دانشگاه اصفهان فنون ادبی 20088027 8 4 2016 12 21 The analysis of Rostam’s personality in “Seven Khan” story based on the views of Jung and Freud تحلیل شخصیت رستم در هفت خان بر اساس دیدگاه های یونگ و فروید 1 16 21092 10.22108/liar.2016.21092 FA میرجلال الدین کزازی استاد گروه زبان و ادبیات فارسی دانشگاه علامه طباطبایی، تهران، ایران مهدی رضا کمالی بانیانی دانشجوی دکتری زبان و ادبیات فارسی دانشگاه آزاد اسلامی واحد اراک، اراک، ایران Journal Article 2014 05 10 Psychological critique is one of the new areas of literary criticism which essentially reviews a work of literature as an expression of states of mind and structure of the existing characters. Corresponding seven Tariqat in mysticism, no doubt Rostam also in the symbolic passing of these symbolic stairs, is a mysterious and symbolic presence and is in a fight with evil forces in his unconscious layers that appears in the shape of lions, wolves, dragons, magic and a Magician woman, and in addition to the fight with his evil forces, is also in a fight with his own conscious and unconscious. Therefore in this article first we defined the conscious and unconscious and their characteristics, interpretations of Freud and Jung in connection with these cases, separate recognition of all the Rostam’s Haft Khan, or seven stages, and finally implementation and explanation of Rostam’s moods in each Khan compared with the conscious and unconscious. Introduction Proportionality or balance achievement that becomes possible during the process of individuation for the individual, depends on the exploration of different layers of the unconscious. In this process, one should first face different ways of his shadow as the first part of the unconscious to achieve deeper layers of mental gradually and to close their individuality. Since singularity is the process of unreasonable life that is expressed through certain symbols, uunderstanding these symbols is essential, bbecause it is thanks to them that harmony and unity among the contents of the conscious and unconscious contents is implemented. Statement of the Issue Haft Khan and trips morphology of this genus (e.g. Achilles amazing trips incident, Esfandiar, etc.) that are difficult (i.e. to tolerate and experience austerity for refinement and evacuation) reflects the archetype of renaissance and another birth.But this inner journey has steps in psychology and subjective. The most recognized Freud's analysis of the structure and workings of the mind, is entity pattern, ego and super-ego. Entity includes our congenital conscious trends. Although mental processes of ego are unconscious sometimes, they are generally semi-conscious and self-aware.Meaning that, under conditions, they can turn into self-conscious again. In fact, the superego is the opposite of identity and opposed to it. This step can include the wishes and aspirations which makes a person evolve. (R. k. Freud, 1385: 46) Haft Khan also can’t be devoid of the conflict of these three steps in mind and body. And undoubtedly this hero also has passed states from the first Khan threshold to the last one. The analysis of these psychological stairs makes us more familiar with the psychology of this athlete. Research background Among notable books, these ones can be mentioned: Ancient letter by doctor Mir Jalal al-Din Kazzazi (1379), Rostam and Sohrab’s Epic by doctor Mansour Rastgar Fasaee (1373) and among the articles, these ones can be noted: morphologic study of Rostam’s Haft Khan in Shahnameh based on Vladimir Propp's theory by Hamid Reza Farzi in Journal of Persian literature (1392), an analysis of the narrative structure of Rostam’s Haft Khan by Alireza Nabiloo in the Journal of Persian Language and literature (Gohar-e-Gooya) (1390), Then, I’m going to bring Haft Khan from now on ... (Psychological approach to Rostam and Esfandiar’s Haft Khan) by doctor Mohammad Reza Nasr Esfahani and Tayyebeh Jafari, and so on. Discussion In the ordinance of the hero’s pass, the fundamental role belongs to the Khans that he must leave behind worldly or spiritual journey and during this pass, any difficulty or struggle in the cause of the goal of the ordinance that appears in front of him, is a Khan that he passes through it. Haft Khan is for Rostam’s inner refinement. Khan I Rostam enters subconscious arena with the entry into every Khan. But before entering the subconscious, he must gradually come out of consciousness (from the external entity) and take steps toward the super-ego. Rostam is, first, in the initial phase of psychologic entity. But when he hunts a zebra and roasted it and ate it, do as following: He saw plants down and removed the harness from Rakhsh and let it be in the plain. He knew a hazardous place, safe and in the canebrake, made a bed. In that canebrake, there was a lion stand wherein an elephant didn’t dare take a rest. In the verses that have passed, in the first two verses, the hero spends the entity stage. In the third verse, the first line that is appearing a canebrake and making a bed of Rostam in it, is the sign of hero’s consciousness and his presence in the entity stage. But in the second line, one can be a witness of one of the characteristics of the unconscious (dreams). Among the features of the unconscious and dreams is contradictory. (Jung, 1359: 521 and 522). This paradoxical that Rostam makes a fear and panic gate, a safe place for him, that even an elephant dare not enter, includes this conflict. The canebrake is here the symbol of the unconscious. The lion is here the symbol of the shadow and Rostam’s negative aspect and it shows his pride and egoism that Rostam must leave it as a seeker. After a while passed, the furious lion come bravely to his hole. He saw on the canebrake a dormant robust athlete beside whom saw a lion disturbed. Midnight, the lion returns to the nest. Night is related to a female principle and unconscious. Fierceness of the lion refers to the negative aspect (shadow) and mental darkness. Rostam’s being dormant refers to his sinking in the subconscious and dream. The unrest of Rakhsh (lion) also points to inconsistencies and confusion of the degree of superego. Rakhsh is a symbol of the unconscious and as long as Rostam (symbol of wisdom) does not sleep, it doesn’t appear. But among other characteristics of the super-ego in this Khan and other Khans is the lack of exact time and location. Khan II The Second Khan is passing a desert without water and grass and Rostam’s searching for a spring. Rostam goes from entity to ego: A state arose in front of him that he had to go in an astounding manner. Following the horse, as if the rider’s tongue stopped working from heat and thirst. According to being dilemma of ego it must have the characteristics of both sides. In the first verse in that the way ahead Rostam inevitably comes, is a sign of self-awareness and individuality but in connection with the adverb برخیر خیر,in the second line, Kazzazi says:" برخیر خیر" or "خیر خیر" means confused and deceived and dizzy.So, being confused and deceived and dizzy of the hero, is a sign of the upwardness of ego(i.e. the superego, the unconscious of ego). In the following verse: Rostam’s getting off the horse and taking the arrow, is still a sign of the aspect of consciousness of ego. But in the second line, his going enchantedly and languishingly, is a sign of the subconscious aspect of ego and the upward aspect of this stage (ego). Next verses show Rostam’s entering the superego. He said this: Oh! Fair Referee! You are the cause of all sufferings and weariness. If you are, in this way, satisfied with my tribulation, fill up the whole world with my pain threshold. I try constantly until God punishes Shah Kavoos. These verses are the interior monologue which is among the characteristics of dreams and the unconscious. But this desert can be, according to Ferdowsi himself, Rostam’s symbol of the shadow and negative psychological sensuality: And the benign king of the universe free the Iranian from the Deev’s clutch. Demon can be a symbol of concupiscence having paws confirms his negative after (shadow).But in the realm of consciousness, ewe is suddenly placed on his way that is an iconic face of the Iranian awe. The water that Rostam is in its wake is a symbol of purification and rebirth. Water is also a symbol of fertility and secondary production (in order to purify) The robust athlete’s body got living due to you, if not, he was worried and worthy of death. This act that Rostam wash his horse in it, is also a symbolic manner and behavior. Here the analogy of Rakhsh to the sun is not unpleasant. In Mehri ceremony, horse is a special sign of the sun god. Khan III He came to the fountain of clear water. When he was watered, he was going to sleep. Here we observe the hero’s taking steps to the unconscious. The valiant athlete said to the chanter Rakhsh: Don’t struggle with anyone and do not make friends with anyone either. If an enemy comes, gallop towards me; do not fight with Deev and lions. Rostam’s speaking with Rakhsh can also indicate the same issue. One of the qualities of ego can also be seen in the following verse. In the ego, because of mixing two steps of conscious and unconscious (entities and super-ego), the person’s mind and individuality remain in a doubt. At the beginning of this verse also, the conjunction if, and the verb comes (If the enemy comes, hurry to me) that is subjunctive present verb, indicates the existence of the poet in ego. Because "one of the most important uses of subjunctive present verb is the expression of action with skepticism" (Farshidvar, 1382: 395).But after this introduction and Rostam’s passage of the entity, and ego he gets now ready to enter the third Khan. He slept and took a rest and didn’t open his lips; while Rakhsh was grazing and cantering until the midnight. A dragon came from the plains from that an elephant couldn’t find relief. In the same place was his resting place. Deev couldn’t approach him due to his fear. Plain in the second verse is a symbol of the unconscious. The dragon also is a symbol of Anima and Rostam’s female aspect. The determiner to indicate a far way, (it), that come in the verse also refers to the super-ego and unconscious arena thereof Dragon has come to Rostam’s mind. Being the tomb of the Dragon in the dark plain also indicates the existence of the anima (the female aspect of the Dragon) in the superego.On the other hand Rakhsh’s help to Rostam in the third field, to overcome the dragon, is a symbol of assistance of the superego and the unconscious to Rostam’s mind. Khan IV Khan IV is killing the witch. Rostam: He sat in the saddle and took his way. He proceeded towards the magic house. He constantly went a long way; since the shining sun returned from the top. Rostam’s walk to the witch’s home refers to the greatness and turmoil of the unconscious. Evening (since the shining sun returned from the top) may have the state of being dilemma between light (self-awareness), unconscious (Super Ego) and the darkness. After passing the stage of ego, the hero’s mind enters the superego: He saw trees and vegetation and running water; it was likely a young man’s place. He saw a fountain like pheasants’ eye; a golden cup full of wine on the side. The tree is a symbol of being the archetypal example mother. Water is also a symbol of the archetypal example mother. Alcoholic beverage or wine is another symbol of the unconscious. The witch is a symbol of the Anima (Young, 1383: 271). In fact, Rostam takes a major step forward in achieving individuality by defeating the witch that holds biological and instinctive aspect. In Khan V He constantly went vibrant and reached a place where it didn’t see lighting in the world. In this verse, Rostam enters the second degree in psychology, the ego. But from the dilemma of this stage, we see the hero’s vibrant going ahead. That is itself a sign of the consciousness and brightness of the ego. Then Rostam enters the superego and his inner world gets totally unconscious: A dark night as the hero, black; No stars, no sun and the moon were found. As if the sun’s prisoner; and the star’s in the curvature of the lasso. He gave the harness to Rakhsh, proceeded and for the black, saw neither elevation nor streams. Night, refers to the unconscious and the female origin. Among the indicators of unconscious that is turmoil here, are these two cases: A) the Sun’s being prisoner B) the star’s being in the curvature of the lasso that is a gateway from the logic and far from usual life. In the following verse, giving the harness to Rakhsh (according to being of Rakhsh or horse a symbol of the unconscious) is a sign of this that Rostam leaves himself in the subconscious. Rostam’s entering in the absolute darkness (unconsciousness) is a symbolic entry into mother’s womb and leaving is a symbol of rebirth. Another point is important in this Khan and it is that Rostam keeps his name conceal from the children. Predecessors, in a magic and introverted way, have known the name as the topest landmark and a celebrity’s representative and they thought that all human existence can be summarized and held in his name (Kazzazi, 1381: 415). Another feature that can be seen again in this Khan is the lack of accurate time and place. Khan VI “Olad”, here plays the role of sheikh that is the appearance of some moral traits. This way, after imprisoning Olad: He wrapped children on the tree; and grappled with him in the curvature of the lasso hard. He put the staff in the saddle; constantly went with a heart full of faith. In the first two verses, it is clear that Rostam spends the entity stage but in the third verse, he enters the stage of ego. And to maintain the balance between the entity and the super-ego, from both steps, holds features and characteristics. Putting the staff in the saddle, points to the first pan of ego, consciousness. Then, Rostam enters to third stage i.e. the super-ego. Once he bellowed among the group; as if the sea and the mountain was torn. When Arjang, the Deev, heard the cry, came out of the tent. In these verses, Rostam enters the super-ego. Tahamtan’s outrage can be seen as a symbol of the unconscious. Mountain is among other symbols of the example mother. "Tent is a symbol of the unconscious. Arjang, may be the last symbol of the efforts and struggles of ego, for durability. Khan VII Rostam, after killing Arjang, decides to kill The White Deev: With a head full of hatred and war and taut belt, came out of that position. When Rakhsh came to those seven mountains, robust Deevs were gathered there. It arrived near the endless cave; it saw around itself, Deevs’ army. In this verse again, the balance between the mind brightness (consciousness) and its darkness (subconscious) is placed. On the one hand, Rostam’s leaving and arrival, is a sign of consciousness. On the other hand, Deev’s being seen around the caves and wells (which are also the symbol of the unconscious) is the subconscious characteristic of the ego. Next verses are all full of super-ego and complete unconsciousness: From there, came like the shining sun to The White Deev. It saw a cave as a hell; Deev’s body disappeared from that darkness. Here, the determiner (that), refers to the entity. That is mentioned as “distance” due to being in the super Ego. But in Mirjalaleddin Kazzazi’s version, we read: He came with a heart full of fear and hope. Having a heart full of fear and hope is among other features of subconscious and dream. Cave is also another symbol of the unconscious. Deev’s disappearance of body from darkness is a pointer to its negative side (shadow) as well as the subconscious space: (Deev’s body disappeared from the darkness), filling the cave with Deev also shows the full control of shadow on this part. Deev’s hard battle against Rostam also is a pointer to the difficulty of one’s fight with his sensuality and evil forces. After that Rostam overcomes The White Deev and the sensual forces, comes out of the cave of unconsciousness and again takes steps toward self-awareness and goes to the Olad: He came and opened the strap from the Olad and fastened the twisted lasso to the saddle. Conclusion Haft Khan is, in fact, Rostam’s battle of existential ego with different aspects and negative shades and Anima, to achieve being and perfection. Thus, to enter into his unconsciousness arena, he is forced to get away from the secular world and his conscious entity to the ego and from there to the superego. Obviously after every Khan (In fact, after leaving behind a test in the discharge of their belonging and demonic forces), Rostam returned to the entity and self-aware state again. And again before entering the next Khan, by providing the necessary conditions, he gradually leaves the entity and takes a step toward the superego and the coming test. نقد روانشناسانه یکی از حوزه های جدید نقد ادبی به شمار می رود که اساساً اثر ادبی به عنوان بیان حالات ذهن و ساختار شخصیت های موجود بررسی می کند. این نوع نگرش با طرح مطالبی در باب ناخودآگاه شخصی و جمعی در آثار ادبی، به نقد ادبی عمق و نوعی جنبه پیشگویانه و رازآمیز بخشیده است. سهم فروید و یونگ نیز در روانشناسی مدرن در اساس، بر تکیه آنان بر جنبه‌های ناهشیار روان انسان استوار است. این دو تحت عنوان نبرد، تعارض و کشمکش بین سطوح سه گانه شخصیت: نهاد، خود و فراخود، به واکاوی موشکافانه فردیت و روان شخص در هر لحظه زمانی می پرداختند. در آیین مهری باستان، بر آن بوده‌اند که اگر گرفتاران این جهان فرودین بخواهند دگر باره به گروثمان بازگردند، ناگزیر می‌بایست هفت مرتبه بپالایند تا پس از عبور از خورشید پایه(دروازه ی خُدایان)، به آسمان برسند. به تناسب این هفت مرحله و هفت وادی طریقت در عرفان، بی تردیـد رستـم نـیز در پـس گـذر از ایـن زینـه های نمادین، حضوری راز آلود و سمبلیک دارد و با نیروهای اهریمنـی در پس لایه‌های ناخودآگاهی‌اش که در هیأت شیر، گرگ، اژدها، زن جـادو و ... نمود می‌یابند، در ستیز است و علاوه بر ستیز با نیروهای اهریمنی‌اش، با خودآگاهی و ناخودآگاهی خویشتن نیز در جنگ و جدل می‌باشد. ازین رو در این مقاله نخست به تعریف خودآگاهی و ناخودآگاهی و ویژگیهای آنان، تعابیر فروید و یونگ در ارتباط با این موارد، شناخت جداگانه هر هفت خان و در نهایت تطبیق و تبیین حالات رستم در هر خان در سنجش با خودآگاهی و ناخودآگاهی پرداخته شده است.

