نشریه ادب فارسی
سال یازدهم شماره 2 (پیاپی 28، پاییز و زمستان 1400)

The short story ”Mesl e hamishe” by Houshang Golshiri, is in fact three stories that run parallel to each other and in an alternating and confusing way. Since the main theme of the story is the emphasis on vicious circle, everyday life, boredom and repetition of the phenomena of existence and human life, the form and content of the story have found an artistic interaction in each other; In a way, the form of the story confirms this theme. The author uses the art of repeating the names of the characters and their functions and jobs and other sub-themes. In fact, he used the trick of mirroring and Parallel imagery to embody this repetition and in a way the vicious circle in the form of a story. In the Parallel imagery technique, the author forms one or more sub-stories next to the main story to emphasize the theme of the story, or the characters and themes are repeated in various forms until finally, convey a single function and message to the reader; Or, in order to emphasize specific themes, the author, one or more times, inserts objective and tangible images in the text of the story without mentioning their direct connection with the main concepts and these objective images confirm and embody those abstract claims or concepts. Parallelism technique seems to be the most appropriate artistic trick to consolidate the theme of this story, which can be deciphered with a formalistic reading.

According Roland Barthes, “Writerly Text” are symbolic and it is not possible to understand hidden layers except by passing through the formal and superficial level. One of Sohrab Sepehri's poems "The Voice of Meeting" is such kind of text that narrates the intuitive experience of poet. In this poem, first the narrator reports his intuitive experience, encountering with the singer fruits and their circumstances and actions with ambiguity. At the end of intuition, the narrator indirectly, as well as during the conversation, deals with issues that obstacle intuitive reports. The main question of the article is what this poem has the unmentioned or hidden meaning and what concepts are clarified or created through the works that has the same horizon. In this article, this poem is interpreted with the method of hermeneutics and intertextual analysis and using other works of Sepehri, the Qur'an, and mystical concepts as a pre-texts. Through these works, the meaning of the codes in the experiences of the narrator become clearer. The results show that in the narrator's intuition, the happiness of fruits is on account of confronted with the hidden surface of the universe or the "expanded world". Attitudes toward the surface and utilitarianism prevent confrontation with the upper level of universe. Sepehri's poems as a whole and this poem show that revelation does not stop at a specific time or specific place. Evidences from Sepehri's biography also confirm this

Writing according to his extensive knowledge in poetry and insisting on the difficulty, complexity, and ambiguity, Athir al-Din culminated the meaning of verses. Athir al-Din, whose qaṣīdah (ode) verses have been introduced in some poetic memoirs as an instance of difficult verses of poetry, is considered one of the most prominent qaṣīdah (ode) poets of the sixth century. Owing to this poet’s position in the canon of Persian literature, contemporary scholars have paid special attention to textual criticism of his diwan; therefore, his poetry collection has textually been criticized triple in the present century. The first correction was made by Rokn al-Din Homayoun Farrokh between 1957 and 1958 in the form of 6537 verses; The second correction was made by Mahmoud Barati Khansari in 2019 in 12,000 verses. The third correction was the Ph.D. dissertation of Professor Abbas Mahyar, published in 2020 and a few years after his demise. Examination of the corrected texts and manuscripts of this poet's diwan shows that there are shortcomings in the writing of the manuscripts and the account of the criticisms so that it can be claimed there is a long way to go before reaching a revised text from the diwan. To prove this claim, in this research, by descriptive-analytical method, difficult verses of a poem by Athir al-Din will be examined based on the account of corrected texts, and their comparison with the writing of ancient manuscripts. Many of the versions cited in this study are the same as those that were available to the textual critics, but they did not use the necessary care in selecting or reading words, combinations, and interpretations. The research findings display that among the three corrections made, the correction of the late Mahyar is better than the other two since he has chosen an eclectic method of correction and the other two correctors have worked according to the base version. From a textual criticism perspective, according to the existing versions of Athir al-Din's Diwan, it seems that using the "base version" method in criticizing cannot have the necessary efficiency. Further, to criticize this poet's diwan textually, while grasping his mentality, language, and scope of knowledge, one should use other knowledge in the field of literature such as lexicography, stylistics, and criticism.

