University of Isfahan Literary Arts 20088027 9 1 2017 04 21 Semiotic study of Jami’s Layla and Majnun story on the basis of discourse analysis Semiotic study of Jami’s Layla and Majnun story on the basis of discourse analysis 1 18 21371 10.22108/liar.2017.21371 FA Sayyed Ahmad Parsa Professor of Persian Language and Literature, University of Kurdistan, Sanandaj, Iran Mansour Rahimi M. A. Graduated of Persian Language and Literature, University of Kurdistan, Sanandaj, Iran Journal Article 2014 12 22 Sign-semantic analysis checks the relationship between language signs in the Dialogue system and beyond Sentence. This analysis shows that a sign associated with other discourse signs follow up what process with a special meaning. In the meantime, checking the elements that underlie the formation of meaning is crucial. Effective tools to analyze the sign-semantics include many elements such as: Internal and external forms of discourse, the dynamic word of dialogue, the role of effective verbs in the discourse, the word stress process, actors, types of actions, relationship of elements in succession and juxtaposition Axis, etc. In this study, we have tried to find some of the elements of meaning in the story of Layla and Majnun narrative Jami. And we check these elements show: first: signs of a discourse on the story pass what process to the forming Semantic structure. Secondly, we explored the types of discourse in this story. Third, we check the structure of narrative text to achieve the superstructure or essence. Methods based on classification and discourse analysis and semantic elements in the story of Layla and Majnun. In the process of discourse analysis we take full advantage of the mode of Sha’iry in the book Fundamentals of modern semantics. For this purpose, the general framework of analysis is classified in four chains. Leili and Majnoon of meaning elements such as inside and outside of verbal language factors, the word dynamic, active persuasion, the value of the word, of discourse factors, stress the word, the word value, verbs effective role in the dialogue, the process of succession and juxtaposition of word and so on in the form of the four chains were studied. Leili and Majnoon of Jami’s sign-semantic analysis in four analytical chain in the context of this study achieved the following results: 1) The basic narrative in the story of Layla and Majnun, based on the change from the unbalanced situation (separation) to the balanced (Joiner). 2) The dominant discourse in the story of Layla and Majnun of induction or prescriptive discourse. Persuasion activity in a few steps and two villages to assist the hero and create an obstacle to hero, from both the opposition and anti-agent agent takes place. In this regard, the sensory-perceptual and sensory-motor causes create cognitive structure in hero. Three "effective actions"_ desire, ability and knowledge_ play a decisive role in the process of action of story elements. The agent knows that he has the ability of union with the object value. Here we are faced with two current knowledge and ability. Since the beginning of the story, asking a subject raises challenges and pave the way for future events in the story. Hero catches up in every possible way to attain the object's value. Don'ts barrier of traditional social and tribal prejudices is against the will of the subject. The protagonist in the conflict between the desire and the traditional social norms, not the fate of the story. Prejudices tribal and clan relations cause to preventing of Lily's father to her marriage to Majnoon. Here we face to "ought verb". So two "effective verbs” "want" and "ought" are central verbs in the story of Layla and Majnun. 3) Subjective factor is In the case of discharge with true love and union with separation (injury). Discourse and functioning with secondary factors story for the purpose of disjunction of separation and union with true love and takes place. Sign-semantic analysis checks the relationship between language signs in the Dialogue system and beyond Sentence. This analysis shows that a sign associated with other discourse signs follow up what process with a special meaning. In the meantime, checking the elements that underlie the formation of meaning is crucial. Effective tools to analyze the sign-semantics include many elements such as: Internal and external forms of discourse, the dynamic word of dialogue, the role of effective verbs in the discourse, the word stress process, actors, types of actions, relationship of elements in succession and juxtaposition Axis, etc. In this study, we have tried to find some of the elements of meaning in the story of Layla and Majnun narrative Jami. And we check these elements show: first: signs of a discourse on the story pass what process to the forming Semantic structure. Secondly, we explored the types of discourse in this story. Third, we check the structure of narrative text to achieve the superstructure or essence. Methods based on classification and discourse analysis and semantic elements in the story of Layla and Majnun. In the process of discourse analysis we take full advantage of the mode of Sha’iry in the book Fundamentals of modern semantics. For this purpose, the general framework of analysis is classified in four chains. Leili and Majnoon of meaning elements such as inside and outside of verbal language factors, the word dynamic, active persuasion, the value of the word, of discourse factors, stress the word, the word value, verbs effective role in the dialogue, the process of succession and juxtaposition of word and so on in the form of the four chains were studied. Leili and Majnoon of Jami’s sign-semantic analysis in four analytical chain in the context of this study achieved the following results: 1) The basic narrative in the story of Layla and Majnun, based on the change from the unbalanced situation (separation) to the balanced (Joiner). 2) The dominant discourse in the story of Layla and Majnun of induction or prescriptive discourse. Persuasion activity in a few steps and two villages to assist the hero and create an obstacle to hero, from both the opposition and anti-agent agent takes place. In this regard, the sensory-perceptual and sensory-motor causes create cognitive structure in hero. Three "effective actions"_ desire, ability and knowledge_ play a decisive role in the process of action of story elements. The agent knows that he has the ability of union with the object value. Here we are faced with two current knowledge and ability. Since the beginning of the story, asking a subject raises challenges and pave the way for future events in the story. Hero catches up in every possible way to attain the object's value. Don'ts barrier of traditional social and tribal prejudices is against the will of the subject. The protagonist in the conflict between the desire and the traditional social norms, not the fate of the story. Prejudices tribal and clan relations cause to preventing of Lily's father to her marriage to Majnoon. Here we face to "ought verb". So two "effective verbs” "want" and "ought" are central verbs in the story of Layla and Majnun. 3) Subjective factor is In the case of discharge with true love and union with separation (injury). Discourse and functioning with secondary factors story for the purpose of disjunction of separation and union with true love and takes place.

https://liar.ui.ac.ir/article_21371_bc65eea98093a246b36c07f68e72187d.pdf

University of Isfahan Literary Arts 20088027 9 1 2017 04 21 Introduction to Poetry pathology in the field of semantic of language: An adaptive-critic look to contemporary poetry in Iran and Iraq Introduction to Poetry pathology in the field of semantic of language: An adaptive-critic look to contemporary poetry in Iran and Iraq 19 38 21372 10.22108/liar.2017.21372 FA Rreza Kiani Ph.D. Graduated of Arabic Language and Literature, Razi University, Kermanshah, Iran Ali Salimi Professor of Arabic Language and Literature, Razi University., Kermanshah, Iran Sousan Jabri Associate Professor of Persian Language and Literature, Razi University, Kermanshah, Iran Journal Article 2014 07 10 Radical innovations in imagery and trying to create new images and combination in nowadays poetry, lead the language out of the monotony and revitalize it. Contemporary poets with personalizing sentiments in two axes companion and succession, rejected arbitrarily the principles and highlighted their words. In this way, poets of Iran and Iraq due to the proximity of certain intellectual and cultural issues, and influencing by various factors of life today, seeking to create fresh images, violating the rules of the meaning of language have created hesitations deliberately in the audiences’ understanding. Most of criticisms in this area are relevant and thought-provoking and can be used in the field of contemporary criticism as a topic worth discussing. In other words, poets have used language not as an opportunity to manifest their poetry, but as a tool to destroy the norms of the past, have taken advantage. In general, the use of frequent and dead images, the lack of illustrations, the use of compounds abandoned, oldness, orientation to the stereotypes and outdated themes, scare senses, due to the role of transformational language, regardless of other applications... are among the issues related to pathology in "beauty-removing" in contemporary poetry of Iran and Iraq which in continue the effects of the three aspects_ langue, mental form and imagination_ have been reviewed. In other words, the findings of this research show that "extremism in tabular arrangement of words and disruption of family practice words", "Rely on the use of stereotypical language," "intellectual solidity on archaic situations" and some of the factors considered in the scope of the meaning of language, contemporary aesthetic realm make poetry of Iran and Iraq vulnerable; This means that poets carry out in the realm of semantic, have not always been associated with success and beauty, and whenever it was lower in the creative process, it is criticized. It should be noted that anything can be a subject for poetry, but poetry does not give everything capability. So, ignoring the importance of "subject" and poor use of the structure of the text, the scope of the meaning of language, would seriously injured. It should be noted that due to the wide range of contemporary poetry of Iran and Iraq and the large number of poets of these lands, this study only analyzes the poems of poets and excelled in the second half of the twentieth century in the two countries which are: "M. Akhavan Sales", "Sepehri" and "Kaiser Aminpoor "compared with the" long-Haidari", "Abd al-Wahhab al-Bayati" and "Saadi Youssef". Radical innovations in imagery and trying to create new images and combination in nowadays poetry, lead the language out of the monotony and revitalize it. Contemporary poets with personalizing sentiments in two axes companion and succession, rejected arbitrarily the principles and highlighted their words. In this way, poets of Iran and Iraq due to the proximity of certain intellectual and cultural issues, and influencing by various factors of life today, seeking to create fresh images, violating the rules of the meaning of language have created hesitations deliberately in the audiences’ understanding. Most of criticisms in this area are relevant and thought-provoking and can be used in the field of contemporary criticism as a topic worth discussing. In other words, poets have used language not as an opportunity to manifest their poetry, but as a tool to destroy the norms of the past, have taken advantage. In general, the use of frequent and dead images, the lack of illustrations, the use of compounds abandoned, oldness, orientation to the stereotypes and outdated themes, scare senses, due to the role of transformational language, regardless of other applications... are among the issues related to pathology in "beauty-removing" in contemporary poetry of Iran and Iraq which in continue the effects of the three aspects_ langue, mental form and imagination_ have been reviewed. In other words, the findings of this research show that "extremism in tabular arrangement of words and disruption of family practice words", "Rely on the use of stereotypical language," "intellectual solidity on archaic situations" and some of the factors considered in the scope of the meaning of language, contemporary aesthetic realm make poetry of Iran and Iraq vulnerable; This means that poets carry out in the realm of semantic, have not always been associated with success and beauty, and whenever it was lower in the creative process, it is criticized. It should be noted that anything can be a subject for poetry, but poetry does not give everything capability. So, ignoring the importance of "subject" and poor use of the structure of the text, the scope of the meaning of language, would seriously injured. It should be noted that due to the wide range of contemporary poetry of Iran and Iraq and the large number of poets of these lands, this study only analyzes the poems of poets and excelled in the second half of the twentieth century in the two countries which are: "M. Akhavan Sales", "Sepehri" and "Kaiser Aminpoor "compared with the" long-Haidari", "Abd al-Wahhab al-Bayati" and "Saadi Youssef".