https://liar.ui.ac.ir/article_21092_76f581dc580f15ab2966c3ac327a9130.pdf

دانشگاه اصفهان فنون ادبی 20088027 8 4 2016 12 21 Examining the effect of poems' content on meter in pre-Mogul Persian odes بررسی میزان تاثیر محتوای اشعار بر انتخاب وزن، در قصاید فارسی پیش از مغول 17 32 21093 10.22108/liar.2016.21093 FA محمّد حسین کرمی استاد گروه زبان و ادبیات فارسی دانشگاه شیراز، شیراز، ایران محمد مرادی استادیار گروه زبان و ادبیات فارسی دانشگاه شیراز، شیراز، ایران Journal Article 2015 01 05 Whether the meter and content in Persian poetry are closely linked with each other is one of the questions that some researchers have attempted to answer it. From their perspective, the main meters of Persian poetry can be classified on the basis of the relationship between themes and concepts and most of great poets have regarded the harmony knowingly or unknowingly. In this article, referring to the fact that methods and reasons of meter selection in poets' poetry and its harmony with content from various perspectives can be studied, and using statistics and by analytical- descriptive method it has been attempted to answer the question: are the meter and content closely linked in the tradition of Persian poetry? And if meters' phonetic compatibility with specific themes is proven, were Persian poets aware of the harmony and regarded that in their poems? Accordingly, in this study, since the ode form is important from the perspectives such as content diversity, being used in studied themes, several main meters in it, being among one of the three main forms of Persian poetry and possibility of specifying the content and writing reason, the proportion of the meter and content harmony in pre-Mogul ode writing tradition has been examined. Twenty poets whose odes are studied and their poems' meter are extracted in this article include: Farokhi Sistani (429), Onsori Balkhi (431), Manouchehri Damghani (432), Ghatran Tabrizi (After 465), Azraghi Haravi (the second half of the fifth century or the beginning of the sixth century), Naser Khosrow (481), Abolfaraj Rooney (late fifth century), Masoud saad (515), Moezi (418 to 421), Sanayi (435), Amagh Bokhari (542/ 543), Osman Mokhtari (544/ 549), Adib Saber (546), Abdulvase Jabali (555), Ghavami Razi (560), Anvari (583), Jamal al-Din Esfahani (588) , Khaghani (595), Zahir Faryabi (598) and Kamal al-Din Esmail (635). Total odes registered in complete poetical works of poets mentioned were 3209, of which, 1018 odes were selected that dominant space of their content was happy or sad the majority of is selected. According to the research, themes such as elegy, durance and types of complaints in the area of sad concepts and themes such as greetings and spring description, victory salutation, down returning, marriage, childbirth, love celebration, Eid al-Adha, Eid al-Fitr, century celebration, constructing buildings and mansions are among happy themes' field. The result of this study is that even by accepting the necessity of regarding relative harmony between the meter and content and the difference between the meters, in the tradition of Persian poetry, at least among typical ode writers to the era of Mogul, ware harmony of the meter and content has not been met and acceptance of different meters and their types among poets, above all depend on personal style, prosodic knowledge, familiarity with different meters, poet taste, period style, literary fancy and imitation and repetition tradition in Persian literature. In the literary tradition of pre Moguls, as a meter has been used in writing odes in happy themes such as greeting and salutation of feasts and holidays, the same meter was used in sad themes such as: elegy, complaints and durance, and the presence of conflicting content examples is itself the best cause of the lack of nature harmony relationship between the content and meter in most poems of this period. Only in some versifications and meters a distinction can be seen in terms of application, such as in present versifications and the main meters extracted from them that to some extent in happy and sad themes have different applications. Of course, also this distinction is not the result of conscious choice of meters, according to the content, but is due to different style and geographical tastes of meters selection among various poets and also a dominant literary tradition in each period. In this dominant literary tradition, in some periods due to social and cultural reasons, odes' dominant content was sad and/ or happy, indicating specific meters in typical poets' style. این مقاله به بررسی ارتباط اوزان شعر فارسی با محتوا و مضامین آن می‌پردازد. این که آیا وزن و محتوا در شعر فارسی با یکدیگر پیوندی تنگاتنگ دارند، از سؤال‎هایی است که برخی پژوهشگران، کوشیده‏ اند به آن پاسخ دهند. از منظر آنان، وزن‏ های اصلی شعر فارسی را می‏ توان بر اساس ارتباط با مضامین و مفاهیم طبقه‏ بندی کرد و اغلب شاعران بزرگ، دانسته یا نادانسته این تناسب را رعایت کرده‏ اند. از این رو، باتوجه به ضرورت مقایسة کاربرد اوزان در مفاهیم مختلف برای رسیدن به نتیجه‏ ای قابل‌اعتماد، ابتدا 3209 قصیده از بیست شاعر شاخص پیش از مغول مطالعه و پس از بررسی، 1018 قصیده که محتوای نسبتاً مشخصی داشته‏ اند، در دو دستة اصلی شادیانه‏ ها (تبریک و تهنیت اعیاد، فتح‏ ها و مناسبت‏ های شاد) و غمگنانه‏ ها (مرثیه، حبسیه و شکواییه) طبقه ‏بندی و پس از بسامدیابی، به روش تحلیلی- توصیفی بحرها و وزن‏های اصلی معرفی و میزان رعایت تناسب محتوایی در کاربرد هریک بررسی شده است. بنابر یافته ‏های این پژوهش، دست کم در سنت قصیده ‏سرایی تا آغاز سدة هفتم، شاعران در انتخاب وزن‏ های اشعار خود توجهی به محتوا نداشته اند و از اغلب بحرها و وزن‏ها، در مضامین متضاد، استفاده کرده‏ اند. اندک تمایز موجود در برخی گونه‏ های عروضی هم، برآمده از سلیقه‏ و ذوق فردی، تفاوت جغرافیای شاعری و سنت ادبی غالب بر سبک شاعر بوده است.

