نشریه ادب فارسی
سال دهم شماره 2 (پیاپی 26، پاییز و زمستان 1399)

Iran-China relations are not limited to political and economic affairs. The invasion of China by Genghis Khan in early 14th century and the rise of Yuan Dynasty changed the situation for China's non-indigenous ethnics. The ruling Mongols used these immigrants as their administrative agents in China. In fact, the Mongol rulers of China exploited these non-indigenous forces to prolong their political presence in this country. A large ethnic group that migrated (or was forced to migrate) to China during this era was the Persian speakers of Transoxiana, Khorasan, and other parts of Iran. These immigrants were appointed to different administrative and commercial positions by Mongol rulers of China and as a result, Persian language gradually introduced to the Chinese administrative and commercial literature. In other words, the spread of Persian language in China is due to the administrative system of the Yuan Dynasty on the one hand, and immigration of Persian speakers to China on the other. During this epoch, Persian became the common tongue between Muslim ethnicities and the religious language of a new ethnic group formed in China called Hui Hui. This new ethnic group was rooted in the community of the Persian speaker immigrants from Transoxiana and other parts of Iran who were settled in China and were absorbed in the Chinese society. The use of Persian in Chinese administrative system continued in the Ming Dynasty era. A new department was even established in the court of the King for translation of Persian texts to Chinese. Consequently,

Nezami’s poetry has a great rhetorical value. The poet’s attention to rhetorical principles and the way of relationship between poet and audience are the most important discourses in Nezami’s poetry that through the illustration of these discourses we can understand poet’s ability in his poetical art and his influence on the audience. In Khosro and Shirin versified story the poet has used conversation more than his other works. The audience presence and the poet’s attention to the audience are completely evident and there is a mutual relationship between the speaker and the listener. Therefore, his poems have many different sentence moods and by analyzing these moods we can perceive their literary and artistic function. One of the sentence syntactic characteristics is “mood” that has a very important function in rhetorical analyzing literary contexts. The sentence mood indicates the interactive function of language and shows the rate of relationship between author and his audience. Accordingly, the sentence moods are the most effective principles of mobility and polyphony of the context. In declarative sentences the relationship between the author and the audience is one-sided and the sentences have less mobility. However, in interrogative and imperative sentences the audience interacts with the author and this interaction increases the context mobility. In this research the position of sentence mood in Nezami’s poetry is discussed with emphasis on Khosro and Shirin versified story.

Mohammad Reza Kateb has a different style in his writing beside other contemporary Iranian novelists. He writes in an ambiguous and complex atmosphere. This seems to be more evident in the novel of "His" than in any of his other works. This characteristic is one of the prominent features of the postmodernism school. In this article, based on postmodern theory, we critique and analysis new ways of Kateb` writing which highlight the ontological content and the meta-narrative technique in that novel. The author's use of postmodern storytelling possibilities is based on the reader's contribution to the comprehension and rebuilding of the story, revising the police's inferences and judgments of crimes, violating accepted narratives for reader contemplation, discrediting the narrator, and author's death: that author doesn`t importance. Instead, the reader is important; that is, the reader interprets and analyzes the text with his or her reading, and in this story, the importance of the "reader" precedes the importance of the "text". the novel of "His" is based on dialogue, either in the form of expressions of actions or displacements of actions expressed as the death of one and the narration of another, or in the form of coding contradictory actions, thoughts, and quotations. The narrator's emphasis on the violation of the narrative and the narrator is to say what the original is; but this is also a permanent violation .If he multiplies the narrator and promotes distrust of the narrative or uses the method of narrating ancient inner stories, it is in order to be able to draw the narration.

Analysis of components of love from the Point of view of the Chishti Order in the works amiran-e Dehlavī Love has always been one of the most fundamental principles of Sufism. Since the spiritual preceptors of the Chishti Sufism know it as arising from the mystical thought of Khorasan, this path regards love as an eternal deposit and gift and the very foundation of the universe that flows in all particles of the Possibility World, and to succeed to the loved is considered as the last degree of seeker behavior. Moein El-din Chishti, Bafareid Ganj Shar, and Mo-hammad Gisooderaz are among some spiritual preceptors of this path, who have left some written works and sensational odes, and they can be found in the works of Chishti poets such as Amir Khosroo and Amir Hasan Dehlavi. In this article, we review the prose and poetry works of the Chishti order in order to find that what is the love position in the foundation of Chishti thinking, and what is the effect of sorrow or grief on the seeker behavior? Is wisdom always at odds with love? And what is the perspective of Chishti order about the virtual love? Keywords: Chishti order; Sufism; Love; Sorrow; Wisdom; Virtual love