https://liar.ui.ac.ir/article_21372_f8dc0d2c7982ac9b4238958eaabbe3d0.pdf

University of Isfahan Literary Arts 20088027 9 1 2017 04 21 Reviewing the musical component of rhythm of "poetry" and the factors influencing it Reviewing the musical component of rhythm of "poetry" and the factors influencing it 39 52 21403 10.22108/liar.2017.21403 FA Ma’sumeh Ma’dankan Professor of Persian Language and Literature, University of Tabriz, Tabriz, Iran Assadollah Vahed Associate Professor of Arabic Language and Literature, University of Tabriz, Tabriz, Iran Hassan Abdollahzade Ph. D. Student of Persian Language and Literature, University of Tabriz, Tabriz, Iran Journal Article 2015 02 25 ‘Rhythm’ is the most important component in the music of poetry. In this paper, in addition to defining rhythm, we have studied relative components which have most influence on the music of poetry. ‘Rhythm’ is the first common factor in different arts especially music and poetry. Poetry has always been along with rhythm. A short and complete definition of ‘rhythm’ is: “Rhythm is the balance resulting from sequence of letters or rhythms at certain limited times”.The most important factors affecting rhythm are: Proportion of syllables at prosodic rhythms: Every syllable has its special musical load at prosodic rhythms. It is clear that if each of them is mostly used at one rhythm, it will mostly and clearly show its own special state. Sequence of syllables at prosodic rhythms: Succession of long or short syllables because of their special vocal effect on rhythm is very effective on the musical quality of rhythm. Application of long syllable: The most the number of long syllables in a verse, the heavier will be the rhythm of the verse. Because in this way the number of syllables of every verse will be decreased and their temporal duration will be increased. Conformity of the end of words with the end of elements (space between words with space between elements): conformity of the end of words and elements because of the repeated sequence of an element highly strengthens the effect of that prosodic element at the mind of the listener. These constant and repeated scansions make the poem rhythmic and enrich its music. Making accidental or the second rhythm: one way for innovation and overcoming the natural music of a rhythm is making a special rhythm other than the main prosodic rhythm of poem by arranging the words in a special order in a way that it conforms to the other scansion of the same prosodic rhythm. Using regular space between words other than space of elements: sometimes the poet without using a different scansion of the main rhythm can make syllable conformity between them by using a type of symmetry among the words of two or few hemistiches at the form of the same prosodic rhythm. This way of syllable symmetry which is hidden because it cannot be scanned on the basis of prosodic rhythm has a great but old and insensible effect on the music of poetry and this insensibility increases its value. Using one or few prosodic seas (poetic meter) at one poem: sometimes this innovation at the use of prosodic rhythms is purposeful and for overcoming the constant music of that special prosodic rhythm and making a better conformity between rhythm and a new content which poet wants to speak about in a number of verses. Using two seas or more: one way for enriching the musical component of ‘rhythm’ is applying the capabilities of prosody for making a poem have two or few rhythm at the same time. At Badii science these poems are called capricious. This possibility is because of the capacity of the words of poem for applying necessities. Dori rhythm: Dori rhythm is a type of rhythm which divides the verses to four equal parts. Dori rhythm because of its features is of musical distinction and the component of ‘rhythm’ in every poem with the form of Dori rhythm is naturally more salient than the rhythms of other poems. On the other hand, because in Dori rhythm potentially it is possible to use internal rhyme and Radif, this feature makes more salient the musical component of ‘vocal harmonies’-including pun, harmonious, repetition and etc…. Silence at prosodic rhythms: This kind of silence at prosodic rhythms is not common among all rhythms. When the last element is Mozahaf, if the second hemistich without the necessary pause- which dependent on the type of rhythm, its duration is different-the rhythm will break. Quantity of the silence after each hemistich is equal with the total quantity of the syllables which have been deleted from the last element (Mozahaf) of that hemistich. Necessities: Sometimes the necessity of applying the model of prosodic rhythm makes the poet deviate from the main quantity of vowel and change it, that is, sometimes poet necessarily uses long and short vowels instead of each other. Poet’s authorities: In total, less use of poet’s authorities, which causes applying symmetry at hemistiches and most following the main rhythm used in every poem, makes the poem’s music more rhythmical. But it does not mean that use of them destroys the poem’s music. 12-1. Stoppage: Sometimes application of the authority of ‘quieting’ causes the musical feature of ‘stoppage’ (pause in a verse). Stoppage as a musical feature which makes lack of fluency at the rhythm of poem has a negative effect on the music of poetry. ‘Rhythm’ is the most important component in the music of poetry. In this paper, in addition to defining rhythm, we have studied relative components which have most influence on the music of poetry. ‘Rhythm’ is the first common factor in different arts especially music and poetry. Poetry has always been along with rhythm. A short and complete definition of ‘rhythm’ is: “Rhythm is the balance resulting from sequence of letters or rhythms at certain limited times”.The most important factors affecting rhythm are: Proportion of syllables at prosodic rhythms: Every syllable has its special musical load at prosodic rhythms. It is clear that if each of them is mostly used at one rhythm, it will mostly and clearly show its own special state. Sequence of syllables at prosodic rhythms: Succession of long or short syllables because of their special vocal effect on rhythm is very effective on the musical quality of rhythm. Application of long syllable: The most the number of long syllables in a verse, the heavier will be the rhythm of the verse. Because in this way the number of syllables of every verse will be decreased and their temporal duration will be increased. Conformity of the end of words with the end of elements (space between words with space between elements): conformity of the end of words and elements because of the repeated sequence of an element highly strengthens the effect of that prosodic element at the mind of the listener. These constant and repeated scansions make the poem rhythmic and enrich its music. Making accidental or the second rhythm: one way for innovation and overcoming the natural music of a rhythm is making a special rhythm other than the main prosodic rhythm of poem by arranging the words in a special order in a way that it conforms to the other scansion of the same prosodic rhythm. Using regular space between words other than space of elements: sometimes the poet without using a different scansion of the main rhythm can make syllable conformity between them by using a type of symmetry among the words of two or few hemistiches at the form of the same prosodic rhythm. This way of syllable symmetry which is hidden because it cannot be scanned on the basis of prosodic rhythm has a great but old and insensible effect on the music of poetry and this insensibility increases its value. Using one or few prosodic seas (poetic meter) at one poem: sometimes this innovation at the use of prosodic rhythms is purposeful and for overcoming the constant music of that special prosodic rhythm and making a better conformity between rhythm and a new content which poet wants to speak about in a number of verses. Using two seas or more: one way for enriching the musical component of ‘rhythm’ is applying the capabilities of prosody for making a poem have two or few rhythm at the same time. At Badii science these poems are called capricious. This possibility is because of the capacity of the words of poem for applying necessities. Dori rhythm: Dori rhythm is a type of rhythm which divides the verses to four equal parts. Dori rhythm because of its features is of musical distinction and the component of ‘rhythm’ in every poem with the form of Dori rhythm is naturally more salient than the rhythms of other poems. On the other hand, because in Dori rhythm potentially it is possible to use internal rhyme and Radif, this feature makes more salient the musical component of ‘vocal harmonies’-including pun, harmonious, repetition and etc…. Silence at prosodic rhythms: This kind of silence at prosodic rhythms is not common among all rhythms. When the last element is Mozahaf, if the second hemistich without the necessary pause- which dependent on the type of rhythm, its duration is different-the rhythm will break. Quantity of the silence after each hemistich is equal with the total quantity of the syllables which have been deleted from the last element (Mozahaf) of that hemistich. Necessities: Sometimes the necessity of applying the model of prosodic rhythm makes the poet deviate from the main quantity of vowel and change it, that is, sometimes poet necessarily uses long and short vowels instead of each other. Poet’s authorities: In total, less use of poet’s authorities, which causes applying symmetry at hemistiches and most following the main rhythm used in every poem, makes the poem’s music more rhythmical. But it does not mean that use of them destroys the poem’s music. 12-1. Stoppage: Sometimes application of the authority of ‘quieting’ causes the musical feature of ‘stoppage’ (pause in a verse). Stoppage as a musical feature which makes lack of fluency at the rhythm of poem has a negative effect on the music of poetry.

https://liar.ui.ac.ir/article_21403_5ef27bc24f04b427c89f50ead897e53b.pdf

University of Isfahan Literary Arts 20088027 9 1 2017 04 21 The semiology of metaphor and imagery in Ahmad Reza Ahmadi's Neshani The semiology of metaphor and imagery in Ahmad Reza Ahmadi's Neshani 53 62 21399 10.22108/liar.2017.21399 FA Fateme Casi Assistant professor of Persian Language and Literature, Payam Noor University, Kerman, Iran Mohammad Sadegh Basiri Associate professor of Persian Language and Literature, Shahid Bahonar University, Kerman, Iran 0000-0002-5566-0220 Journal Article 2014 11 20 Ahmadreza Ahmadi is an Iranian poet and writer of the 1340’s (Solar Calendar, the 1960’s). He started his activities in children’s literature along with poetry. He wrote his first children’s book in 1348 and he has been writing ever since. His works in children’s literature depict a different atmosphere. Reading Ahmadreza Ahmadi’s works foregrounds some signs in readers’ eyes. This article analyses the semiotics of the story “Address”. Semiotics is the study of anything that refers to something else; these signs can take the form of words, pictures, sounds, situations, and objects. In reading Ahmadi’s stories, specially this one, the markedness of imagination is very conspicuous. The studies done on Ahmadi’s work showed that the imagination in his works is a modern and fantastic one, and also because of the simultaneity of imagination, metaphor, and ambiguity, the reader, in the paradigmatic axis, is faced with metaphor in its modern sense, ambiguity, and openness of the text. This article studies the imagination and metaphor that Romantics and Symbolists refer to, and thereupon tries to decipher these signs based on Lakoff’s theories. To this point, first, a summary of the story “Address” is provided, and then I state the theoretical basis of the article. After a definition of semiotics and its features, I talked about the markedness of imagination in Ahmadi’s works, and after stating the difference between thought and imagination (imagination refers to complicated and difficult relationships like a living body, not to the mechanical and one-to-one relationships of things. In thought, a simple thing as likeness is created, and there is no trace of metaphor and sign as in Romanticism or Symbolism) we concluded that imagination in his works is marked. In the discussion about the markedness of imagination in Ahmadi’s works, we considered imagination is his works to be fantastic. Fantastic imagination is the type of imagination that goes beyond the boundaries of imagination, or deforms real dimensions and forms for its needs and directions in a particular way. Fantastic imagination is an infinite, boundless, and normally non-repetitive imagination. In the next discussion the markedness of metaphor is presented. Metaphor can be taken as an aspect of imaginary language. According to linguists, metaphor includes the process of transferring conceptual perception through likeness, in a way that the words in a language are used for a new meaning (afrashi, 20.1390). This understanding of metaphor is naturally opposed to the classic understanding which believes that metaphor is separable from language, and it can be said that the modern view on metaphor is the continuation of the Romantic view which believes that metaphor is inseparable from language. The last discussion is designated to reflect the metaphor of the structure of phenomena in the story “Address”. Lakoff and his students have done a study on the metaphorical perception of the structure of phenomena. Their findings show that different aspects of the structure of phenomena such as concepts like states, transformations, processes, actions, causes, goals, and ways, from a cognitive point of view, are defined through metaphors based on place, motion, and force. Therefore, most abstract concepts- time, states, transformations, causality, action, goal and way- are conceptualized through metaphor. (The same, 166) The story “Address” can be analyzed through the metaphor of phenomenon. The whole story is a metaphor from a point of departure (house) to a point of arrival (pharmacy). It is necessary to say that the motion metaphor is not summarized in the physical motion (going from the house to the pharmacy in order to buy drugs). This motion is also seen in states. The particular obstacle in this story is a vital part of the metaphor of phenomenon. The story does not follow a tragic process, and at the end the pains turn into happiness and hope. Ahmadreza Ahmadi is an Iranian poet and writer of the 1340’s (Solar Calendar, the 1960’s). He started his activities in children’s literature along with poetry. He wrote his first children’s book in 1348 and he has been writing ever since. His works in children’s literature depict a different atmosphere. Reading Ahmadreza Ahmadi’s works foregrounds some signs in readers’ eyes. This article analyses the semiotics of the story “Address”. Semiotics is the study of anything that refers to something else; these signs can take the form of words, pictures, sounds, situations, and objects. In reading Ahmadi’s stories, specially this one, the markedness of imagination is very conspicuous. The studies done on Ahmadi’s work showed that the imagination in his works is a modern and fantastic one, and also because of the simultaneity of imagination, metaphor, and ambiguity, the reader, in the paradigmatic axis, is faced with metaphor in its modern sense, ambiguity, and openness of the text. This article studies the imagination and metaphor that Romantics and Symbolists refer to, and thereupon tries to decipher these signs based on Lakoff’s theories. To this point, first, a summary of the story “Address” is provided, and then I state the theoretical basis of the article. After a definition of semiotics and its features, I talked about the markedness of imagination in Ahmadi’s works, and after stating the difference between thought and imagination (imagination refers to complicated and difficult relationships like a living body, not to the mechanical and one-to-one relationships of things. In thought, a simple thing as likeness is created, and there is no trace of metaphor and sign as in Romanticism or Symbolism) we concluded that imagination in his works is marked. In the discussion about the markedness of imagination in Ahmadi’s works, we considered imagination is his works to be fantastic. Fantastic imagination is the type of imagination that goes beyond the boundaries of imagination, or deforms real dimensions and forms for its needs and directions in a particular way. Fantastic imagination is an infinite, boundless, and normally non-repetitive imagination. In the next discussion the markedness of metaphor is presented. Metaphor can be taken as an aspect of imaginary language. According to linguists, metaphor includes the process of transferring conceptual perception through likeness, in a way that the words in a language are used for a new meaning (afrashi, 20.1390). This understanding of metaphor is naturally opposed to the classic understanding which believes that metaphor is separable from language, and it can be said that the modern view on metaphor is the continuation of the Romantic view which believes that metaphor is inseparable from language. The last discussion is designated to reflect the metaphor of the structure of phenomena in the story “Address”. Lakoff and his students have done a study on the metaphorical perception of the structure of phenomena. Their findings show that different aspects of the structure of phenomena such as concepts like states, transformations, processes, actions, causes, goals, and ways, from a cognitive point of view, are defined through metaphors based on place, motion, and force. Therefore, most abstract concepts- time, states, transformations, causality, action, goal and way- are conceptualized through metaphor. (The same, 166) The story “Address” can be analyzed through the metaphor of phenomenon. The whole story is a metaphor from a point of departure (house) to a point of arrival (pharmacy). It is necessary to say that the motion metaphor is not summarized in the physical motion (going from the house to the pharmacy in order to buy drugs). This motion is also seen in states. The particular obstacle in this story is a vital part of the metaphor of phenomenon. The story does not follow a tragic process, and at the end the pains turn into happiness and hope.