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دانشگاه اصفهان فنون ادبی 20088027 8 4 2016 12 21 The speed of the narrative of the story of Sa'di's Golestan based theory of Gérard Genette بررسی سرعتِ روایت در حکایت‌های گلستان سعدی بر اساس نظریّۀ ژنت 33 50 21094 10.22108/liar.2016.21094 FA امید وحدانی فر استادیار گروه زبان و ادبیات فارسی، دانشگاه بجنورد، بجنورد، ایران محمّدرضا صرفی استاد گروه زبان و ادبیات فارسی، دانشگاه شهید باهنر کرمان، کرمان، ایران محمّد صادق بصیری استاد گروه زبان و ادبیات فارسی، دانشگاه شهید باهنر کرمان، کرمان، ایران 0000-0002-5566-0220 Journal Article 2015 02 16 Today, because of the importance of narrative style in literature, science of "narratology" has great importance in the narrative, and the issue of "Time" has found a special place. "Time" and "speed" in the narrative are the two issues which are closely related to each other and always effective in narration of narrative works. Since "time" has found its great value for modern man, new knowledge, "narratology", like all areas of human knowledge, has given time particular importance. The speed of the story in a literary work is to display, actions and events occurred during what period of time and how much of the story is devoted to. Sa'di's Golestan anecdotes as one of the most successful ancient Persian literature and the Persian poet Sa'di, one of the most discussed story writers, represent other literary values. In this study the issue of "rapid narrative" as a factor contributing to the popularity and persistence of this effect has been studied. For this purpose, 81 pieces of Golestan, which has a narrative structure (with two elements: dialogue and action fiction) and also have more of a coherent plot, selected on the basis of Gerard Genette's theory of narratology, to do a descriptive analysis and to reflect the increase and decrease of speed of the narrative on topics such as: the selection and elimination, the Parish, frequency, description, dialogue, adding episode, theorist, writer, intellectual expression, revealing the imaginative and emotional time, Hadith breath, Quote, use of metaphor, decelerating and comparing the characters of the story, will be discussed. The result of this study showed that the pace of the narrative in the story of Sa'di's Golestan is "sluggish" and due to the volume of the stories, use of the maximum of rapidly reducing factors is considered good and causes this literary work to be more lasting. It also has a great impact on making the young novelists focus on the importance of the narrative in the story, and pushing researchers to discover unknown aspects of the literary works of ancient Persian language. More stories of Golestan were written in a "realistic" way and besides simplicity, in many respects accord with the contemporary fiction techniques and principles. In this work, the following questions will be answered: 1. What are the most important factors affecting the pace of the narrative Golestan's anecdotes? 2. Does the rapid or slow pace of the narratives impact on their popularity or everlasting? The objectives of this paper can be summarized as follows: 1. Evaluation of use of the additive and reductive factors in speed of Golestan's narrative stories. 2. Examining the Effect of narrative speed as one of the most important topics in everlasting Golestan's stories. 3- Determine the skills Saadi's successful or unsuccessful use of narrative speed. In this paper was to review the pace of the narrative in Sa'di's Golestan anecdotes. The results of this study showed that: 1. In Golestan's anecdots, the use of elements of selection and elimination, single frequency and frequency recounts, speeded up (rapid movement) the narrative. 2. In Golestan's anecdotes these factors have been used more: descriptions, subjective expression, adding episode, frequently repeated, the Parish of retrospectively, revealing the mental - emotional, negative acceleration, self-talk, dialogue, quotation, analogy, theorizing and comparing the characters. But these elements slowed down the speed of narrative stories. Thus, according to the results of this paper can be said the Golestan's anecdotes are narrative s in which the pace is slow. However this pace of the narrative is effective because pace factors of the narratives are charm and reputation and in the popularity of Golestan, have left a positive effect. Thus, this feature makes the reader without boredom, enjoy reading stories, adventures and events and pursue them until the end. Witness is the various and several editions of Golestan by different publications that justify the popularity of this work in the eyes of the audiences. حکایتهای گلستان سعدی، از جملۀ موفّقترین حکایات ادبیّات کهن فارسی هستند. در این پژوهش که با هدف نمایاندن یکی از ارزش‌های گلستان سعدی صورت پذیرفته، مسئلۀ «سرعتِ روایت» به عنوان عاملی مؤثّر در شهرت و ماندگاری حکایتهای این اثر مورد بررسی قرار گرفته است. بررسی سرعت روایت برای آن است که نشان داده شود در یک اثر ادبی، کنشها و رویدادها در طول چه مدّتی از زمان رخ داده و در سنجشِ هر یک از برهه‌های زمانی چه حجمی از کتاب به آنها اختصاص یافته است؛ لذا، بدین منظور حکایتهای گلستان بر اساس نظریّۀ روایتشناسی «ژرار ژنت»، به شیوة توصیفی ـ تحلیلی، بررسی گردید و به عوامل افزاینده وکاهشدهندة سرعتروایی در مباحثی نظیر گزینش و حذف، زمان‌پریشی، بسامد، توصیف، گفت‌وگو، افزودن اپیزود، نظریّه‌پردازی نویسنده، بیان عمل ذهنی، نمایاندن زمان خیالی و زمان روانی ـ عاطفی، حدیث نفس و نقل قول پرداخته شد. نتیجۀ این بررسی نشان از آن دارد که سرعتِ روایت در حکایتهای گلستان سعدی «کُند» است. با توجّه به حجم این حکایتها، استفادة حداکثری از عوامل کاهندة سرعت در آنها به عنوان یک حُسن به شمار میآید و باعث شهرت و ماندگاری بیش از پیش این اثر ادبی شده است.

https://liar.ui.ac.ir/article_21094_4bf689245b611c968ec56962d3334461.pdf

دانشگاه اصفهان فنون ادبی 20088027 8 4 2016 12 21 A Survey into the reflection of generic and particular Norooz in Nizami’s Seven Domes تحلیل بازتاب مراسم آیینی نوروز عام و خاص در هفت‌گنبد نظامی 51 68 21099 10.22108/liar.2016.21099 FA فزونه دوانی دانشجوی دکتری زبان و ادبیات فارسی، واحد نجف آباد، دانشگاه آزاد اسلامی، نجف آباد، ایران محمد فشارکی استاد گروه زبان و ادبیات فارسی، واحد نجف آباد، دانشگاه آزاد اسلامی، نجف‌آباد، ایران محبوبه خراسانی استادیار گروه زبان و ادبیات فارسی، واحد نجف آباد، دانشگاه آزاد اسلامی، نجف آباد، ایران Journal Article 2014 11 26 Continuous renewal and rebirth of nature have been construed by our past masters to be a kind of death and reborn; the plants growing green, the sunrise and the sunset, day and night, different positions of moon, all lead to belief that natural phenomena have souls that were in line with the cosmic soul. Death and rebirth, in their view, was a transformation; hence, monthly or yearly religious and ritual carnivals were held to show this association and union. Norooz (New Day) was one of these annual ceremonies which were held according to the rotation of sun around earth. This renewal of nature and the related ceremonies were at the focus of Persian poets. Nizami in his Seven Domes (Haft Gonbad) refers to Norooz traditions and its roots in a mystical way. Seven Domes has been written in two main parts: 1. the life of Bahram Goor and his marriage with princess; 2. some stories which are told by princesses. The main hypothesis of this essay is the presence of some signs signifying Norooz and the related traditions and rituals. The first part the book deals with the relation of Norooz and sacred marriage and the second part has some hints to Farvardingan, general and particular Norooz. Research method of this essay is a comparative and documented one which surveys by a non-mythological approach and by means of sociology, anthropology, and history. The first part of the book focuses on the life and death of Bahram, nicknamed Goor (the tomb or zebra[1]). Bahram was visiting Khournagh palace in which he enters a room and sees the portrait of seven princesses; he then gets married with all the seven. After that, he decides to build a seven dome palace which is excellently beautiful and full of patterns and colors. The order to build the domes was issued at the first day of winter (Nizami, 1388: 84&1866-1870), and Bahram’s exit from the last dome was coincided with Norooz (Nizami, 1388: 167&4524-4530). By focusing on these two sacred times (night of Yalda which is when sun is born and the beginning of spring), Nizami develops a fertile ground for cultivating carnivals like generic and particular Norooz. A survey of the story of the second dome (generic Norooz) Generic Norooz is on the first of Farvardin (Iranian month) which id the time when sun arrives at ram and the beginning of spring. It is said that God created the universe in this day when all seven stars were on the peak of circulation. The theme of this story is related with myths of this day such as 1. Myth of Jamshid and Norooz; 2. The battle of Granny cold; 3. Granny midmonth. 1, 1 Myth of Jmashid and Norooz Golden crown, cup of Jamshid and golden costume are associative of myth of Jamshid, as the progenitor of Norooz; also identification of Jamshid and Mehr (seventh Iranian month) (Zener, 1388:196) and the presence of Norooz- related signs (Nizami, 1388: 105&106&2556, 25570) paves the way for presenting generic or small Norooz. 1, 2 The battle of granny cold, granny midmonth Nizami identifies the figure of old woman in the court as granny cold (Nizami, 1388: 108&2637) and likens the battle of old woman and sallow handmaiden (Nizami, 1388: 110&2730-2732) to the leave of granny cold and firing the universe which is associative of the beginning of the season of warmth and the carnival of centenary and the story of old woman (granny) (Nizami, 1388: 111-112&2774&2772-2774); all these is a reconstruction of granny midmonth. A survey of the story of the seventh dome (particular Norooz) 6th of Farvardin is called Khordad rooz; that is, the great Norooz or particular Norooz. In this day, “Jamshid sat on the throne, invited the lords and set some good traditions” (Dehkhoda, Entry for Norooz). Some important events have been attributed to this day. 2, 1 Peon of Norooz In Sassanid period, on 6th of Farvardin, a handsome and voluble man used to come to the king and offered some Norooz congratulations. Nizami has inserted some of this congratulations or enunciations of the throne in his poems (Nizami, 1388: 157&4197-4198). Also, the dialogue between eunuch and Venus is considered as congratulation to the king for 6th of Farvardin. 2, 2 Union with beloved 6th of Farvardin is the birthday of Prophet Zoroaster. It seems that the story of eunuch and Venus is a recreation of going to bed of Zoroaster’s parents that undoubtedly associates 6th of Farvardin. According to Zoroastrian texts, in spite of several blockages by devils, Zoroaster’s parents went to bed and his sperm bound in his mother’s womb (Razi, 1384: 80). این مقاله بر تحلیل علمی-تاریخی آیین نوروز در ‌هفت‌پیکر نظامی متمرکز است. مردمان فلات ایران از دیرباز هرساله با بیداری طبیعت در فصل بهـار، به پیشواز رویش گل‌ها و سرسبزی درختان کهن‌سال می‌رفتند و با جشنی نمادین همراه با نیایش‌هـایی آیینی به قدردانی از ایزدان می‌پرداختند تـا با جلب رضایت خدایان، به باززایی گیاهان و برکتبخشی زمین کمک کنند. این جشن ملی با گذر زمان با نام نوروز از زمـان کورش بزرگ تاکنون از فراز و نشیب‌های بسیاری گذر کرده، اما هر بار پیروزمندتر از پیش خود را نشان داده است. نویسندگان و شاعران بسیاری تحت تأثیر این جشن ملی- مردمی آثاری گرانقدر برجای گذاشته‌اند؛ در این میان، ‌هفت‌پیکر نظامی گنجوی مجموعه‌ای بزرگ و بی‌نظیر از فرهنگ ایرانی است که با زبان رمز به بیان اسطوره‌ها و آیین‌های نوروزی و سنن مرتبط با آن پرداخته است. روش تحقیق در این پژوهش تطبیقی- اسنادی است که با رویکردی برون اسطوره‌ای و از منظر جامعه‌شناسی، مردم‌شناسی، فرهنگ و تاریخ به نقد و بررسی پرداخته شده است. بر اساس نتایج تحقیق، نظامی با بازآفرینی هنرمندانه باورها، اسطوره‌ها و طرح ازدواج بهرام گور با هفت شاهدخت به مسئله ازدواج مقدس و نوروز نظر داشته است. وی در گنبد اول، اسطورۀ کاووس را با زبانی رمزی و تمثیلی به تصویر کشیده است تا یادآور سیاوش و جشن فروردینگان شود و سپس با آوردن نمادها و نشانه‌هایی از نوروز عام و خاص در گنبد دوم و هفتم یادی از مراسم و سنن نوروز ایرانی کرده است.

