نشریه پژوهش های ادبی
پیاپی 70 (زمستان 1399)

Translation and publication of the Persian novel in the epic genre after the revolution and war; especially in the West, despite the rapid, growth of quantity, major changes and new forms of content, has been very slow. It seems, Regardless of the political aspects and disagreement of the sacred and ideological content of these works with a Western audience, at least, Failure to discover and selecting suitable examples of existing novels – which have most harmony with Western taste - is something that by Attention and correction, can be Reinforcement for Publication and promotion these works outside Iranchr('39')s borders. In this article, a random selection of war novels based on rhetorical (audience-based) criticism, Based on the national psychology of the English people as exemplified, in the manner of Kenneth Burke, is criticized and analyzed. The critique and analysis of the three novels "Clash" "Under the Cherry Tree" and "In Search of me", which are almost at the top, below and in the middle of this adaptive spectrum, are fully embodied. The result is a wide and varied range of maximum to minimum conformations, as the capacity for acceptance and persuasion by the English audience. So it seems, on the possibility of promoting and propagation a Persian novel in England, we should have to go into detail: some of these works are well-suited to be present in the UKchr('39')s cultural space, and some are not. A group may also, with some form of editing, find the context needed to better communicate and attract Western audiences for persuasion and influence. The results can also serve as a mirror for Iranian writers to expand their global audience.

This research is going to review short story named "The leopards who have run with me" written by Bijan Najdi, based on sociological criticism by Lucien Goldmannchr('39')s genetic structuralism method. With regard to the fact that intended research  field of here is social realistic novel, this articl is going to deal with the unrealistic short story in a  descriptive-analytical way then review it’s capable for sociological criticism. In this method explores the correspondence between the general structures of the work and the social structures in which the story develops. The results of the of this article show that such a critical method, bears the necessary instrumentation for analyzing and interpreting short story and Najdi was not negligent about the social issues beside making poetic sphere for his stories and the form and content of his book are shaped by the structures of society. By creating implication, de indirectly has referred to social harms especially modernity invasion into Iranchr('39')s society after the war and the mechanization consequencies for societies in current century.

Sultan Valad is one of the gifted Persian poets, but unfortunately, his poems have not been precisely studied. It seems that the beauty of Sultan Valdchr('39')s Ghazals have been neglected in the light of radiance of his father. Like many other Persian texts, the Valda’s Divan does not yet have a reliable edition. By studying one of the existing poetry collection, we have shown that the edition of the Sultan Valad’s Divan is one of the essentials in the field of research. In this study, we have introduced two new Ghazals relying on the Afandi Collection, which we have described it in the article and two authentic manuscripts. We mentioned two Ghazals of Valad according to the old Afandi collection and manuscripts that were not in Valadchr('39')s Divan up to now. Valadchr('39')s Divan has edited by by Asghar Rabbani  with the introduction of Saeed Nafisi. It is important to note, however, that Nafisi has not edited the Valadchr('39')s Divan, but has published Rabbani’s edition in Iran. There are also many verses in this collection that have been removed from the printed Divan. Finally, under the heading "K" and "G", we have referred to the mistakes that occurred in the printed Divan, also many verses are re-edited according to authentic manuscripts. Considering the criticisms of the printed Divan of Sultan Valadchr('39')s edited by Asghar Rabbani (Hamed) with the introduction of Saeed Nafisi, the necessity of re-edition of the Sultan Valadchr('39')s Divan becomes more evident.

Language is a means of communication between individuals that uses elements of both speech and writing to make this communication possible. When using the medium of writing, certain arrangements are required in order to bring the reader as close as possible to the mindset of the writer. One of such arrangements is using punctuation marks in the text. Punctuation marks greatly help the receiver of the message to understand the feelings and moods of the sender of the message when writing the piece. The common view is that all punctuation marks were borrowed from the Western writing tradition. Investigating the first Iranian press, the current research first reviews the history of such marks, and then shows that some of the marks used in writing were inherited from the Iranian manuscript illumination tradition while some others found their way into written language through different translations. However, sometimes the usage of some of the marks in the press differed from their original function.

The encyclopedia of Qadar Khan, is a Persian to Persian lexicon written by Ashraf ibn Sharaf al-Mozakkar al-Faruqi in 807 AH. Since there is a considerable number of verses attributed to Rudaki in this lexicon, as well as some of his own verses, which has directly influenced the published Divans of Rudaki in Iran and Tajikistan, it is necessary to review and criticize the only existing manuscript of it in terms of the overall quality of the work and the registered verses of it. With this in mind, the authors have extracted each of the evidences in this lexicon, then addressed the shortcomings and deficiencies found in the registration of the verses and finally studied the attribution of the verses to Rudaki. The findings of this study can be attributed to many cases of misrepresentation, erroneous registrations, false attributions, and manipulation of registered verses. Despite these shortcomings, we have used the present work contrary to the opinion of editors of Rudakichr('39')s Divan, including Braginsky, Mirzayev, Nafisi, etc. who have used it as a first-rate resource in the recovery of Rudaki poems, which is a source of poor quality and second-rate to correct Rudaki poems.

Brevity (Ejaz), along with prolixity (Etanab) is one of the main topics in semantics, whichProvides  the poet with important possibilities for artistic functions to accelerate the transmission of the message. Following the political and social developments of the Constitutional Era and the emergence of “Nima” and also, the change in the form and structure of the language of poetry, a group of poets considered brevity as one of the linguistic tricks, by reducing some unnecessary word processing mechanisms. The authors of this study have selected three schools of poetry, i.e.: “Nima Poetry”, “Free Verse” and “Short Poetry” to achieve the rhetorical and artistic methods and functions of Brevity (Ejaz) in contemporary poetry; and they have examined and analyzed the written works of a prominent figure from each school. For “Nima Poetry”, they examined Nima Yooshij poems; Shamloo’s works for Free Verse, and Short Poems of Mansour Ouji. Then they analyzed the methods of reaching to Brevity (Ejaz) in these 3 schools, including Deletion Brevity (i.e.: deletion of the verb; starting and ending deletion), Qasr Brevity (i.e.: Symbols and Allusion), and Grammar Brevity (Adverbs, Words Composition, and Verb Modification) that are all done with the aim of rhyming and reinforce music, avoid association with regret, emphasize a word or concept, show thought, suspend meaning, create ambiguity, create atmosphere, convey broad concepts, develop language and create strangeness and de-familiarization.