https://liar.ui.ac.ir/article_21399_72988e2abdff6a08a6a89c94e226f15e.pdf

University of Isfahan Literary Arts 20088027 9 1 2017 04 21 The analysis of Azizi’s style in the “A glass of hot Shath” The analysis of Azizi’s style in the “A glass of hot Shath” 63 76 21401 10.22108/liar.2017.21401 FA Behjatosadat Hejazi Associate Professor of Persian Language and Literature, Shahid Bahonar University of Kerman, kerman, Iran Journal Article 2015 01 26 One of the illustrious proses in eightieth decade is “A glass of hot Shat’h” belonging to Ahmad Azizi, which he writes to an ironic style and a blame and plain of idiotism of people of this period. Azizi’s art is in diction and apparition in the most wisdom circle for narrating altitude and bent of social life and encounter of multiple discourses. A blend of deep concepts, philosophy, mystic and wisdom, with words, structure and slangy comments show a kind of congruity with Hindi style in this book. Whilst dominant style of him is ironic that divides to two kinds: fine, wise and slangy. Contraptions and style illustrious because of language, literary and mental and contra, distinguish his style from other writers. And one of the contraptions style of him is inter stream circulation of mind of space of story to prose different with story the language of Azizi in the parts of this book is scare, glassy and biting and the other parts is benign, quieter and exciter interior literate. Apparently irony have been used equipollent with some words like quip, allegory, derision, jape, raillery, curvet, bamboozlement; while all of these are and none of them aren’t. The ironic style in this book of Azizi isn’t ever in concept that Greeks have used, rather base on the difintion of Romans, it is a kind of evasion with extra literary value. Mike divided irony two kinds: behavior and position. Irony that is cognizant ironist would be called generally as verbal irony but because ironist can use of other appliances other than language, it would be better that we name it behavior irony. And other position irony or ironic event that hasn’t ironist but always has a prey and an intendant. So if divide to three kind; language, behavior and position’s irony; absolutely is more advised. Verbal irony also can be defined to two forms: 1-dictions or sentences in which author or poet uses arts like metaphor, eulogy. On the basis of one generic definition proposed by Mike ‘irony would be any word that on basis forms of fiction like simulation, metaphor, allegory, opacity and etc., forward several meanings to mind, so inclusive of all literature. All of literary devices become under collection of irony. But if irony would be said only to words that create a combination of pain and laugh, it will be considered as an exclusive literary art. 2-stories that have been written in them allegory of adroit bedlams and in the current era, Seyyed Hasan Hosseyni and Ahmad Azizi are among followers of this style. We can to divide position irony to two original kinds: 1-The position’s irony with human origin; for example honor Josef in spite of knowing the faults of his brothers toward him in the childhood, entertained them with honor; so much that his brothers after recognition of him feel more ashamed. This kind also divides into two kinds: real and dramatic. This section of Josef story is real position irony that is near to position irony with divinity origin and counts as bring up. 2- position irony with divinity origin: like destiny and allotment, divinity contraption in affect with ethnics or heathens.” And they devised, and God devised, and God is the best of devisers” (3:54) or “they desire to extinguish by their mouths, the light of God; but God will perfect his light, though the unbelievers be averse” (61:8). Azizi on the one hand shows an illustrious model of verbal irony in his sentences and propositions and on the other hand, with critic and piercing look at events and personality and social evolutions, displays position irony in written form. However, author persists to select “shat’h as the title of his book, because of the mystic attitude dominant in this book, because of the sharp and biting language and critique of social events with evolutions in modern period, it is nearer to irony rather than shat’h. His irony style divides to two kinds: fine learned, slangy and sometimes faint. His impression of Quran, in many of sentences is absolutely modern and ingenious style. One of his contraptions in this book is stream of consciousness to non-fiction prose. His language in the section related to discourse analysis is very crenelated, acrid and sharp, detrimental and rapturous. And contrariwise in the writings related to dialogue with God, mystic ones or celebration of one character, he has a benign, calmative and excitant of inner sentiments language. One of the illustrious proses in eightieth decade is “A glass of hot Shat’h” belonging to Ahmad Azizi, which he writes to an ironic style and a blame and plain of idiotism of people of this period. Azizi’s art is in diction and apparition in the most wisdom circle for narrating altitude and bent of social life and encounter of multiple discourses. A blend of deep concepts, philosophy, mystic and wisdom, with words, structure and slangy comments show a kind of congruity with Hindi style in this book. Whilst dominant style of him is ironic that divides to two kinds: fine, wise and slangy. Contraptions and style illustrious because of language, literary and mental and contra, distinguish his style from other writers. And one of the contraptions style of him is inter stream circulation of mind of space of story to prose different with story the language of Azizi in the parts of this book is scare, glassy and biting and the other parts is benign, quieter and exciter interior literate. Apparently irony have been used equipollent with some words like quip, allegory, derision, jape, raillery, curvet, bamboozlement; while all of these are and none of them aren’t. The ironic style in this book of Azizi isn’t ever in concept that Greeks have used, rather base on the difintion of Romans, it is a kind of evasion with extra literary value. Mike divided irony two kinds: behavior and position. Irony that is cognizant ironist would be called generally as verbal irony but because ironist can use of other appliances other than language, it would be better that we name it behavior irony. And other position irony or ironic event that hasn’t ironist but always has a prey and an intendant. So if divide to three kind; language, behavior and position’s irony; absolutely is more advised. Verbal irony also can be defined to two forms: 1-dictions or sentences in which author or poet uses arts like metaphor, eulogy. On the basis of one generic definition proposed by Mike ‘irony would be any word that on basis forms of fiction like simulation, metaphor, allegory, opacity and etc., forward several meanings to mind, so inclusive of all literature. All of literary devices become under collection of irony. But if irony would be said only to words that create a combination of pain and laugh, it will be considered as an exclusive literary art. 2-stories that have been written in them allegory of adroit bedlams and in the current era, Seyyed Hasan Hosseyni and Ahmad Azizi are among followers of this style. We can to divide position irony to two original kinds: 1-The position’s irony with human origin; for example honor Josef in spite of knowing the faults of his brothers toward him in the childhood, entertained them with honor; so much that his brothers after recognition of him feel more ashamed. This kind also divides into two kinds: real and dramatic. This section of Josef story is real position irony that is near to position irony with divinity origin and counts as bring up. 2- position irony with divinity origin: like destiny and allotment, divinity contraption in affect with ethnics or heathens.” And they devised, and God devised, and God is the best of devisers” (3:54) or “they desire to extinguish by their mouths, the light of God; but God will perfect his light, though the unbelievers be averse” (61:8). Azizi on the one hand shows an illustrious model of verbal irony in his sentences and propositions and on the other hand, with critic and piercing look at events and personality and social evolutions, displays position irony in written form. However, author persists to select “shat’h as the title of his book, because of the mystic attitude dominant in this book, because of the sharp and biting language and critique of social events with evolutions in modern period, it is nearer to irony rather than shat’h. His irony style divides to two kinds: fine learned, slangy and sometimes faint. His impression of Quran, in many of sentences is absolutely modern and ingenious style. One of his contraptions in this book is stream of consciousness to non-fiction prose. His language in the section related to discourse analysis is very crenelated, acrid and sharp, detrimental and rapturous. And contrariwise in the writings related to dialogue with God, mystic ones or celebration of one character, he has a benign, calmative and excitant of inner sentiments language.

