نشریه تفسیر و تحلیل متون زبان و ادبیات فارسی (دهخدا)
پیاپی 54 (زمستان 1401)

The study of women's storytelling and common techniques in their works has been one of the topics of interest in contemporary fiction research. However, Previous research has mainly focused on the study of women's novels, the collection of short stories by leading female writers has been less well-researched, especially in recent decades. Hence, a collection of short stories selected from 9 female authors in the literary awards of the 70s to 90s (three authors per decade) was selected and their short stories were analyzed according to the three linguistic tricks (words and expressions), Fiction (atmosphere) and content (dreaming). Furthermore, the evolution of such techniques have been analyzed and compared in the last three decades. The results of the study show that as we move from the 1970s to the 1990s, female writers have used feminine words and expressions less frequently in their short stories. Contrary to the linguistic course of the stories, from the perspective of creating a space, the writers of the stories of the 90s have used home spaces more than other decades (80s and 70s, respectively). In addition, among the home spaces, the most emphasis has been given to sad spaces. In terms of the content element of dreaming, the stories of the 70s differ from other decades, and in the 90s and 80s, this element had little representation in women's stories, a point that may be due to the escape from romantic concepts and a tendency towards realism in the short stories of these two decades.

Symbols and symbols are part of the mystical language and the status of the emergence of eschigas and esoteric truths that have changed over time and space, which their study is essential for proper knowledge of mysticism. The covers of mystics and Sufis in various shapes and colors have been a perfect example of these mystical symbols, calling it "the crown of poverty," and in white, sacred, and in black, depreciating poverty, in the red color, power and testimony, and in the color of color, they have seen the merging of nature. In a hat, each craze is a sign of leaving one of the vices and seeking one of the virtues. Mysticism and Sufi often used the simplest capsules made of felt, wool or cobbled to show their disregard for the world and kick back to material glitter. This paper deals with the interpretation and analysis of data through a descriptive-analytical method based on primary sources and authentic mystical texts.

This research tries to examine the narrative viewpoint in Abbas Maroufi's novel entitled "Symphony of the Dead" in an analytical-descriptive way. This study is based on the model proposed by Simpson in 1993. It takes place in which the narrative and the narrative viewpoint are examined in a systematic and methodical way. First, we try to find out what kind of narrator is in this story based on Simpson's model, and then we examine whether the modality of the story is positive, negative or neutral. By studying this research, we find that the narrator is changing between the first person and the third person, each of which has had an effect on the advancement of the narration. The dominant modality in the story,based on Simpson's categorization is Positive, Which illustrates the commitment and self confidence of the narrator about the story's adventures and his decisive view about ignorance and prejudice in contrast to intellectual and consciousness. The Modal System used in the novel is imperative and implicit that it shows by modal-word verbs, emotional words such as Adjective and evaluative Adverb, verbs of reporting that represent thoughts and behaviors and statements the generalizations.Of course, in some parts of the story, there is a negative modal that points to the skepticism of the characters of the story.

Love is a manifestation of human emotions. Logically, neither of lovers can commit themselves to loving the other one in the same way for ever. This has made philosophers consider this issue carefully. The aim of ethics of love is to not disregard morality and courtesy of love emphasizes the attitude of lovers after falling in love. Both ethics and courtesy of love determine the success or failure of the love relationship. Our question is how lovers would interact with each other in classic lyrical account of love, compared with some of contemporary accounts of temporary love. Since love is exquisitely manifested in classic works like Khosro and Shirin, this work was selected as the source of the study. Based on Mostafa Malekian’s article, a qualitative analysis was done to read this work to find the impact of observing or ignoring morality and courtesy of love in the romance between the love characters of this story. It was concluded that ignoring ethics of love is evident in classic works and that main characters commit immorality in love so the success of their romance is put in danger. Khosro ignoring the ethics and courtesy of love, destroys their romance. Shirin, however, observes both the ethics and courtesy of love. She behaves reasonably and tries to have love and abstinence simultaneously. It is also interesting that female lovers tend to observe the ethics and courtesy of love more than male lovers.

