نشریه پژوهش های ادبی
پیاپی 84 (تابستان 1403)

the ways to discover their beauty. In this study, the association of an image with another array is assumed to be one of the reasons for the dynamics of Shahnameh literary images. The simile is the most frequent image of the Shahnameh due to the requirements of the epic text. After extracting  the similes of the first volume of Shahnameh, the most widely used literary industries in verses containing similes were examined. eighty percent of the similes were associated with symmetry. Due to their significant frequency and the answer to which requirements of their epic species depend on their simultaneous use, both of them were assumed to be a stylistic component. Therefore, the reason for combination of these two and their effect on association, creation or strengthening of context, preventing the complexity of images and creating a narrative space, novelty of images and characterization in Shahnameh were studied and explained in three areas of language, narrative and rhetoric. The result is that the combination of semmetry and simile with a stylistic usage is used to continue the concept in the horizontal and vertical axis of the text, to avoid the vulgarity of simple and sometimes repetitive similes, to compensate for the shortcomings of characterization in the epic text and to maintain the story continuity used in the long text of Shahnameh.

Since its establishment in the 1960s, the Children’s Book Council(CBC) has endeavored to elevate Iranian children’s literature by setting criteria for evaluating and selecting the best works. Given the significance of literary awards and distinguished books in shaping readers’ minds and guiding the literary community, this paper examines the criteria set forth by this institution and the extent to which they align with the award-winning works of the 1970s. This analysis critically evaluates the Council’s performance during this influential decade and revisits a pivotal period in the history of children’s and young adult literature, as well as the history of Persian poetry criticism. During this decade, three works by Mahmoud Kiyanoush—The Green Indian Parrot, Silver-Winged Golden Beak, and The Garden of Stars—were selected by the Council. The selection of three works by Kiyanoush indicates that the Council, both theoretically and in its practical application of production and creation criteria, was influenced by this poet’s ideas. Based on the Council’s reviews and the findings of this research, the criteria for poetry criticism underwent significant changes in this decade compared to the previous one. A reliance on artistic originality and poetic essence, as well as a focus on a child’s perspective, were the most important criteria during this period. This approach to children’s poetry played a crucial role in the transformations of subsequent decades.

"Humour and Caricature" Magazine is one of the Iranian comic publications that has been presenting social and popular humor in a written and pictorial way since 1991. The purpose of this article is to introduce black humor and review and analysis it in the humour and caricature magazine by studying and analyzing 298 issues of this magazine. Paying attention to the multifaceted and introverted satires and facts of the contemporary violent world has created a balance between the amount of black humor and the happy or the usual press humor in this magazine. the "Death Station" page with a hilarious look at the scary reality of death, mostly surreal and thoughtful works along with modern aphorism, memorials, anti-war and anti-terrorism works and a part of 4Dhumor and social cartoons are protuberant examples of black humor in the humour and caricature magazine. most of the amount of black humor of this magazine in the written humour section Belongs to aphorism and in the visual humor section it belongs to nocomment cartoon and caricature(face cartoon), Respectively. 36 pages, i.e. 12% on the covers and 61 pages on the back cover and inside the covers are correspondingly dedicated to black humor.

Jawaher-al-Ajayeb (written 962-963 AH) is the first book-biographies of women poet which Fakhri Heravi has recorded the biographies and poems of 31 women poet in it. Most of author of book-biographies who have introduced women poet, adapted from the contents of Jawaher-al-Ajayeb that one of these book-biographies is Arafat-al-Asheghin (written 1022-1024 AH) of Ouhadi Balayani. Ouhadi has taken biographies and poems of 18 women poet from Jawaher-al-Ajayeb and has pointed to own source in 14 cases, but has been negligent and wrong in this quote and adaptaion; As sometimes he has been wrong in recording the title of poet’s biographies and poems; sometimes he has been wrong mentioning information about poets; sometimes has been hesitated and wrong in attributing the verses of some poets. In addition to Ouhadi, correctors of Arafat-al-Asheghin also sometimes in the correcting this work mistakenly have replaced false recordings with correct recordings with using recent sources or deductive correction. In this article, been investigated the most important Manipulations and mistakes of Ouhadi in Adaptation from content of Jawaher-al-Ajayeb in four main sections by matching the source and destinations text and in the end too is mentioned to number of wrong choices of the correctors of Arafat-al-Asheghin.

In this research, we try to study and compare the mythical structure of Ebrahim Adham's story with an analytical-comparative method and with a mythological approach based on Vogler's travel pattern, and show the similarity of mystical memoirs with the author's travel pattern. The result of this study shows that the story of Ebrahim Adham is completely consistent with the stages of Vogler's model. After three stages of invitation, Ebrahim Adham enters the realm of wonders and after the stage of purification and cultivation in the womb of the cave, he experiences a rebirth. As a result of enduring difficult trials, he renews his life and returns to the heart of society in the stage of returning with the elixir of spirituality.

This article aims at finding the relation between the intellectual and saviour in play The Saviour in the Damp Morning written by Akbar Radi. The main question of this article is who is the saviour in this play and what is its connection to the intellectual and the social order of the time. The proper theory for this analysis is Gilbert Durand’s mythanalysis in which the researcher has followed three steps: close-reading of the play, finding intertextual elements and the myth in the play, and figuring out the relation of the myth to the society in which it was written. The findings show that the saviour in this play is an intellectual who considers himself a Christ-like figure that should save the humanity. This person, however, is passive and in facing problems, he finds the solution in committing suicide. Studying the social situation in the time of the play shows that society needed intellectuals to take action and take a step to save their society. The findings showed that the failure in intellectualism was rooted in the lack of connection between the intellectual and his society, which was echoed in the play.