https://liar.ui.ac.ir/article_21401_af7055f98986b06d989d9ecf33efac05.pdf

University of Isfahan Literary Arts 20088027 9 1 2017 04 21 A Survey on Nostalgic Throwback to Popular Culture Elements in Two Poems of “Yadeten” and “Marouvezou” A Survey on Nostalgic Throwback to Popular Culture Elements in Two Poems of “Yadeten” and “Marouvezou” 77 90 21404 10.22108/liar.2017.21404 FA Najme Dorri Associate Professor of Persian Language and Literature, Tarbiat Modares University, Tehran, Iran Ahmad Hajebi Ph. D. Student of Persian Language and Literature, University of Hormozgan, Bandar Abbas, Iran Journal Article 2015 03 30 Local poem is one of cultural manifestation for every nation. The study of the Iranian various ethnic pop cultures by poetry indigenous exploring results in better understanding of the cultural elements of these sub-cultures. Since nostalgic concepts are one of the leading indicators in the local systems, we can explore historical, social and cultural factors of the formation and evolution of these indicators in addition to by studying and comparing nostalgia components in different cultures in addition to extracting the elements of similarities and differences of these components.Two native poems of Yadeten by Saleh Sangbor and Marouvezou by Faramarz Shakouri which first has been said in a Persian dialect of Bandar Abbasi and second has been said in a Gilaki dialect of Abkenari reflect the view of the public culture of two people living in Bandar Abbas and Bandar Anzali. Both poems reflect the poet's nostalgic throwback to the old days. It has been attempted in this research that the nostalgic view components of the two poets to the cultural elements of the society be studied in which they lived. For this purpose, the nostalgic notions of the two systems have been compared and analyzed under the general title of individual and collective memory. In the individual memory nostalgia section, reversion to the childhood and reconstruction of the space of that era is one of the main pillars of both poems of "Yadeten" and "Marouvezou". Saleh Sangbor considers his childhood remembrance to his human right and identity. Shakouri in the poem of "Marouvezou" has a nostalgic return to his childhood and the memories of these days made such a magical and timeless impression in the soul of the poet that he has never been able to be removed from the charismatic influence of those days in later periods of his life. The throwback views to the childhood in the two aforementioned poems can be considered in reviewing local games, social customs and beliefs, persons, places and objects nostalgic and legends and folk songs mentioned in two works.Recursion to nature is another aspect of the nostalgic throwback of the two poets to the past days. Both poems start by citing the nostalgic memories of the land nature in which the poet lived and all over the two poems contain the citation of the elements of the primitive life in the rural heart of the nature. The distinction of the naturalism of the two poets refers to the climate in which they lived. Introspective and empathic understanding of the nature and its elements in both works is quite obvious and the elements of the nature have an important share in the two works in the descriptions and imagery. Both the poet attempt to present a kind of an absolutely ideal imagination from the past primitive and rural society of the past having more connection to the area nature. The critique of modern civilization and modernism imposed on ethnic minorities is another common aspect of the two poems. In both poems, the poet deals with criticizing the new civilization appearances after passing the childhood and adolescence. In Yadeten, these criticisms cover about one-third of the total poems. Both of the poets complain about the civilization which put enmity rather than friendship and sham rather than truth after citing sincerity and the past links and they hate some consequences such as addiction, unemployment and slaughtering of innocents. Sangbor and Shakouri consider greed and getting away from human nature as the most important negative consequence of the new era.In both systems, the general spirit of the two works in addition to stating the individual nostalgic multiple memories is the recursion of the collective memory of two people of Bandari and Gilaki. In fact, his individual memory is a page of the collective memory album of the people. In the systems of Yadeten and Marouvezou, the adudience is not the forest and wetland and a particular individual, but he is a collective memory of these nations. In this citation, the historical aspect is dominant on the mythological one. The representation of the cultural elements of the public of the two people shows that the cultural elements of the two parties contain many aspects in common in spite of the diversity and difference Local poem is one of cultural manifestation for every nation. The study of the Iranian various ethnic pop cultures by poetry indigenous exploring results in better understanding of the cultural elements of these sub-cultures. Since nostalgic concepts are one of the leading indicators in the local systems, we can explore historical, social and cultural factors of the formation and evolution of these indicators in addition to by studying and comparing nostalgia components in different cultures in addition to extracting the elements of similarities and differences of these components.Two native poems of Yadeten by Saleh Sangbor and Marouvezou by Faramarz Shakouri which first has been said in a Persian dialect of Bandar Abbasi and second has been said in a Gilaki dialect of Abkenari reflect the view of the public culture of two people living in Bandar Abbas and Bandar Anzali. Both poems reflect the poet's nostalgic throwback to the old days. It has been attempted in this research that the nostalgic view components of the two poets to the cultural elements of the society be studied in which they lived. For this purpose, the nostalgic notions of the two systems have been compared and analyzed under the general title of individual and collective memory. In the individual memory nostalgia section, reversion to the childhood and reconstruction of the space of that era is one of the main pillars of both poems of "Yadeten" and "Marouvezou". Saleh Sangbor considers his childhood remembrance to his human right and identity. Shakouri in the poem of "Marouvezou" has a nostalgic return to his childhood and the memories of these days made such a magical and timeless impression in the soul of the poet that he has never been able to be removed from the charismatic influence of those days in later periods of his life. The throwback views to the childhood in the two aforementioned poems can be considered in reviewing local games, social customs and beliefs, persons, places and objects nostalgic and legends and folk songs mentioned in two works.Recursion to nature is another aspect of the nostalgic throwback of the two poets to the past days. Both poems start by citing the nostalgic memories of the land nature in which the poet lived and all over the two poems contain the citation of the elements of the primitive life in the rural heart of the nature. The distinction of the naturalism of the two poets refers to the climate in which they lived. Introspective and empathic understanding of the nature and its elements in both works is quite obvious and the elements of the nature have an important share in the two works in the descriptions and imagery. Both the poet attempt to present a kind of an absolutely ideal imagination from the past primitive and rural society of the past having more connection to the area nature. The critique of modern civilization and modernism imposed on ethnic minorities is another common aspect of the two poems. In both poems, the poet deals with criticizing the new civilization appearances after passing the childhood and adolescence. In Yadeten, these criticisms cover about one-third of the total poems. Both of the poets complain about the civilization which put enmity rather than friendship and sham rather than truth after citing sincerity and the past links and they hate some consequences such as addiction, unemployment and slaughtering of innocents. Sangbor and Shakouri consider greed and getting away from human nature as the most important negative consequence of the new era.In both systems, the general spirit of the two works in addition to stating the individual nostalgic multiple memories is the recursion of the collective memory of two people of Bandari and Gilaki. In fact, his individual memory is a page of the collective memory album of the people. In the systems of Yadeten and Marouvezou, the adudience is not the forest and wetland and a particular individual, but he is a collective memory of these nations. In this citation, the historical aspect is dominant on the mythological one. The representation of the cultural elements of the public of the two people shows that the cultural elements of the two parties contain many aspects in common in spite of the diversity and difference

https://liar.ui.ac.ir/article_21404_9240d0410c78ddbd2f94efb05c7799b1.pdf

University of Isfahan Literary Arts 20088027 9 1 2017 04 21 Prominent stylistic aspects in music of Nāser Khosrow's poetry Prominent stylistic aspects in music of Nāser Khosrow's poetry 91 108 21417 10.22108/liar.2017.21417 FA Morteza Mohseni Associate Professor of Persian Language and Literature, University of Mazandaran, Mazandaran, Iran Mahdi Sarahati Juybari MA. Graduated of Persian Language and Literature, University of Mazandaran, Mazandaran, Iran Journal Article 2014 07 17 It is axiomatic for those who are stylistically a little familiar about the periods of Persian poetry that quasidas of Nāser-e Khosrow are totally different from those of the poets in fifth lunar century both in terms of their contents and technically. This difference is seen even in those areas of his poetry in which the poet is confided to make innovations. This paper investigates Nāser-e Khosrow's style in the field of the music of poetry. It also aims to identify his slylistic differences comparing with those of his most famous contemporaries (Onsori, Farrokhi and Manoochehri) in external, lateral and internal areas. As the first step, all the Nāser Khosrow's poems -exept for additions section- was considered the Scope of this study, accompanied by main parts of other three cited poets' divans (poetical works) which consists almost 23600 distiches. For the second stage, each poet's divan were separatly scrutinized in three fields of the music of poetry. The frequency of each cases were recorded and after comparing statistics related to Nāser-e Khosrow's poems with other tree poets, stylistic charachteristics of his poetry were explored. Statistical information related to the poets were generally recorded in a table and some parts of them were shown in a bar graph. It seems necessary to note that the researcher considered two items of innovation and frequncy in all phases of the study. Most of the studies done in the field of Nāser-e Khosrow's music of poetry, investigated the prosody and meter of his poetry. Most of these studies considered difficulty and relevancy as the important prosodic characteristics of his poetry. Regarding the lateral and internal areas of Nāser-e Khosrow's poetry, there are not much argument proposed except for using difficult rhymes and nominal radifs ( for lateral music of poetry) and attending to figures of speech which are based on some types repetition ( for internal music of poetry). In this paper, musical characteristics of Nāser-e Khosrow's poetry were classified into three sections comparing with those of the three above cited poets: A) in prosody or external area, main characteristics of his style were concluded into two items: 1) using rare meters, and 2) pause in meter, which is one of the main factors for making his quasidas' meters unpleasant. One reason for this could be "poetic emotions". It means that the meter of Nāser-e Khosrow's poetry is not a selective act. It is related directly to his emotions and this is one reason for his metric differences in comparison to those of other poets. His emotions are mirrored in his poetical meters and because his emotions are different from others', his used meters are different from others'. So that the reason for pauses or his unpleasant meters in his poems was related to his different emotions. Another reason for using unpleasant and difficult meters was that Nāser-e Khosrow avoided kings' courts (as an incentive for using pleasant meters for other contemporaries). Besides, attention and emphasis on such topics as advice, asceticism, and criticism influenced on the type of used meters and quality of meter selection by Nāser-e Khosrow. B) in lateral area of Nāser-e Khosrow's music of poetry, the only point to be noticed is using non-verb radifs more than his contemporaries. C) Considering the internal area of Nāser-e Khosrow's music of poetry, the most important characteristics of his poetry style is ample using of such devices as alliteration, assonance, and some types of pun. But one important point about pun in his poetry is in special use of that as a pivot for satire, criticism and lampoon. It is axiomatic for those who are stylistically a little familiar about the periods of Persian poetry that quasidas of Nāser-e Khosrow are totally different from those of the poets in fifth lunar century both in terms of their contents and technically. This difference is seen even in those areas of his poetry in which the poet is confided to make innovations. This paper investigates Nāser-e Khosrow's style in the field of the music of poetry. It also aims to identify his slylistic differences comparing with those of his most famous contemporaries (Onsori, Farrokhi and Manoochehri) in external, lateral and internal areas. As the first step, all the Nāser Khosrow's poems -exept for additions section- was considered the Scope of this study, accompanied by main parts of other three cited poets' divans (poetical works) which consists almost 23600 distiches. For the second stage, each poet's divan were separatly scrutinized in three fields of the music of poetry. The frequency of each cases were recorded and after comparing statistics related to Nāser-e Khosrow's poems with other tree poets, stylistic charachteristics of his poetry were explored. Statistical information related to the poets were generally recorded in a table and some parts of them were shown in a bar graph. It seems necessary to note that the researcher considered two items of innovation and frequncy in all phases of the study. Most of the studies done in the field of Nāser-e Khosrow's music of poetry, investigated the prosody and meter of his poetry. Most of these studies considered difficulty and relevancy as the important prosodic characteristics of his poetry. Regarding the lateral and internal areas of Nāser-e Khosrow's poetry, there are not much argument proposed except for using difficult rhymes and nominal radifs ( for lateral music of poetry) and attending to figures of speech which are based on some types repetition ( for internal music of poetry). In this paper, musical characteristics of Nāser-e Khosrow's poetry were classified into three sections comparing with those of the three above cited poets: A) in prosody or external area, main characteristics of his style were concluded into two items: 1) using rare meters, and 2) pause in meter, which is one of the main factors for making his quasidas' meters unpleasant. One reason for this could be "poetic emotions". It means that the meter of Nāser-e Khosrow's poetry is not a selective act. It is related directly to his emotions and this is one reason for his metric differences in comparison to those of other poets. His emotions are mirrored in his poetical meters and because his emotions are different from others', his used meters are different from others'. So that the reason for pauses or his unpleasant meters in his poems was related to his different emotions. Another reason for using unpleasant and difficult meters was that Nāser-e Khosrow avoided kings' courts (as an incentive for using pleasant meters for other contemporaries). Besides, attention and emphasis on such topics as advice, asceticism, and criticism influenced on the type of used meters and quality of meter selection by Nāser-e Khosrow. B) in lateral area of Nāser-e Khosrow's music of poetry, the only point to be noticed is using non-verb radifs more than his contemporaries. C) Considering the internal area of Nāser-e Khosrow's music of poetry, the most important characteristics of his poetry style is ample using of such devices as alliteration, assonance, and some types of pun. But one important point about pun in his poetry is in special use of that as a pivot for satire, criticism and lampoon.

