Scientific Journals Management System

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Mir Kermani was one of the contemporary poets of Khwaju Kermani, whose complete collection of poems were published based on a manuscript copy belonging to Saeed Nafisi. His poems, despite being rich and full of meaning, have remained unknown for some reason. In this library research article, using the descriptive-analytical method, the Kermani poet was introduced, and his lyrics were studied from phonetic, linguistic, intellectual, and literary perspectives. Investigating the different aspects of Mir’s lyrics indicated that his lyrics lacking monorhymes were more compared to his contemporary poets, but the nominal monorhymes were considerable in his lyrics. Various types of literal arrays such as pun and balance were abundant in his poetry. The lyric poems had a fluent language, but occasional over-attention to figures of speech and the aesthetics of the words made his verses artificial. The motif of Mir’s lyrics was romantic, and the poet mostly used lovely descriptions of the beloved. Among the forms of imagery, simile was abundantly used in his poetry, while metaphors could rarely be seen and the share of novel metaphors in his lyrics was very small. Allusion and metaphor, the devices of brevity were rarely seen in Mir’s lyrics. Generally, the poet mostly focused on thematic concepts.   
 

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Attention to the spiritual and psychological dimensions of the characters of the story using psychological theories has always been one of the methods of literary researchers to analyze the characters and show the capability and skill of the creators of the works as accurately as possible. In this descriptive and analytical research, using the “Choice Theory” of the contemporary psychologist, William Glasser, an attempt has been made to study the personality of Vis in “Vis and Rāmin” collection of poetry of Fakhruddin As’ad Gurgani. According to the choice theory, the root of all behaviors of a person emanates from one’s within and to satisfy one’s five fundamental needs (the need for love, survival, power, fun, and freedom). Thus, the main question of the research is that under the influence of which of the fundamental needs did Vis make bold choices? In other words, which of Vis’s fundamental needs were stronger than the other needs that led him to engage in such behavior? The findings showed that among the fundamental needs, the need for survival, the need for love and belonging, and the need for freedom were stronger in him than the other needs, respectively. Next after these needs are the need for power and the need for fun.
 

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Time is one of the elements that gives the fictional text its identity and distinguishes a story and a narrative. In addition, time takes on different functions in the fictional text and contributes to the progression of the story in various ways. The present research investigated the element of time in the novel “Chess with the Doomsday Machine” based on Gérard Genette’s theory. Considering the memory-like structure of the novel, anachronism has a high frequency in the text and calendar time is not of much significance. The interest of the author in writing the story based on his mental images has obviated the need to record the precise dates of the events. Drawing on the technique of breaking the time in the narrative, the author has created suspense in the story and resolved some of the ambiguities existing in the text. Frequent descriptions and attention to details have stopped the time of the narrative in most of the scenes of the story. In this novel, the frequency of the narrative of events is of singular type and, drawing on such a method, the author has tried to increase the pace and advancement of the story. The author of the novel “Chess with the Doomsday Machine” has utilized various time-related techniques and methods to narrate the transformation of the perspective of the protagonist of the story from a dogmatic to a relatively tolerant attitude and has wielded time techniques to cast doubt on many learned beliefs of the narrator. 
 

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Plants have an important place in Rumi’s meaningful mind, and the narratives developed using plant knowledge in Masnavi incorporate a new educational strategy that Rumi adopted to cultivate himself and his audience. In this research, which was carried out using the descriptive-analytical method, plant topics and knowledge were extracted from all six books of Masnavi and then the data was divided into two parts: physical (material) and metaphysical (immaterial): Rumi’s approach to plants in these two parts is descriptive, sometimes material and formal, and corresponds to the current agricultural science and sometimes a tool at the service of spiritual teachings. This research shows, on the one hand, Rumi’s mystical discourse on plants as a manifestation of God, and on the other hand, it shows the poet’s taste for using the literary devices to embellish and articulate speech. Rumi’s knowledge of the name and morphology of plants and their medicinal and therapeutic properties; various types of fruits, cereals, vegetables, and legumes; horticultural terms and gardening methods; the cultivation and fertilization practices increase the notion that he had access and probably read encyclopedic books such as Bundahishn, Alabniyah an Haqaeq alAdwiyah, etc. Among the factors that can be considered as deep structure to the abundance of these terms are Rumi’s naturalism and the geographic location of his residence and the influence of his father Bahaedin’s spiritual teachings.
 