One of the happiness of any ancient poet can be the existence of strong manuscripts of his poems and the existence of correct knowledge of the events of his life. Unfortunately, the ancient and valuable manuscripts of pre-Mongol poets are scarce, and we do not have accurate information about the life tragedies of many of these poets. Fortunately, Khaqani  is one of the few ancient narrators whose works have good and solid manuscripts and many of his life's accidents are known to us, and there are two main reasons for this; The first is Khaqani  himself, who informs the audience about many events in his life, and the second is the existence of sources that provide us with valuable information about Khaqani 's life.One of these details is his exact anniversary and death, which are now available to us through ancient manuscripts. In this research, we have tried to report the different dates mentioned for Khaqani 's death, relying on the method of the first library, and then critique them, and at the end, the exact date of his death, which is between the two Let us present the ancient and solid manuscript of his divan; According to this, Khaqani  died on the 21st of Shawwal in the year 581 AH, which is equal to the seventh of Bahman in the year one hundred and seven.

Today, different theoretical and research domains of literature each try to analyze literary works from a different and, of course, systematic perspective. It can be said that the development of the theoretical framework, methodical analysis, presentation of codified results, and avoidance of taste-based opinions are the basis of many literary types of research of the present day; one of these domains is semiotics. Semiotics is related to many aspects of life, especially literature in the broad sense and poetry in the specific sense, because of its essential function of "examining something that represents something else." The system of semantic connection in literature, or the connection between signifier and signified, or what should be discovered in literary texts on the basis of existing signs, has been a significant vehicle for semioticians to enter literary texts from different angles. In this paper, Moalavi’s Neynameh and Aminpoor's Fasl-e- Vasl, which pay attention to the subject of “union”, according to Riffaterre’s view, were analyzed and compared. The present study, by drawing descriptive systems, hypo gram, and matrix, shows that these two texts, despite their similar content, have expressed two opposite views.The narrator of Neynameh, complaining of parting and getting along, does not seem, Joiner, while the narrator of Fasl-e- Vasl, by motivating others and … has reached its optimum. Although descriptive systems in Fasl-e- Vasl are less, have greater diversity; Hypo grams of this poem is also widespread. In addition, ungrammaticality and neologism in Aminpoor's poem compared with Neynameh are much more impressive.

The story of Job the prophet is one of the narratives included in both The Quran and The Old Testament but narrated differently in each of them. Despite similarities in form and content, the narrative in The Old Testament and the narratives by interpreters of The Quran differ in terms of plot structure. Adopting Algirdas Greimas’s narratological model as well as his semiotics of discourse and using descriptive-analytical method, the present study conducts a comparative analysis of narrative structure in The Book of Job from The Old Testament and one of the Islamic narratives of the same story, namely “The Tale of Job’s Misery” from the ancient Persian text Stories of the Quran by Aboubakr Atiq Nishaburi (Surabadi). To this aim, first, the actantial model, narrative chains, and plot structure are concisely explained according to Greimas’s theory; then, the events, characters, and narrative structure are analyzed and compared in the two selected narratives of Job’s story. Finally, this study concludes that the plot of The Book of Job is contractual, whereas that of “The Tale of Job’s Misery” is performative. Moreover, in both texts, Yahweh/God is the sender, but the most striking difference is the devil/Satan, who is not an actant in The Book of Job, while he is the opponent and the performing subject in the Islamic narrative. Besides, in these two narratives, the function of the disrupter of the pattern is attributed to different characters. The analysis of the process of semiosis, the evolution of narrative structure, and the role of modal verbs shows that in the Islamic narrative the active-tensive system and in The Book of Job the existential-tensive system form the dominant discourse in the creation of meaning.

A pseudonym or poetic name is one of the characteristics of Persian poetry that became common as a literary tradition from the sixth century onwards and stabilized in the poetry of seventh century poets. Poets such as Sanai, Khaghani and Anvari are the mainstreaming poets in this field and especially provide the ground for identifying and establishing of pseudonym in the Lyric. Relying on the repetition of a word that is one of the main characteristics of the definition of a pseudonym, some contemporary scholars have made a mistake in determining the pseudonym of poets and have attributed incorrect pseudonym to sixth century poets. Among these mistakes in attribution, we can mention the word Rahi, which has been introduced as the pseudonym of some poets. In this article, in a descriptive-analytical method,we mentioned the history of pseudonym in Persian and Arabic poetry as well as its place in poetry. We examined the hidden pseudonym in Sana'i and Rumi's poetry and by searching in Persian poems from the beginning and with emphasis on research in the poems of sixth century poets, we have studied the word Rahi in the place of pseudonym. The results show a kind of literary tradition and theme and words synonymous with the word Rahi in the use of this word by different poets, which cannot in all cases indicate the poet's pseudonym.