https://liar.ui.ac.ir/article_21099_018ea74a07d217aad34c6e3d8a2ba34d.pdf

دانشگاه اصفهان فنون ادبی 20088027 8 4 2016 12 21 An analysis of the rhetorical and anecdotal structure of the Nezami's eulogy poem about the Holy Prophet, in the Makhzan al- Asrar گوهر دریای راز (تحلیل ساختار روایی ‌و بلاغی نعتی از مخزن الاسرار نظامی) 69 80 21100 10.22108/liar.2016.21100 FA طاهره قهرمانی فرد دانشجوی دکتری زبان و ادبیات فارسی، دانشگاه پیام نور تهران جنوب، تهران، ایران علی محمد پشتدار دانشیار گروه زبان و ادبیات فارسی، دانشگاه پیام نور، تهران، ایران Journal Article 2015 04 04 Nezami is one of the most eminent poets who has an special position within the realm of Persian poems. Nezami's devotion to the Holy Prophet of Islam (S.A.) is the main theme of his eulogy-poems which in particular in his long sonnet form poet in makhzan al-asrar. His first eulogy in Makhzan al-asrar which has 23 verses is distinguished in its subject. In this eulogy-poem, Nezami presents in the battlefield of Uhud, while in his pervious poem he explains a spiritual ascension. Through de familiarization of the battle, he tries to narrate a renewal historical event and changes it to a new anecdotal work. Linear setting of the poem is in complete coordination with the Prophet's eulogy of Nezami. In order to analyze this poem we divide it to four parts: 1 to 4th verses are devoted to the eulogy of the Prophet of Islam (S.A.). The fifth verse is a prologue to the main narration of the poem. Verses 6 to 20 are narrating the body of the tale. Verses 21th to the end, which are devoted to the conclusion and a return to the beginning eulogy. What gives the story a certain glory is its nice musical tone which is the fast rhythm of the poetic form called (Bahre Sari'). This form is very interesting and has a very special pomposity. The pleasing rhythm of this poem is similar to the festive rhythm, called (Bazmi), and is very important factor that reduce the bitterness of the tragedy in the main body of the tale. Nezami, by using special linguistic tricks, such as repetition, phonological and semantic fit in the vertical and horizontal order of verse, nice selectivity of the words in succession and literary composition, and so on, gives a kind of de familiarization to the historical event he wants to tale, so that the reader reviews this narration intensively. In this story, the narrative logical sequence in the usual traditional narratives, with clear beginning and middle and end, not been met. Rather, Nezami begins his narration from the middle of the story, with node and suspension, very similar to the modern tale narrators. He stars by a question: why the stone broke his gem? The offender of this story is present in the scene and has to answer to the narrator's questions. Seemingly some symbols used in this story are not attractive and pleasant, such as stone, heavy gem, teeth, shells, flag, daggers, battlefield, armies, and anger, to wound, and so on. Stone is the symbol of oppression and hardness, and flag and dagger are symbols of war. However, the arrangement of these words in the Nezami's artistic hands, are in a way that they lose their roughness in meaning and serve to the aim of poet. These rough symbols beside the words like "thanks", "victory", and nice face and so on, change poet style to a soft tone and light expression. Thus, the audience of this message is not face with a harsh and sad tone. Unlike the main subject of this poem, two important factors change the main theme to a calm and emotional case: The first is the above-mentioned musical rhythm of the poem. The next is the main subject matter of the poem that is "the submission" and "acceptance". In this narration we see the Nezami's own view which is the result of his spiritual training. The main offender in his story is a wicked and angry stone. Nezami give life to a stone I order to not complain against destiny; not to condemn God's predestination, because the God who is merciful, is always good writer. Because the ruling think in this work is thankfulness and submission, the tone of the story, develops from bitterness to sweetness and talking about the Holy Prophet transforms any rough to soft and any thistle to nice flower. Since the main theme of the story focuses on a special event, its characterization, like minimal stories, is restricted and interesting. But unlike the minimal stories the role of narrator in this story is very colorful, because the presence of the wise or omniscient narrator in this work is very important. After the Holy Prophet who is the main personage of the story, the "stone" and the "victory" are playing the major and minor roles respectively. The stable plot of this story should not be ignored. Also the emotional aspect of the Nezami's poem which is playing very important role by offering questions of a vey dynamic mind is very apparent. In Nezami’s poem, it is possible to see the coherence in language, phonological aspects, syntax, vocabulary and semantic level. He is to seek a structure which is able to add to literary dimension. The audience of Nezami’s poem knows that in many versed, to detect the direct message is impossible and he must go through the maze of figures of speech and artistic images and he must comprehend the proportions of word and meaning to understand the poem’s message. نظامی در نعت اول مخزن الاسرار، ضمن به کارگیری قابلیت‌های ذاتی زبان‌ در تأثیرگذاری بر مخاطب، واقعه‌ای تاریخی را به شیوۀ آشنایی زدایی، بازآفرینی کرده است. چینش کلمات به نظامی در نعت اول مخزن‌الاسرار، ضمن به‌کارگیری قابلیت‌های ذاتی زبان‌ در تأثیرگذاری بر مخاطب، واقعه‌ای تاریخی را به شیوه آشنایی‌زدایی، بازآفرینی کرده است. چینش کلمات به گونهای است که واژه‌به‌واژه ابیات در محور افقی و عمودی، با یکدیگر تناسب آوایی و معنایی دارند تا نمودار انسجام متن باشند. نظامی در پی ساختاری است که با شگردهای بلاغی، بر بُعد ادبی و عاطفی کلام بیافزاید و به شیواترین وجه، حضرت رسول ‌‌- صلی‌الله علیه و آله - و سلم را وصف نماید. روایت این اثر، با داشتن تم جذّاب، شخصیتپردازی محدود که بر یک حادثة اصلی تمرکز دارد؛ شبیه داستانهای مینی‌مال امروزی است؛ ولی با حضور پررنگ راوی، براعت استهلال و نتیجه‌گیری پایانی آن، ساختار روایی کهن را به یاد میآورد. این روایت، از پیرنگی مستحکم برخوردار است. بر خلاف موضوع تلخ آن، لحن کلام، نرم و شیرین است، علل این‌ ناهمخوانی بدین شرح است: 1) وزن شعر (بحر سریع) که شاد و پرتحرک و پویاست؛ 2) درونمایه این اثر که بر تسلیم و شکرگزاری است.

https://liar.ui.ac.ir/article_21100_d0066a0f30685b2738fb751c36371476.pdf

دانشگاه اصفهان فنون ادبی 20088027 8 4 2016 12 21 Equivocation in Vassaf’s History ایهام در تاریخ وصاف 81 96 21200 10.22108/liar.2016.21200 FA یحیی کاردگر دانشیار گروه زبان و ادبیات فارسی دانشگاه قم، قم، ایران Journal Article 2015 04 14 Undoubtedly, seventh and eighth Islamic centuries were an era of prosper for Persian poetry and literature in linguistic, intellectual, and rhetorical respects. The rhetorical Excellency of this period is manifested in metaphor-ism, symbolism, symmetry, and its pure equivocation. This equivocation has a more obvious role in the excellent literary period. Certain reasons, factors, circumstances, and motivations could be identified for the spread of equivocation, and to explain equivocation and its history in different Persian literary periods. Some of most important factors include: 1. Development, prosperity and maturation of Persian literature and the semantic spread of its words in these two centuries, 2. Persian poetry and literature gradually turns from simplicity to equivocation and artistic nuances and reaches its peak in 7th and 8th centuries, 3. intellectual development and a variety of thoughts in different schools and the participation of poets and authors in these knowledge paves the way for equivocation, 4. The evolution of styles from simplicity to technical and artifact lead to the conscious inclination toward equivocation; in some works of this time period, such as History, there has been an artifact and ornate use of equivocation, 5. Development of rhetoric studies in this period and their being familiar with eloquence issues caused a development in tending to equivocation and other rhetoric devices. Resalye Tashbihie (an essay in simile) and the eloquence points implied in Vassaf History speak for this truth, 6. At last, should be made mention of the development of mysticism and the combination of love literature and mysticism literature in this era which paved the way for equivocation and ambiguity. Since “mysticism is nothing more than an aesthetic look at theology’’ (Shafiee Kadkani, 1392:19), quite naturally mysticism also caused an opportunity for more equivocations. The aforementioned factors were the reason why poets and authors of the 7th and 8th centuries tended to equivocation. While the peak of equivocation-ism in poetry could be found in Hafiz’s sonnets, equivocation in prose, doubtlessly, could be traced in Vassaf History. In this essay, a survey of equivocation-ism has been offered and the following questions have been answered: what are the reasons for equivocation-ism by Vassaf? What are the aspects and instances of equivocation-ism in Vassaf? And what are the functions of Vassaf equivocations in the development of Persian literature’s equivocations? Vassaf’s obsession with equivocation is obvious from some features of the book: an explicit allude to equivocation and its synonyms, extensive assimilation of equivocation in his analysis and illustration of poems in the text, the excellency of equivocation in his eloquence view, extensive assimilation of equivocation and the variety of subjects and contexts of equivocation (lexical, syntactic, historic, geographic, and literature history equivocations and equivocations by means of prosodic words, rimes, literary terms and astronomic, musical, accountant, entertainment, philosophical, jurisprudential, and handwriting terms). However, some factors have greater highlights in Vassaf History: 1. widespread intellectual knowledge of the author; 2. the ornate style of the book; 3. a strong grasp of Persian literary traditions and masterpieces; 4. widespread vocabulary of the author. In addition, widespread intermixture of Persian and Arabic in time of the author, his mastery on Arabic, and on Mongolian words has furnished him with better equipment for equivocation-making; to instantiate the claim that Persian words have been inserted in this book by utmost meaning potency and produced a kind of equivocation which makes this book the grand work of equivocation-making in Persian. We can enumerate positive and negative aspects of Vassaf equivocations. His intellectual abilities, mastery over literary traditions, realizations of linguistic capabilities, artistic intermixture of languages and cultures and reflecting artistic potencies of Persian language are some of the positive features extracted from Vassaf equivocations. Nonetheless, overweigh of word than meaning, audience- dropping, pedantry, and making the text complicate and full of ravelments are some negative features of this book. برجستگی جنبه های هنری از ویژگیهای بارز تاریخ وصاف و سایر متون مصنوع و فنی است. از میان ظرافتهای هنری، ایهام جایگاهی ویژه در تاریخ وصاف دارد. در این مقاله در روشی توصیفی-تحلیلی، ایهامهای موجود در جلدهای پنجگانه کتاب بررسی شده تا جایگاه ایهام، زمینههای ایهامپردازی و نقش ایهام در گرهگشایی ابهامهای این متن مصنوع روشن شود. پژوهش حاضر نشان میدهد که بهرهگیری فراوان نویسنده از ایهامهای لغوی و ایهامسازی با لغات و اصطلاحات علوم و دانشهای مختلف، از تنوع زمینههای ایهامسازی و توانایی علمی گسترده او سرچشمه میگیرد و نویسنده در ایهامهای کتاب، به سنتهای ادبی و نوگرایی توجه ویژهای دارد. از این رو میتوان گفت تاریخ وصاف چکیدهای از ایهامهای زبان فارسی و ظرفیتهای ایهام‌سازی آن است و نقد و تحلیل ایهامهای کتاب میتواند بخشی از پیچیدگیهای آن را مرتفع سازد و راه را برای ورود به این متن مصنوع هموار کند.