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A researcher, lyricist, and a modernist, Wasef Bakhtari is regarded as one of the leading figures of contemporary Persian literature in Afghanistan. He is more known as a poet who writes difficult-to-understand poems, and his language is full of ambiguity and complexity. Therefore, in the present study, based on the semiotic theory of “Michael Riffaterre” and using qualitative content analysis and the retroactive reading approach, the ungrammaticalities, accumulations, descriptive systems, semantic transformations, and minimal semantic units in the poem “... And I Had Cried” by Bakhtari were determined and the elements that were the external signified of the signifiers inside the poem were introduced. The matrix scattered throughout the whole poem was obtained and its semantic structure was clarified. Riffaterre’s semiotic theory seeks to help the reader – by transcending imitative and exploratory reading and resorting to retroactive reading – go beyond the imitative layer of the text and enter the world of its signs, pursuant to which the structure of meaning in symbolic and ambiguous poems can be identified. The findings of the study show that the language of Bakhtari’s poetry is more complex than that of his contemporaries, but through various theories, including Riffaterre’s semiotic theory of poetry, it is possible to well penetrate the inner layers of meaning in his poetry and understand its semantic structure.
 

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Systemic functional linguistics of Halliday is one of semantic approaches to the analysis and interpretation of literary texts as opposed to structural linguistics. In the present study, we have examined the applicability of this theory at the level of ideational metafunction to reread the style of the text of two travelogues of the Qajar era and to differentiate between language functions in both feminine and masculine styles through how they are represented in verb processes. The main question of this research is how to represent the experiences and observations of two authors during the journey through the transient structure formed in the processes that have depicted the experimental world of the two travelogues. By selecting similar parts in each travelogue, we examined five hundred process samples. After determining the type of each process and its statistics, we compared the frequency of the function of each of the six processes (material, mental, relational, verbal, behavioral, and existential) at the level of ideational metafunction. The results showed the higher frequency of the mental process in the Qajar lady’s travelogue, and the higher frequency of the relational process in the unknown man travelogue, respectively, indicating the greater attention of the Qajar lady to the inner world, and the greater importance of discovering relationships in the world around and evaluation of these relations in the mind and language of the male author. Through our examining the use of marginal additions in the two travelogues, it became clear that Sakineh Sultan used these additions 27% more than the unknown man in the text, which shows her paying more attention to recording details during the trip. In terms of the use of various marginal additions, the addition of place and accompaniment in the male author’s travelogue and the addition of degree, quality, intention, and cause in the female author’s travelogue are more frequent. This shows style differences in the two writings regarding the formation and depiction of outside world experiences in the mind and their representation manner in the language of these two authors. In terms of transitive structure in these two travelogues, wherever the writers are preparing the ground for expressing the main point, the sentences are less transient and wherever an important event and speech is presented, the degree of transientness of the sentences is higher. This means that verb processes in the foreground of the speech have more participants, are voluntary and positive, have real face, with high agency and ultimate appearance, and individuality is object and the degree of the object’s being influenced is more than the sentences in the background of the speech.
 

