نشریه فرهنگ و ادبیات عامه
پیاپی 15 (امرداد و شهریور 1396)

Bijan and Manijeh is one of the ancient Iranian story which has a long history on the territory of the Georgia. this story has been narrated in this contury . Apart from a free translation of the story was that in the sixteenth century, another Georgian folk versions of this story are available, which have the same features as iranian narration. Georgian narattor inserted Georgian -Christian elements in the story, and changed the narrative space ,they added details to the story or have it reduced. They also added some new characters or some Changes and displacements in the story and have been caused confusions in the plot. In this study which was conducted to compare this narration whit the narrative of Shahnameh, Meanwhile the t ranslation the summary of the Georgian version, referred to some of the differences and similarities and the Place of this story in Georgian folk culture&literature have been investigated.

A large number of beliefs and old credences of Turkmen people inhabiting in Turkmen Sahra can be categorized based on the cultural reflections appeared in rituals like Porkhani or Daggers Dance. These rituals and costumes reflect the beliefs and ideas borrowed from neighboring societies or ancient religions dating back to the pre islamic era as well as Islamic ideology.
From a different angle studying the superstitious beliefs such as believing in evil creatures, harmful ghosts, demons,fairies are indications of vicissitude history of Turkmen people.
In this research we endeavoured to re estate information gathered from field work research as well as presenting credible research resources utilising comprehensive analysis from phenomenology of symbols of religious-tribal turkmen rituals.
The anthropological study of Shamanism as the main religious idea among ancient turkmens and synthesis of iranian elements along with Sufism with it is the dominant content of this research paper that depicts the belief system turkmens. This phenomena is called “folk religion” that is an amalgamation of beliefs, primitive perceptions, legends, myths, ancient religions, subordinate and tribal ideologies along with manipulated and false images and lastly the official religion of the territory.
Folk religion is an absorbing subject for folklorists, anthropologists and ethnologists so that they can record and recognise the consisting elements and worldview, mood, mentality of people in general.

Kangan is one of the cities in the Bushehr province in the south of Iran. Arabic language is the second language used by people after Farsi. Most of Kangan residents came from Abadan and Khoramshahr to Bushehr since the Iran and Iraq War.And, notwithstanding many years of their migration still kept the structures and words of Arabic language. This study put the emphasis on the accent of these migrants.
The purose of the study is to identify the rules and caracteristics of this arabic accent and its alterations and also identifying the syntax and semantics and intonation. This study is a descriptive and field study. Findings reveals that this accent is like other arabic varieties is come from the Arabic Language and many of its words come from Arabic. Some times we can feel the changes such as metathesis, and reducion and other changes. Too, rgarding syntax there is a visinity between the Kangan Arabic variety and Arabic Language.

This paper aims to examine the major effects of popular culture of folklore culture in the production process of Iranian dramatic literatureand studying the solutions for localizing the literature. This interdisciplinary study, tries to discuss the effective roll of folklores roll of developing Indigenous patterns of creative writing for the dramatic arts. Hamid Amjad, as one of the Iranian contemporary dramatists, uses various aspects of folk culture in create and representing dramatic world, and his works are proper example for research for studying some factors such as
language and tone, beliefs and customs, behaviors and subjects, and common signs of Iranian folklore culture.
This study is organised with gathering library data and the method of direct expose of dramatic texts, and with analytical method tries to determine the potential of Iranian folklore culture in organizing the ideas and realize them using techniques of playwriting. Findings of this research shows that some of the most important indexes of Iranian folklore culture, like folk tales, folk feasts and folk language was attend in creating dramatic texts by Hamid Amjad. Comparative comparison with some dramatic concepts and elements, like characterizations, subject, creating folk spaces and native language and culture, shows the different aspects of this usage. finally, research shows that using the elements from folklore.

