نشریه پژوهش های ادبی
پیاپی 56 (تابستان 1396)

Apart from the well-known functions such as teaching, praising etc. Persian literature has also been afiction for the games and entertainment of people;there have been many literary games in the past which boobs have been the most famous of them.Also this game having a long history has not had the rules and specific form to the years before the era of modernity and its purpose has mainly been humor, entertainment, etc. but with the spread of modernism in Iran, extensive changes have created in its rules (the familiar and commonly form used today); its purpose changed and become a tool for preserving the past culture. The reason for this change of rules and objectives remains unspoken until todaybut it seems that traditionalists - which have redesigned the rules of boobs - not only by changing the purpose did they intendto save the new poetry of ancient poetry from destruction that was challenged, but also with an emphasis on bits as the unit boobsthey suppressed new lyrics not allowed to enter -which its unit is the whole poetry - and it was marginalized.In other words,redesigning and articulating boobs by traditionalists at the present time have been a means to rejection of modernity and strengthening the position has been challenged and made change for the past poem.

The aim of this study was to evaluate the impact of modernity on the father's place in Iranian families based on the period of Pahlavi Persian RmanHay using content analysis. Characters father, GftmanHay symbol of the Iranian family in the period of the descriptions. Characters Father, into three categories: traditional, modern NymhSnty were divided and the highest frequency was dedicated to the traditional characters; however, many of the characters-in the Father, the components of modernity, influenced or sought to changes in the family. Generally negative attitude to the characters of traditional and modern father that it would look more due to family issues is superficial.

"Haftwad" story is a multilayered story of shahnameh, Although it included in a section called historical section of shahnameh, but it has been interwowen with mythologic elements and constructed in margin of myth and history. this story with it's origin came back to "Ardeshir Babakan Works", is a section of Ardeshir life befor reaching Iranshahr kingdom. Historical-mythic nature of Haftwad story and its collection of textual and intertextual elements required in various reading and pave the way to reading religious, historical, political and even economic topics with semiological approaches, discourse analysis, and new historicism. The present research aims to review This story from both new historicism and discourse analysis point of view (perspective) having a deep connection with authority and ideology, and to represent its neglected and unsought aspects. In sum, struggle between Parthian and sassanian, contrast of legal and illegal authority, hegemony of financial system and contrast of both Zoroastrianism and Mithraism is motif of Haftwad story in each of such reviews. Also study of elements and signs available on shahnameh narrative and another source of Haftwad story show that source of political and ideological authority has played an important role in formation events in primary source of shahnameh narrative (Ardeshir Babakan Works) and following it in shahnameh itself.

Literary criticism is one of the important brance; hes of literary sdience whose indigenous criteria and norms are spontaneously seen in Persian literature. Therefore, it is necessary to extract criteria of literary criticism by criticizing and reviewing these texts and to put them in sets coherently to be used as an effective and reliable tool in the criticism of Persian literature. The present article is part of research which in the form of a PhD thesis seeks to extract the norms of literary criticism from Persian prose texts. By criticizing and reviewing the book " Altawassul – Ela- Altrassul" in an analytical_ descriptive manner, this article introduces, criticize and analyzes the criteria of literary criticism in this book. The present study shows that the norms of literary criticism of the book can be divided into four categories of text criticism, the need to pay attention to the audience position, author criticism and critique criticism. Influence of criteria of literary criticism in Arabic literature, using the poetry theory of Abdolqaher Jarjani and the author's personal acquisitions are the source of criteria of literary criticism in this book. The present study shows that the criteria of literary criticism in this book have some similarities with thoughts of hermeneutics, views of formalists and the theory of coherence of Holliday. These similarities indicates the effectiveness of the book's critical theories in today's literary criticism which unfortunately has been neglected and unused.

One of the reasons for migration of the poets to India in the Safavid era was allegation of bad faith and atheism. Given the widespread repression of Sunni and Sufi sects as ideological opponents during the Safavid era, it is expected that the charge has been made on the basis of opposition to the Sunni and Sufi sects. Despite of this expectation, what was called the bad faith of the poets in a frank and clear way was the charge of Noqtavi. Referring to the Safavid era's sources, this paper has explained the reasons for the charge and emphasis on the allegation. According to the studies, contrary to the Sunni and Sufi sects who attempted to hide following the primary repression in Safavid era, the Noqtavian began to say stubbornly pagan beliefs and specifically distort some of Shia principles in on hand, and expressed some political claims on the other hand. In this way, they provoked strongly the powerful Safavid rulers and the mighty religions establishments of the day. The arousal made it necessary to suppress the Noqtavian and to explain their disdain ideas, causing further emphasis on charges of those who believed in and suspected to Noqtavie, including some poets.

One of the functions of Art, is to represent the material and spiritual realities of man’s life. This is different from art to history that the Artist, with its own selection and interpretation and reporting, provides the apparent irregularities of facts in a reasonable, limited, measured and disciplined design. The novel “Time captive“(Asir-e-Zaman), written by Ismail Fasih is among this category of works of art. Verily the objective reality was decomposed and spread among unlimited number of contrasting subjectivities. Realism means Today’s man in modern civilization. So Fasih using certain methods has written a realistic novel. Ideological  attitude, according to the newspapers and historical figures, spoken language, detailed explanation of the events, creating types, Interpretation of the virulent happenings in society, the appearance of the life course and especially the characters’ death, a variety of characters with different  behaviors, the appearance of  the author's own character in the novel, the natural appearance of  characters’  interactions with others, applying caricatured composition, delivering philosophical terms, defining man as an authorized creature, highlighting the emotional affairs, perfect background and the rhetoric figures  are some of methods to verisimilitude in this novel.  This study results to express that the novel is a work of art tending to social realism.