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Foucault’s discourse theory implies that man is not the origin of a discourse since he is not considered to be a creature of will and decision, but a mere "subject" whose identity, profession and position in the society are formed by different discourses and the power relations and rules of those discourses. In Edward Said’s view, Orientalism is a discourse with colonizing imperatives under the dictates of which and in accordance with its rules, power relations and colonizing purpose, orientalists present a superficial, stereotypical and distorted picture of the Orient. Edward Brown and George Nathaniel Curzon are contemporaneous orientalists who have common grounds in some important aspects of life. Hence, it is expected that both be under the influence of the dominant imperialist discourse of the Victorian age and write in line with its colonizing purpose. However, this expectation is not realized about Brown. He is diametrically opposed to Curzon and criticizes his bestial policies toward Iran. Rare orientalists like Brown, who live in the heart of the dominant discourse but are not affected by it and even go against it, pose a big challenge to the definition of Orientalism as merely a discourse. The present study is an attempt to evaluate Said’s reliance on Foucault’s discourse theory and its efficacy in his definition and analysis of Orientalism as a discourse by presenting the biographies of these two Iranologists and the reasons why they took completely different approaches to Iran in their travelogues and other writings. This evaluation shows that it is impossible to analyze the activities and writings of those orientalists like Brown, who defend Iranians' rights humanistically and benevolently, based on Foucault's discourse theory which belongs to Nietzsche's anti-humanistic tradition.
 

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The speeches that have been made in The Maqalat-e Shams- are considered as valuable literary and mystical heritage. So far, they have been studied from various perspectives of literary criticism and theories, and research achievements have been obtained from them. In this research, with a new approach, the following topics such as the nature of linguistic sign (signifier and signified), discourses on non-linguistic signs, analysis of discourses from Shams based on the relationship between companionship and substitution in language, syntactic and lexical critique, and preference of essays on Shams , In the light of Saussure's linguistic views, is shown ,Reflecting on his speeches, one can see his linguistic and semiotic perception in the face of texts, traditions and phenomena of existence, which is surprising to today's readers and gives a contemporary dimension to his work. In the present study, the design and description of this important issue has been discussed.

 

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Due to the closeness of the two words "history" and "story" the debate between narrative and history has long been a multi-faceted issue: to what extent is "history" narrative, and to what extent can narrative be historical? Is narrative utterly devoid of truth, and does history have a direct relation to truth, so much so that if history is emptied of truth, it loses its validity. If the truth is not recorded in history, will it no longer be the truth? What is the difference between historical narrative and narrative history? What is the difference between a narrative and a non-fiction and, or historical narrative? All the discussion between narrative and history is but between fiction and non-fiction. From this perspective, what is the status of Beyhaqi's History? From White's point of view, Beyhaqi's History is neither a chronology nor a chronicle but contains Beyhaqi's epistemological and teleological selections from the history of this period of Iran, which ironically has both an ideological and a political burden. Beyhaqi has turned "the real" into "the fiction". This article shows firstly how the History of Beyhaqi, as the product of a particular political discourse, has been prevailed in the Ghaznavid era, and secondly how it reflects the characteristics of this discourse, both on and off the screen. The History of Beyhaqi is a transition from a mythical and epic narrative to a historical and worldly narrative.

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Different and sometimes contradictory definitions are mentioned in rhetorical books to explain the irony industry - which by examining and classifying them, two general concepts can be considered for this technique: in the first definition, which belongs to the pre-Jorjani period, The irony is "to cover the speech and leave the meaning". In this sense, irony is mixed with other rhetorical techniques (such as permissible, simile, metaphor, theory, etc.) and has no definite limits. In another sense, irony, which begins with Jorjani, is a structured and ironic industrial allusion to other techniques. In this definition, irony does not simply mean "covered with speech and leaving out the meaning", but has a specific framework and it is "necessary mention and necessary will". Therefore, if a word is mentioned even covertly, but the element of "necessary" is not observed in it, it is not considered an irony in post-Jorjani definitions. In the present study, by descriptive-analytical method and using library tools, while analyzing the two concepts of irony (before and after Jorjani), the recent literature (post-constitutional) perception of the concept of this industry in practice and its field of application Investigated. The results of this study show that most recent researchers in the discussion of irony have a tendency to a concept that was common before Jorjani.
 

