نشریه فرهنگ و ادبیات عامه
پیاپی 6 (پاییز و زمستان 1394)

Folk stories have come from the ventricle of populace، because they are comprehensive mirror of habits، manners and tempers of populace. Then we could barely observe living culture of people. One of the ways for reading texts (among them folk texts) is the discovery of hidden reciprocities in the texts. Extracting reciprocities make the texts، hidden layers accessible. According to Drida، this oppositeness is in hierarchy and step – by- step form. In other words، one part is considered superior، and is not only “natural and apparent” but also totally “cultural”. Therefore، we could attain important points about supportive ideology of text through getting the inner reciprocities of any text and distinction of the superior part. In this essay، the inner texts of two folk and famous stories (Shangool and Mangool and Bewildered Nightingale) are contrastively considered on the base of the most famous and detailed narrations. This consideration indicates that folk stories are truthful to the inner contrasts، and recognizing each part of the contrasts leads to better comprehension of the opposite part positions and traits (for example، woman’s position against that of man or mother against stepmother، etc.). In these stories، the narrator mobilizes all story parts to provide the addressee with his desired result، and stimulate cultural and cogitative beliefs to make it evident and logical

Examining proverbs can be influential to know different aspects of every culture because the culture of every nation and group is illustrated in its proverbs. The goal of this research is to study the position of family and woman in Bakhtiari proverbs with Feminism critical view. The research methodology is to analyze qualitative content. In these proverbs، women have supreme، inferior and equal position with men. When we talk about private matters، women are holy creatures and superior to men. In public and social proverbs، women are inferior to men. In general proverbs، women’s positions are equal to those of men. In most proverbs، men are dominant، and desirable ideas in the society are institutionalized for men. Marriage، criticizing polygamy، knowledge before marriage، ways to know spouse، and family related subjects are reflected in these proverbs.

In modern psychology، “colors” are considered among the standards for evaluating personalities. They could be regarded a great and significant source for subjective readings and the analysis of mental characteristics، both national and ethnical. From the psychology of the applied colors in different literary works in every ethnicity، delicate and spectacular points could be gained and in this way، a bridge، about the characteristics of the same people between psychology knowledge and folklore literature could be created. In this article، along with studying the aesthetical and artistic characteristics of the love songs of Talesh ethnicity، we try to analyze its colors with the eight functional colors of Max Lüscher’s color tests in order to realize some of the psychic-mental characteristics of the people of this region (Talesh) from the words of the unknown composers of their songs. The research method is descriptive-analytic، and the information gathering method is both field- and library- based. In this study around 50 Taleshian love songs in which different kinds of colors are used، from the most frequent colors to the least used ones، were analyzed. The results indicated the psychic-mental characteristics of the people of the region in exposing beliefs and emotions، pressures، sensibilities، disappointments، joys، etc

Tetrastichous is a sort of common oral poetry in the villages of Khorasan، which can be considered the developing form of those three hemistich or tetrastichous of Sassanian''s periods. This paper، by searching different evidences، indicates، that this type of poem in its early stages has been only a syllable، and by emergence of iambic poetry has enjoyed rhythm. By comparing 2000 of written Tetrastichous and variety of recorded cases in the villages of Khorasan، the structure of repeating this type of poem has also been specified that we will point to some of these evidences. Also، we will discuss about the structure of these Tetrastichouses and specify the reason of this oral tradition’s continuity; a tradition that still exists among the rural poets and musicians. At the depth of the discussion، we will discuss indissoluble link of this type of poem with music. In the section of outside form، we will indicate the variation of rhyme in this type of popular poem، and finally، we will point، in the domain of thought and emotion، to the reasons of shaping this type of poem، especially among the villagers and the masses

Aghayed al Nesa written by Agha Jamal Khansari is one of the precious works pertaining to the folk literature. This book is regarded as one of the important sources to know about women in the Safavid period. Not only This book reflects women’s beliefs and behavior but also the relation among women and others in the society. Regardless of its conceptual importance، the book has a major structural feature. It has been composed in parodic form. Parody is one of the neglected satire forms and needs to be studied more. Study and analysis of this text will be done by reference to the first and second sources، and will show its value and importance

One of the stylistic featuers of contemporary poetry is usage of local and folk words. We can say that in the contemporary poetry، the difference between the literary and non-literary words has been eliminated. Most of contemporary poets (Nima، Shamloo، Forooq،….) used these words in their poetry، and showed that the words are equal، and putting them in unequal category is not correct. The most important reason of this exchange is the modern discourse placed in the contemporary period. In the pre- modern period that its pre-supposithon is unequality، the language is unequale too (literary and non-literary words)، and just the word’s can enter the poetry that are known appropriate in the top of the word''s pyramid. So the folk and local words can not enter to poetry. But when the modern discourse and its presupposithon، (equality) was placed in the contemporary period، the difference between the literary and non-literary words was eliminated too. So the words (folk and literary) found equal value، and the poets as Nima and others used theme in their poetry

Persian language is not used in the same way in different geographical areas، historical periods & social contexts as other languages are. So always Persian language has had some varieties with some difference in words، sounds and grammars. Stable and unstable sub-cultures that are formed in the scope of Persian language are the most important factors to the occurrennce of the social varieties. War front in Iran، as an example of small community، is a particular sub-culture with behavioral، written and oral dimensions، and most significant part of it is collected in the book named «An Encyclopedia of the war front''. This descriptive analytical article tries to present a slight part of oral culture of the war front with emphasise on the linguistic aspect of contemporary Persian language. The most important section of oral cultures are the idioms، explanations and proper names that many of them have been collected in the first volume of the mentioned book. As we know، the features of this language are mainly related to the vocabulary level; so in this paper، our consideration is to the first volume of this book، and after a brief speech about the varieties of Persian language and common language in the culture of war front in Iran، some examples are taken briefly