Scientific Journals Management System

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Stories and narration have been among the rewarding achievements of poets and writers throughout the history of Persian literature. Accordingly, the popular stories with special attraction have frequently been narrated in poems and prose to express and convey the Gnostic and lovely contents. The story of the biography of  Excellency Yousef ( Joseph) which is known as the best stories in the Holy Koran , is one of the most beautiful and attractive stories of the Persian literature which has been repeatedly discussed by poets and writers from different perspectives. Two important narrators of this story are Jamalodin Mohammad Ardestani and Jami in the ninth century who has narrated this story in their poems and prose under the titles of Yousef Nameh and   Yousef and Zuleykha, respectively. Since the similarities and difference in the overall structure and the manner of narrating as well as inferences and results made are so considerable in these two works of arts, this article attempts to compare these two valuable works along with their introductions and highlight the differences and similarities from different perspectives.


 

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The story of “ Keikavous Going to the Mazandaran” consists of three parts: the beginning, the middle and the ending. The story opens with an incident and introduces the main character (Rostam) to the reader. The story adopts a shortcut, which is the turning point of the story, and connects the introduction to the middle part. After the incident, events take place one after another and the story progresses on a linear sequence. In the middle of the story, the character is tested. The story has a chainlike sequence and the consequence of events culminates in the climax, which is the second turning point. By this point, the story goes to the end part and the character’s fate is clarified. Rostam, the hero, should travel from Sistan to Mazandaran to achieve his goal which is freeing Keikavous from the Devil’s prison. Zal has sent him on this mission. Finally, Rostam manages to pass through the difficult stages and complete his mission with the help the assisting forces; God, his horse “Rakhsh”, Owlad, and the obese sheep. The story is close – ended and follows strong cause and effect relationships and eventually closes with a definite result.
 

 

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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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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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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.