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Since children's fiction is a good ground for achieving the goals of thinking education programs, it has been welcomed by education systems. Lippmann is considered to be the originator of philosophy for children. His innovation brought about a fundamental change in the way of education, which was very well received. For this reason, in this article, the content of the Iranian stories of the age group "D" (seventh, eighth and ninth periods) has been adapted to the skills and components of Lippmann's philosophical thought. The statistical population of the article includes Iranian story books that have been written for children and adolescents of Dal age group (seventh, eighth and ninth period) in the years 1986 to 2016 and have received publishing permission. The method of this research is descriptive-analytical. The results show that some of the components of Lippmann's philosophical thought have been studied in Iranian fiction books, such as One Thousand and One Nights, Fairy Tales, Wolf Parties, etc. Like searching for reasons in a given situation, research question design, causal explanation, inference and goal setting are most common. On the other hand, they are weak in some other skills, such as evaluating the reasons presented, liquidity, etc .; And components such as "term definition evaluation" and "error detection" were not found in them.
 

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The limits of some of the words in the texts of the ancients, in spite of the frequent use and effort of the lexicographers, have not been well defined. One of these words is "ambre gris", which the lexicographers have written only a little information about it, and its old features and uses remain unknown to the reader of ancient texts.
Ambre gris is commonly known for its fragrance and some of its decorative and medicinal uses, while a brief glance at Arabic and Persian poetry and prose texts shows that this material has been used in the lives of ancestors more than we can imagine and has been the subject of numerous poets and writers' themes.
In this article, by studying literary, commentary, historical, scientific, etc. books in Persian and Arabic poetry and prose as much as possible, the evidence for the use of this word has been collected and analyzed.
This article discusses ambre gris mines and how it is created and the various theories about it, the types of ambre gris and its best type, the forms and how to use the ambre gris, the various uses of the ambre gris, the use of the ambre gris in the names, as well as the jurisprudential rules of the ambre gris.
 

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Kelileh and Demneh has received special attention as a book of wisdom and politics throughout history. Nasrollah Monshi’s translation of the book into Persian in the sixth century turned it into one of the most important works of prose in Persian literature and a model for literary writers, and outdid other translations of the same book. The significance of this translation has made its numerous republications, edition, and correction inevitable. In Iranian academia, the edition and correction by Mojtaba Minovi has gained a popular foothold. Despite Minovi's significant contribution to improving the quality of the book, there are some phrases whose meaning is ambiguous and confuse readers. This study examines some of these phrases in the first step and subsequently offers corrections by drawing on textual parallels, the author's style, textual evidence from other parts of the book, and evidence from classical Persian texts. This study suggests that distortion, word shift, grammatical errors cause ambiguity in the selected phrases.

 

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layered stylistics is a sub-branch of stylistics. In layered stylistics, considering the situational context as a macro-layer, researchers break down the text into strata and study the style by examining the text strata and identifying prominent or frequent features. This type of stylistics can be considered as the most complete and accurate methods in stylisitcs. Due to the large number of manuscripts obtained from Hossein Kharazmi’s Divan, the authors use layered stylistic to prove the accuracy of their attribution to this poet.
In this research, in an analytical-descriptive approach developed by Mahmoud Fotouhi in his book, the lexical and ideological layers of Kharazmi’s Divan are analyzed. The words and combinations of verses as a unit of style analysis are also examined. It is suggested that the lexical layer is effective in discovering the ideology of the text and explaining the hidden power relations.
Results: In the lexical layer, regarding the semiology of words, vocabularies are divided into structural and process codes, and indicators, vocabulary marking, and repetitive words are introduced as stylistic components. From a stylistic point of view (lexical and ideological), all the copies obtained from the court are consistent and prove their attribution to Hossein Kharazmi. Also, the table of indicators including announcements, titles, histories, material, dates, places, etc., further reinforce this argument. Other elements such as typography, personal stylistics, and period and external music, confirm this issue.
The research finds that that among codes, religion has a high frequency. The codes of a process originate from the harmonious connection and function of religion and government on the one hand, and on the other hand, the domination and influence of religion and culture over government and documenting power over religion. These codes are very much in line with Kharazmi's thought. Also, the words related to the institution of love and mysticism have the highest frequency and repetition.