Literary critics in ecocriticism field consider the prevailing culture as one of the main cause of the environmental crisis ,therefore they try to correct the cultural attitudes. Since the educational system and textbooks are the main factors in culture developing, in this paper by a qualitative content analysis method , Persian Khandari and Al-Arabia Loghati textbooks of Iran’s and UAE’s primary schools have been comparatively studied.We examined environmental concerns in this texts and finally evaluated the strategies offered to internalize respect for nature in children. Achivementes show that issues such as the importance of the environment, water crisis, air pollution, waste recycling, species protection, planting, and practical government policies are more reflected in Al-Arabiya Loghati books. The authors of these books, explicitly or implicitly represent environmental issues in 45.4% of the courses, in Farsi books, these concerns are reflected in only 15% of the courses. It seems that the UAE's geographical location and government supports for environmental resources protecting have brought the education system in a line with the government's goals; While in Iran, despite biodiversity and various environmental crises, the authors of Farsi books have used more of their linguistic capacities to create literary images focused on nature. In fact the pivotal environmental issues have been addressed in the experimental science and social education textbooks.

Abundance of despair and hopelessness is an indicative feature of the poems of Mehdi Akhavan Sales. His emotionally negative state of mind has severely impacted his poems. The heading of the poem (under our analysis) has close paratextual relationship with the context of the poem. On the basis of this conjecture, “Message”, (peygham in Farsi)- the heading of the poem (under our analysis)- raises the question: how come that the positive and emotional sense of “Message” has any meaningful relation with overwhelming hopelessness in poem? The purpose of the co-authors is to explain how the heading of the poem has gone through a semio-semantical transformation due to desperate atmosphere of poem’s context. The narrational analysis of the poem shows that the “Message” by accepting an inferior meaning has been transformed into a negative connotation. Here, the narrator closes all doors to any change, whereas if he would have accepted the help of an external actor there might have been a hope for settlement of his ontological problem and thus, the narration of the text would have alleviated from extreme pessimism to optimism. But the negative and paramount pressure of sorrow and hopelessness has transformed poem`s theme into its ontological enemy. The process of generation of the meaning of the poem leads to a conflict of life-death semantic form. Meanwhile, due to this conflict, the heading of the poem- implying detachment, discourse and accepting others- loses its positive paratextual meaning despite its original and social connotation and due to domination of discourse attachment it has shifted to its contradictory meaning i.e. “no message”, (rejecting others).

Humor is one of tools that causes laughter and comfort and help adolescent to overcome the challenges of growing period with less pressure. YA humor should be expressed in an adolescence atmosphere and perspective until the audience relate to it. in adult children's literature writers and critics are adults then we need a special approach that analysis the children's and adolescents' texts. Chambers presents the implied reader approach. According to him the author can with style, point of view, siding and gaps communicate with his audience. Sedghi is one of the writers who has written the satirical works for teenagers. The aim of this study is to investigate the implied reader in the Sedghi’s Abnabat satirical collection and using qualitative content analysis method that in addition to explain the characteristics of humor in adolescent works, the implied reader analyzed in these satirical works and evaluated the success of author in creating the implied reader . According to the result's study style is the most prominent element that has played a role in the creation of the implied reader. general it can be said that Sedghi has could invited the audience into the text that he/she laugh with characters in story.

Writers sometimes use verses to show their complete and artistic mastery in rhetoric and sometimes with poetic illustrations and skillful illustrations,by referring to verses,they have placed the speech with balanced and equal expressions and words on the basis of rhyme,leonine verse and paromoiosis,or they have created a masterpiece with alliteration,allegory,poetical aetiology,metaphor,personification and paromoiosis,and of course,masterpiece.Nafsat al-Masdoor,the excellent work of Mohammad Zeidari Nasavi, is an exemplary example of this;Especially that the author,while using the verbal virtues of verses and hadiths as well as the literary style of the Qur'an and the rhythm of words,has considered the deep conceptual use of verses of the Qur'an and hadiths. Adaptation and use of verses and hadiths is one of the most important features of technical prose and Nafsat al-Masdoor Zeidari is one of the most prominent historical-literary books in which the use of verses and hadiths is due to the authors' connection with the Ghaznavid sultans. And the Mongols and knowledge of political events and the expression of their taste-motivational goals and their political secrecy in the form of literary tricks, is one of the important features of the prose of this book. The present study uses the library method and content analysis to follow the common methods and methods of using the verses and hadiths of Nafsat al-Masdoor as well as the innovative methods of Zeidari in adapting verses and hadiths. It should be noted that in the verbal application of the verses, the methods of " paromoiosising the verse as a sequence of words", "relative that" and "noun in generative case" are included as additional explanations in the text, which indicate the author's power in combining words. The Qur'an is with its words. Spiritually, in most cases, the adaptation of verses and hadiths has been completed and completed without semantic mediation

