs, this kind of love is attributed to the tribe of Bani-Alozre of the tribes of Yemen's Qahtan, it is known for the love of exorcism. The love of pure exaltation or love was attributed to the tribal "Bani al-Zarra", which loves love with desires Material did not infect. The three couples belong to the most famous Arabic devotees: Orve and Afra, Qays and Lobni, Jamil and Bethinah (Karachofsky, 1368: 139).
Comparative study of romantic themes:The careful examination of the role of the motifs and the acts of fiction of all three roman themes reveals that all three poems end up with a series of the motifs, events, and reactions of the characters of the story, all of which seeks to reveal the features and The themes of love are pure and amphibious, such as:1. The beginning of love 2. On the mystery of love's love 3. Involve joiner 4. External deterrent factor:in the story of Varghe and Golshaq → Poverty - In the Arabic narrative → Mahri Sangin - In the military narrative of turmoil → (Qase) Insane of Lilly's love 5. War for the lover 6. Traveling in love 7. Seeing lover and lover 8. The way to return and the reaction of the lover 9. Death of the lovers 10. The end of the story By comparing the course of events and adventures that occur for two lovers and beloved in the stories of "Lily and Majnoon" and "Lilac, Golshah," and "Orve and Afra", we have reached the main themes of love for excitement and tribal and tribal brigades Arabs and Ajam, and related to the ideals, manners and worldviews of this people, and depicted the character and the role of the three systems according to the Propp model.
As part of the story of the three stories, the narrators of the military story in Lilly and Majnoon, Ayooghi in Varghe and Golshah and Arabic and Arabic, tried to create a common logical course for their stories, with the themes. The three stories in essence represent the formation and the beginning of a pure and simple love in a tribal life with a picture of the rituals and traditions of the patriotic Arabs. However, military and intelligence bring the cornerstones of Iranian culture and thought into the story in order to make their story more attractive and sweet. On the other hand, primitive Arabic thought plays a significant role in the process of the adventures of three stories in the failure of love for exorcism.
With regard to the features and themes of love excuse, in all three stories, love starts from childhood (in school and in tribal space) gradually rising. The beginning of love and the revealing of the mystery of love comes from this era. After its disclosure, the process of events and adventures in each of the three stories brings the reader to himself, seeing the intervention of the excitement and inner hardships that are on the way to love, ultimately make this tragic love Slowly In all three stories, Arab zeal and fanaticism and coercion on the fate of Arab women are a deterrent. Lily, Golshah, and Afra are going to the dignity of a married couple under the influence of this factor. On the other hand, qais is open to joining his beloved, for the sake of being insane, lilly, and Varghe, and Orve for the crime of not having wealth and property (economic factor); factors outside the control of the lovers and the factors that are considered in the context of the neglected Arab culture.
After marriage, lover and beloved in all three stories are also deprived of their visit for a while, and this adds to the passion of the lovers of paralysis and the theme of loyalty to the lover and the continuity of his memory at all moments of love, which is one of the most important features Love is excitement, the better it is. Although the end of love in this world ends in the death of a lover and beloved, but in three stories, it is interesting to note that at the end of each of three stories, the victory of Azari and Afif love we are witness. Considering this end for all three stories reflects the attitude of the narrative unit to the love of excitement.   :
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Some of English translators have deemed “the man in the panther skin”, composed by Shota Rustaweli, as a romance; and translated its title as “the knight in the panther’s skin”. If we regard it deeply, we will find out that the title of this symbolical and mystical epic has implicitly been associated with Shahnameh of Ferdowsi as Rostam, the great hero of Shahnameh was entitled a man with an amour of panther or tiger skin. Certainly Rustaweli was fully aware of the Text of Shahnameh because he once mentioned the name Rostam in his epic explicitly. Moreover some of the names in his epic directly and indirectly are associated with the names in Shahnameh. According to some literary evidence, Iranian mythology has had a great influence in Georgian mythology; therefore, it is not very unlikely that, Rustaweli had adopted the title of his epic from an epithet of an Iranian epic.
This study is based on the method of descriptive analysis by using library research and taking advantage of the resources available in a qualitative way. The present study tries to deal with the following question: what are the similarities and differences between the elements of Taryel's trials of Rustaweli and Rostam’s in Shahnameh of Ferdowsi? The research should be based on proposed patterns of structuralism. Due to the brevity and the knowledge of the readers on reviews of Shahnameh, this article is only based on discussions covering "the man in the panther skin” epic in details.
The entire epic "The man in the panther skin” covers the trials and obstacles that Taryel and Aftandyl, two heroes of this epic, must pass to save Nestan Daryjan and that Taryel gains the kingdom. In this epic, the heroes somehow overlap. In the process of the epic "the man in the panther skin” trials encircle around a particular axis in order to fulfill a goal. For this purpose, although Aftandyl and Taryl have separate Trials, their last trial is in common, and since the characters overlap each other, they are in a horizontal axis. Taryel overlaps Aftandyl, Fereydoun as a master guide, helper and hero overlaps those two champions. However, in Ferdowsi's Shahnameh, as Rostam passes over the Seven Trials with the assistance of some helpers, they do not overlap him since he is the only main character of this epic. The symbolic elements discussed in this article are as follows: Character, Travel, helper, love, panther skin, battle with predatory animals, places, blood healing, and fighting the evil creatures. Moreover, according to the proposed patterns of structuralists, Rostam’s Seven Trials have similarity and conformity with the Ten Trials of Taryel. However, there are some differences which need to be mentioned. Taryel's Trial trip is more complicated than Rostam’s. Taryel's trial trip is done in several stages during four trips while Rostam's trial trip starts from a point and ends in the final point; but Taryel's Trial trip is in a circle, begins from the starting point and returns to the same point by completing the circle and passing the last Trial. Rostam achieves his goal by saving Kavus; but with rescuing Nastan. Taryel does not still reach the stage of accomplishment; two other trips must be done up to the symbolic hero in panther skin to fulfill the final goal of the epic.