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The present article aims at analyzing the role of paratopic elements of ‘translation’ and ‘religion’ in the emergence of comparable mystical-literary works through comparing two allegories: the outstanding English allegorical novel The Pilgrim’s Progress by Bunyan and the contemporary Persian novella From A’in to Ghaf by Afrouz. Parsa, the hero in the Persian novella, sets off his mystical journey at the age of forty. The main character in Bunyan’s work, Christian, abandons his town and begins his hazardous journey to the Celestial City. A plethora of allusions to the Holy Qur’an and the Bible were found in the Persian and English stories, respectively. Drawing on Attar’s Mantegh-al-Tair as a framework, this study attempts to compare different stages of mystical journeys in the two works. The major reason for the resemblance between the two works is their religious backgrounds. Moreover, as the author of the Persian novella was the translator of the English novel, a sort of unconscious influence could also be involved.

 

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“Romance-Chivalry” as a literary genre, narrates in poetic terms the protagonist’s struggle to achieve the beloved. Ayyuqi’s Varqa and Golshāh, Saam Nameh, Khwaju Kermani’s Homay o Homayun, Nazl Abadi’s Masnavi-e Jamal and Jalal, and Humay Nameh and Badi al-Zaman Nameh (by an anonymous poet) are among the outstanding works in this genre from the fifth to tenth Hijri centuries. The characterization of the protagonist is among the most significant narrative characteristics of this genre. The shared characteristics between the protagonists can classified as a genre. The protagonists in this genre, who have multidimensional and mysterious personalities and are of noble and royal descendants, are portrayed as lovers, moralists, pacifists, theists, and chivalrous which render them popular among people. Also, based on context and narrative traditions, the protagonist can be characterized within an Iranian-Islamic axis where he is presented as prophet, saint, leader, and commoner. In Ayyuqi’s work, the protagonist is a leader. According to Northrop Frye, the protagonist is superior to ordinary people. The protagonist’s personality, to various degrees, follows the characterization tradition Shahname, Eskandar Nameh-e Naghalli, and Hamzeh Nameh. Gradually, The protagonist’s religiosity becomes prominent which accords with the dominant political and religious circumstances of the poet’s society, to the extent that in Badi al-Zaman Nameh we witness dogmatic protagonist.

 

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The correspondence between philosophers’ and theorists’ views regarding literary text has been addressed by scholars. Chief among these views is the concept of “beauty” which has been theorized differently by numerous philosopher and theorists. Plotinus is among the philosophers who presented thought-provoking views on beauty and provided a bright horizon for philosophers and mystics, especially Mawlānā. In this study, the category of beauty, as the most frequent word in Mawlānā’s poems, is examined based on Plotinus’ school of thought.
The study finds that both Plotinus and Mawlānā believed in sensory, intellectual, and intuitive beauty and considered the true source of beauty the infinitude of divinity, and the outward and worldly beauties as a shadow of that absolute beauty.
 Plotinus and Mawlānā believed in the existence of two senses, two intellects and three souls; yet there are minor differences in their attitudes towards them which derives from Mawlānā’s incorporation of the intellectual views of Plotinus with principles of Islamic mysticism like revelation, aptitude, love, and greatness, etc., and gives a mystical feature to the category of beauty.


 

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As a literary subgenre, epic poetry is characterized with specific features in terms of language which distinguishes it from other subgenres. The secondary layer of meaning is the other distinguishing factor. In study, in order to examine the secondary layer of meaning in epic, analyzes the story of "Rostam and Sohrab" in terms of the frequency and variety of secondary meanings and its relationship with the literary type of the epic. For this purpose, the syntactic structure of verbs at the beginning of the stanza and the secondary meanings related to this syntactic structure are examined. The most frequent aspects of the secondary layer of meaning are emphases on the verb, exaggeration and bowing, and emphatic intention. The discussion of secondary meaning of emphatic intention can be considered as the novelty of this article. The secondary meanings of emphatic intention, along with the emphasis on action and exaggeration and bowing in terms of number and type, indicate the unity and harmony of these secondary meanings.