The aim of this study is to read the figurative language of Mathnavi Mowlavi's "Neynameh" based on Celena Kusch's "close reading" method. An approach that in addition to interpreting linguistic details and their interrelationships also requires the analysis of other variables such as context, intertextuality, narrative and text genre. This article tries to answer these questions in a descriptive-analytical way. What is the poet's strategy in using figurative language in Mathnavi's "Neynameh"? What is the function of each figurative in achieving the goals of this text and its overall coherence? The results prove that the figures used in Neynameh fall into two general groups during a coherent process: 1) related to "Beshnow"; 2) related to "Ney"; the first group, with increasing music, urges the audience to "listen"; demonstrates the principle of unity in plurality; and the second group, manifestations of self- empty, the struggle of the soul for freedom from the cage, the virtual of our world; The being incomprehensible of love and so on.

The basis of the present research is descriptive-analytical and the basis for collecting data, documents and the nature of the method used qualitative content analysis.Indeed, in this treatise, the poetry of these two wise men of the eleventh century AH was examined from the point of view of stylistic science.The use of the emotional language of poetry is a good case for a linguistic analysis-content based on stylistic science to express the scientific topics and explain philosophical issues by the philosopher of the language, such as Mirfendersky who has been fluent in addition to Farsi in Hindi.The same applies to Fayyaz Lahiji, who has devoted his poetic taste to explaining mystical and philosophical issues.In the field of content analysis, some of Mirferdeski's works are indications of the philosophy of illumination, and in others, there are strings of affection. This contradiction is also seen in Fayyad Lahiji's votes.Finally, it can be said that the content of the works of Fayyaz and Mirfendereski is rooted in the philosophical schools of Islam and Transcendentalism and Transcendental wisdom, and, of course, it can be considered a more serious poetry because of having a more poetic language and having a verse of poetry.At the same time, an analytical and comparative look at the content of the works of these two thinkers can be interesting in many fields, including semiotics.

A form of comparative literature is to compare a work or some works of two eloquent poets in order to find their mutual influence. The content of West–Eastern Diwan (the Collection of poems) of Goethe, the famous German man of letter, shows that he was greatly influenced by Hafiz as well as S'adi, the great Persian poet and author, because some works of Persian literature, particularly those of S'adi, has been translated into western languages since some centuries ago, which has made western scholars and men of letters familiar with them. This article, after examining Goethe's familiarity with Saadi's works and the reasons for Goethe's influence, examines the considerable evidence of the common themes between Saadi and Goethe and illustrates Goethe's influence on Saadi or the affinities of their ideas from the poetry offices of the Western-Eastern Divan. These are commonalities and influences on the content, thought, and type of thought of many phenomena, including: Praise God and point to His justice and dominance over the East and the West, Freedom of Thought, Arrest of the Poor, Inability to Love, Short and Lifetime, Trespassing on Short Life, Eating the Sadness of the World, and Spending the World With Jealousy and Disdain Others, language silence, ignorance of the ignorant.

In rich and epic texts, there is a broker or mediator who guides the main characters in the face of difficulties and promotes their growth in physical and psychological dimensions. In today's world, this role is intended for helpers in their daily lives. The key to resembling brokers and helpers is helping people in need. This study, which uses library resources and a descriptive-analytic approach, explores the role of Zale and Roodabeh in Ferdowsi's Shahnameh, with an approach to Sindhokht's personality and the theoretical foundations of individual assistance. The results of the research show that the main mission of Sindhokht in the story is to ensure the connection between Zal and Roodabeh and to provide the necessary background for the birth of Rustam and the direction of the epic path. He has also prevented the formation of a bloody battle between the Iranians and the Kabulis, with a detailed personality and the pathology of the problem and crisis. In this story, the reinterpretation of the Siddiqui relatives illustrates the significant presence of women in transgender and social currents. Sindhokht represents a dynamic and influential woman in organizing interpersonal and social relationships. In addition to Sindhokht, another woman at the beginning of the story brings Zal and Rudaba together and ties them together.

