مجله متن شناسی ادب فارسی
سال یازدهم شماره 4 (پیاپی 44، زمستان 1398)

In the corpus of Persian Classical literature, Kalīla wa Dimna is one of the texts which have drawn a vast amount of interest on re-writers’ side and many of its tales have been re-written. The reason for this appeal, as well as an answer to the question whether or not this text is a proper fit for children can be sought with resort to the theory of ‘implied reader’. Recognizing the implied reader of a classical text can serve as a criterion for re-writing that text and aid re-writers to pick the proper text to re-write for children. This article figures out the implied reader in Kalīla wa Dimna using Aidan Chambers’s theory along with an analytical-descriptive method. A comprehensive look at the implied reader in Kalīla wa Dimna with an emphasis on the relationship between the four elements of this theory proves that the three elements of ‘style’, (with regard to new questions posed about it), ‘partiality’ (considering the absence of the child character) and ‘point of view’ (with an emphasis on the decisive role of ‘dialogue’) in Kalīla wa Dimna are more salient and more fulfilled compared to ‘empty space’. An all-encompassing view could tell that although the amount and the quality of the presence of the four elements of the implied reader are not equal and similar, but differ from modern children’s fictions, still there are signs of the writer’s attention to the taste, comprehension, and needs of the low-aged reader that provide the text with qualifications for being rewritten. Mindful of the elements that show the implied reader of a text is a child, they can maintain and enhance these elements to make their rewritings more successful. Keywords: Implied Reader; Kalīla wa Dimna; Re-writing; Aidan Chambers

A work’s intended audience and the context from which it springs and in which it develops can determine and generate a new and altered content for certain concepts which are unitary at the origin. This influence becomes evident when a target text ends up being clearly attuned to the readers’ needs and concerns. Taking such influences into account, the present paper examines Suhriwardī’s ʿAwārif al-Maʿārif and two of its translations by Abū Manṡūr Ismāʿīl Iṡfahānī and ʿAbd al-Raḥman Buzğuš Šīrāzī. The author has chosen four criteria – the translators’ world view, the nature of their imagery, the influence of their personal convictions on their work, and the impact of their lifeworld – as yardsticks for assessing the two works. The comparison reveals that in Abū Manṡūr’s translation of the ʿAwārif his paying attention to the readers’ likes and dislikes makes him inclined to succinctness and leads him to exhibit his eloquence, whereas ʿAbd al-Raḥman, in his Maʿārif al-ʿAwārif forbears to meddle with the text in favour of a more literal rendition. It appears that Abū Manṡūr’s interference results in an alteration of Suhriwardī’s thought in a number of ways and that the translator in some places seizes control of the meaning replacing Suhriwardī’s statements and thoughts with his own theories. ʿAbd al-Raḥman, on the other hand, is striving, as far as possible, not to distort Suhriwardī’s thinking. It appears that the gloomy atmosphere of Isfahan during the reign of the Mongols prevented Abū Manṡūr from providing an exact and specialist translation, whereas the relatively safe and calm environment of the Fars province, where ʿAbd al-Raḥman lived and worked, proved conducive to a deeper understanding of Suhriwardī’s concepts and enabled him to give an accurate and scientific rendition of every single expression of the ʿAwārif.

Shabrangname is one of the most important epic works from unknown poet after Shahnameh, which is probably written in the sixth century. It is about the revenge of Shabrang, the boy of white DIV, from the Rustam and Iranians. Shabrang, when he was informed of the death of his father by Rostam, is seeking revenge on Iranians. At first, he kills Owlad, the ruler of Mazandaran and since he is not self-sufficient, his mother Mahyar will sit on the throne of Mazandaran. Then, according to the order of the mother, he will go to Iran to retaliate, and after many wars and escapes, he will be defeated with Iranians, and will flee to Turan, and his mother, Mahyar, after being captured, will be the wife of Bahram Goodarz. This work, which AbolFazl Khatibi and Gabrielle van den Berg have recently corrected wisely, include interesting subjects in the epic literary range. Despite the careful consideration of the correctors, it seems that there are some shortcomings or omissions in the recording and writing of some of the verses in this work that the author has tried to offer a more precise recording of such distortions with a critical view, by referring to the version of the alternatives and other related resources. In the end, some of the vagueness of this work is also mentioned.

Persian literary texts, especially the classical ones, have never been written for the purpose of animation display. Nevertheless, some of these texts have dramatic capacities which enables screenwriters to adapt them via various techniques and methods. Attar’s Manteq-o Teyr is regarded as one of the significant mystic poems as well as a classical masterpiece of Persian literature that can be adapted in the genre of animation due to its rich and profound didactic instructions. Animation is a narrative of the impossible world, hence it is not only capable of igniting audience’s surprise and wonder but also capable of depicting the impossible as possible by employing motion, picture and imagination. Applying descriptive-analytical method, the present study aims to analyze dramatic meta-structural elements including dramatic structure (conflict, complication, crisis, and resolution), characterization, setting, dialogue and, etc. based on generic approach and focusing on the type of animation to reveal adaptive capacities of Attar’s Manteq-o Teyr. Consequently, the analysis of the foresaid elements indicated that Attar’s Manteq-o Teyr due to the coherent structures of the tales appropriate for theatrical expression along with the features like motion, picture, and imagination can be regarded as a suitable text for animation script. Furthermore, the presence of complex and symbolic characters, variation in color and motion, as well as, multiple settings and various time of the journey are included among the capacities that enhance the visual features of this text for animation adaptation.

