مجله متن شناسی ادب فارسی
سال نهم شماره 2 (پیاپی 34، تابستان 1396)

Of the translation of Qosheiriyeh dissertation, there is a copy (number 2077) kept in the Ayasofiya library in Istanbul (Turkey) which was written back in the year 859 and which is seemingly a different script of the translation by Abu Ali Osmani. When Mr. Forouzanfar tried to edit the translation of this dissertation in 1345 (1956) for the first time, he did not make much use of this translation version perhaps because he received it in the middle of his work and also because he assumed that there was not much difference between this and the transcription kept in the British museum. So, he continued his edition by comparing it with the British transcription of the translation by Abu Ali Osmani and the transcription by Lala Ismaeil, the only known hand-written transcription of the second translation. This is while the Ayasofiya transcription is of great use in resolving the many problems in the text and despite the opinion held by the late Mr. Forouzanfar regarding the grave differences between the two copies, so much that it resulted in some doubt that there may be a third translation of the Qosheiriyeh dissertation. In this article, we introduce the Ayasofiya’s transcription, and study its station in the corrected version of the translation for Qosheiriyeh dissertation.

Along with Arabic, Turkish is one of languages that numerous loanwords have entered from it into old Persian texts and poems. However, in spite of several papers about Arabic loanwords in Shâhnâme, as the most complex and the most important system from the 4th century, there is no independent study about its Turkish loanwords. In this paper, for first time, Turkish words and proper nouns of Shâhnâme (based on second edition of Dr. Khalegi Motlagś edition) have been examined in terms of: A) Turkish words, B) Turkish- Persian compounds, C) proper nouns, D) Turkish words of Daqiqi’s couplets, and E) words requiring further investigations. According to this research, ten words and six proper nouns have been used in Shâhnâme were investigated. From these words, tork, xâqân, târâj and xadang were more frequent.

The idea of death and life is one of the most important principles of human beliefs. Man, after the creation and observing of death, has always been looking for immortality and undying dreams from the past. In the eyes of the early humans and in most religions, death is not the end of life and absolute destruction, but it can be a factor for a better life. In the mythology and ancient traditions of early humans, the animal (cow), the plant, and death and life have been of utmost importance, causing the connection between these three elements of creation. The present study aims to investigate the relationship between the three main elements of creation, humans, animals (cow), and plant in the mythology of Iran, as well as the relationship between death and re-life of these three elements of creation to answer the question that how is the representation of the elements of creation (man, animal (cow), and plant) in Iran's mythology and what is the relationship between the death and life of these three elements? The present study, by examining the mythology of death and life of the early humans in Iran with a symbolic approach and a descriptive-analytical method, has concluded that in the mythology of the creation of Iranian myths, different people possess the first place. In the Zoroastrian myths "Kiomars", among Iranian and Indian myths "Jamshid", and in the Mithraism "Mehr, Mitra" had this title. The connection between death and life of humans, the animals (cow), and the plants is also direct, in such a way that one's death causes the other's life which ultimately leads to the completion of creation and its elements.

Today’s Man needs to learn to deal with the contradictions, conflicts, rapid and constant changes of the world, in order not to be challenged by psychological and social insecurity, and the lack of satisfaction caused by the distortion of his beliefs and cognition. The necessary skills are related to changing maladaptive views and adapting to oneself and with the outside world. What is taught in psychotherapy, in general, and in cognitive-behavioral therapies in particular is a kind of change experience, a change in the desired direction. These educations, if they fall within the framework of the constructive allegories and tales, are very effective, since through analogy, complex and difficult concepts, which are difficult to explain to individuals, are simply and objectively recreated. That is, the abstract thinking of an individual is changed to tangible concepts. Molana’s allegories presented in Masnavi, due to their proper structure, have subtle points on how to present allegory in the "text" and the "process" of the transferring concepts, as well as the linking of theoretical and abstract concepts with bright and dynamic images. In this paper, the topic of cognitive therapy and two cognitive distortions (overgeneralization and jumping to conclusion), based on several allegories related to the subject, from the first to the fourth Masnavi's chapters, are studied.