https://liar.ui.ac.ir/article_21200_b3cf6c3aa1793f7c1e8aa6e018ac1188.pdf

دانشگاه اصفهان فنون ادبی 20088027 8 4 2016 12 21 The function of narrative in the Saffarzadeh's poetry based on the narratology of Barthes's theory" کارکردهای روایی در شعر طاهره صفّارزاده بر اساس نظریّۀ روایت‌شناسی بارت 97 112 21201 10.22108/liar.2016.21201 FA علی ضیاءالدینی دشتخاکی عضو پژوهشکده فرهنگ اسلام و ایران، دانشگاه شهید باهنر کرمان، کرمان، ایران سیدجواد مرتضایی دانشیار گروه زبان و ادبیات فارسی دانشگاه فردوسی مشهد، مشهد، ایران 0000-0009-0009-0009 Journal Article 2014 07 30 Authenticating to reality and merging in identity have effect on progress continuation on new poesy in Iran with all its physical and internal characteristics. Modern poet has found that he can assemble in consistent components in a meaningful totality and it makes possible for sporadic ingredients to become systematic and convert the appraisal moment to ontological moment. Narrating in poetry is the outcome of this process. In fact, narrative science is a kind of formalist – structural criticism which studies the dominant relations in the structure of a literary work. Narration is the time expression, the song of life, the experience of mind, the existence language and the events meaning. Narrative is the reflection of ideas which have been lived and its basis is this notion that every event is followed by another event. Therefore narration is the result of the sequence of events. This study provides the necessary background for arriving to narrative function by presenting the narration science and studding the relation between the structuralism and narrative science. The function that always through the narrative communication and using the characters speech has been followed in a unite body which called narrative. In narrative poem the function unlike the themes are not the elements inside the narration but themselves are narration, and the narration is not anything but the sequence of narration function. In this research, the function of narration in Iran contemporary poetry is studies according to Barth and in three categories of determination unities and functional grammar. The study sample is the poems of Tahere Saffarzadeh, which is one of the contemporary Iranian poets. The narrative functions in this poet poems are been analyzed according to librarian method, content analysis and comparison. The basic concept of theory, the study diagram of functions which pivotal role, the main functions which are out spread in narrative text, all of them are the catalyst of narrative. The indexes and informative functional grammar are the other major center in studying of narrative functions of Saffarzadeh In another part of this research the Saffarzadeh poetic life in three different periods are studied. The Moonlight passerby and Second book collections are the poet’s outcome in this period. The first period of Saffarzadeh poetic in term of the narrative poems, in comparison of the next period is less worth. The narrative functions of these poems are surveyed in this article. The second period of Saffarzadeh poetic life is (1347- 1356) which is her narrative culmination in poetry. Three poetic collector, the dam and arms, the ring in delta and the fifth travel are her activity outcome in this period. The period in which according to statistics Saffarzadeh has chosen the narrative approach for reaching to personal style. In this period the narrative functions of Saffarzadeh poem have a widespread area. The readings of her poem express this point that her poetic has found trend from simplicity to complexity and from descriptive models to narrative models. She has tries to make a bridge between thought and narration according to narration and relying in this reality that narration is dynamic can achieve to her goal which is making movement in the mind of audience. The Saffarzadeh poetic narrative which is inspired from Iran political and social information in Pahlavi period, often have messages which invite the audience to morality, commitment, human and religious values and propose thoroughly in the form of promising literature since 1368. اعتباربخشی به واقعیّت و استغراق در عینیّت، با همۀ خصوصیّات فیزیکی و باطنی آن – که با نیما آغاز شده بود – در ادامۀ حرکت شعر نو، تأثیر بهسزایی بر جای گذاشت و شاعر امروز دریافت که روایت میتواند اجزای ناهمساز را در کلّیتی معنادار گردآورد و امکان نظامبخشی به عناصر پراکنده را به دست دهد و زمان تقویمی را به زمان هستیشناسانه بدل کند. در این مقاله، بر اساس روش کتابخانهای و تحلیل محتوا و مقایسه، اشعار طاهره صفّارزاده، با توجّه به نظریّۀ رولان بارت، از دیدگاه ساختارگرایی بررسی میشود و کارکردهای روایی، در این اشعار مورد تجزیه و تحلیل قرار میگیرد. مسائلی که در این پژوهش مطرح میشوند عبارت‌اند از: میزان گرایش این شاعر به بیان روایی، بروز اندیشه و ارتباط منطقی و حرکت سیاّل شاعر، میان روایت و جامعه، ایجاد ارتباط میان اندیشه و روایت و ایجاد حرکت در ذهن مخاطب با تکیه بر اصل دینامیک بودن روایت، تجانس و ارتباط نگرش و زبان شاعر با نوع زندگی زنانه، و جهت خاصّ روایت در اشعار.

https://liar.ui.ac.ir/article_21201_988551c6a121141513900b658f2f9e47.pdf

دانشگاه اصفهان فنون ادبی 20088027 8 4 2016 12 21 The mythic structure in the black dome of the Haftpeikar: Study of Hero's journey in the first dome ساختار اسطوره ای در گنبد سیاه هفت پیکر: بررسی نظریه سفر قهرمان در گنبد اول 113 130 21202 10.22108/liar.2016.21202 FA سید کاظم موسوی دانشیار گروه زبان و ادبیات فارسی، دانشگاه شهرکرد، شهرکرد، ایران مریم بهزادنژاد دانشجوی کارشناسی ارشد زبان و ادبیات فارسی دانشگاه شهرکرد، شهرکرد، ایران آرمینا سارکسیان دانشجوی دکتری زبان و ادبیات فارسی، گرایش ادبیات غنایی، دانشگاه اصفهان، اصفهان، ایران Journal Article 2014 07 06 In this paper the Vogler Hero's journey is used for analyzing the mythic structures and hero's journey of the first dome of the Haftpeikar. Vogler Released his founds in the Writer's Journey book. This book that is really dependent on Campbell's Single Myth Theory is a practical guidance for script writing and review of that. The levels of the hero's journey in his book are include: The normal world, invitation to the story, reject the invitation, visit the mentor, passing the first gate, the exams, the allies, the enemies, qualifying to the deepest cave, trial, the reward, the road back, resurrection, return with the elixir. In this paper, at first the properties of each level of the hero's journey theory are matching with the journey's levels in the black dome story. After that seven useful archetypes including hero, mentor, threshold guardian, herald, shape shifter, the shadow and trickster, are determined in the text. Black dome has several journeys' cycles. Journey's that are seen in this dome are: (Bahram's journey): A part of the internal journey of Bahram in black dome. (The king's maid journey): Internal journey of the king's maid that wears black clothes after hearing the story. (King of black clothes' journey): The king's journey to the Madhooshan city for exploring the mystery of the black alien. (The reader's journey): This internal journey belongs to the readers of the first dome that learn their lessons through traveling to the character's world. (Nezami's journey): The Nezami's internal journey with composing the text. Checking the reader's journey and black dome's composer is out of this text. While the first and second journey just saying some parts, the black king has completer levels and for affecting on the other journeys is the most important story of the first dome. Therefore at first we check the black king story and we explain the other journeys. The goal of this paper in addition to the usage of the vogler's pattern in analyzing old texts, checks the shape of defeated heroes' pattern and difference between the winner heroes and him. These differences in the eighth level (Big test), ninth (big reward) and tenth (road back) of pattern are observed and reviewed. The king goes forward to the eighth level according to the heroes' pattern but defeats in the big test. According to the Ghous table of hero's personality, the king must try to change in the big test but he doesn't have the proper power for changing and he sees the results of defeat and not trying. The ninth level in named reward level and the most important property of that is taking over. But only the big test winner heroes rich achieve what they want. The king that can't abandon his desires and can't wait isn't deserved for reward. He not only doesn't get a reward, but also avoids living in the sky garden. In the tenth level, road back, the heroes chose between returning to the normal world and staying in the special world themselves. But the defeated king doesn't have any choosing rights because he is abandoned from the special world and if he has any choosing right never left the sky garden. The king isn't like those heroes that return to the normal world proudly and certainly return will not easy for him. King that fell down in the big test by his lusts must die to reborn in his new character as blacks king like a innocent man that learned big test courses in the other time (Revitalization). The king, who didn't accept changes in the big test, was changed in the revitalization level and synchronized his journey's cycle with the other heroes. Wearing black clothes, changing the behavior (staying away from the happiness) and also his new title (blacks' king) are his revitalization signs. The blacks king story is a review of human's fall mythic on the earth regret of being far away from his real position. In the twelfth level, the king appears in the role of mentor old pattern and accept the role of other old patterns that is faced them in the way of the journey earns the merge property. Merging or making something united means that hero has transferred journey courses to some parts of his body. All of his thoughts are being examined in an ideal peak point and let him to show that he has merged the mentor, shape shifter, shadow, guardian, allies in his way. The king, like the passenger of his guest house encourages ones who searching for reality to know his mystery by wearing black clothes (herald archetype). With avoiding telling his mystery appears in the role of threshold guardian archetype and by seeing the inclination of his maid to know, masks the mentors' archetype on his face. توجه به شباهتهای اساطیر و داستانها، پژوهشگران را به کشف ساختارهای اسطورهای مشترک میان آنها راهنمایی کردهاست؛ الگوهایی که با تنوعی نامحدود در آثار ادبی و هنری تکرار میشوند. «سفر قهرمان» یکی از نظریههایی است که به وسیله آن می‌توان به ساختارهای تکرارشونده در داستانهای مختلف پیبرد و به تحلیل آنها پرداخت. در این مقاله که از الگوی «سفر قهرمان» ووگلر برای تحلیل ساختارهای اسطورهای و سیر قهرمانان گنبد اول هفت پیکر استفاده شدهاست، چرخههای «سفر قهرمان»، مشخص و تفکیک و پس از آن با نظریه فوق بررسی میشوند. کاملترین چرخه از میان چرخههای قابل بررسی، داستان پادشاه سیاهپوشان است که بر سایر چرخهها تأثیر فراوان دارد و به خاطر شکست قهرمان آن در مرحله هشتم الگو(آزمایش بزرگ) اهمیت ویژهای دارد. هدف این مقاله، غیر از نشان دادن کاربرد الگوی ووگلر در تحلیل متون کهن، بررسی شکلی از الگوی قهرمان شکست خورده و همچنین تفاوت آن با قهرمانان پیروز است. این تفاوتها در مراحل هشتم(آزمایش بزرگ)، نهم(پاداش) و دهم(مسیر بازگشت) الگو مشاهده و بررسی میشوند.