Merajnameh is an example of religious and mystical literature. It is a report of spiritual journey to unknown territories beyond self-awareness. In this literary form and narrative, the concept of journey has always been a well-known element in the evolution of mankind towards perfection. For that reason, Merajnamehs of spiritual pilgrimage have been written in the form of travel books. The Meraj of Prophet Muhammad (PBUH), narrated by Abu-Ali Sina (aka. Avicenna), is one of the oldest independent examples in the Persian literature, written in prose, with a symbolic approach to the elements of narrative. The importance of studying such texts according to new literary theories is to attempt to open a new horizon in the reader's knowledge of the text in order to reveal its cryptic layers and to extend his comprehension of the text. The present research examines Ebn-e Sina's Merajnameh according to Campbell's concept of monomyth, which is a structuralistic psychological approach to the hero's journey, with a descriptive-analytic method and based on interdisciplinary studies of comparative literature. The results demonstrate that Abu-Ali Sina's Merajnameh is compatible with the narrative structure of Joseph Campbell's model of the Hero's Journey, except for some inconsistencies in the sublevels of "rejecting invitation" and "refusing to return" Which reveals the eloquence and dynamism of the ascension of Hazrat Khatami (PBUH) based on its narrative structure in the verses of the Holy Quran.

This study by relying on theory of linguistic behavior and social status of "Alfred Adler" and theory of Prospect's" Karl Sover "examines the world of the texts of Jamalzadeh's stories in terms of body language and non-verbal communication by definition of geography. According to Adler, language behaviors are a reflection of social and environmental situations. In the prospects of the text, cultural geography is formed given to human beings and behavioral changes. In this article, descriptive-analytical method and library studies have been used by examining non-verbal communication. The purpose of this study is to refer the function of linguistic relations in characters and human species in Jamalzadeh's stories and its conceptual effect on the relations of human species in the story. Sometimes. The story in formed of various human species (types). The results of this study showed that non-verbal communication is so significant in Jamalzadeh's works and Jamalzadeh uses linguistic and physical behavior to express intangible feelings and intangible concepts. The reasons for that are lexical poverty and conceptual suitable inadequacies. Lifestyle has an effect on dynamic structures. From the view of amplitude, according to the diagram, the most of non-verbal language behavior is observed in the eye component and the lowest linguistic behavior belongs to the organ component.

The epic and heroic narrations are reformed in various ways. The narration scrolls and vulgar and folk narratives are a means of recreating these stories. The author of Shahnameh, writers, scroll narrators and the narrators who narrate stories for generation, each choose a narrator and a particular point of view in accordance with their goals and attitudes to tell the story. In this research, we have analyzed the form and function of the narrator and the point of view in Rostam and Sohrab narratives. The question of this research is that how and in what point of view each narrator of this story emphasizes on some parts of the story or narrates it in a different way or with a different view rather than the original version? The result of the research indicates that the point of view of different narrators in Rostam and Sohrab narratives, is based on Fatalism. The narrator of Shahnameh, by mentioning the details of an event with pause and hesitation or generalization or omission, forms his own specific and intended discourse. The narrator of the scroll is an intervening narrator; he is constantly on the verge of revelation, judgment and interpretation and for the sake of the hero’s acceptance and admissibility as much as possible, he introduces him as a believer in religion. In the scrolls, due to the venue and the narrator's audience, the “character’s” action is based on society’s approbation and the common culture of the time. The narrator’s view of the woman in Shahnameh is different from that of the scrolls. The narrators have the same view about the battle of Gordafarid and Sohrab in every narrative and that is based on the prevalence of Gordafaris’s trick over her warfare skills.

In the philosophy of ethics, the criterion of valuing and measuring moral actions is one of the prominent issues. Immanuel Kant, a German philosopher, believes that only the present has a moral value that is in accordance with the task and that the actor has no other motive than to perform the duty. To understand what an action is in accordance with the duty, one must refer to the Absolute. What is meant by the Absolute, which defines all our moral duties, is: Act according to a rule that you can simultaneously will that rule become universal law. Kant considers the absolute to be the obvious rule of practical reason. Since this is absolute, the rulings derived from it will also be absolute. Rostam, the ideal character of Shahnameh in all spheres of life, always paid attention to doing his duty and justice and did not use immoral tools and methods to achieve sublime goals. According to the Shahnameh, several propositions indicate the Deontologism of morality in the moral school of Rostam. In the present study, which has been done by descriptive-analytical method, the authors has come to the conclusion that Rostam's personality is closely related to some indicators of Kant's moral conscientious school. These indicators are: human duties towards oneself, human duties towards others, duties towards certain classes of people.