Over its history, the Persian language has experienced numerous challenges. One of these challenges was encountering with the Arabic language. The expansion of Arabic language caused Arabic to become a literary reputation and identity among Persian speakers, and poets were proud of their Arabic poetry. One of these poets is Khaqhani Shervani who composed both Arabic and Persian poems. As he claimed, he has an Arabic divan (poem collection). As opposed to what today’s scholars have stated, Khaqani’s Arabic poetry writing is referred to in some historical resources and biographies such as Mostofi’s Selective History, Jami’s Nafahat al-Ons, and Amir Alishirnavayi’s Majalis al-Nafaes. The present thesis has mentioned Khaqhani’s some characteristics and illustrative techniques that lack of familiarity of some researchers with them can cause problems in translation, interpretation, and explanation of his Arabic poems. Khaqhani used a lot of rhetorical figures of speech in his poetry. Most figures used by Khaqhani are pun, hyperbole, allegory, and letter writing. Sometimes the utilization of different rhetorical figures of speech has caused complicated images, and usage of terms of different sciences has also caused his Arabic poems, like his odes, to be counted as technical poems.

Narration is a two-tiered time sequence: the time that is quoted (signifier) and the narrative time. Narrative or grammar of narration is a systematic and methodological approach to the study of the structure of narration, which, by examining the form of a literary work, attempts to reach a semantic system beyond the text and make sense of narrative or textual comprehension. Based on this, narrative is a collection of general rules about narrative genres, systems governing storytelling and storytelling. Gerard Genette, along with theorists such as Vladimir Prop, Germas and Tezvetan Todorov were pioneers of this structuralist approach that examined the validity of literary texts. Genetic narrative system is influenced by structuralist theories, and his work is of particular importance to these literary theorists and semiotics. Genette considered five categories important for describing and analyzing the structures of literary texts: order, continuity, frequency, aspect, and tone. These five factors fit into the framework of the theory of "time in narration" of Gerard Janet, which is somewhat new in the discussions and analysis of literary criticism in our country, and the literary critics in Iran have paid less attention to it. One of the great works of Persian narrative poetry, "Tabaghatol Sofiieh"’ s Abdullah Ansari is a narrative text and has the ability to study based on the narrative theory within Gerard Genet's "Time of narration. In this paper, along with Genette's theory, he finds examples of the views of Ghenet in the book of Tabaghatol Sofiieh and deals with the description of five categories of time in narration. This work, since the writings of the writer and not his departments, It's not solid, but it can well be based on five categories of order, continuity, frequency, aspect and tone, and achieved gains on the ground. The most important achievement of this kind of research is the use of modern literary criticism and new knowledge such as "narrative" in the study of classical texts, such as Tabaghatol Sofiieh"’ s Abdullah Ansari.

This article, in order to depict the value and emphasize on the necessity of cognition about the epic of Battālnāmeh in Persian literature, first introduces this epic, its theme and its famous hero and then studies the attendance history of seyyid Battāl in Turkish, Arabic, and Persian literature and deliverers a list of various and multilingual manuscripts of this epic. In the following part, the paper talks about the possible narrator of this epic and in the final part, it introduces the Persian manuscript of Battālnāmeh and explains some special features of this manuscript.

The former researchers have corrected many texts, but in view of the contemporary researchers, by passing several years of their great work, it is necessary to correct some of these works, especially, when new manuscripts have obtained. The poetical work of Suzani Samarqandi that was corrected by Naser-al-din ShahHosseini is an ancient poetical work which needs re-correction. The comparison of some odes from Suzani with newly-found versions shows the necessity of re-correction of this poetical work. The errors which have entered in this poem have several reasons including: not having the correct version, not selecting the correct version of the text, inaccuracy in reading , printing errors, omitting or changing the place of odes or couplets, mixing different odes with each other, mixing the Suzani’s poems by the others poems. A part from these, there are more different couplets and odes, too, which, in spite of being in different Suzani’s poetical work versions undoubtedly belong to him, are not observed in printed versions. No available ancient manuscript from Suzani is available now, as other pioneers in Persian literature. Therefore, in this study, in order to solve his poems difficulties, in addition to using manuscripts, we have used dictionaries and anthologies.