https://liar.ui.ac.ir/article_21417_436dc999ded88077d172315e5988633f.pdf

University of Isfahan Literary Arts 20088027 9 1 2017 04 21 The archetypal criticism of "Hooshroba Castle" story The archetypal criticism of "Hooshroba Castle" story 109 118 21397 10.22108/liar.2017.21397 FA Jalil Moshydy Associate Professor of Persian Language and Literature, University of Arak, Arak, Iran Sonia Noori Ph. D. Student of Persian Language and Literature, University of Arak, Arak, Iran Journal Article 2014 04 25 Archetypes are some shared concepts which are accumulated in collective unconscious. Archetypal criticism could be defined a branch of literary criticism which deals with analyzing archetypes in a literary work. Archetypes are some concealed things and symbols can make them reveal. Jung believes “archetype’s origin is unknown. They might appear anytime and anywhere; even if transforming of Human origin or racial combinations is ignored by emigration” (Jung, 1352: 106). Archetypal criticism started out of the literature in addition to Jung James Frazer, Scottish anthropologist, the first theorist was that introduced archetypes, but archetypes are known by Jung and mostly consider idiomatic belongs to Jung. Maud Bodkin the first in "archetypal designs in poetry" by interpreting mythic Coleridge's poems, and Eliot, brought literature Jung's ideas and Frazer and others, such as Robert Graves, Robert Graves, Wilson Knight, Richard Chase and … continued Bodkin way to and finally Northrop Frye recognize that the archetypal criticism along with other forms of modern literary criticism and left it of domination anthropology and psychology. Also called the archetypal criticism mythical criticism, because in principle archetypes derived from myths. Myths are related to the course of human civilization be remembered that as human childhood. According to Jungian theory, collective unconscious human thought is consistent with the preliminary stage and belongs to the time until then he was not out to conquer the world and pay attention to the inner the human and tried In mythology says Your inner psychological discoveries pursued. So “The main public symbols inheritable and archetypes perception” (Sattari, 1366: 499). The myth reflects the inner life and the human's wishes that do not go out of her life time and space will not be able to narrow it, that is, why the myths around the world constituent elements are identical or very similar.“Universal archetypes are the collective unconscious and are inherited from our ancestors” (Cuddon, 1380: 39). The basic fact of life archetype such as birth, growing up, love, family and tribal life, death ...at the same concepts as the archetype known myths. Elements such as death and rebirth, hero's journey, an old wise man, anima and animus, shadow. The archetypal criticism based on inter-textuality to look at the literature and a relationship based on dialogue among literary works have been written based on archetypes believes. "Zat os-Sovar Castle" storyis one of the most mysterious talesof Masnavi and it is more mysteriously unfinished. Checking archetypal story of "Zat os-Sovar Castle"shows that archetype in this story has a special place. The story begins with the heroes of the adventure trip which is known archetypes. The old wise man in the form of three characters, namely the father, the old man will appear enlightened and king China. King of China's daughter the owner image of the beautiful castle, man is a manifestation of the female psyche Anima they say. Shadow of the dark side of the human psyche and the origin of evil traits, in the second brother to be seen and adverse effects on the soul leaves his. Mask or persona archetype also is seen in the behavior of the king of China When unaware that his show and the secret are their spiritual brothers. The loss of brothers and another brother replacing the frequently happens in the story, reminiscent of the archetype of death and rebirth is and in the end, according to the story's elements and characters, the myth of the creation of the first man to be seen. By analyzing this archetype can be hidden concepts in this part of the Masnavi and realized similar literary works and the benefit. Archetypes are some shared concepts which are accumulated in collective unconscious. Archetypal criticism could be defined a branch of literary criticism which deals with analyzing archetypes in a literary work. Archetypes are some concealed things and symbols can make them reveal. Jung believes “archetype’s origin is unknown. They might appear anytime and anywhere; even if transforming of Human origin or racial combinations is ignored by emigration” (Jung, 1352: 106). Archetypal criticism started out of the literature in addition to Jung James Frazer, Scottish anthropologist, the first theorist was that introduced archetypes, but archetypes are known by Jung and mostly consider idiomatic belongs to Jung. Maud Bodkin the first in "archetypal designs in poetry" by interpreting mythic Coleridge's poems, and Eliot, brought literature Jung's ideas and Frazer and others, such as Robert Graves, Robert Graves, Wilson Knight, Richard Chase and … continued Bodkin way to and finally Northrop Frye recognize that the archetypal criticism along with other forms of modern literary criticism and left it of domination anthropology and psychology. Also called the archetypal criticism mythical criticism, because in principle archetypes derived from myths. Myths are related to the course of human civilization be remembered that as human childhood. According to Jungian theory, collective unconscious human thought is consistent with the preliminary stage and belongs to the time until then he was not out to conquer the world and pay attention to the inner the human and tried In mythology says Your inner psychological discoveries pursued. So “The main public symbols inheritable and archetypes perception” (Sattari, 1366: 499). The myth reflects the inner life and the human's wishes that do not go out of her life time and space will not be able to narrow it, that is, why the myths around the world constituent elements are identical or very similar.“Universal archetypes are the collective unconscious and are inherited from our ancestors” (Cuddon, 1380: 39). The basic fact of life archetype such as birth, growing up, love, family and tribal life, death ...at the same concepts as the archetype known myths. Elements such as death and rebirth, hero's journey, an old wise man, anima and animus, shadow. The archetypal criticism based on inter-textuality to look at the literature and a relationship based on dialogue among literary works have been written based on archetypes believes. "Zat os-Sovar Castle" storyis one of the most mysterious talesof Masnavi and it is more mysteriously unfinished. Checking archetypal story of "Zat os-Sovar Castle"shows that archetype in this story has a special place. The story begins with the heroes of the adventure trip which is known archetypes. The old wise man in the form of three characters, namely the father, the old man will appear enlightened and king China. King of China's daughter the owner image of the beautiful castle, man is a manifestation of the female psyche Anima they say. Shadow of the dark side of the human psyche and the origin of evil traits, in the second brother to be seen and adverse effects on the soul leaves his. Mask or persona archetype also is seen in the behavior of the king of China When unaware that his show and the secret are their spiritual brothers. The loss of brothers and another brother replacing the frequently happens in the story, reminiscent of the archetype of death and rebirth is and in the end, according to the story's elements and characters, the myth of the creation of the first man to be seen. By analyzing this archetype can be hidden concepts in this part of the Masnavi and realized similar literary works and the benefit. https://liar.ui.ac.ir/article_21397_10a8989f0a64657bc95fd83c0b3a4f89.pdf

University of Isfahan Literary Arts 20088027 9 1 2017 04 21 The Syntactic Analysis of Pronoun Homofunction Considering Verb Structure and the Function of Connected Pronouns in Passive-Emotional Sentences The Syntactic Analysis of Pronoun Homofunction Considering Verb Structure and the Function of Connected Pronouns in Passive-Emotional Sentences 119 132 21398 10.22108/liar.2017.21398 FA Mohammad Irani Assistant Professor of Persian Language and Literature, Razi University, Kermanshah, Iran Maryam Torkashvand Ph.D Student of Persian Language and Literature, Razi University, Kermanshah, Iran Journal Article 2014 08 25 In this research, different word categories are studied which are the reference of mentioned pronouns (i.e. Disconnected or connected), and can substitute pronouns and have pronoun function by deleting them; The reference pronouns of these word categories are applied in various positions, including after nouns, after prepositions, and after verbs; hence, they often have a noun modifier, complementary, and object functions. Despite their abundant use in Persian poetry and prose, these words are not considered as much by the grammarians and no name was also chosen for them as if they play no role in the sentence. The pronoun reference in such sentences is called “the predicate of a long sentence” for the subject called “a short sentence” by Khayampoor. He adds, the intended pronoun is also used in the very short sentence. Vahidiān-Kāmyār, however, writes, “the head of this noun phrase has in fact two genitives. One in the pronoun form, coming at its own position, and the other as a noun. The noun genitive always initializes the sentence.” [Ali pedarash mariz ast. Ali his father is sick] Disjointed (initial) genitive noun (subject) genitive Research-Mehand, also, did not name the pronoun references specifically and named them complement or genitive just according to their role, but he named referent pronouns as the “pronoun suffix”. We preferred to name pronounce -considering their position and accompanied signs- as an object, complement and genitive and name their reference also as “pronoun homo-function” because they have the same grammatical rules as their referent pronouns. Ignoring the relationship between these words and their homo-role pronouns in the sentence and the differences of the object role –especially in third person singular- with both the genitive and complement roles have caused some syntactic misinterpretations. Some grammarians have compared cases where the joint pronoun is the object homo-role and a special usage in Tehrani Persian dialect and named it the “subject pronoun” reluctantly and incorrectly. This occurs, whereas the mentioned samples prove this to be wrong because “these structures are more common in colloquy” nowadays and are applied after verbs whereas these pronouns accompanied other words except verbs in ancestors’ literary works. As the second reason, these pronouns follow both the transitive and intransitive verbs, nowadays in the colloquial language, whereas they followed the transitive verbs in ancient works and appeared as complement, genitive or object. Therefore, noting a pronoun as subject pronoun is not so applicable and comparing such verbs with the colloquial form, common in a specific dialect limited to present, is not justifiable. Pronoun Homo-Roles in emotional and passive sentences The most important homo-functions applied in making emotional and passive sentences are as follows: zad, ʔāmad, shod, graft, bored, dar ʔāmad, bud, Kard. Example: khoshkam said (I stood still), dārdam Miʔāyad (It is painful), German shod (It’s hot here), a la jam graft (so disgusting), Khābam bored (I went to sleep), kofram dear ʔāmad (I’m exasperated), Saddam ʔast (It’s cold here). These sentences are made as follows: (Noun/pronoun) +Noun/adjective + pronoun suffix +verb Example: (Ali/au) khābash miʔāyad [He falls asleep] (Ali/ʔu) sodas ʔast [He feels cold] All these sentences express a kind of passive and emotional reaction; hence, it must certainly be considered to get the meaning of such sentences. Khābash gereft, for example, means he fell asleep.In the other hand, paying attention to the meaning will notably be effective in determining the verb type in structure and the grammatical role of the words in such sentences. According to the authors of this research, unlike some ideas, the verb structure is not compounded in these sentences, but is a nominal/adjectival component before the homo-function, recognized to be a part of the compound verb by some grammarians and linguists, has a subject role; and the homo-function is also a simple verb completely agreeing in suffix with the subject. The role of the pronoun suffixes, also, must be determined paying special attention to their role in traditional grammar because we think sometimes proposing ideas on some grammatical points might not bring about acceptable results regardless of their background and historic relations. Since pronoun suffixes occur only as objects, complements and genitives, the joint pronouns in these sentences are not an exception and have the same roles. The accompanying noun or adjective is the subject. The disjoint initial noun or pronoun, the “pronoun homo-role”, can be replaced by the pronoun suffix in some sentences, but makes the sentence ungrammatical in most cases. In this research, different word categories are studied which are the reference of mentioned pronouns (i.e. Disconnected or connected), and can substitute pronouns and have pronoun function by deleting them; The reference pronouns of these word categories are applied in various positions, including after nouns, after prepositions, and after verbs; hence, they often have a noun modifier, complementary, and object functions. Despite their abundant use in Persian poetry and prose, these words are not considered as much by the grammarians and no name was also chosen for them as if they play no role in the sentence. The pronoun reference in such sentences is called “the predicate of a long sentence” for the subject called “a short sentence” by Khayampoor. He adds, the intended pronoun is also used in the very short sentence. Vahidiān-Kāmyār, however, writes, “the head of this noun phrase has in fact two genitives. One in the pronoun form, coming at its own position, and the other as a noun. The noun genitive always initializes the sentence.” [Ali pedarash mariz ast. Ali his father is sick] Disjointed (initial) genitive noun (subject) genitive Research-Mehand, also, did not name the pronoun references specifically and named them complement or genitive just according to their role, but he named referent pronouns as the “pronoun suffix”. We preferred to name pronounce -considering their position and accompanied signs- as an object, complement and genitive and name their reference also as “pronoun homo-function” because they have the same grammatical rules as their referent pronouns. Ignoring the relationship between these words and their homo-role pronouns in the sentence and the differences of the object role –especially in third person singular- with both the genitive and complement roles have caused some syntactic misinterpretations. Some grammarians have compared cases where the joint pronoun is the object homo-role and a special usage in Tehrani Persian dialect and named it the “subject pronoun” reluctantly and incorrectly. This occurs, whereas the mentioned samples prove this to be wrong because “these structures are more common in colloquy” nowadays and are applied after verbs whereas these pronouns accompanied other words except verbs in ancestors’ literary works. As the second reason, these pronouns follow both the transitive and intransitive verbs, nowadays in the colloquial language, whereas they followed the transitive verbs in ancient works and appeared as complement, genitive or object. Therefore, noting a pronoun as subject pronoun is not so applicable and comparing such verbs with the colloquial form, common in a specific dialect limited to present, is not justifiable. Pronoun Homo-Roles in emotional and passive sentences The most important homo-functions applied in making emotional and passive sentences are as follows: zad, ʔāmad, shod, graft, bored, dar ʔāmad, bud, Kard. Example: khoshkam said (I stood still), dārdam Miʔāyad (It is painful), German shod (It’s hot here), a la jam graft (so disgusting), Khābam bored (I went to sleep), kofram dear ʔāmad (I’m exasperated), Saddam ʔast (It’s cold here). These sentences are made as follows: (Noun/pronoun) +Noun/adjective + pronoun suffix +verb Example: (Ali/au) khābash miʔāyad [He falls asleep] (Ali/ʔu) sodas ʔast [He feels cold] All these sentences express a kind of passive and emotional reaction; hence, it must certainly be considered to get the meaning of such sentences. Khābash gereft, for example, means he fell asleep.In the other hand, paying attention to the meaning will notably be effective in determining the verb type in structure and the grammatical role of the words in such sentences. According to the authors of this research, unlike some ideas, the verb structure is not compounded in these sentences, but is a nominal/adjectival component before the homo-function, recognized to be a part of the compound verb by some grammarians and linguists, has a subject role; and the homo-function is also a simple verb completely agreeing in suffix with the subject. The role of the pronoun suffixes, also, must be determined paying special attention to their role in traditional grammar because we think sometimes proposing ideas on some grammatical points might not bring about acceptable results regardless of their background and historic relations. Since pronoun suffixes occur only as objects, complements and genitives, the joint pronouns in these sentences are not an exception and have the same roles. The accompanying noun or adjective is the subject. The disjoint initial noun or pronoun, the “pronoun homo-role”, can be replaced by the pronoun suffix in some sentences, but makes the sentence ungrammatical in most cases.