The tale of Nakhjīrān va shīr is one of the long and complicated stories of Masnavi which has a bilateral structure. This symbolic story has a surface structure and deep structure which demand structural patterns to be analyzed. Therefore, the surface structure of the story which is the very short tale of “Kalila and Damna” has been studied due to Propp’s method concluding to this fact that the story is folk which is comparable to that of Propp’s fairytales will be studied. Whereas this story is beyond a simple surface structure, there is some complications so much that Propp’s method is not able to be provided in it, therefore the deep structure of Tzvetan Todorov and Greimas are necessary. The analysis of this story due to two forementioned patterns cause to compare the structure of two different works, the features and other capacity of the story.

Morphology is a new method of literary criticism and analysis that was proposed by Vladimir Propp (the Russian formalist) in 1928 A D. In his book entitled Morphology of the Folktale, Prop examined a hundred of Russian fairy tales to show that despite their apparent formal plurality and variety, all fairy tales take similar functions and follow similar rules of action. Therefore, (he argued that) stories have similar narrative structures. In addition, he claimed that not only folkloric tales, but mythological stories also are capable to follow the rules of the same narrative elements. The present article intends to formulate and analyze the narrative structure of 2 love stories: “Ram and Sita” from the book of Ramayana, and “Zal and Roodabe” from the Shahnameh by Ferdowsi.

This article aims at a narratological study of the “Haftgordan story” of Ferdowsi’s Shahnameh and the story of “Afrasyab-ibn Pashang” as narrated by Anushirvan Marzban in Hormozdyar. After a review of the summaries of the two narratives، a comparative structural study of the works coupled with a study of their mythical and ritual origins are presented. These studies show that Ferdowsi’s account of the story is characterized by its bucolic، nationalistic and rationalistic nature as well as the exclusion of some ritual (Rostam as a Zoroastrian hero) and mythical (Afrasyab’s visit to Satan) parts. Although it seems that the exclusion of ritual parts may have occurred some time before Ferdowsi، it is quite probable that the omission of mythical parts was his own decision. Conversely، Anushiravan’s narrative، originating from priestly order with emphasis on the teachings of Mazdisnai، is more original and unified، and it enjoys from an equally mythical and ritual deep structure that is more in harmony with the similar patterns in Persian stories. This story particularly plays an important role in the analysis of the Persian epic in its transmission from priestly to bucolic narration.

Despite their various origins, the materials of Shahnameh have been shaped into an organic whole under Ferdowsi's superb art and craftsmanship. But, in the course of time, some copyists have added to it new materials and stories, and others have supplemented or replaced the original narratives. Also, some scholars have analyzed and interpreted some parts of the work in isolation without paying attention to the totality of the work and its unity of purpose and structure. The present article is intended to illustrate the formal and structural qualities of the book and the relation of its parts, thereby revealing the roots of such fallacies and problems, so that the work's genuine meaning and value may be recovered via a systematic method.

The argument of Sadi with the Claimant is one of the anecdotes created as the result of essay writing impacts in Persian and Arabic literature. Sadi has been affected by the mystical works written before him and also the book “Ehyaye Ulom Al Din” written by Imam Mouhammad Ghazzali and addressed the current issue put forward by the Sofia namely, poverty and fortune and the priority of the one over the other. It seems that all the thing the mystics and especially Ghazzaly about the poverty and fortune could meet Sadi’s desires and he wanted to approve the priority of the fortune over the poverty by planning an argument essay. This article is an attempt to study the structural elements of the text such as personification, the style of narration, the structure of phonetics, terms and words balance, grammatical, syntactical, terms and relationship coherence regardless of the style for reasoning and the content of the disputants. Although the structure of the anecdote is strong but, the major principles of the discussion namely, observing the civility and respectfulness and giving opportunity to the parties have not been complied with.