https://liar.ui.ac.ir/article_21202_e04c9de8f93d16dcb12aabb8df01f93d.pdf

دانشگاه اصفهان فنون ادبی 20088027 8 4 2016 12 21 Studying the prose style of Dastgiri Rules بررسی سبک نثر «قوانین دستگیری» 131 142 21203 10.22108/liar.2016.21203 FA طاهره میرزائی دانشجوی دکتری زبان و ادبیات فارسی دانشگاه پیام نور، تهران، ایران علی(پدرام) میرزائی دانشیار گروه زبان و ادبیات فارسی دانشگاه پیام نور، تهران، ایران مرتضی چرمگی دانشیار گروه زبان و ادبیات فارسی دانشگاه پیام نور، خراسان رضوی، ایران محسن صادقی استادیار گروه زبان و ادبیات فارسی دانشگاه پیام نور، خراسان رضوی، ایران Journal Article 2016 04 04 Dastgiri Rules is a valuable work in the field of Persian grammar and rhetoric which has remained in manuscript form. In case of an exact and scientific editing of this title, a precious source will be added into the legacy of Persian language and literature. The manuscript belongs to the thirteenth century and the early Qajar period. It was writtenin two volumes by Maulana Gholam Dastgir in order to teach Persian grammar to non-Persian speakers of the Indian subcontinent. Like most of the subcontinent grammarian, the author wrote his work in Arabic grammar style and based on this fact, the word is divided into the three types of verb, noun and letter and expressions are divided into full and partial compound statements. There is no significant information about the biography of Gholam Dastgir, the author; although his work is well known, his condition and life story is unclear, like many other author in the subcontinent. But relying on his work, some aspects of his life is revealed including date of birth, creed and religion, some masters and so on. This work is written in eight chapters, based on the 8 doors of heaven, and every chapter has some parts. The first volume consists of 4 chapters and the first chapter is about the definition of morphology, past tense and its eight types, present tense in 9 rules, future tense, imperative mood in 7 rules, negative imperatives, verbs, pseudo-verbs and infinitives, Amale, reduced muthana, plural, genus name, genus alam and person alam of a word which sometimes considered as single and sometimes plural, makharej and attributes of letters, dictation and definition of handwriting, merge, combining two words, some rules and advantages of Turkish dictation and spelling. The second chapter is dedicated to the definition of noun and its types and the third chapter is about history of literature including the first Persian poet, the 7 various branches of the Persian language, and it explained the nature of the letters and its three types which are written, verbal and masrouri. In chapter4 he explained about the letters in detail including metaphor letter, conjunction letter, conditioning letter and so on. Finally, he stated infinitive constructions, the names of Allah in Persian and specific names of kings and volume I ends in this way. The prose style of this manuscript can be studied from the formal and content point of view. Examining stylistic features of Dastgiri Rules first of all indicates literary knowledge of the author, his awareness of Persian grammar and dictionaries during his time. Although this work, like other grammarians works in the subcontinent, is written in Arabic language style, but in many cases he observed moderation and have applied Persian language syntax. In formal Stylistics of the book, abundance of Arabic words is seen which was influenced by the common literary style of return period. Special use of some Arabic words and combination of Persian and Arabic words in the syntactic structure of sentences are also noteworthy. These combinations are mostly simple, short and literary. Compound verbs have been applied more than simple and prefix verbs. Orthography of this manuscript was influenced by the common style of these periods, which are eleventh to the thirteenth century. In this work some cases like writing the letter of "ک" instead of "گ", and the letter of "ج" instead of "چ", inarticulate omission when making plural, use of "مَر" for putting emphasis on object and application of "را" as object sign can be seen. The pros style of this work is simple and scientific except the introduction, however the author shows us his literary talent and ability by applying literary figures of speech everywhere in his work including rhyme and pun, symmetry, simile, metaphor and metonymy which are applied very artistically in the introduction. The author's great attention to mention poems by Persian and Hindi poets indicates his admirable understanding of Persian poetry and Iranian and Hindi Persian poets. Of course, ethical issues which were at the heart of these lyrics were not far from the author`s point of view. Verses, sayings and proverbs can be seen everywhere in accordance with the subject. Another important point is the knowledge and domination of author in sciences such as logic, astronomy wisdom and that’s why the terms related to these sciences can be seen in the context. In the content section of this book, the most important thing is the scientific basis of content and his integrity in citations and references; also detailed expression of grammar, structured text and author`s critical attitude toward some grammatical issues can be considered as other benefits of his work. Finally, based on the fact that this work was written in the Indian subcontinent, Persian language and literature became known in this area, at the same time of Qajar period; and because of having some evidence from Indian popular culture and comparing it with Iran, this study can also be helpful in sociology and anthropology studies. «قوانین دستگیری» اثری گرانبها در زمینه دستور زبان فارسی و معانی بیان است که به صورت نسخه خطی باقی مانده و در صورت تصحیح به شیوة علمی و دقیق، منبعی بسیار ارزشمند به میراث زبان و ادبیات فارسی خواهد افزود. این نسخه خطی متعلق به قرن سیزدهم و اوایل دوره قاجاریه است و به دست مولانا غلام دستگیر به منظور آموزش دستور زبان فارسی به غیرفارسی‌زبانان شبه قاره هند، نگاشته شده است. سبک نثر آن ویژگی‌های خاصی دارد که در این مقاله به بررسی و تحلیل آن در دو بخش «صوری» و «محتوایی» پرداخته‌ایم. در بخش صوری، ویژگی‌های زبانی از قبیل کاربرد افعال و ترکیبات و واژگان و مختصات ادبی چون آرایه‌‌‌‌‌‌‌‌های بدیعی و بیانی بررسی شده و در بخش محتوایی به خصوصیاتی چون استناد علمی و امانت‌داری، دقت در بیان مباحث و نگاه تحلیلی و انتقادی نویسنده اشاره شده است. ذوق سلیم و طبع ادیبانه نویسنده، از متن اثر به‌خوبی پیداست. از آنجا که این اثر در خارج از مرزهای ایران نگاشته شده است، سبک‌شناسی آن، موقعیت نثر فارسی دوره قاجار را در شبه قاره هند نشان می‌دهد.

https://liar.ui.ac.ir/article_21203_ae3d94875fbc9ded4ed64994c58f7d85.pdf

دانشگاه اصفهان فنون ادبی 20088027 8 4 2016 12 21 A Study of modernist aspects in rhythm of Lahooti’s poems and its origin بررسی جنبه‌های نوگرایی در وزن شعر ابوالقاسم لاهوتی و منشأ آن 143 156 21336 10.22108/liar.2016.21336 FA نسرین علی اکبری استادیار گروه زبان و ادبیات فارسی دانشگاه کردستان، سنندج، ایران علی نظر نظری تاویرانی دانشجوی دکتری زبان و ادبیات فارسی دانشگاه کردستان، سنندج، ایران Journal Article 2014 10 27 Abolghasem Lahooti, the poet, author, teacher and journalist, is among the first pro-modernisms. He is one of the poets in Persian poetry. Some of them have been announced his poems as beholder of modernism and mentioned some instances of exiting rhythm in his poems and composing in prosodic style and syllabic rhythm which are the most important aspects of that new poetry. He understood the local rhythm of the poem before Russian, French and Turkish poem. As some believed, he inspired of them to innovate the Persian poem. His early poems are like those of his father's, Mirza Ahmad e Elhami. But after his immigration to Tehran he experienced the new contraptions around poems. He excogitated content more than surface "Vafaye Beahd" (It's composed in 1288 Sh contemporary, Yad Ar ze Shame e Mordeh by Dehkhoda) is one his first experience from his 50 pieces as "Langroodi's 20 pieces and according Bashiri's commutation in 28 Ghete e has composed in syllabic rhythm. Although these are not as well as other his poems but they're important for syllabic rhythm. Kordish poem is one of Irainan's poem which influenced old syllabic rhythms in Kordish poem has 10 - 8 - 6 rhythm. There is pause and short silence in middle of hemistich. It is the main feature, this short pause has occurred in poems with 10 rhythms after fifth and in poems with 8 rhythms after forth and in poems with 6 rhythms after third rhythm. Lahoty has influenced Kordish poems; here are two types combined and noncombined rhythms: 1) Noncombined (single rhythm) poems that is composed with one syllabic rhythm. They have been classified into 3 rhythms: 10 rhythmic, 8 rhythmic, and 7 rhythmic poems. Lahoty has composed in these rhythms. 2) Combined rhythm: he applied 2 or 3 syllabic rhythms and the hemistiches equals to rimes this feature compensate deficiency from combination of 2 different rhythms. In most of these rhythms 10 syllabic ones are formed by combination to other syllables which could be counted by their frequency in Lahooti’s Divan. He has applied twice 9 syllabics and once 11, with the most common 10, 8, 7 syllabics. It should be noticed that all rhythms aren’t rhythmical. But have differed in number of syllables and arrangement in Lahooti's Divan. Combination of 7 & 10 Combination of 10 & 9 Combination of 10 & 5 They're beautiful rhythms. It appears that Lahooti feels more nostalgic to his hometown and his mother tongue, the rhythms prove this claim, because 9 and 11 rhyme (have been used 3 times) are most common. So, he can be known the genius of his period. As he has a lot of experiences in composition of Kordish poems, he could have used the rhythm possibilities of Kordish poems in Persian poetry. ابوالقاسم لاهوتی کرمانشاهی، شاعر، نویسنده، معلم و روزنامه‌نگار معاصر(1264- 1336 ش) از پیشگامان تجدد در شعر معاصر فارسی است. خروج از وزن عروضی و سرودن شعر در وزن هجایی از مهم‌ترین جنبه‌های نوگرایی او در شعر محسوب می‌شود. در این مقاله، بیست و هشت قطعه شعر او که دارای وزن هجایی است مشخص گردیده و پس از تقطیع، اوزان آن‌ها بررسی شده است؛ سپس این اوزان با وزن‌های مشابه در زبان کُردی ـ که لاهوتی گویشور آن بوده ـ انطباق داده شده است. حاصل این بررسی و مقایسه این است که لاهوتی پیش از آن که به اوزان شعر روسی، فرانسوی و ترکی نظر داشته باشد ـ چنانکه عده‌ای بر این باورند ـ به سنت‌های وزنی شعر بومی ایران نظر داشته و با الهام از آن‌ها دست به نوآوری درشعر فارسی زده است. این اوزان در دو دسته‌ی اوزان ترکیبی و غیر ترکیبی دسته‌بندی و متفرعات هر یک از اوزان در ذیل دسته‌بندی‌ها به تفصیل توضیح داده شده است.