https://liar.ui.ac.ir/article_21398_513b491fe984027dfaa86288b8acb6c7.pdf

University of Isfahan Literary Arts 20088027 9 1 2017 04 21 Characterization and Moral Theme in Varavini’s Marzbanname and La Fontaine’s Fables Characterization and Moral Theme in Varavini’s Marzbanname and La Fontaine’s Fables 133 142 21408 10.22108/liar.2017.21408 FA Safoura Tork Ladani Assistant Professor of French Language and Literature, University of Isfahan, Isfahan, Iran Maedeh Rahimi Rokni M.A Student of French Language and Literature, University of Isfahan, Isfahan, Iran Journal Article 2015 07 23 Didactic literature is a literary genre in which the writer contrasts between the good and the evil, and indirectly tries to teach the moral lessons of world’s classical literature. These lessons are generally expressed by animals and are in the form of advice. There are some common concepts in the didactic literature of Iran and France. Some of these similarities could be found by considering the moral works of authors such as Sa'ad ad-Din Varavini and Jean de La Fontaine. Varavini’s Marzbannameh and La Fontaine’s Fables are valuable works which deal with the political and social issues of their time by expressing the ideas of their authors. These advices which are expressed by jinns, humans, inanimate objects, animals, and plants offer a type of moral writing called fable to their literary, political, and social community. This genre has been one of the most prominent and popular literary genres that was common in times when the pressure of the kings made it impossible for writers to directly criticize the oppression. By using this genre, writers tried to avoid the wrath of kings. In Western literature, this genre was started by the Greek fabulist, Aesop. Horace, the Roman poet, was inspired by Aesop and composed great fables. However, Jean de La Fontaine, the French poet and fabulist, is known as the most prominent Western fabulist who composed his own fables by following Aesop. He is the most famous French story writer whose reputation is largely due to composing a book called Fables. In this book, he has expressed concepts such as the criticism of the court, the king, the church, and the bourgeoisie. La Fontaine has criticized Louis XIV in many of his fables. He represents the king as lion and the courtiers as dogs, monkeys, wolves, and foxes and criticizes them. La Fontaine, thus, reflects the internal characteristics and personality of human beings in the form of animals and each animal reflects a part of the human society in the age of the author. Fables of La Fontaine are, in fact, a description of the social and political situation of 17th century French and contain an indirect political and social criticism expressed by animals. In Persian literature, works such as Shahnameh, Kelile and Demni, Marzbannameh, Siyasatnameh, and Golestan are written in this literary genre. Marzbannameh along with Kelile and Demni which is one of the great Persian fables, is a book originally written in Tabari by Ispahbod Marzban Ibn Rustam Ibn Shahriar Ibn Shervin. This book was later translated to Dari Persian by Sa'ad ad-Din Varavini. More specifically, Marzbannameh was rendered from Ancient Tabari to Dari Persian in the early seventh century from year 617 to 622. The author of this book, as La Fontaine did, has considered the king his primary audience and has tried to guide him in governance, political, and social matters by offering him advices. In these stories, the author refers to political, social, judiciary, and economic affairs and concerns behavior towards others, especially towards enemies and strangers. There also appear moral lessons and virtues in the stories which revolve around social matters. In many stories of Marzbannameh, like the Fables of La Fontaine, the characters are animals who play the social and political roles of their own time. A comparative study of the characters of these two books helps us to better understand the characterization method of the two authors. Since these two writers have had an effective role in the moral and didactic literature of their own countries, the present study attempts to conduct a comparative study to investigate the characterization and the expression of didactic concepts in Varavini’s Marzbannameh and La Fontaine’s Fables which are, respectively, the representatives of classical didactic literature of Iran and France. Despite the similarities in the moral teachings of the two works, it could be concluded that Varavini’s work has focused more on moral content while La Fontaine’s work has been more concerned with form. This comparative study mentions some stories of the two books and discusses their characters and persona. Moreover, the current study investigates the moral messages that these two writers have mentioned in their works for their audience. Didactic literature is a literary genre in which the writer contrasts between the good and the evil, and indirectly tries to teach the moral lessons of world’s classical literature. These lessons are generally expressed by animals and are in the form of advice. There are some common concepts in the didactic literature of Iran and France. Some of these similarities could be found by considering the moral works of authors such as Sa'ad ad-Din Varavini and Jean de La Fontaine. Varavini’s Marzbannameh and La Fontaine’s Fables are valuable works which deal with the political and social issues of their time by expressing the ideas of their authors. These advices which are expressed by jinns, humans, inanimate objects, animals, and plants offer a type of moral writing called fable to their literary, political, and social community. This genre has been one of the most prominent and popular literary genres that was common in times when the pressure of the kings made it impossible for writers to directly criticize the oppression. By using this genre, writers tried to avoid the wrath of kings. In Western literature, this genre was started by the Greek fabulist, Aesop. Horace, the Roman poet, was inspired by Aesop and composed great fables. However, Jean de La Fontaine, the French poet and fabulist, is known as the most prominent Western fabulist who composed his own fables by following Aesop. He is the most famous French story writer whose reputation is largely due to composing a book called Fables. In this book, he has expressed concepts such as the criticism of the court, the king, the church, and the bourgeoisie. La Fontaine has criticized Louis XIV in many of his fables. He represents the king as lion and the courtiers as dogs, monkeys, wolves, and foxes and criticizes them. La Fontaine, thus, reflects the internal characteristics and personality of human beings in the form of animals and each animal reflects a part of the human society in the age of the author. Fables of La Fontaine are, in fact, a description of the social and political situation of 17th century French and contain an indirect political and social criticism expressed by animals. In Persian literature, works such as Shahnameh, Kelile and Demni, Marzbannameh, Siyasatnameh, and Golestan are written in this literary genre. Marzbannameh along with Kelile and Demni which is one of the great Persian fables, is a book originally written in Tabari by Ispahbod Marzban Ibn Rustam Ibn Shahriar Ibn Shervin. This book was later translated to Dari Persian by Sa'ad ad-Din Varavini. More specifically, Marzbannameh was rendered from Ancient Tabari to Dari Persian in the early seventh century from year 617 to 622. The author of this book, as La Fontaine did, has considered the king his primary audience and has tried to guide him in governance, political, and social matters by offering him advices. In these stories, the author refers to political, social, judiciary, and economic affairs and concerns behavior towards others, especially towards enemies and strangers. There also appear moral lessons and virtues in the stories which revolve around social matters. In many stories of Marzbannameh, like the Fables of La Fontaine, the characters are animals who play the social and political roles of their own time. A comparative study of the characters of these two books helps us to better understand the characterization method of the two authors. Since these two writers have had an effective role in the moral and didactic literature of their own countries, the present study attempts to conduct a comparative study to investigate the characterization and the expression of didactic concepts in Varavini’s Marzbannameh and La Fontaine’s Fables which are, respectively, the representatives of classical didactic literature of Iran and France. Despite the similarities in the moral teachings of the two works, it could be concluded that Varavini’s work has focused more on moral content while La Fontaine’s work has been more concerned with form. This comparative study mentions some stories of the two books and discusses their characters and persona. Moreover, the current study investigates the moral messages that these two writers have mentioned in their works for their audience.