Animation is one of the most important genres in the history of cinema in the world, which has always been of interest to many artists and audiences, and has created many brilliant works in its context. One of the main areas of animation is the adaptation of literary works during the formation and development of this type of image. In adaptation for animation, texts with characteristics that fit the needs of this demo are needed to create the best quality of the transformation of a literary text into an image. Therefore, in the forthcoming article, the goal is to answer this question with a type-oriented approach and reliance on the intellectual and literary style in the transborder, in a transcript and similar epic works, the existence , The multiplicity and variety of features that enhance the drama and create the utility for adaptation in the animation genre. With this description, fantasy, imagination, the variety of imaginative beings in the context of a variety of conflicts and conflicts, and succinct expressions of the proper themes, seem to be the features of the style of thought and the existence of some literary arts Such an exaggeration, recognition, symbol, and a variety of detailed descriptions as well as features of literary style and its adaptation to the structural and content requirements of animation, make these types of works suitable for restoration in this genre, and can be identified by sampling this feature With similar or less similar capacities in the Persian epic texts of Persian literature, produced appropriate adaptations.

Nafthat ol-Masdur is one of the most important books in the history of Iranian literature that brings together the borders between history and literature. The affinity of history and literature is one of the basic foundations of new historicism. In this approach, history as a narrative text has interpretations that help to keep the text intact in the context of the blockade and the cessation of certainty. Zaidari Nasavi's method in the writing of Nafthat ol-Masdur is a dialogue between the whole of the text and the narratives that have been marginalized or obscured due to the overcoming of the power discourse and intellectual constructs. Zaidari did not mention or exclude some of the aspects of historical narratives in his book because of his education in the Ash'arite intellectual space and the court of Khwarazmian dynasty. These narratives have been investigated through the ways of critique of historicism via deletions, selections, duplications, implication, and coverings. The findings indicate that the mentioned text is related, in a complex way, to the social and material conditions of its age. In an expression of the chaos in the Sultan's system, Zaidari states in the face of some of the surrounding people that the sub-rulers of the regions are seeking to build power and ultimately the controversy in an oppressive and neglected way for their ‘will to the truth’. In such a situation, the struggle for survival from the top of the sovereignty to ordinary people prevails with betrayal, ‘Life to bread’ and ‘Feast to Fleece’.

A great deal of Garshasbname of Asadi is about the strange stories of Gershab in India. He is a viewer or a listener in it. The source of Asadi Tusi has been Abu Almoayed's Book of Garshasb. Another book attributed to Abu al-Moayed titled Ajayb aldonya. Some believe that it was changed the seventh century. This paper, by comparing Ajaybaldonya and Asadi's poetry, proves this hypothesis: Balkhi did not have an independent book titled Ajayeb aldonya, but he collected some wonders and included in the Book of Garshasb and his travels. Another person who has written a book on wonders in the seventh century has taken several wonderful stories from Book of Garshasb. Asadi has not changed his source and has not used various sources. The book of Asadi has 90 strange stories, with 27 of them in Ajayoldonya. 27 of which have been repeated in Ajay Boldia. Some of them are Similar to one another in detail, descriptions and images, vocabulary, and combinations. These similarities are to such an extent that researchers can, in some cases, use Grashasb name to correct Ajayen aldonya . Bolmoayed is one of the first people entered strange stories in the epic and national works.

Khaghani Shervani is a poet who is not exaggerating if he is considered the most fanciful poet of Persian language. Failure to take into account the deep levels of his poetry in terms of structure and meaning makes us primarily aware of his meaning and purpose. And secondly, we would not understand the delicacy of the poetry that he desired. Khaghani's use of a variety of common sciences in his time is one of the reasons for his poetry's complexity. In one of Khāqani's idols, in the exhortation of Shervanshah, there are several poems written in the descriptions of Khaghani's poetry that have not been accurately stated. The reason for these misconceptions is that researchers do not receive the correct meaning of the combinations, such as Breaking Bridge, Change Jore, Eghde Joman, Row, Zebreghan, and High Curtain and do not pay attention to the components of poetry, so present an incomplete description of the poetry. In this article, we have tried to mention the meaning of the verses, along with aesthetic points in Khaghani's poetry which are important in understanding his poem.

Khaghani Odes are the most difficult ones in the Persian language and literature, although significant research has been done on the explanation of couplets, vocabulary, etc., the reader of Khaghani poems sometimes faces difficulty in understanding some ambiguous points in comparison with other poems of Persian poetry. Among the difficult couplets, we can refer to the verse in Tarsa'ieh Ode ‘to the Trinity of the asterism and the Moon, stars and to the Anthology of the Church and to the sextet of the Third’. According to astronomers and commentators, the Trinity is lucky and Quaternity is mischievous; how can the poet swear his promised person to the mischievous heaven for the intercession and releasing from prison? Considering the fact that many interpretations have already been written about this couplet, its meaning is still ambiguous. This research seeks to answer the question that: what was Khaghani's purpose of mentioning the Quaternityand the Trinity? According to the research findings, the two terms ‘Quaternity and Trinity’ were used in their common meanings, namely the astronomical terms, and Khaghani's theological point of view has not been paid attention at all. In the present study, a new interpretation of the term ‘Quaternity’, which is closer to the poet’s opinion is presented by using Christian theological sources and Jung's theory.  The findings of the research indicate that Mary has a special position in a group of Christianity and is being worshiped as the fourth element (Quaternity); hence the poet understands this point and swears to Mary to intercede him in the presence of Shah Sharwan. This study attempts to investigate the above-mentioned couplet through a descriptive-analytical method.