https://liar.ui.ac.ir/article_21336_ffaf4d22e3b3505ffeb79cf71d8c7a52.pdf

دانشگاه اصفهان فنون ادبی 20088027 8 4 2016 12 21 Rhetorical Value of Bound and Omission in Sanai Ghaznavi’s Odes ارزش بلاغی قصر در قصاید سنایی غزنوی 157 176 21337 10.22108/liar.2016.21337 FA احمد بهمئی اصل دانشجوی کارشناسی ارشد زبان و ادبیات فارسی دانشگاه یاسوج، یاسوج، ایران علی‌اصغر غفوری استادیار گروه زبان و ادبیات فارسی دانشگاه یاسوج، یاسوج، ایران Journal Article 2011 12 24 This research studies the rhetorical values of Sanai Ghaznavi’s odes. Sanai Ghaznavi, the Wise, is one of the greatest Persian poets of the fifth and sixth century (Lunar year). Sanai’s Divan consists of more than 13,000 verses and includes poems in various forms. His odes are his richest poems. Like his other poems, these poems are extremely high in literary value. Investigation of rhetorical values, from the view of semantics, reveals an important aspect of the literary value of the work. An important argument in semantics is bound and omission which clarifies rhetoric in speech, especially in the discussion of literary bound and omission, and has greater literary value. In the current study, based on the established rules of rhetoric, bound and omission, especially its types, has been explored from different perspective. After their investigation, based on the rules and arguments of semantics, the related frequencies and factors relevant to effectiveness and rhetoric of verses are investigated in his odes. Sanai has used, effectively, different types of omission with various methods. In his odes, the frequency of omission devices is more than 110 cases and the frequency of other items is 45. Moreover, he used omission of qualifier on the qualified in nearly 120 couplets and omission of qualified on the qualifier in 25 couplets. Due to his writings in ethical and spiritual domains as well as his interest in wisdom and sermon, Sanai drew upon rhetorical techniques such as “omission and bound” in order to deeply influence his addressees. Therefore, using omission and applying its various methods, he had different intentions and purposes in mind. In addition to the items mentioned before, some other issues such as exaggeration in description or eulogy, motivation and instigation, ignoring the non-qualified, glory, limiting the way or a mean to an end to one specific method, belittling the non-qualified, warning, expressing hatred toward something, allusion to non-qualified and etc. were introduced as well. این پژوهش به بررسی ارزشهای بلاغی قصاید سنایی از دیدگاه علم معانی می‌پردازد تا جنبهای مهمّ از ارزشهای ادبی آن را روشن کند. یکی از مباحث مهمّ علم معانی، مبحث قصر یا حصر است که بلاغت کلام را بهویژه در بحث قصر اضافی و ادّعایی تبیین‌میکند. در این جستار بر اساس قواعد مدوّن علم معانی، موضوع قصر و حصر در اشعار سنایی، ازجمله انواع آن، از چند زاویه بررسی و پس از سنجش آنها بر پایۀ قواعد و مباحث مطرح در علم معانی، بسامدهای مربوط و عوامل اثرگذاری و بلاغت ابیات مربوط در قصاید او از دیدگاه مورد بررسی تبیین‌میگردد. سنایی از انواع قصر و حصرِ صفت بر موصوف، موصوف بر صفت، اِفراد، قلب، تعیین، حقیقی، و اضافی یا ادّعایی و با روش‌های گوناگونِ ایجاد مفهوم حصر، هم با استفاده از ادات قصر و هم بدون آن به‌طور مؤثّر استفاده‌کرده‌است. بسامد استفاده از ادات قصر در قصاید وی شامل بیش از 110 مورد و بسامد شیوه‌های دیگر درحدود 45 مورد است. هم‌چنین سنایی قصر صفت بر موصوف را حدوداً در 120 بیت و قصر موصوف بر صفت را در 25 بیت به‌کارگرفته‌است. ازجملة مقاصد قصر و حصر در قصاید مورد بحث همان است که برای انواع قصر و حصر به اعتبار اعتقاد مخاطب در متن مقاله ذکر شده‌است. هم‌چنین به مواردی همچون مبالغه در وصف یا مدح و منقبت، ترغیب و شوق‌انگیزی، نفی غیر موصوف، مفاخره، منحصر کردن طریق یا وسیلة رسیدن به هدف (رستگاری، کمال، عزّت، و...) در یک طریق یا وسیلة خاصّ، تحقیر غیر موصوف، هشدار، ایجاد نفرت نسبت به چیزی، تعریض و کنایه به غیر موصوف، و امثال آن می‌توان‌اشاره‌کرد.

https://liar.ui.ac.ir/article_21337_c929f9599bd5f5269e777c7d03cea4c4.pdf

دانشگاه اصفهان فنون ادبی 20088027 8 4 2016 12 21 Meaning and Theme in Indian Style بود و نمودهای «معنی» و «مضمون» در سبک هندی 177 190 21338 10.22108/liar.2016.21338 FA مجاهد غلامی  استادیار گروه زبان و ادبیات فارسی دانشگاه شهید باهنر کرمان، کرمان، ایران Journal Article 2015 02 23 Meaning and Theme are known as circulating concepts in Persian literature which has been utilized frequently –especially by poets and critics belongs to Indian style prevalence era. In recent years, due to lack of equation for translating European works, the definition of meaning and theme was used conversely or replaced with concepts like motif, content, idea and style. Aside from the alleged issue, there is an apathetic attitude toward the differences between the comprehension of those concepts in European references and literary fictions comparing with Iranian literary customs and Persian poetry, which causes the use of these terms rather than the other, or even it’s better to say, these terms bear the meanings and definitions which is common among European theorists and is the result of their researches on their literature. So, there is no guarantee that their definitions and meanings play the same role in Persian literature. Thus, those senses used in Persian poetry which have theoretical phase and are related to literary discussions, shall be decoded primarily based on the same works, evidences or indications within themselves. It means, as the best interpreter of a text – in the first step – would be itself and then it depends upon the researcher's approach and related works set in items of time, place, style, language, rhetoric, genre, etc., the best interpreter of recurrent concepts, is primarily the text itself and then the related works with the items alleged. Meaning and Theme and its derivatives, such as unfamiliar meaning, long meaning, colored meaning, soft meaning, distant content, abstruse content, queer ideas, exotic ideas, long subject matter, narrow thought, etc., are repetitive statements in Indian poetry style. But how come it's possible to get a clear and specific definition of these concepts? To answer this question, it is necessary to define poetry in which can solve the puzzle, and say: poetry, is the visualized aesthetics from a subjective matter within language. By defining poetry as visualized aesthetics of a subjective matter within language, each poem faces us with three aspects and sides including language or word, subjective matter or meaning, and aesthetics or theme: 1- Word: The language of poetry. As it mentioned, the use of word or language of poetry is to make the poet’s mind objective. The poet encounter various phenomena repeatedly and in different ways that can make issues in his mind. Word is the existence of these mentalities. The first encounter with poetry deals with the objectivity of its linguistic. In fact, the mentality of poet’s writing could be understood. 2- Meaning: The subjective matter or meaning is something that has been visualized by word. Meaning lies within the word and is anything can be understood from the poem and expresses the entities of poet's thought. Meaning can entail teachings and messages. However, this is the only part of meaning territory which isn’t necessary. For example, Long stature and small mouth of beloved are meaning, however it doesn’t involve the teachings and messages. The poems in which there is no teaching or message beyond the meaning are often descriptive; almost like Manouchehri Damghani’s poems. This kind of poetry is common, especially in Khorasani style. 3. Aesthetics: Theme is the aesthetic side of poetry. The theme also can be recognized as image, however, the needful condition for poetizing the visualized mentality within language is exactly the theme. As it has been said, without Imagery there is no art, particularly no poem. The theme in poetry is a structure consists of figures of speech, musical elements and the collection of coordinate words and proportions among themselves. Besides, according to linguists and formalists, theme causes foregrounding through increment and decrement rules and makes distinct between literary language and standard language. With a glimpse on what was said and a pause on the poems of Saeb Tabrizi, as one of the most seasoned poets in Indian style, it demonstrates part of his art and also illuminates the relation among word, meaning and theme in his poetry and viewpoint. He established multiple proportions among the concepts in his poem: sometimes he expressed a semantic unit as a content with diversities in word, or in some occasions, he expressed a semantic unit by different contents, with similar or dissimilar content maker elements, or even sometimes he use content maker elements for expressing multiple meanings and so on. Also it is necessary to be noted that when Saeb and the other poets of Indian style, measure the meaning by words, their meant is subjective matter and if the meaning comes with adjectives such as unfamiliar, narrow, distant, and so on, these words have used mainly in order to replace theme. در حـسن بی تکلّـف معنــی نظاره کــن از ره مرو به خــال و خط استعارههــا چکیده جستار پیش رو با هدف ارائۀ تعریفی از مفهومهای شناور «لفظ»، «معنی» و «مضمون»، به مثابۀ عناصر درون‌سازهای شعر در سبک هندی فراهم آمدهاست. در این جستار که به روش تحلیل محتوا و مبتنی بر منابع کتابخانهای انجام یافته، شعر ابتدا «عینی شدن زیباییشناسانه یک امر ذهنی به توسّط زبان» تعبیر شدهاست. با این تعبیر، میتوان گفت لفظ، زبان شعر است و به ذهنیّت شاعر موجودیّتی درکشدنی میبخشد؛ معنی، ذهنیّتی است که توسّط لفظْ عینی میشود و میتواند آموزهای را در بر داشته یا صرف توصیف باشد؛ مضمون، بازشناسانندۀ شعر از غیر آن، یا همان وجه زیباییشناسانۀ شعر و معادل تصویر است. تفاوت در تلقّی از اهمّیت هرکدام از این سه مفهوم، به وجودآورندۀ جریانهای مختلف در شعر و نقد ادبی و جهتدهندۀ آنهاست. نتایج این جستار نیز ضمن تأکید بر جذّابیّت بررسی نسبت میان لفظ، معنی و مضمون خاصّه در سبک هندی، اوّلاً ناظر بر آنست که شاعر سبک هندی بنا بر مختصّات سبک دوره، از خود این مفاهیم نیز به مثابۀ اشیائی برای بستن مضمون استفاده مینماید و بخشی از تلقّی عصر خود از چیستی لفظ، معنی و مضمون را در پس خیالات دور و دیر شعر خود برملا میسازد. ثانیاً بیان معنایی واحد به توسّط مضمونهای یکسان با اختلاف در لفظ، بیان معنایی واحد به توسّط مضمونهای متعدد با عناصر مضمونساز همسان یا ناهمسان، بیان معناهای متعدد با استفاده از مضمونهای یکسان و... از جملۀ رفتارهای شاعر سبک هندی با این سه مفهوم و نسبت آنها با یکدیگر است که با بیان نمونههایی از شعر صائب تبریزی، پیشقراول شاخۀ ایرانی شعر سبک هندی، سعی در تبیین و توضیح آنها شدهاست.