https://liar.ui.ac.ir/article_21408_36966c083f11a24132ae1d7400b45a30.pdf

University of Isfahan Literary Arts 20088027 9 1 2017 04 21 Explanation and Analysis of Mythical Themes in the Structure of the Tale of “MahPishani” Explanation and Analysis of Mythical Themes in the Structure of the Tale of “MahPishani” 143 160 21405 10.22108/liar.2017.21405 FA Morteza Heidari Assistant Professor of Persian Language and Literature, Department of Payam-e-Noor University Journal Article 2015 04 03 Mah-Pishani is one of the most known Iranian popular tales that has been narrated by the folklorists frequently and printed by several of them. Sobhi-Mohtadi, from narrators of it, says the history of Mah-Pishani turns back to pre-Islamic periods, but he does not present any reason for his claimed hypothesis. In this research, the author has selected the Ahmad Shamloo’s narration of this tale and explored in ancient layers of it. Firstly the structural components of the tale have been explained based on Prop’s Morphology theory, but the author has not limited himself only to reporting and explaining the narrative structures, rather he traced the characters and their functions in Iranians’ myth, history and culture and has proved their ancient roots clearly. In this article, the roots of these symbols, motifs and archetypes have been analyzed: _Stepmother: in Mah-Pishani, Molla-Baji is a stepmother of Mah-Pishani. The story of villain stepmother and her stepdaughter that unlike the desire of her stepmother succeeds to the prosperity is one of the universal motifs of the tales, as it would be seen in Cinderella tale. _ Hero and Anti-hero and Helpers: Mah-Pishani is a heroine, Molla-Baji is an anti- heroine and Cow and Demon are helper characters. The archetypes of hero and anti-hero and helpers could be traced in anthological battle between Ormazd and Evil and their helpers in Iranian culture. _ Women Functionalists: it could be found evidently and easily in the tale of Mah-Pishani, a passive, neutral and lack of function presence of man gender in this tale. So it would be a remembrance derived from Matriarchy Age. _ burying the bones of victim: from the very deep points of the tale, is a Demon’s command to the heroine of the tale to bury the bones of the sacrificed cow. This point is a key motif that builds to the paleontology and historical antiquity of the tale. Mankind of the hunting age that found his life depending on the survival of animal kinds buried the bones of hunted animal in to the soil so that animal would have another life and its generation not to become extinct. _ Demon: in this tale Demon functions as a generous and then helper character and takes distance from conceptual and semantic field of villainy that is associative of Demon’s character. This discrepancy should be traced in religion and society of ancient Aryans. The word Demon means originally means God, but after the appearance of Zoroaster in Iran and the introduction of Ormazd as a God, Demon’s meaning changed to the devil. _ Cow: Mah-Pishani’s mother stays in seventh jar and then becomes a yellow cow. Cow in Iranian myths is a blessed and sacred symbol. Certainly in the tale, cow is reckoned a totem for Mah-Pishani, because Demon advises to her not to eat from the meat of the sacrificed cow which is a twin of her mother. One of the remarkable features of the totems is prohibition of eating them. This totemic force is a Mah-Pishani helper to the prosperity. _ River: the hero of this tale has touched water and passed from it in two fundamental sections of the tale that brought her with new different birth. Waters, fountains and rivers have been worshiped in ancient days and linked to fertility, gestation and blessing. Water has been a symbol of revitalization and new birth. The author, after exploring the archetypes and motifs of Mah-Pishani, has concluded the historical and religious sediments of Paleolithic Age (Hunting Age), Neolithic Age (Matriarchy Age), ancient Aryan and Zoroastrian religions on its frame. Mah-Pishani is one of the most known Iranian popular tales that has been narrated by the folklorists frequently and printed by several of them. Sobhi-Mohtadi, from narrators of it, says the history of Mah-Pishani turns back to pre-Islamic periods, but he does not present any reason for his claimed hypothesis. In this research, the author has selected the Ahmad Shamloo’s narration of this tale and explored in ancient layers of it. Firstly the structural components of the tale have been explained based on Prop’s Morphology theory, but the author has not limited himself only to reporting and explaining the narrative structures, rather he traced the characters and their functions in Iranians’ myth, history and culture and has proved their ancient roots clearly. In this article, the roots of these symbols, motifs and archetypes have been analyzed: _Stepmother: in Mah-Pishani, Molla-Baji is a stepmother of Mah-Pishani. The story of villain stepmother and her stepdaughter that unlike the desire of her stepmother succeeds to the prosperity is one of the universal motifs of the tales, as it would be seen in Cinderella tale. _ Hero and Anti-hero and Helpers: Mah-Pishani is a heroine, Molla-Baji is an anti- heroine and Cow and Demon are helper characters. The archetypes of hero and anti-hero and helpers could be traced in anthological battle between Ormazd and Evil and their helpers in Iranian culture. _ Women Functionalists: it could be found evidently and easily in the tale of Mah-Pishani, a passive, neutral and lack of function presence of man gender in this tale. So it would be a remembrance derived from Matriarchy Age. _ burying the bones of victim: from the very deep points of the tale, is a Demon’s command to the heroine of the tale to bury the bones of the sacrificed cow. This point is a key motif that builds to the paleontology and historical antiquity of the tale. Mankind of the hunting age that found his life depending on the survival of animal kinds buried the bones of hunted animal in to the soil so that animal would have another life and its generation not to become extinct. _ Demon: in this tale Demon functions as a generous and then helper character and takes distance from conceptual and semantic field of villainy that is associative of Demon’s character. This discrepancy should be traced in religion and society of ancient Aryans. The word Demon means originally means God, but after the appearance of Zoroaster in Iran and the introduction of Ormazd as a God, Demon’s meaning changed to the devil. _ Cow: Mah-Pishani’s mother stays in seventh jar and then becomes a yellow cow. Cow in Iranian myths is a blessed and sacred symbol. Certainly in the tale, cow is reckoned a totem for Mah-Pishani, because Demon advises to her not to eat from the meat of the sacrificed cow which is a twin of her mother. One of the remarkable features of the totems is prohibition of eating them. This totemic force is a Mah-Pishani helper to the prosperity. _ River: the hero of this tale has touched water and passed from it in two fundamental sections of the tale that brought her with new different birth. Waters, fountains and rivers have been worshiped in ancient days and linked to fertility, gestation and blessing. Water has been a symbol of revitalization and new birth. The author, after exploring the archetypes and motifs of Mah-Pishani, has concluded the historical and religious sediments of Paleolithic Age (Hunting Age), Neolithic Age (Matriarchy Age), ancient Aryan and Zoroastrian religions on its frame.

https://liar.ui.ac.ir/article_21405_7d3d72b1d3ec6e589929a43e1bf4fa52.pdf

University of Isfahan Literary Arts 20088027 9 1 2017 04 21 ‏The study of Taskin inverse choice ‏The study of Taskin inverse choice 161 172 21400 10.22108/liar.2017.21400 FA Majid Sarmadi Assistant Professor of Persian Language and Literature, Payame Noor University, Karaj, Iran Mahdi Sha'bani M.A Graduated of Persian Language and Literature, Payame Noor University, Karaj, Iran Journal Article 2014 12 01 Taskin is one of the authorities of poesy in which the poet can use a long syllable ‎instead of two short syllables, but taskin inverse choice (the two short ‎syllables instead of one long syllable) is not true, in terms of prosody ‎researchers. However, in the poetry of the old and more recent periods, ‎poetry is seen where taskin inverse choice have been used‏.‏ Taskin inverse, although apparently in imitation of Arabic poetry ‎‎(transformation a Mafaeelon to Mafaelaton) but often are used in revolving ‎meters (dawri) that specific for Persian poetry and through vav (o) e gheyr e ‎dawri, with transformation a long syllable center hemistich into two short ‎syllables, the meters of “ouble Mafoul o Faelaton” has changed to the ‎‎“Mafoul Faelat o Mafaeel o Faelaton” that as history in the lyrics of Moezzi, ‎Attar and Awhadi and especially Khaghani, and also this option of meters ‎Hazaj e Akhrab”Double Mafoul o Faelaton” is evident in the poems of ‎Khaghani & Ghavvami. Taskin inverse choice sometimes has applied to ‎elements of Mafaylon and Mafolon and changed this elements to Mafaelaton ‎and Moftaelon that is used in poetry of Molavi and Hazin Lahiji.‎ This paper, examining the various poetical works, concludes as follows: For distinguishing whether or not the dawri of the poetries that has mixed ‎meters with dawri and non-dawri is relying on the couplets dominant ‎meter, First, we recognize original meter if the original meter was non‏ ـ ‏dawri should applied dawri for other couplets, and this is the result of ‎Taskin choice usage. This blending in Mozare e Akhrab verb root meter, ‎observed in the poems of Anvari, Khaghani, Athir and Seyf, that by use of ‎Taskin in the middle of some non‏ ـ ‏dawri verses with meters “Mafoul o ‎Faelat o Mafaeel o Faelaton” changed their meter to dawri “Double Mafoul ‎o Faelaton”. This subject is more fancy than musical. But if the original ‎meter was non-dawri, should be verses meter that are dawri the result of ‎Taskin choice usage.‎ Sometimes, poets by using Taskin inverse choice in the middle of some ‎dawri verses, and cause them to become non-dawri, and have been ‎combining two meters in a poem. The musical fancy in Hazaj e Akhrab ‎meter “Double Mafoul o Mafaeelon” is evident in Khaghani & Ghavvami’s ‎lyrics and also has seen in the Mozar e Akhrab verb root meter “Double ‎Mafoul o Faelaton” in poetry of Moezzi, Attar and Awhadi and above all in ‎Khaghani’s poetry. Taskin inverse choice is more evident in Khorasani style ‎poetry and in odes more yield from the non-dawri “vav” (o) that can be ‎removed “vav” (o) which became a fancy and writing, changed the meter to ‎dawri for more melodious. In that case, the reduced heavy meter and meters ‎of both lines was dawri. In sonnets mostly the word of the middle verses ‎connects the last syllable of the second pillar to the first syllable of the third ‎pillar. Thus Manipulation hypothesis scribes, the “vav” (o) in the middle of ‎the hemistich, is null at least in these sonnets.‎ Taskin inverse choice or to follow the Arab prosody or unconsciously, are ‎used in Mafaeelon element in Mawlawī poetry and in poetry Mafoulon ‎pillar doleful and some contemporary poets. This choice in pillar is ‎permissible under two conditions: first, that it does not become irregular ‎pillar, but to become the same pillar. Such as: Mafaeelon to Mafaelaton or ‎Mafoulon to Moftaelon. Second, it was not be in place rhyming because ‎may change rhyme syllables. Taskin is also for the same reason, should ‎not occur in the rhyme syllable and if does, he should be upheld in all verses ‎couple.‎ By accepting the fact that “Mostafel o Mostafel o Mostafal o Fa” is the ‎original meters of quatrain, the problem of Taskin inverse choice is canceled ‎in quatrain meter.‎ Taskin is one of the authorities of poesy in which the poet can use a long syllable ‎instead of two short syllables, but taskin inverse choice (the two short ‎syllables instead of one long syllable) is not true, in terms of prosody ‎researchers. However, in the poetry of the old and more recent periods, ‎poetry is seen where taskin inverse choice have been used‏.‏ Taskin inverse, although apparently in imitation of Arabic poetry ‎‎(transformation a Mafaeelon to Mafaelaton) but often are used in revolving ‎meters (dawri) that specific for Persian poetry and through vav (o) e gheyr e ‎dawri, with transformation a long syllable center hemistich into two short ‎syllables, the meters of “ouble Mafoul o Faelaton” has changed to the ‎‎“Mafoul Faelat o Mafaeel o Faelaton” that as history in the lyrics of Moezzi, ‎Attar and Awhadi and especially Khaghani, and also this option of meters ‎Hazaj e Akhrab”Double Mafoul o Faelaton” is evident in the poems of ‎Khaghani & Ghavvami. Taskin inverse choice sometimes has applied to ‎elements of Mafaylon and Mafolon and changed this elements to Mafaelaton ‎and Moftaelon that is used in poetry of Molavi and Hazin Lahiji.‎ This paper, examining the various poetical works, concludes as follows: For distinguishing whether or not the dawri of the poetries that has mixed ‎meters with dawri and non-dawri is relying on the couplets dominant ‎meter, First, we recognize original meter if the original meter was non‏ ـ ‏dawri should applied dawri for other couplets, and this is the result of ‎Taskin choice usage. This blending in Mozare e Akhrab verb root meter, ‎observed in the poems of Anvari, Khaghani, Athir and Seyf, that by use of ‎Taskin in the middle of some non‏ ـ ‏dawri verses with meters “Mafoul o ‎Faelat o Mafaeel o Faelaton” changed their meter to dawri “Double Mafoul ‎o Faelaton”. This subject is more fancy than musical. But if the original ‎meter was non-dawri, should be verses meter that are dawri the result of ‎Taskin choice usage.‎ Sometimes, poets by using Taskin inverse choice in the middle of some ‎dawri verses, and cause them to become non-dawri, and have been ‎combining two meters in a poem. The musical fancy in Hazaj e Akhrab ‎meter “Double Mafoul o Mafaeelon” is evident in Khaghani & Ghavvami’s ‎lyrics and also has seen in the Mozar e Akhrab verb root meter “Double ‎Mafoul o Faelaton” in poetry of Moezzi, Attar and Awhadi and above all in ‎Khaghani’s poetry. Taskin inverse choice is more evident in Khorasani style ‎poetry and in odes more yield from the non-dawri “vav” (o) that can be ‎removed “vav” (o) which became a fancy and writing, changed the meter to ‎dawri for more melodious. In that case, the reduced heavy meter and meters ‎of both lines was dawri. In sonnets mostly the word of the middle verses ‎connects the last syllable of the second pillar to the first syllable of the third ‎pillar. Thus Manipulation hypothesis scribes, the “vav” (o) in the middle of ‎the hemistich, is null at least in these sonnets.‎ Taskin inverse choice or to follow the Arab prosody or unconsciously, are ‎used in Mafaeelon element in Mawlawī poetry and in poetry Mafoulon ‎pillar doleful and some contemporary poets. This choice in pillar is ‎permissible under two conditions: first, that it does not become irregular ‎pillar, but to become the same pillar. Such as: Mafaeelon to Mafaelaton or ‎Mafoulon to Moftaelon. Second, it was not be in place rhyming because ‎may change rhyme syllables. Taskin is also for the same reason, should ‎not occur in the rhyme syllable and if does, he should be upheld in all verses ‎couple.‎ By accepting the fact that “Mostafel o Mostafel o Mostafal o Fa” is the ‎original meters of quatrain, the problem of Taskin inverse choice is canceled ‎in quatrain meter.‎