Symbols often originates from nature, national and mythological rituals, and religion and are one of the methods of communicating and conveying meanings. The words in addition of its true meaning, evoke multiple and even contradictory meanings and images that to be aroused different emotional reactions and feelings in the reader. In Persian literature, from the names of all kinds of animals have been used in various cases and in different meanings. Animals whose names are sometimes be applied in the real sense and sometimes in the unreal and symbolic sense. In this research, the symbolic study of animals is discussed in the book of Jovayni's Negarestan. Animals have been divided from the direction of symbolic meaning and real meaning, and the frequency of each item is also provided. Moin al-ddin Jovayni's Negareatan is a book written in imitation of Saadi's Golestan. The study method is based on theoretical principles and descriptive-analytical method and research tools, has been books and Information and library resources in this area. In compiling the desired contents due to the multiplicity and diversity of different species of animals, they are divided into four groups: ((livestock)), ((birds)), ((insects and vermin)); and ((aquatic)) and has been brought explanations and documents on their symbolic concepts in each group. The aim of writing the research was to find out what symbolic meanings the animals in Moin al-ddin Jovayni's Negarestan were used and to determine the frequency of each. The result of this study reveals that Jovayni has used in respectively from animals, birds, insects and vermin and aquatic animals in the symbolic and real meanings. The amounts of application of real concepts is more in all kinds, and in insects and vermin, symbolic meanings and real concepts are almost equal.

Ferdowsi's Shahnameh, as one of the masterpieces of Persian literature, is rooted in ancient ideas and beliefs. The Shahnameh, like any great literary work, is rooted in the collective unconscious. The purpose of this article is to show that the Shahnameh, from the perspective of archetypal critique, is a vast collection of symbolic concepts and archetypes. This article seeks to identify and explain one of these archetypes. In this article, the character of Piran Vise in the Shahnameh is analyzed from the perspective of Anima's archetype. The main question of this article is how a great work such as Shahnameh, Anima's archetype, can be seen as one of the contents of the collective unconscious. According to Jung's theory, we all have a significant amount of other sex capacities. Therefore, we have masculine and feminine attributes. Often, various factors that affect the sociability of women and men prevent the occurrence Anima of in men. However, in Shahnameh, in some cases, Anima is manifested in men in the form of special moods and feminine behaviors, and this makes the character of men more balanced. This article concludes that attention to the inner aspects and voices, in men and women, flourishes and perfects the character. This article is an analytical-descriptive study based on library studies.

The Ghaznavid divan of Hakim Sanai, with more than thirteen thousand verses, consists of poems in the form of ode, composition, preference, mesmat, lyric, piece and quatrain. Composing a lyric and tending to romantic controversies and its attractions, the poet occasionally preoccupies himself. Introduction to Sanai's hymns which describe the beloved, although not uniform in number of verses and is often between 7 and 29 verses, but has a place in his hymns. In this article, while briefly introducing various aspects of the description of the beloved, such as; The field of immorality and spirituality or the reporter of the face and sensory and intellectual similes, etc, the image of the beloved Sanai with emphasis on the poet's intellectual evolution, should be examined and analyzed; Therefore, first, the most important and special approaches of Sanai in drawing the image of the beloved have been extracted and classified into eight groups. Then, by studying and finding the frequency of words and presenting diagrams, their importance, how they are used, their place and the way of intellectual development in Sanai's depiction of the beloved's image are analyzed in the lyric poems of his praise poems. The presence of characteristics of Khorasani style and traces of change that later become the beacon of poets in the field of dealing with the beloved, is one of the highlights of the lyric poems of Sanai praise that are addressed in this study. The research method is descriptive and analytical with statistical charts.

One of the most interesting questions for humans is the reason for naming things (the appellation). In the texts of Persian poetry and prose, some writers and poets, in the course of their works, Etymologized some words and define their appellation(the reason of naming). Studying, analyzing, and classifying these appellations, indicates the way they look at the construction of words. In this article, some of these appellations that are included in the ''history of Sistan'' and "Divan-e-Khaghani" are examined and compared. For this purpose, we categorized the types of the appellation and mentioned the evidence from different books. Then we extracted and examined the examples of the appellation from the ''history of Sistan'' and "Divan-e-Khaghani". By examining the samples, it was found that the author of the ''history of Sistan'' has paid more attention to the etymology of words in expressing the appellation, and in some cases, he has referred to the Folklore but Khaghani has paid more attention to poetic games with words and offers innovative appellation. Of course, he has also paid attention to the appellation mentioned in other books. This article has been written in a descriptive-analytical way and the data has been collected in the library method. Although several articles have been published on the subject of the ''Appellation'' but so far no independent article has been published on the subject of ''Appellation in the history of Sistan''.