https://liar.ui.ac.ir/article_21338_217ea91bef573fbeaaa4c255d656fde5.pdf

دانشگاه اصفهان فنون ادبی 20088027 8 4 2016 12 21 Analytical study of narrative structure on Sohrab’s poetry (Passenger) According to the theory of morphology بررسی تحلیلی ساختار روایت در شعر «مسافر» بر اساس الگوی ریخت‌شناسی 191 206 21339 10.22108/liar.2016.21339 FA رضا قنبری عبدالملکی استادیار گروه زبان و ادبیات فارسی دانشگاه دامغان Journal Article 2014 08 13 Morphology is one of the important methods in structuralist criticism. In this method, researchers are studying the structure of the literary work. In contemporary Persian literature, this method has been used less in Poetry analysis. There are poems in the collection of contemporary Persian literature can be analyzed by this method. "Mosafer" (Traveler) is one of the poems. Sohrab wrote this poem in 1966. "Mosafer" is a symbol of Sohrab. "Mosafer" is someone who does not stay in one place. He always moves like a river. He, like mystics in search of the truth, travels around the world. This poem is rooted in the cultural traditions of Iran. In this poem, topics such as life, death and love are seen. These issues also exist in Iranian mystical texts. In fact, Sohrab moves along the former mystical ideas. Basically Sohrab in this poem is involved from the beginning with the concept of death. Death that engulfs not only human but also devours objects. Such poetry is almost unprecedented in Persian literature. And so this type of poetry is to be considered as new methods. This poem has three parts: In the first part, the poet describes the time. And he then defines the location where the host is present. In the second part, passenger travel in the history of civilization. A journey that started long ago and is still ongoing. And the third part poem starts with these words: We must pass…. The language of this poetry is close to natural language. The appearance of this poem is simple but It is filled with cultural motifs. The theme of the poem is quite common but has led to philosophical issues. This poem has a narrative structure and Simple plot. This poem by using stream of consciousness, is told. In literary criticism, stream of consciousness, also known as interior monologue, is a narrative mode or device that depicts the multitudinous thoughts and feelings which pass through the mind. Characters, dialogue, dramatic situations, and events are the components of the plot. These components make up the superstructure that have gathered around deep structure. The structure of poetry is separable into two parts: The first part of the poem, from beginning to end of paragraph seven. The second part of paragraph eight to thirty-four. The first part consists of a display position that is two scenes of dialogue. The second part consists of a long monologue and a display position. In this study, the structure of the poem according to Propp's method is studied. Vladimir Propp, studied Russian fairy tales. In that study, he applied morphological method. Propp's method is very effective in discovering the structure of the tales. This poem has twenty functions (Khishkari). The first function is absence and the last one is wedding. Some functions in this poem, arranged by group. Thus, absence and departure and evil, are a group that are moving story. The sequence of functions on this narrative is different from the Prop pattern. Hero and villain in this poem, have an important role in advancing the narrative. Much of this poem dedicated to the dialogue between the Hero (Passenger) and Helpful (Host). Due to the move, the poem has a movement. So it must be said that this poem has a simple plot. نظریۀ ریخت شناسی از جمله نظریه هایی است که در زمینۀ تحلیلِ ساختاری آثار ادبی بسیار کارآمد است. اهمیت این نظریه سبب شد تا با رویکرد به آن، شعر «مسافر» از سهراب سپهری به لحاظ شکل شناختی مطالعه شود. این پژوهش به طور کلی شامل دو بخش است؛ بخش اول، به بیان مباحث نظری و اصول تئوری ریخت شناسی و الگوی ولادیمیر پراپ در تحلیلِ آثار ادبی می‌پردازد. همچنین، اصطلاحاتِ مربوط به این نظریه از قبیل «خویشکاری»، «نمودگار» و «حرکت» شرح داده می شود. در بخشِ دوم، عناصر ریخت شناسیِ شعر و ارکانِ موجود در آن در قالب جدول هایی ارائه میشود. افزون بر آن، نگارنده تحت عنوان تحلیل ریخت شناختی «مسافر»، با توجه به الگوی ساختاری پراپ و بافت تاریخی آن به ارائۀ تحلیل کلّی از این شعر میپردازد. نتیجۀ این پژوهش نشان می دهد عناصر ریخت شناختی و ساختار این شعر، علاوه بر برخی شباهتها با الگوی روایی پراپ، ساختاری مستقل دارد که آن را باید در چارچوب تفاوتهای جامعۀ ایران و روسیه تحلیل کرد.

https://liar.ui.ac.ir/article_21339_c41abe16b9e9a34069b7d4586dac0906.pdf

دانشگاه اصفهان فنون ادبی 20088027 8 4 2016 12 21 Structural and aesthetic analysis of Nafast-ol-Masdoor واکاوی ساختاری و زیباشناختی نفثه‌المصدور 207 222 21340 10.22108/liar.2016.21340 FA فرشته محجوب استادیار گروه زبان و ادبیات فارسی دانشگاه پیام نور، اردستان، ایران Journal Article 2015 06 24 Studying literary art has two types of problems. 1st the problems which are related to its primary material specified in usage of speech and word. The second are the problems related to the principles of structuring such art (Todorov, 2007: 127). The structuralism is a theory making recognition of the phenomena dependent to rules and models which create their fundamental structure. In the literature, structuralism includes searching in the structure of literary works and differentiating literary genres and analyzing a work into its components. One of the literary genres analyzed in structuralism school is the story. The story is “stating a line of events ordered according to time sequence” (Forster, 2006: 118) and owns components and elements which are assessed in the structural analysis of these elements, their relationship with each other and the whole story. It seems that although Nafast-ol-Masdoor includes historical issues and real events of the author’s time in some way it has formative components and elements of the story and is analyzable through structuralism models. According to the mentioned models in the structuralism of Nafast-ol-Masdoor and also based on sequence and order of the events brought in the text it can be perceived that designing the book is according to an organized order which can be called as “chronological time”. The other point is that Nafasat-ol-Masdoor is composed of six sequential series which are themselves divided by multiple equilibriums and issues. These six series have followed each other like a change. Therefore the following sequence is drawn from a story design according to the mentioned series: Equilibrium ……>losing equilibrium….> equilibrium The other conclusion is that the book is more the arena of the struggle of the editor and protagonist of this historical and social story. The struggles of the story are more physical ones; however, in most of the cases mental-physical struggles are seen simultaneously. Nafasat-Ol-Masdoor is worth thinking in two traditional (such as music) and modern aesthetics (such as using Persian and Arabic proverbs, words dance, goodness of the beginning, twist, and developing vocabulary and describing which itself includes situation description, characters, accidents and events description) and has many instances and the author’s insistence regarding being synthetic and stilted work, has itself caused creation of music types in his book and made his work rhythmic and full of melodious and exhilarating beauties. ساختارگرایی، مطالعة دقیق یک اثر و کشف چارچوب حاکم بر آن است که هدف از آن، یافتن واحدهای یک اثر و کشف ارتباط بین آن‌هاست. ساختارگرایان تمام پدیده‌ها و رخدادهای عالم را دارای ساختارهای مشخص‌ می‌دانند و بر همین اساس به بررسی این ساختارها و اجزای تشکیل‌دهندة آن‌ها و ارتباط این اجزاء با یکدیگر‌ می‌پردازند. در ادبیات، ساختارگرایی عبارت از تحقیق در ساختارهای آثار ادبی و شناخت انواع این آثار است. این تحقیق هم دربارة ادبیات به عنوان یک کل و هم یک نوع ادبی و سرانجام یک اثر ادبی‌ می‌تواند باشد. امروزه با گسترش مباحث جدید ادبی و انطباق علمی آن با متون کهن و جدید، کشف روابط اجزاء، عناصر و تحلیل ساختارگرایانة یک اثر ادبی بر اهمیت آن افزوده و تحلیل اندیشه‌های خالق آن را عینی‌تر و ملموس‌تر ساخته است. در زمره نمونه‌های منثور و در خور تعمّق متون دیریاب ادب فارسی، نفثه‌‌المصدور زیدری نسوی منشی دربار سلطان جلال‌‌الدین منکبرنی، آخرین پادشاه سلسله خوارزمشاهیان است. این کتاب سوای اهمیّت تاریخی به دلیل صحنه‌پردازی‌های دقیق مؤلف در باب حملة خانمان‌سوز مغول و شیوة روایی حوادث جانکاه آن که به شیوة نقل داستان‌های نوین ماننده است، اثری متفاوت و ارزشمند و از منظر عناصر متشکلة یک داستان قابل‌تحلیل با الگوهای ساختارگرایی است. پژوهش حاضر درصدد است ضمن ترسیم ابعاد زیباشناختی و موسیقی سیّال نفثه‌المصدور به عنوان یک اثر متکلّف اما پرمعنا، به واکاوی ساختاری آن بپردازد.

https://liar.ui.ac.ir/article_21340_79844aa30d2aae78da5cb7907dcf858d.pdf

دانشگاه اصفهان فنون ادبی 20088027 8 4 2016 12 21 Study of allegories and proverbs used in Kalim Kashani’s Divan بررسی ارسال‌المثل و تمثیل در دیوان اشعار کلیم کاشانی 223 234 21341 10.22108/liar.2016.21341 FA محمد میر استادیار گروه زبان و ادبیات فارسی دانشگاه زابل، زابل، ایران مهدی جوان بخت دانشجوی کارشناسی ارشد زبان و ادبیات فارسی دانشگاه زابل، زابل، ایران Journal Article 2014 04 06 Poet laureate Mirza Aboutaleb Kalim Kashani so called "Kalim's Talebaei" which has been nominated "the second means creator", is one of the famous poets of 11th century. His lineage has been revealed from Hamadan by Hisrorians and they have told that due to his inhabitancy in Kashan, he was known as Kashani. Kalim Kashani was so speech. His total poetry is written about 24000 verses; but, what is remained from him is not more than 6567 verses. He used of various rhetorical elements in his poetry and proverb and allegory are of these elements which are changed into stylistic feature because of many applications of them. The reason can be this that the Hindi style poet tries to reinforce his poetry by using proverb and allegory and apply this to make progress in his poetries which among them, Kalim Kashani has exhibited these literary devices for others in the best way. In this research, we tried to investigate proverb and allegory in Kalim Kashani's Divan poetry (6567 verses) that is done by using descriptive-analytical method. At the first, all of proverbs and allegories were extracted and in the next step, we focused on classifying of these literary devices and showing some examples and their analysis. At the end, the obtained results were shown in a table according to the number of proverb and allegory devices and based on statistical samples. The final results of this research show clearly that Kalim Kashani used from proverb device more than the other one. According to this research, among all 9567 verses of whole Divan, there are 718 verses have proverb and allegory devices. Herein, there can be obtained some results including: 1- Kalim Kashani has applied proverb device in his Divan in the best way. He sometimes has used this device in hemistich and sometimes in the verse; so that, based on our investigation, there is 72.8% of all proverbs in the hemistich and 6.8% of which is in the verse. 2- The poet has applied both proverb and allegory devices in his Divan; so that, among all 718 verses contain these literary devices, there are 32 cases (4.5% of all verses) have both. There is just one case in this Divan that it is used literary device so called proverbs device. 3- The number of used allegory smile is 47 cases (6.5% of all). He also used from allegoric metaphor and this device appropriates 3.6% of all. The notable point is that some rhetoricians classified both allegoric metaphor and allusion in the same class and perhaps, there is a sentence that is mentioned as allegoric metaphor and that sentence be an allusion of verb too. This role caused some disagreement on allegoric metaphor and allusion. 4- Other device that has been applied by Kalim Kashani is the style of equation. According to our survey, this device appropriates 5.6% of all devices. In this work, we focused on this device separately because, although the style of equation is subset of allegory, it is classified in the distinct field from allegory in rhetoric topics. As mentioned information, it can be found that as a famous poet in Hindi style, Kalim Kashani did not abstain using proverb and allegory in his Divan and put these literary devices in his poetries in the best way. The poet has used proverb in his Divan more than allegory and the allegory device has less appearance. این پژوهش قصد دارد که میزان و نقش کاربرد دو صنعت ارسال‌المثل و تمثیل را در دیوان اشعار کلیم کاشانی از شاعران معروف سبک هندی بررسی کند. ارسالالمثل و تمثیل از جمله صنایع ادبی هستند که در سبک هندی به سبب کاربرد زیاد به صورت ویژگی سبکی درآمده‌اند، کلیم کاشانی در اشعار خود کوشیده‌ است تا با استفاده از عناصر بیانی و به‌ویژه ارسال‌المثل و تمثیل بر حسن تأثیر و زیبایی کلام خود بیفزاید. از این رو، در این پژوهش که به شیوة توصیفی- تحلیلی انجام پذیرفته، بسامد این دو صنعت ادبی نسبت به آرایه‌های دیگر و نیز سهم آنها در کل دیوان وی بررسی و واکاوی شده است. در پایان بر اساس نمونه‌های آماری جایگاه این دو صنعت در دیوان شاعر به تفکیک نشان داده شده است. نتیجة این پژوهش نشان از آن دارد که صنعت ارسالالمثل در دیوان اشعار کلیم کاشانی بیشترین میزان کاربرد را نسبت به آرایه‌های دیگر دارد و شاعر از این صنعت بیشترین بهره را جسته است.

https://liar.ui.ac.ir/article_21341_c15b17449454e5124952ee13766981cb.pdf