نشریه جستارهای نوین ادبی
سال پنجاه و پنجم شماره 4 (پیاپی 219، زمستان 1401)

Firooz Shahnameh, as one of the Persian folk tales, was narrated by Mohammad Beighami. Zabihullah Safa did its textual correction and published a part of it, titled Darabnameh, during 1950-1962. It was reprinted in 2002 without any changes. Iraj Afshar and Mehran Afshari did textual criticism of another part of the story under the name of Firooz Shahnameh in 2009 and published it. Although the textual criticism of both parts has been done carefully, some slips can be seen in them. Because Beighami's narration, in addition to artistic and literary aspects, has many linguistic benefits and is useful in studying the social history of Iran in the past centuries, its text should be provided to lovers of Persian folk tales and scholars in this field as much as possible without slipping. In this article, according to the recording of the original copies and referring to the poems of the poets whose verses have been quoted in Firooz Shahnameh and the confrontation of the repetitive and stereotyped expressions of the book, the correct form of these slips are presented.

There are many traditions that gradually move from the realm of knowledge and experience to the realm of ideology or religion. Daubing the letter with dirt is one of the traditions of codicology and writing that has gradually turned from an experimental act into a religious belief. In this article, by examining ancient Persian and Arabic texts, we try to show why the tradition of daubing the letter with dirt was created. In the following, we show how this writing tradition, which was related to the field of letter writing, has gradually taken a religious and faith form in religious texts and it has become a kind of recommended practice. Through this study, it is possible to understand how a scientific belief becomes a religious construction after going through various stages and entering religious texts, and as a result, various types of superstitions are formed. . . . . . .

Narrating the actions, events and wars of early Islam plays an important role in the formation of Sharia discourse and its transmission to the next generations, women's narration is an effective thing as a social action. Female narrators are the main or second narrators or the equivalent part of interpretive narratives and have narrated various topics in these stories. This article deals with the comparative analysis of the female narrator's face in the three interpretations of Rouz al-Janan, Jala al-Azhan and Manhaj al-Sadeghin, and follows the commonalities and differences of this role in the three interpretations. In this article, using the technique of content analysis; We have extracted the type of female narration, the subject of the stories and the participation of the narrators in the stories of these three interpretations, and from this point of view, we have drawn the image of the female narrator in these texts. The textual body of this article is the stories that were narrated by women in the three mentioned interpretations. This research shows that in these interpretations, women have been narrating and over time, the commentators have changed the face of the female narrator by removing, changing or adding narrators or narrations. Also, in these narratives, the reliability of the female narrator has been increased with techniques such as creating multiple levels of narrators, using an internal narrator, and the proximity of the narrator in time and place to the narration.

The structure of "Diegesis" is obtained by analyzing the time of narration and changing the narrator. The first-person narrator, who is present in the simultaneous narration, after a brief description of the space and characters, entrusts the string of words to the second-person narrator. The second narrator, using a retrospective narrative, narrates a relatively eventful story. The choice of this form, while leading to a more intensive mention of events, also helps to create far-reaching and Vraisemblance. This method cannot be called a kind of "metalepsis"; because although the narrator changes, each level of the narrative remains in place and does not enter another realm to merge the domains. It is also different from the "frame" structure; because despite being nested, it does not contain separate sub-stories, and the sub-narratives all serve a storyline. In the first step of this research, the identification and description of the types of narration structure have been considered and in the second step, the reasons for choosing this structure and its functions have been investigated. The findings show that the popularity of the society and the personal motivations of the authors were the main reasons for choosing this narrative stratification. Sometimes the authors' attempts to make the work bilingual or polyphonic and change the focus of the narrative have been successful and sometimes unsuccessful.

The fame of Hakim Omar Khayyam Neishaburi (440-517 AH) was mentioned in ancient sources as a famous philosopher, sage, doctor, algebra and geometry scholar, mathematician and astronomer. Although in some sources from the 6th to the 8th century AH, quatrains of Khayyam have been quoted in Arabic and Persian, but his reputation as a quatrain poet began in the early 19th century AD/13 AH with Fitzgerald's English translation, followed by a wave of praise and Khayyam's poetry and thought are welcomed in Iran and the Western world. The land of Anatolia (today's Turkey) was not spared from this wave either. So much so that the Turkish language poets who were fascinated by the Persian language and literature from the Seljuk period and especially the Ottoman period, always compared themselves with famous Iranian poets in a boastful position and sometimes considered themselves superior to them. A number of Ottoman poets and writers and modernist poets of the republic era, influenced by Khayyam's quatrains and thought, besides praising him, they sang quatrains in the style of Khayyam and wrote many translations and commentaries on his quatrains. In this essay, the presence of Khayyam and the influence of his quatrains in the Anatolian domain are examined in three sections: Khayyam and Ottoman poets; the Translation of Rabaiyat in Turkish language from the beginning until now Based on Hossein Danesh and Reza Tofigh's translation; Khayyam from the eyes of some Turkish critics.

With the formation and spread of the press from the middle of the Qajar period, the press devoted part of their content to literary topics, and specialized literary magazines were gradually took shape in Iran. One of the sections that literary publications included was critiques of literary texts. In line with the editors' approach, each publication focused on one or more literary genres and reviewed and critiqued the literary works accordingly. Armaghan magazine, which was published in Tehran under the management of Hassan Vahid Dastgerdi from January 1920 until February 1979, was a specialized literary magazine that was published for approximately sixty years in Iran and included various articles on literary criticism. Examining all the issues of the magazine from 1920 to 1979, the present study analyzed the types and currents of literary criticism in the magazine. The 183 articles found in the magazine were categorized into 9 major types, among which ‘comparative studies’, with 59 articles and four approaches, was the most frequent type of criticism in Armaghan magazine, which aimed to establish the position of Persian literature within the world literature. Next, ‘literary genre criticism’, with 31 articles; ‘linguistic criticism’, with 27 articles; and, ‘rhetorical criticism’, with 22 articles, were among the most frequent types of criticism in the said publication.