فصلنامه ادبیات و زبانهای محلی ایران زمین
سال چهارم شماره 1 (پیاپی 6، زمستان 1393)

The present study examines the phonological structure of Abade dialect Spoken in Abadeh, Fars Province. For this purpose, some elderly native speakers were interviewed and the notes and recorded materials were studied and analyzed carefully. As such, some questions regarding consonants and vowels of Abade dialect, phonological processes, and syllable structure were proposed and answered.
The findings reveal that there exist 23 consonants and 8 vowels in Abade dialect, which are the same as those of standard Farsi and so, are the intonation and the stress patterns of this dialect. There can be found some phonological processes in this dialect that make many words different from other dialects. Some of these processes are assimilation, dissimilation, epenthesis, deletion, metathesis, and sound alternation

Molla Nour Ali Varmazyari, composed the religious and epic poem of “Zarirnameh” or the story of Zarir in Gouranian Kurdish dialect. This poem which is considered one of the religious and historical works of Kurdish local literature, narrates the important event of Ashoura from the beginning to the end as well as the rising of Zarir using an epic style in heroic couplet. It is a free adaptation of Khazaee‟s Zarirname.
As the results of this study show some of the most prominent characteristics of this poem are the narrative language and the epic style. The main theme of this poem is revenge. The poet, regarding the character building and the usage of other plot elements tries to advance the stories and he managed to build a solid, believable, and presentable context in the chronology of events

One of the most well known love stories in Persian and Arabic literatures is the story of "Layli and Majnoon". Hakim Nezami Ganjavi was the first poet who composed this poem. For imitation and response to Nezami, many poets composed poems on the same story among those Mirza Shafi Kolyaei, the Kurdish poet of the late twelfth and early thirteenth Hejria century composed a new narrative version, which has not appreciated. Importance of this narrative is that the Kurdish poet with the poetic ability and by using the elements of story, especially the unique characters, produces a different work. This study firstly intends to introduce this work and to compare this poem with that of Nezami‟s poems, the Nofel and Majnoon part.

Lay-zangan village is one of the villages of Darab in Fars Province. This village is located in 54 Kilometers East of Darab. They earn living by gardening from many years ago. Then, using planting terms and idioms are remarkable there.
Doubtlessly, recording and documenting these terms are of importance in Persian Language and culture to produce new words. This paper tries to record the words of gardening accurately with clear form and pronunciation. It shows that local speech is linked with middle and ancient Persian like Asourik Tree.

Mollaparishan lorestani, was a powerful poet, and one of the great poets of second half of the eighth century Hejria and one of the students of Sheikh Rajab Borsi. He has the special knowledge of discourse and philosophical contexts and he has splendid understanding of mystical ascension. The usage of philosophical examples and signs shows that he has the complete proficiency in Arabic language and literature. In this research, we read the narrative of Mollaparishan about the prophit's ascension to heaven, which is based on his poems to compare with other viewpoints regarding its contents. Mollaparishan has a Shia viewpoint, he emphasizes the virtue of the Prophet, and the tradition of Persian mystical literature affected him.

The word „Sharvah‟ defined as footsteps; song; music; and sound. In Kohgiluyeh district, Sharvah (mourning lyrics, Elegy, and lamentation lyrics) is the most somber song performed with the utmost sorrow and grief. It is usually done by female and, recently, male elegy reciters with a deep and extended voice to express the heartache.
The reciter needed to have a strong, expressive, and impressive voice in order to perform the song. Usually, successful female singers were good Sharbah reciters too and vice versa.
During reciting the verses of Sharvah, females enumerated good qualities of the deceased person. In this study, Sharvah will be defined both literally and idiomatically. Furthermore, the contents and the themes of sharvah, types of Sharvah in the country‟s different dialects, through mentioning some poetic instances, classification of Sharvah, rhythm and poetic forms of Sharvah will be investigated.

Killing of Siavash by Torranians caused a type of mourning rituals in Iran known as Siavash mourning or Siavashan. In Lorish and Kurdish region, the mourning rituals called Ghamar and the performance in these areas are the same. This Paper has been written to examine the mourning rites in Lurish and Kurdish regions and its resemblances with mourning in Shahnameh. In these regions, it seems the mourning ceremonies shares a lot in common with mourning rituals in ancient Iran particularly with Shahnameh. In this paper, there has been tried to pay the comparative essay on the mourning rituals in Lurish and Kurdish regions and the mourning in Shahnameh, referring to the field and library methods and sources.

Colorful elements in Manoochehr Atashi‟s poems have been taken from the facts of the poet‟s environment and have bestowed an indigenous-oriented origin to his poems. His fancy source is composed of continental elements, climatic characteristics as well as beliefs of people in his area. The theme of his poem in terms of emotion and thought is a miniature stemmed directly from life and nature and is the production of his real emotions. Generally, Atashi‟s poem can be considered as one of the most beautiful climatic poems in Persian Language and Literature as south nature is the dominant element of his fantasy with a personal, partial and non-stereotype view.