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Revival of written works in a society is a way for a better understanding of the society’s culture and civilization. The knowledge of criticism and correction of the texts helps to study the past written works by removing the dust of distortion and time that sits on such works. Saeed Nafisi is a researcher who has entered into this area and corrected some texts in a critical manner for the first time. Most of his efforts were concentrated on reviving verse type texts.

Considering the criteria required in correcting texts, this paper has dealt with his critical methods and views by studying 10 texts corrected by him, including 6 verse type works (Divan-e Anvari, Divan-e Attar, Divan-e Amaaq, Divan-e Rashidoddin-e Vatvat, Robaiyate Baba Afzal, Kkoliat-e Araqi) and four prose type works (Tarikh-e Beyhaqi, Goshayesh and Rahayesh, Lobab-al Albab, Reslaeye Fereydone Sepahsalar).

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This article examines a letter from Beyhagi s history, based on pragmatic theories. Based on this approach, the context of situation, diexis, including: social, personal, time and spatial diexis are analyzed in the text. In other words, the communicative competence of the writer or his linguistic knowledge and his application of rules in different situations are taken into consideration. Since the communicative competence of the writer is interrelated with his attitude and motivation and in so far as the description of language functions in a text can illustrate some of the linguistic features, not explicitly cited in the text, such analyses may play an important role in our literature. To this end, the segmental elements like words, and sentences as well as  some supra segmental features like stress and intonation are analyzed in the text. 

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Narratologists often make a distinction between classical and modern narratives and contend that classical fiction mainly focuses on characteristics such as the intention of the author, the single and fixed meaning of the narrative, and its closure. In contrast, in modern fiction certain other elements are emphasized like the centrality of the reader, lack of closure, plurality of meaning, and intertextuality. However, with a glance at some classical texts like Ferdowsi’s Shahnameh this distinction can be challenged. For example, Ferdowsi employs certain mythological and symbolic narratives in his epic which had no place in classical literature and at the same time he warns the reader not to restrict himself to the surface meaning of the story. Thus he lifts the addressee to narrative addressee and makes his stories open-ended and open to interpretation

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Governmental systems and administrative organizations in Iran have been always in change throughout history. A position which was necessary in some centuries and was counted as an important governmental position was “Amirdadi”. The person who held this post was called Amir-e dad or Mirdad. Lexicographers have mentioned several different tasks for Amir-e dad. Some believe they are the same as chief judges. Some have considered them as the executers of the King’s commands in Mazalem (justice) days. And some others have assumed they are the administrators who were responsible for public affairs. Some also have mentioned them as ministers or administrators of the Ministry of Justice. In this article the researcher attempts to answer this essential question: What position did Amir-e dad have in old administrative organization and for which tasks he was responsible? This article consists of four sections: in section one, the word structure of Amir-e dad is studied. Section two analyzes the era in which this term was prevalent. Section three describes the tasks and positions of Amir-e dad in governmental systems in which this post had been officially recognized, on the basis of some available literary and historical evidences. Finally, in section four, some points are mentioned on the ceremony of Amirdadi empowering.

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One of great Shiite scholar, Mullah Ahmad Naraghi, alias Safaee has left a book called Taghdis which has indisputable similarities to Mathnavi Maanavi in form and meaning. This book is affected by Mathnavi Maanavi written by Rumi and considerable effort has been made to compare it to Mathnavi Maanaviin matter of composition, commencement and completion of speech and also semantic goal. In this paper, an intertextual reading of Mathnavi Taghdis and Mathnavi Maanavi based on Genette’s theory of Transtextuality and three explicit and declared and hidden and implicit specifications is presented. Findings of this research show that according to the theory of Genette there is no evidence for the explicit and declared intertextual relation with Mathnavi Maanavi among 65 narratives of Mathnavi Taghdisand the most significant intertextual relation is associated with hidden and undeclared transtextuality. The results further indicate that the plot, theme and characters of at least 18 narratives have been adapted from Mathnavi Taghdis and there are different signs in the narratives of Mathnavi Taghdis in terms of space of story, tone, narration manner, name of character, etc., which associate with the narratives of Mathnavi Maanavi and are included in Genette’s classification of the implicit transtextuality.
 