In this article, we have examined the contrasts in five selected stories from the historical part of Shahnameh (Bahram Gour, the reign of Khosrow Anoshirvan, Yazdgerd III, Ardeshir Babkan, Bahman) based on the contrast approach of Louis Strauss. The research method is library and based on document research and its type is analytical-descriptive. The study of confrontation in the studied stories shows that the element of confrontation in these stories is very prominent and bold, and in fact the plot of each of these historical stories is based on confrontation. The type of confrontation in these stories, due to their historical nature, is mainly the type of confrontation of human characters. There are other confrontations besides the confrontation between human characters in these stories, among which we can see the confrontation of ideologies, justice and oppression, moral virtues and vices, the confrontation of human traits such as warfare and courage with weakness and incapacity, racial and ethnic confrontation and things like that were mentioned.In general, although the selected stories are historical stories, the components of Levi-Strauss's approach and theory can be seen in them, and the motivation of these characters for confrontation is only the motivations mentioned in the books. It is not historical, but ideals and goals, as well as their personality type and psychological characteristics, have a direct impact on these confrontations.

The purpose of this study was a comparative study of Wadi Tawhid from the perspective of Rumi and Attar. In this research, it is shown how Maulana Jalaluddin Balkhi, in his lasting work, the spiritual Masnavi, accompanies and synchronizes with the seekers of the path through the valley of monotheism. On the other hand, since Masnavi is an educational-allegorical work, we will briefly review some of the stories and allegories in which Rumi mentions one of the seven valleys. Of course, the number of officials in Attar's logic is explicitly mentioned in seven valleys, which are: seeking, love, knowledge, deprivation, monotheism, astonishment, poverty and annihilation. Among the mystical poets, it is Attar who has well defined the boundaries of the authorities and has based his book "The Logic of the Bird" on the basis of these seven authorities and has had a clear and logical order in the expression of his mystical thoughts. And he has expressed monotheism very clearly in the logic of bird. As a result, Rumi in Masnavi has not been limited to the number of officials and does not differentiate between them. He also did not comment on their order and both poets consider Tawhid as one of the most important officials.

One of the constructive and fundamental elements in the material world, which has always played a valuable role in human life, is "fire." Whatever exists in the universe is related to this sacred element.  Fire has long had a special place in Iran. Zarathustra gave it a moral and spiritual aspect and considered it a sign of purity. Given the mysterious nature of the fire and the symbolism of fire in myths of the past and present religions, we find that this element has always been linked to the life and lives of humans and its ritual ceremonies. It is certain that the fire in the cultural background of our ancestors was religious belief, but today it can be regarded as a symbol of bondage in past and present culture. Iranian mystics like Rumi expressed this fire in the school of love and beauty in expressive expressions and seeing light like Zoroastrians in the course of the spiritual journey, And has come to light with inward intuition. This is the fire that has been echoed by Rumi:  "Whoever does not have this fire is nothing." And this fire appears in spiritual wine and mystical music and beauty of the beloved And completely colors the mysticism of Iran. In this speech, it is attempted to provide an interpretation and analysis of the fire in the view of Rumi through an analytical method (library).

Prodigy and Veil is one of the folk tales that was compiled in the seventh century. In this literary text, the two narrators narrate twenty stories in ten days, all of which have a moral content, a house plan and civil policy. This research tries to answer the question; what is the type of narration and the most significant types of themes and ideology of the stories of the Prodigy and the Veil in a descriptive-analytical way which is based on a theoretical framework. According to the achievements of research, moral and educational issues are taught in the form of tangible and objective examples and allegories in each of these works to increase the rate of learning and its persistence in the mind of the audience. Prodigy and veiled (Ojoobeh and Mahjoobeh) belong to the group of Iranian long stories. The aim and intention of Hamid Ibn Fazlullah Sarakhsi in the story of the (Monster) prodigy and the veiled is to convey the message of family, social and human values to the audience. In this regard, the styles of elements used in the construction of the story is all simple and uncomplicated. Admonition and learning is one of the salient features of this story. It seems that this story was created only to express a moral principle or a wise advice.