Mowlānā has likened the body to a stream and the spirit to the flowing water in an allegory in his Masnavi. Although water is constantly running, many believe it to be stagnant and therefore Rumi draws the perforce attention of populace to the movement of brushwood on the water and that, if they do not see the passing of life through their eyes, let them reflect on plant life and river through heart. This allegory contains Rumi’s fundamental mystical thoughts, including the new creation and the fact that the whole universe, despite its stagnant and still picture, is being constantly refreshed and undergoes a transformation, hence there is a “death and recurrence” in every moment. In the perspective of this mystic, this constant creation proves the permanent presence of God, the universe’s constant need of Him and that God’s grace is flowing through the material world each and every moment. But the fast speed of this creation and destruction and the constant connection between the physical and spiritual worlds makes the world look stagnant. The author of this paper has attempted to address the new creation or God’s renewed wills from Rumi’s viewpoint. The author has also sought to connect this fundamental concept to concepts such as substance theory, manifestation, time, the Unseen, and the Mystic’s eagerness for exploring novelty and innovativeness. It concludes that renewal of the present in full flow and the departure of the old removes Mystic’s grief and heartsickness and brings him happiness and a sense of living in the moment.

Shahnameh is the story and history of a nation, a nation with all its great culture and civilization that is dynamic in all ages. This narrative shows the profound and obvious depth of the continuity of Iran's political life and each of the Shahnameh's narratives can be analyzed and reflected in this continuity One of the stories that has a special place in the narrative network of Iranian myths is the Siavash's Story. Given the nature of the narrative and the events that take place throughout the story, this story shapes the later narratives and epic / mythical wars of the Shahnameh, which can provide a clearer picture of the concept of "power" in its material and spiritual aspects in mythological culture. , The religion of ancient Iran and the boundaries of Khosrovani thought. With this aim in mind, and considering the importance of Siavash's story in the process of Shahnameh stories, in this article we have attempted to investigate the power relations in Siavash's story and its semantic system from Foucault's point of view. the result of this research shows that in the story of siavash, the relations/ relations of force are more than the other. Accordingly, this paper first examines the power / truth framework in Siavash's tale based on the Shah / Mobed, then examines the discourse of power in Siavash's three disciplines in identifying hostile space, semantic conflicts, and defining time and place

The present study has been done with the aim of textualizing one of the unknown lyric narratives of the Indian subcontinent, called Māhʻmunīr va Khūbʻchihrah, by inductive method. And in two sections, first, the summary of the whole narration is presented and then its characteristics are examined in eight sections: naming, narrator, time and place of authorship, origin, structure, language and literary type., and then in the second part, a report on the literary elements of Māhʻmunīr va Khūbʻchihrah in eleven sections: plot, angle of view, character, time and place, theme, moral principles, Destiny, customs, descriptions and principles are given. The results of this study indicate that Māhʻmunīr va Khūbʻchihrah narration is a relatively successful example of Indian subcontinent love stories that try to promote moral principles with simple and unpretentious language and at the same time romantic plot. plot, angle of view, character, time and place, theme, moral principles, Destiny, customs, descriptions and principles are given. The results of this study indicate that Māhʻmunīr va Khūbʻchihrah narration is a relatively successful example of Indian subcontinent love stories that try to promote moral principles with simple and unpretentious language and at the same time romantic plot. at the same time romantic plot.

In Persian poetry, the issue of form has gone through so many alterations. In the last decades and after the emergence of Modern Persian poetry, these formal changes have been more significant and controversial. One of the latest noteworthy theories in Persian contemporary poetry has been proposed by Reza Baraheni in Accosting the Butterflies. In the latter and particularly in the theoretical section titled “Why I Am No Longer a Nimaie Poet?” the author claims that Modern Persian poetry has been beset with a crisis and attempts to find a solution for the mentioned conflict by discussing the flaws and impasses in Persian free verse and blank verse poems. In this book, poems and theories are inspired by postmodernism and other western literary theories such as formalism and deconstruction, and the ideas of the kind “languagality”, “polyphonic poetry”, adoption of sound and breath, and “narrative interruption” are introduced to Persian poetry for the first time. By reviewing Barahani’s poetic form in various periods of his career and studying the impacts of postmodernism on his ideas, the present paper aims to analyze Baraheni’s latest theories on poetic form, and represent a novel classification for properties of form in Accosting the Butterflies.