نشریه ادب فارسی
پیاپی 7-8 (پاییز و زمستان 1390)

Like Volter</em>, French salient author, Al- Jahiz</em> is a philosopher literate; namely, literary dimension of his personality predominates over his philosophical character. Like other great literati and writer of the world, he was a master in all sciences and knowledge of his age including philosophy, speech, politics, and a verity of customs, beliefs and religions and in some of them he was skillful and adroit and wrote books and pamphlets. Among classic writers, the main advantage of Al- Jahiz</em> was in that like the contransitory and modern well- known authors, he has pondered about realities of life and daily problems of community including racism, differences in religions and beliefs and caste characteristics and even morality and behavior of individuals while ignoring ideal community or so-called Utopia. He did not intend to create an ideal socity in his mind in order to laed people toward such community, but instead he made effort only to identify and making the community known at his time. In his philosophical thoughts and contemplations, he was thinking about sensible and tangible realities like Greek naturalist philosophers before Socrates while he has avoided from metaphysical generalities and abstractions beyond feeling and senses. Al-Jahiz was a mirthful and smiley writer and philosopher and loved all states of life and like Volter; he both laughed himself and made the others to laugh.

Julia Kristeva's intertextuality was first used in the relations between texts . also after him some ones examined the issues from different views and changed it’s concepts. One of these characters was Julia Kristeva who considered it more organized and comprehensive and examined it with all it’s variables and called it metatextuality. Versed eskandarnameh have been effected by pretexts in their formation during their life history have mixed with many cultural elements and beliefs of different nations and languages and found mythical and romantical content. Despite the distinctions of the authors intent, social and mental requirements of each work day, and then "Fear Effect" created in the works, the borrowings and being effective and effected of these texts demonstrate their vivid intertextulity . Persian versed eskandarnamehs could be considered based on his opinions and to explore relations between these textes via novel perspectives . In this paper, the characteristics of intertextuality of (Ferdowsi’s Askndrnamehs, nezamy’s and Amyrkhsrv’s)are considered through intertextuality view point (co-attendance) and extra-textuality (being effected and effective ) of gerar gent , to recognize quality and quantity of their being effected and effective on each other determining intertextuality common features of these works and will show on which areas it has been realized more often and how much is informative .

Ghotb’din Mohammad ebn Motahhar ebn Ahmad Jam (zhendepil) is one of the talented mystics and writers of Iran who has lived from 557 till 667A.H. Hadighat al-haghighat is one of the his writings. First of all, this research is focused on the New utterances and findings about Ghotb’din such asinformation about his Identity, religion, job and his relationship with his contemporaries, journeys and his writings. Then the author criticizes some parts of editor`s introduction on the new edition of Hadighat al-haghighat which recently has been published by Hasan Nasiri Jami Ph.D.

“Three Drops of Blood” is among Sadeq Hedayat’s best-known stories and has captured both the general attention of many interested readers of literary fiction as well as the particular attention of numerous literary scholars and critics. The narrator-protagonist of the story,  who has been hospitalised at a mental hospital, describes the other patients and explains a traumatic event in his past life, but his account is all but organised and coherent. It is argued in the present article that the lack of logical organisation in the narrative reveals a conflict between the conscious and the unconscious aspects of the protagonist’s psyche. Psychoanalysis provides literary critics with the most suitable tools (concepts and methodology) to explore this conflict. Employing some of the most important concepts of the psychoanalytic theory (including “resistance”, “displacement”, “impulse”, “drives”, “parapraxis”, “identification”, “trauma”, “obsession”, etc.) and adopting a psychoanalytic method (analysis of the “manifest content” of the story uncover its “latent content”), I examine the details of the text in order to shed light on the protagonist’s unconscious motives and phobias and reveal the untold story which, due to the pressure of unconscious inhibitions, has not been expressed in the narrator’s discourse. Making no attempt to psychoanalyse Sadeq Hedayat himself, I stress the distinction between the identities of the writer and the protagonist of the story and argue that the psychoanalytical approaches concentrating on the author have caused many misunderstandings and undesirable reactions as well as hindrances to advancing literary studies. The article ends with some suggestions as to how this influential story could be further studied psychoanalytically, suggestions which substitute the text-oriented arguments of the present article with a reader-response criticism in order to provide a context for the psychoanalytical examination of the reasons behind the appeal of this story to its readers in the patriarchal culture of the Iranian society.

Signing is an important informative – affective aspect of language which is overshadowed by the traditional speaking – writing distinction and the priority of written form over spoken form in both linguistics and literary criticism. This paper attempts to introduce a new form of language which can be referred to as signing language, which can shed light on understanding and analysis of the oblique text of Discourses of Shams Tabrizi. Avoiding the philosophical and psychological grounds of signing language, this paper keeps the trace of signing language in the texts other Discourses of Shams Tabrizi.

Kephalaia, counts to the important sources of Manichaean. It is written in Coptic by the Christians of North Africa, which have converted to this faith. Mani is called in this book “The Apostle” and sometimes “the enlightener”. Each chapter resembles to Christ sermons. The disciple asks a question, and he gets the answer from the Apostle. This is what each chapter is normally based on. Creation has been always the midpoint and the beginning of everything. The creation of Human has been always the most fascinating and interesting part of each religion, especially in Manichaeism which is based on Buddhism, Christianity and Gnosticism. In no Manichaean script, except Kephalaia 64, the creation of “Adam” has been not recorded, be detailed. Mani explains that since Adam was fashioned by the evil power after the image of the divine Ambassador he was preeminent over all other mixed creations in three ways: his image, his soul and his intelligence. (Gardner, 1995:165)

Narrate (rawayat) was a way to preservation and transmit of poetry. Rawayat is an Arabic word and means: carryng of water, and metaphorically means: convey the poetry and hadith. In Persian literature famous poets sang their poetry or had one or more rawis, who preserved and sang their verses. These rawis had particulars. In this essay we extract these particulars from verses and indicate them.