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Moralistic and didactic texts make up a large part of Persian literature. Undoubtedly, if "the inculcation of a particular concept into the mind of the reader and the attempt to persuade and conquer his mind" is not the main purpose of these texts, it is definitely one of their most important goals. In this sense, the poet or writer of such texts tries to persuade the reader and sway his mind to his desired position. This paper has extracted various methods of “capturing the mind of the reader” in Golestan by Saadi, and has divided these methods into four general categories and nine sub-categories. The most frequent statistical frequency in the methods of persuading the audience in Golestan is the argument, with a frequency of 30%, and then the allegory with a frequency of 26,6%, which shows argumentative and literary aspects of the Iranian mind to be active.

 

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With the development of Bakhtin's theory of polyphony in literary criticism, the kind of attitude to literary texts has changed, and according to the needs of modern society, this discourse became the focus of attention of thinkers and literary theorists. Polyphony, with its own meta-lingual potentials, brings with it a new approach, a rethinking of the audience, so that the reader can have a new range of experiences. In this research, employing Bakhtinian dialogical logic, it is possible to examine Sange Saboor as polyphonic and dialogical. Sange Saboor has a special structure that differs from other works of Chubak and utilizes components such as the plurality of voices, the use of stream of consciousness, internal  monologue, intertextuality,  two-way discourse, literary schools, etc. The author of this article attempts to find the features that turn the text polyphonic and explore their function. 
 

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One of the approaches to the criticism of fiction that has changed a lot from a linguistic point of view is Roger Fowler’s linguistic theory. This theory is a mixture of Chomsky’s transformational grammar and Halliday’s functional linguistics theories. The story of Golshiri’s “Khaneh-ye-Roshanan” was written in the mode of stream of consciousness, and Fowler believed that in such stories, the surface structure helps to understand the deep structure. The present paper analyzed the story of “Khaneh-ye-Roshanan” based on Fowler’s linguistic approach using the descriptive-analytical method along with library research tools. The results of the study indicate that the types of transformations and the mode of stream of consciousness in this work cause shifts in syntactic structure of sentences, non-compliance with grammatical rules, repetition of pronoun references, creation of rhythm and music in speech, application of associative contrasts, repetitions based on emphasis, confusion in the readers’ minds, and creation of suspension and postponement in speech. The main characters of this work, the actor and alternating narrators, are all passive and sensory-perceptive. It is as if they should not utter a word against the dominant ideology of the text, which would disrupt its monotonous atmosphere. In this work, like the rest of his works, Golshiri wanted to delve into the problems of society and to dominate his interventionist judgments in the text. In terms of looking at the text, the author sometimes dealt with the text from an external perspective and did not consider himself to be able to understand the perceptions of the characters in the story, while he sometimes explored the text from an internal perspective and assimilated his cognitive tendencies into the text. In terms of representation of speech and thought, both direct and indirect speech were used in this work. Both methods could reveal as much as possible the internal and verbal secrets of the main and secondary characters.


 

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The general discourse of Islamic Sufism is a sacred attitude that was formed in the context of religion, in response to other opposing discourses such as jurisprudence, scholastic theology, philosophy and asceticism. At the end of the second century A.H., the followers of the Sufi movement incorporated the alchemy of love in the ascetic copper. Unlike other intellectual and religious movements of Islamic culture and civilization that regarded  the text of the Qur'an as a text descended from heaven to earth in a dialectical movement between heaven and earth, they considered the Qur'an to be a text for the movement from earth to heaven, that is, the Sufi ascension. With this in mind, we witness various encounters of Sufism with conceptualizing prominent and frequent signs, especially the floating sign of “trust” in Sufi discourse as well as other works of Sufism including scholastic and intuitive prose texts. In this paper, using the descriptive-analytical method and the approach of Laclau and Mouffe’s discourse theory, we have demonstrated the metamorphoses of this floating sign in several scholastic Sufi texts in Persian and Arabic, and through this we have explained the interactions of these texts.
 

