نشریه مطالعات زبان و ادبیات غنایی
پیاپی 46 (بهار 1402)

From time immemorial, human beings have always whispered songs, whether in solitary moments or in ceremonies such as religious celebrations, hunting, and wars. These songs have been introduced with different names from the beginning until now. Folk songs are rooted in the culture and customs of a nation. People have lived with these songs and expressed their joy and sorrow with them. With them, they have shown their protest, glory and complaint, and in a word, these songs have been a reflection of the customs of the society. In the meantime, the culture of the people of Dashti is considered in this article. In this article, with the approach of textualism and internal analysis and socio-cultural functions, these literary genres have been studied and analyzed. Songs such as Golgoli, Gol Sosani, Sooz Sooz, Zino Zino, etc. are the main materials of this research. In the study of the melodies of these songs, the components and other characteristics of each of them have been mentioned, as well as the literature and verses corresponding to each application. Due to the variety of authorities, songs and melodies, It can be concluded that the music and folk songs of Dashti city are unique in terms of quality and quantity and have a special place in Iran. Due to the industrialization of cities and the death of narrators of ethnic music, the music of these ethnic groups gradually It is also disappearing or forgotten. By examining and explaining the musical structure of ethnic music, we will try to preserve and introduce this music to other cultures.

The high frequency of the word "wine" and its derivatives in Hafez's divan (more than 1300 times), in addition to being a proof of its importance in his thought and poetry, it has various interpretations and is also divided into different types, which, in addition to grape and mystical wines, are ironic wine. It should be said that this name was given to it for the first time by Bahauddin Khorramshahi, and of course, they were satisfied with mentioning a few general and brief examples; However, considering the breadth of the topic, the diversity, the remoteness of the interpretations of this type of wine and the importance of its use in Hafez's poetry, it requires a more detailed and complete research; Especially, its type has not been specified in the court and needs to be verified by the audience. The purpose of this research is to define exactly the irony in Divan Hafez, to identify which irons are a subset of this type and how to recognize them. The method of gathering information is a library, and the findings of this research show that there are other types of wine in Divan Hafez that are not known and identified; Like the "illusory wine" that Hafez himself named after it; Also, two types of wine called "Pride wine" and "presence wine" will be introduced and explained, with the mention that so far these two types of wine have not been recognized and identified in Divan Hafez.

The study of the nature of beauty in various fields is the subject of "aesthetic" knowledge, which includes philosophy of beauty, beauty psychology, philosophy of art and art criticism. From an aesthetic point of view, it can be said that the main function of beauty is to create emotional harmony between man, nature and society. According to modern literary criticism, the only work in which the function of aesthetics - which proves that literature is an art - predominates - is a literary work. Discovering and adapting these new aesthetic features to Kalidar's novel will lead to understanding and receiving the artistic richness and discovering the literary institution of this work. The abundance of images, the organization of spoken music and repetitive human themes, the literary level of this novel is closer to the artistic standards of this literary theory.

One of the most lasting and the most valuable Persian language and literature treasures is translations and interpretations which have been written by clean-minded servants of God. Among these long translations and interpretations of the Holy Quran, kashf Al-asrar written by Meybodi has high value and special authority. Mystical interpretation has been completed by Meybodi in 1126 AD. His Sufism is a romantic Sufism; this means that he considers relationship between man and God as concept of love or affection, so that being human is aware of God. Abolfazl Rashid Al-din Meybodi having skill for using words, considers the true love voice as the agent of purification and spiritual self-creation and also its pleasant breeze as inspiring satisfaction inside. The current paper presents that features and attributes of love in mystical interpretation of kashf Al-asrar with themes about it has high value so that it takes heartless reader to ascension of the facts and in the end of each topic, sweet nectar of joiner places in his vein and lipid.

In Persian literature, the old rock is a symbol of impenetrability and hardness, and the mountain is a symbol of stability and endurance. The multifaceted nature of stone in culture and literature has both positive and negative aspects. It is also a factor of fertility and destruction. This research aims to investigate the archetype of stone and mountain in mythology and in Nizami's "Khosro and Shirin" in an analytical-descriptive way and how the word "stone" is used. In this regard, examples are presented by examining the mythological roots of "Khosro and Shirin" Nizami. The main tool for collecting information is to get files from library sources. In this research, it was found that the words "stone" and "mountain" are frequently used in military works, especially "Khosro and Shirin". In many places in this story, the word "stone" is used in several key ways, both in the construction of literary arrays and in different parts of the story. Shabdiz's mysterious birth, sweet life in a stone building with the intrigue of Khosrow's palace women, Farhad's stonework to create a milky stream and bring him the desired drink, and digging a mountain for sweet love are among the things. Highlights of this story, which has a mythological aspect. Examining the presence of the main characters of this story is not complete without considering the rock and the mountain.

Since mystical texts are based on Qoranic verses, hadiths, and sayings of saints, they are more suitable for the exploration of transtextual relations than other texts. This comparative study aimed to analyze transtextual relations in Resaleh Qoshayriyeh and Seyr al-Auliya based on Gérard Genette's theory of transtextuality. The goal was to discover which types of transtextual relations exist in Seyr al-Auliya, and how this work has established a dialogic relationship with Resaleh Qoshayriyeh. Based on the results, Mir Khord Kermani established a conscious transtextual relationship to create a work on the same level as Resaleh Qoshayriyeh. Among the different types of transtextual relations, explicit, latent, and implicit intertextual relations were observed at the level of themes and narratives; a paratextual relation existed in the book’s structure and parts (main title and subtitle, chapters, sections, and epilogues); an architextual relation in the book’s style and language; and a hypertextual relation of the adaptation type in the use of mystical terms, verses, hadiths, anecdotes, and sayings of the saints.