Based on Foucault’s viewpoint, Power dominates all mechanisms of social exchange and it is linked to truth. Power in every society or period produces certain discourses as truth. According to Foucault's holistic plan for power, it is power that monitors, tames, normalizes, and identifies the human.The process of power, including discourse power, Bio power, and disciplinary discourse (Genealogy), monitors the least detailed subject’s behavior. Also, there are discourses in the time and place that create conflict atmosphere and semantic disputes (Archeology). Meanwhile, this study duo to the infrastructures, signifiers, and discursive functions, especially power discourse analyzes and compares the two texts to understand how power discourse and its proportions produce and the role of man. The research method is descriptive and comparative which are indicating that in the story of Goshtasp the dominant discourses are religious-political identities, political identities, and Iranian king identity. On the other hand, in the Nibelungen Song there are religious - political identity, political identities, German king identities and class identity. In conclusion, the religious - political identity discourse with two signifiers (holy and magic), have found a dominance and influence on the others discourse identity. Goshtasp and Kriemhilde are not normalized by power, but they are the powerful and knowledgeable characters, and combine the ideas of other characters with their own. Esfandiari and Siegfried were not normalized by power relation, but they adjust to the prevailing relations later.

Myth and its role in forming the intellectual foundation of human societies and its relationship with art and literature is not hidden from anyone. Literature is one of the factors in the life of nations and their immortality. The reflection of these ancient myths and beliefs of the tribes can be seen in the works of writers and poets. Abu Turab Khosravi is one of the contemporary Iranian writers whose interest in myths and sacred texts and mystical literature and mythological and mystical themes can be clearly seen in his three works. Khosravi's works have the themes of a surah with the characteristics of a postmodern novel. Concepts such as existence, word and writing, immortality, death, love, anthropology are the basic themes of his writings. This study aims to analyze the mythological themes of three novels by Abutorab Khosravi; That is, it examines "Asfar Kataban", "Rood Ravi" and "Malkan Azad". The method is descriptive-analytical and the results show that Abu Turab Khosravi creates his novels with an anthropological approach from two sources of myth and mysticism. Using the principles of elementary mythology, mystical literature and religious mythology, he has created his three works with the approach of describing the evolution of the universe and understanding the nature of man and the devil. His goals and aspirations are in the direction of human transcendence and immortality; The throwing of man into timelessness and holy times is the first and beyond history.

The main purpose of this study is to express the liberating and relieving ‎effects of the techniques of humor and jokes in the works of Obaid Zakani ‎to prove its communication function (known as the safety valve) based on ‎the Game Theory. The collected documentation are presented and analyzed ‎in several sections: First, among all types of discourses, humor and jokes ‎establish the most effective, popular and lasting level of communication in ‎media and mass communication. Second, the liberating and relieving ‎functions of humor (Liberation Theory) play a kind of game with the ‎audience and have effective and therapeutic functions for the collective ‎psyche of a society at the same time with their awareness-raising effect. ‎Third, not considering the public’s negative judgments about the concept ‎of "the Safety Valve", humor and jokes with liberating and soothing effects ‎can positively affect the collective psyche. Moreover, the ability to ‎transcend time and space, as well as the ability to upgrade tricks and ‎humor techniques in new formats, can prevent serious harm to society - ‎whether mental or physical. In addition, while being aware of and ‎surrounded by the target issues of humor and jokes and the educational ‎feature of humor, a public enjoying a calmer and more confident mind and ‎spirit can discover its coordinates and find a solution to resolve it. In this ‎study, the research data were obtained through a library method and the ‎samples were obtained from Obaid Zakani's works employing a non-‎random sampling method.‎

One of the most important Persian exegeses in the sixth century AH is "Kashf al-Asrar and 'Uddah al-Abrar" by Rashid al-Din Abulfazl Meybodi. He is one of the students of Khajeh Abdullah Ansari and he has been influenced by his teachings in this exegesis. This exegesis has been done in three steps: "the first step", "the second step” and the third step ".In the first step, the literal meaning of the verse has been presented, in which interesting Persian words and combinations are presented in antitheses of Arabic words. In the second step, the dignity of the revelation of the verse, its abrogation and obsolescence and its religious interpretation, and in the third step, mystical interpretations are expressed. In this treatise, the author aimed at studying the Quranic antitheses, interpretations and interesting compounds in Herawi language, expressing the grammatical features of verbs, nouns, adverbs, pronouns and letters, and removing the ambiguities that have been revealed in previous researches, and also expressing the novelties and pure uses of the Persian language in the era of Khajeh Abdullah Ansari, which are abandoned and forgotten and have a resurrected talent. In his research, the author has used the scientific reserves of experts.