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The purpose of this research is to describe and analyze the elements of Persian language in ancient jurisprudence texts. In this paper, using induction, descriptive and analytical method, examples of Persian words and elements in selected ancient jurisprudence texts, and some linguistic, grammatical, and syntactic features of these examples are analyzed.Additionally, some prominent features such as the simultaneous use of Persian and Arabic words, changing the syntactic structure of the sentence, and the semantic change, phonological and phonetic evolution and distortion of Persian words in the ancient Arabic and Persian jurisprudence sources are examined in more detail.The results show that the Persian language has a special place in ancient jurisprudence texts among non-Arabic languages as most non-Arabic words in these texts are taken from Persian language.In addition to the ancient jurisprudence sources in Arabic, there are a few valuable ancient jurisprudence sources in Persian, which are considered valuable examples of the use of Persian as the language of religion.This study shows that most of the authors of ancient Arabic jurisprudence texts who were influenced by Persian language were either from Persia or familiar with Persian language of Fars province or were Arabic-speaking jurists in whose works the social life of Persian-speaking Muslims is manifested.In the present study, two parts of these jurisprudence works have been dealt with more precisely: First, the ruling on the Persian translation of the recitation of Surah Al-Fatihah in prayer, in which the jurisprudence sects have three distinct views on this issue.Examining the arguments and evidence of these views, a detailed view on the permissibility of the Persian translation of Surah Al-Fatihah in case of inability to read correctly and its impermissibility in case of ability to read correctly has been chosen.The other is the jurisprudence view of expressing divorce in Persian, in which there are two distinct views. The chosen word in this issue is the view of the correctness and jurisprudential possibility of divorce in the language of any ethnic group.
 

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According to the Bible and the Holy Quran, Adam who was the first man created by God lived in Paradise but later fell to the earth for some reasons. The story of expulsion of Adam from Paradise has been widely mentioned in Old Persian literature and has been interpreted in different ways. This article aims to investigate the reasons for the Fall of Adam from Paradise in some interpretive, mystical texts and in the divans of famous Persian poets up to the eighth century A.H. The researcher classified, compared, and analyzed these reasons based on their similarities and differences. The findings showed that in Old Persian literature including interpretive, mystical, and poetry works the Fall of Adam was either the result of his sin and God’s wrath upon him, or it was his destiny as decided by God, therefore he had no other choice, or he consciously decided to leave the paradise. In each case, there are some reasons behind Adam’s expulsion from Paradise to the earth.

 

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There is a difference between a historical event and the historical narrative of that event, whether it is oral or written. That is why an event is something that happened once in a specific time and place, but the historical narrative is multiple and numerous and does not completely agree with the historical event and is an interpretation of the original incident. Using the descriptive-analytical method and the intertextual approach (based on the three intertextual axes of Genette) in this article, the repetition, reconstruction, and reproduction of the past have been analyzed in two historical narratives of Zahiri Nishaburi and Rawandi about the incident of Ghoz riot, two narratives which are temporally and expressively different. Moreover, it has been shown that these two texts, which have a common theme and are related to each other have been influenced by each other and much communication has taken place between them. In addition to relying and emphasizing on the linguistic features of Rahat al-Sudur, especially its syntactic system, the intertextual relationship of the two works, similarities, and differences in the way of their reporting and narrating of Ghoz riot have been discussed. The result of the research highlights the influence of Seljuq Nameh on Rahat al-Sudur in the historical report, which accuses its author of plagiarism.
 

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For Kristeva all texts are results of a textual network before themselves. So, in order for decoding a text, one must take the textual network into consideration. Authors and poets have always benefited from texts before themselves. This is sometimes done as legendism which is nothing but a kind of rewriting and recreating legends and does not help literature much. However, “legend-turning” has another approach which can be a cause for literary evolution.  Legend-turning does not just refer to legends in a manner of allusion and referencing, but deconstructs the texts of the past by employing intertextuality to the point that the reader cannot easily recognize what texts and legends have been used in the formation of a piece of text. In the novel Spells, we are faced with three methods: Legend-telling, legendism, and legend-turning. In The Blind Owl, too, the writer has deconstructed the text of the past through use of multiple legends and myths. A conclusion of this study is that both novels have benefitted from legends in opposition to legends. This article examines the two novels based on legend-turning or legendary intertextuality.