Vladimir Propp's morphology of the structure of literary work by taking the strategies of formalism presented with a check of one hundred AfsanhY Russian magical, practical sample lost it. According to Propp theory, AfsanhHay magical, in spite of differences in the structure and morphology of the fundamental principles in common and working to restore the underlying common axis.In the analytical field research, oral narrative QdymyTryn Amir and jewel - the romantic MnzvmhHay Mazandaran examined from the perspective of Propp's morphology. RvaytHay many of the myths common among people who are both long and short forms (MynyMalysty) is. According to the results, KhvyshkaryHay story of Amir and pearls, in compliance with Prop model, and thus the AsharhY Prop displacement can be seen in this narrative has not been met.The sum of the parts and ShkhsytHa and system performance with a small displacement Amir and pearls and KhvyshkaryHay follow Propp's model stems. The story of Amir and that is the essence of KhvyshkaryHayy some thirty models Prop YkGanh not like: a dream or uncertain situation at the end of the narrative, the dignity of the place of magic or miracle behalf, in any case where the wedding end of story to happen at the beginning and at the end of the story of Amir and pearls occur in an uncertain situation all the screw. Of course, this AftraqHa with magical fairy tale romance BrmyGrdd AfsanhY properties.

Keyxosrow in the Shahname after the final victory over Afrasiyab, goes to a mountain and disappears. In one of the oral- popular narrations of this wonderful disappearance, Keyxosrow goes to cave with a dog. Dog is seen in some other stories that in them a person ascends to sky or lives in under world and or goes to other world and returns. Dog in ancient beliefs and stories of many nations connected with another world and is supposed guard and guide of spirits. Probably dog of Keyxosrow in Iranian oral tradition is based on this mythical and ritual motif and in fact , dog is his guard and leader in cave.

Conversation is one of the basic devices and techniques used by the writers and poets to bestow a deeper understanding of their intensions to the reader. This literary device has three manifestations in literature: Dialogue, monologue, and homologue. Although dialogue is mostly used in dramatic literature e.g. tragedy and stories e.g. novel, it has its special aesthetics in folk literature. Through a descriptive analytical method, this study was set out to investigate the approaches types in dialogues and the purposes behind them in the couplets of Mazandaran and Khorasan. Results indicated that dialogues and monologues were mostly used in folk literature. In dialogue, purposes such as asking for a kiss from the beloved and the presence of another lover are discussed. Public dialogues, within the theoretical framework of this study, were not observed in couplets. The researchers have investigated couplets addressing the public based on the purpose of the lover asking for witness to his own purposes and intentions.
Key terms: dialogue, monologue, homologue, folk couplets Mazandarani and Khorasani
Vida Saravi: Ph.D. candidate in Persian language and literature, Roudehen Islamic Azad University (corresponding author).
Mahdi Mahuzi, Associate prof. of Islamic Azad university Branch of Roudehen. Mahmud Tavossi, prof.of Islamic Azad university Baranch of Roudehen.

This thesis is a study of one of the enchanting stories of love in post Islam Iran. Mehr-o-Vafa has 1309 versess and the rhytme is Mafaylon Mafaylon Folon. Poet dedicated it to Shah Abbas Safavid and Etemadol Dowleh Hatam Beig, and imitating the style of Khosrow-Shirin arranged and organized a poetic introduction for it. õThis thesis is a study of comparative literature, particularly poetry of the lyric literature (fiction epopee) in Persian and Kurdish, which has long been of interest to researchers. Since this thesis the folk tradition of oral literature of Kurdish Mehr-o-vafa story with Shoori Kashi's Meho-vafa from eleventh century And with the knowledge that where there is a story of Folk kind and deal with another version of the narrative can not easily determine which version is older than the other. This research tries to idendify more narrators and compare roots and causes of why this story is rewritten by Kurdish poets in the Western parts of our country? Adapting the story of Mehr-o-Vafa in the narrative tradition of oral literature of Kurdish with Shoori Kashi's in Persian classical literature from all aspects, including the translation and aesthetic aspects will be done throughout this research.

Social circles, particularly tea-houses of Esfahan in Saffavi age have had an important impact on Esfahan school poet's relations and activities. In biographies (Tazkare) and sometimes European logbooks we notice the presence of Safavi sociable king, first Shāhabbās, and other social groups in Tea-houses. Planning of Gazal, criticism and correction in poetry of poets who were frequently tradesmen and in poetry creation they were required to have more practices in tea-houses, stimulated their rhythmical poetic gift. Also; Tea-houses have had a great effect on the prevalence of stating reality and the link of calligraphy of the period. sometimes consuming narcotics in these places has aggravated their imagination power to such an extent that it can be accounted as one of the reasons in the poet's visionary in this period which was less studies. So that it can be found at the lexical and thematic level of several poets such as Şā,ib having a particular style. High frequence of Tea-house terms and different kinds of narcotic names in the period poetry is an evidence of this reality. In this article Descriptive analytical method we discuss some practices developing rhythemic nature of novice poets.