نشریه پژوهش های ادبیات تطبیقی
سال دهم شماره 3 (پیاپی 33، پاییز 1401)

Sindbadnama of Zahiri Samarqandi is one of the Persian fiction texts composed of one main story and several internal stories. It is narrated in several Arabic and Persian texts, including folklore Arabic Sinbadnama, Alif  Laila and Laila (the Arabian Nights), Tutinama (Tales of a Parrot) of Nakhshabi, and Jami al-Hikayat. The research questions seek to find the differences in these texts in the narration of the main story and internal stories, and whether the examination of these differences can shed light on some of the ambiguities of this story in Zahiri’s narration. To answer these questions, we used the American school of comparative literature studies. Zahiri’s narration was the main focus and the others were compared with that version. The comparison showed that in the main story, in some narrations, more attention was paid to the details and cause and effect relationships. Accordingly, according to Zahiri’s narration, some ambiguities of the main story can be resolved. This is one of the goals of comparing and writing this article. The inner stories in these texts were not exactly the same. Some of the internal stories were common to all the texts we discussed, with slight differences. Some other stories were mentioned in Zahiri’s narration and not in other narrations. On the contrary, some stories were mentioned in other narrations and were not in Zahiri’s. Many factors have caused these differences: the place of translation or compilation and the translator and the author's imagination, creativity, or intention.

Comparative Literature and Translation Studies have so far expanded the frontiers of their own disciplines beyond their traditional conventional sense. Individually or in cooperation with the other, either discipline can lead to a more comprehensive understanding of literatures and cultures. The synergy between the two disciplines through bringing together methods and theories from both can result in innovative studies that cannot be properly conducted within the boundaries of either discipline separately. Adopting a historical perspective, the present paper highlighted the points of convergence between the two disciplines in order to identify the fields of research which can benefit most from the cooperation between the scholars of comparative literature and translation studies. Literary history, translation history, and reception studies belong to such fields of research.

The myth of the hero, which is accompanied by a lot of wisdom and inspiration, expresses the human desire for transformational growth. The audience of this myth identifies with the hero, and in fact, mythology creates a context where a person can transform and reach perfection by reading and listening to it. One of the famous stories of Turkish nations, that has different narratives in Iran, Azerbaijan, Tatar, Turkmen, Uzbek, Cyprus, Anatolia, among others, is the story of "Taher and Zohreh". This story, which like other Ashiqlar literatures, is the symbol of the hero's death and rebirth, happens many times throughout the story. In the course of the story, apart from mmetempsychosis, the protagonist experiences four types of rebirth: 1. renovation, 2. Indirect re-birth, 3. reincarnation, and 4. resurrection. What dies is usually the former "self" of the hero who, by his death and rebirth, marks the awakening of society. This death can be the death of doubt, breach of contract, betrayal, lies, and deceit, who dies by love, that is always manifested in human life. This article examines the death and repetitive rebirth of the hero in the story of “Taher and Zohreh” based on the narratives of Iran, Gebres and Kumuk with descriptive and analytical method.

What is introduced to readers around the world as “world literature” by scholars and critics is rather an anthology of writers and their works from other countries than an equal opportunity for all nations to have the world listen to their literature without socio-political preferences. This selective approach in introducing “world literature”, mostly practiced by the West to maintain its position, resembles in essence the application of collage in conversation pieces, in a way that creating and developing “world literature” in different times could be paralleled with a collage piece so that this art acts as a metaphor for “world literature”. This study, interdisciplinary in approach, investigating the themes and techniques of collage in “A Conversation with Dante on Divine Comedy,” as a conversation piece, peers into its selection of certain literary figures in light of Bakhtin’s “carnival” and Franco Moretti’s “distant reading” to shed light on the role of critics, scholars, professors, translators, and publishers in making up “world literature”.

The present research is conducted in the framework of the comparative literature of the American school which compared two odes created by two prominent Arab and Iranian poets, namely Ibn Zaydun Andalsi (394-463) and Mas’oud Sa’d Salman (439-515). These two poets spent some time in prison and wrote valuable poems about their captivity. In this article, the author has selected a prison poem of each poet and compared them in a descriptive-analytical way. The similar position of the poets and the identical motives in Literary Creation and the same themes in the odes are the reasons for choosing these two works for comparison.
The research shows that the odes of Ibn Zaydun are similar to a mirror which reflects the sorrow of love and captivity. The decaying youth of captivity has aroused the most regrets, and the propitiation has been mixed with soft blame. Praise has the tone of advice. The poet's pride is more destructive than boastful. In Mas’ud's ode, we noticed the whine of a compensatory prisoner who sees the world as a manifestation of conflict and discrimination, realized in the words, style, imagination and vertical texture of the poem. The length of the prison has connected Massoud's mind and language with matter and place more than that of the Ibn Zaydun.

The present study has been carried out by applying the components and discourse strategies of Roger Fowler in order to reveal the ideology of the author and the social actors of the novel of Mirrors with Doors. In his discourse theory, Fowler pays special attention to the structure of the text in the fields of superstructure and deep structure. Therefore, the present paper has tried to gain a deep understanding of its construction through the analysis of the superstructure of the novel of mirrors, according to Fowler's views. In this regard, the main question of this research is to seek the strategies Houshang Golshiri used in the superstructure of his work in order to show the depth of the text. The method of this research is qualitative borrowing a descriptive-analytical approach to describe and evaluate the data. The results indicated that Glorification and Marginalization are the governing mechanism of novel discourse practices and behaviors. Using the following strategies, the author has been able to demonstrate the ideology of the Iranian immigrant communists: Discourse functions of pronoun reference, suspension, ambiguity, modality, activation, question sentences, changing the position of sentence elements, removing some linguistic elements, and anachronism. The most frequent discourse strategy is related to the component of pronoun reference and the least frequent is related to changing the position of sentence elements. It should be noted that the above-mentioned discourse strategies are the most important features of Golshiri's novel superstructure.