https://liar.ui.ac.ir/article_21400_d8422fa393bdaa433d441be55de26983.pdf

University of Isfahan Literary Arts 20088027 9 1 2017 04 21 Serenading prologues in Shahnameh Serenading prologues in Shahnameh 173 186 21407 10.22108/liar.2017.21407 FA Mahmmoud Abbasi Associate Professor of Persian Language and Literature, University of Sistan and Baluchestan, Zahedan, Iran Yaghoub Fouladi Ph.D Student of Persian Language and Literature, University of Sistan and Baluchestan, Zahedan, Iran Journal Article 2015 07 15 When we look deeply at the structure of Iranian famous letter–Shahnameh of Ferdowsi- it becomes clear that besides its stable and rigid content, format and process of narration of its stories are also done scholarly and intelligently. The prologues of the stories are one of the most effective methods in the disciplined structure of stories. From among numerous numbers of story prefaces in Shahnameh, there are ten of them that are exhaustive prologue; three of which are more alike in structure and have some differences with other ones. These three prefaces include prologues of “KeyKhosrow”, “Rostam and Esfandyar”, and Kingdom of Hormozd” stories, which have a similar structure with Serenading. They have obvious similarities with Serenading in: a) number of verses, b) theme, situation, narration, and their characteristic, which recall the first Serenading of odes to mind. So, we can say that the three mentioned prefaces have some features in common both in prologue and serenading. According to the structure (number of verses, pseudonym verse, subject, narration and characteristic), they are like serenading and, from the aspect of prophecy, they take the burden of prologue. These three serenading prologues, however, have some differences with ode serenading. They should have an amount of indirect and summarized expression of the text because they have the prophecy of being a prologue; on this basis, the story they narrate on the ground of nature is allegorical and the natural characters used within them are symbols of the original characters of the story which symbolically express the sense of the story. The concept of these primary verses is somehow close to the whole text of the story; so, after reading them, we understand the feelings of happiness and sorrow which we would confront with in the whole text. But, ode serenading has not such a prophecy, since the main purpose of serenading is to create interest and emotion in the reader about the principal intention of the poet. There are three reasons why such prologues exist in Shahnameh: first, era of Ferdowsi; because in this era, Samanids and Ghaznavids, poetry in the genre of Khorasani was in its highest place and all around Iran and Khorasan was full of poets and poetry. Second, the genre of Khorasani poetry. The main sense of this genre was ode and the related poets had a realistic and concrete view to the surrounding nature. It is good to say about the mentioned factors that living in an environment which is full of poetry would irresistibly affect the poets and their sensations. The third factor is the entire familiarity of Ferdowsi with the poetic genres and poetry technics of his era. All of these factors had affected Ferdowsi’s serenading and Khorasani genre of poetry. A point to add is the fact that the art of prologue is not the result of serenading ode. However, this is not separated from serenading ode and hasn’t been changed. Such an art has been existed independently and had been used in the poems, but without any special name until the 8th century which Khatib Ghazvini in his summary of “Meftah al-Olum” of Sakaki with the title of ”Talkhis al-Meftah fi al-ma’ani val bayan val badie’” called it prologue. When we look deeply at the structure of Iranian famous letter–Shahnameh of Ferdowsi- it becomes clear that besides its stable and rigid content, format and process of narration of its stories are also done scholarly and intelligently. The prologues of the stories are one of the most effective methods in the disciplined structure of stories. From among numerous numbers of story prefaces in Shahnameh, there are ten of them that are exhaustive prologue; three of which are more alike in structure and have some differences with other ones. These three prefaces include prologues of “KeyKhosrow”, “Rostam and Esfandyar”, and Kingdom of Hormozd” stories, which have a similar structure with Serenading. They have obvious similarities with Serenading in: a) number of verses, b) theme, situation, narration, and their characteristic, which recall the first Serenading of odes to mind. So, we can say that the three mentioned prefaces have some features in common both in prologue and serenading. According to the structure (number of verses, pseudonym verse, subject, narration and characteristic), they are like serenading and, from the aspect of prophecy, they take the burden of prologue. These three serenading prologues, however, have some differences with ode serenading. They should have an amount of indirect and summarized expression of the text because they have the prophecy of being a prologue; on this basis, the story they narrate on the ground of nature is allegorical and the natural characters used within them are symbols of the original characters of the story which symbolically express the sense of the story. The concept of these primary verses is somehow close to the whole text of the story; so, after reading them, we understand the feelings of happiness and sorrow which we would confront with in the whole text. But, ode serenading has not such a prophecy, since the main purpose of serenading is to create interest and emotion in the reader about the principal intention of the poet. There are three reasons why such prologues exist in Shahnameh: first, era of Ferdowsi; because in this era, Samanids and Ghaznavids, poetry in the genre of Khorasani was in its highest place and all around Iran and Khorasan was full of poets and poetry. Second, the genre of Khorasani poetry. The main sense of this genre was ode and the related poets had a realistic and concrete view to the surrounding nature. It is good to say about the mentioned factors that living in an environment which is full of poetry would irresistibly affect the poets and their sensations. The third factor is the entire familiarity of Ferdowsi with the poetic genres and poetry technics of his era. All of these factors had affected Ferdowsi’s serenading and Khorasani genre of poetry. A point to add is the fact that the art of prologue is not the result of serenading ode. However, this is not separated from serenading ode and hasn’t been changed. Such an art has been existed independently and had been used in the poems, but without any special name until the 8th century which Khatib Ghazvini in his summary of “Meftah al-Olum” of Sakaki with the title of ”Talkhis al-Meftah fi al-ma’ani val bayan val badie’” called it prologue.

https://liar.ui.ac.ir/article_21407_4ec01a10046077a34d14a9989ac5b967.pdf

University of Isfahan Literary Arts 20088027 9 1 2017 04 21 History and species of autobiography in Ancient Persia History and species of autobiography in Ancient Persia 187 202 21406 10.22108/liar.2017.21406 FA Khavar Ghorbani Assistant Professor of Persian Language and Literature, Mahabad Islamic Azad University, Mahabad, Iran Edris Islami Assistant Professor of Educational Sciences, Mahabad Islamic Azad University, Mahabad, Iran Journal Article 2015 07 22 Autobiography is one of the genres that have been neglected in the researches of Persian literature; While Persian literature is full of examples of autobiography and if we want to refer to provided history of this genre in Persian literature, we will get Ghazzali and Avicenna. We see many examples of this genre in our ancient Iranian culture and literature that language and literary characteristics of them indicate the authenticity and origin of this genre in our culture and literature. Therefore, this article introduces and discusses examples of this genre in ancient Persia. The inscriptions and books of ancient Persia which have autobiographical traits are statistical population of the study. However, because of the varieties of inscriptions only style and narration of three inscriptions of the kings of Achaemenid and Sassanid; Cyrus, Darius and first Shapour have been investigated and the autobiography of "Mani" and one of the priests of the Sassanid period called "Kartir", have been analyzed from amongst the books of this genre. Methods of this article at first will be checking the content of these records and a compare and classification of their themes, then, index elements of structure of the autobiographies such as Narratology, characters, time and place will be discussed. Results show that we must search the first of autobiographies in ancient Persia. They have been published in the form of inscriptions from kings of this period. They also fit with the culture of that time when ideal king was selected based on the principle of race, culture and art. For this reason, king highlighted these three principles in his autobiography. The second category that has a fundamental role in the creation of this genre is religious figures such as Kartir and Manny. So we have mentioned two kinds of political and religious ancient Iranian autobiography. Structure of autobiographies in ancient Persia is so similar that they can be considered like modern forms – their questions are clear and autobiographer just fills them out. This implies the formality of this kind of writing in ancient Persian's courts, So that the structure does not change even by the change in the position of autobiographer. For example, "Kartir" has written structure of his writing inscriptions like kings of ancient Iran in the form of text and epilogue but they are different in terms of content, because the content is affected by his position and experience. Autobiography is one of the genres that have been neglected in the researches of Persian literature; While Persian literature is full of examples of autobiography and if we want to refer to provided history of this genre in Persian literature, we will get Ghazzali and Avicenna. We see many examples of this genre in our ancient Iranian culture and literature that language and literary characteristics of them indicate the authenticity and origin of this genre in our culture and literature. Therefore, this article introduces and discusses examples of this genre in ancient Persia. The inscriptions and books of ancient Persia which have autobiographical traits are statistical population of the study. However, because of the varieties of inscriptions only style and narration of three inscriptions of the kings of Achaemenid and Sassanid; Cyrus, Darius and first Shapour have been investigated and the autobiography of "Mani" and one of the priests of the Sassanid period called "Kartir", have been analyzed from amongst the books of this genre. Methods of this article at first will be checking the content of these records and a compare and classification of their themes, then, index elements of structure of the autobiographies such as Narratology, characters, time and place will be discussed. Results show that we must search the first of autobiographies in ancient Persia. They have been published in the form of inscriptions from kings of this period. They also fit with the culture of that time when ideal king was selected based on the principle of race, culture and art. For this reason, king highlighted these three principles in his autobiography. The second category that has a fundamental role in the creation of this genre is religious figures such as Kartir and Manny. So we have mentioned two kinds of political and religious ancient Iranian autobiography. Structure of autobiographies in ancient Persia is so similar that they can be considered like modern forms – their questions are clear and autobiographer just fills them out. This implies the formality of this kind of writing in ancient Persian's courts, So that the structure does not change even by the change in the position of autobiographer. For example, "Kartir" has written structure of his writing inscriptions like kings of ancient Iran in the form of text and epilogue but they are different in terms of content, because the content is affected by his position and experience.

https://liar.ui.ac.ir/article_21406_aac00b5ece66f3beb0923a9da1b186ca.pdf

University of Isfahan Literary Arts 20088027 9 1 2017 04 21 Prosodic Function Row in Persian Poetry Prosodic Function Row in Persian Poetry 203 214 21402 10.22108/liar.2017.21402 FA Majid Mansouri Assistant professor of Persian Language and Literature, Bu-Ali Sina university, Hamedan, Iran Journal Article 2015 02 03 One of the single most important functions of the row- that is, compliance between different words and different rhymes- that provide them with some prosodies, have not been investigated yet. in other words, Row gives freedom to the word rhyme that gives the word the ability to move across the continuum of musical rhyme and even closer to the beginning of the second line. According to the same row function, Words that cannot be used as rhyme in specific prosody might be pushed to be put the position corresponding to the prosody they are. For example, words (Jahan, Ravan, Javan, etc.) in the prosody of Motagharaeb Mosamman Salem, (without row or letters of Vasl, Khorooj, Nayereh ) cannot be placed in the position of rhyme, so by bringing an "ی" or "ر" an the like at the end of them, these words can be used in place of the words rhyme in this prosody. A cursory examination of the first period of Persian poetry, we can see that in a lot of poems, row serves as an anchor that moves rhyme words in order to reconcile them with some prosodies. In this article, we briefly discuss this basic function of row and shown that even in the short sonnets that rhymes do not need to be in there, some kinds new rhyming words with different prosodies of the row is used. Today far more extensive studies have been conducted on one of the unique characteristics of Persian poetry- the row. The basic and similar structure of all these researches is due to the formal, statistical, grammarial and sometimes musical aspects of the row have been formed by poets in their poetries. The main reason for the emergence of rows in Persian poetry is its prosodic function that has already been paid less. I just found something in the book Ghosn al-ban which the author had some similar view to the row. In this study, we made our attempt to show another reason for the entry and spread of the row in Persian poetry by means of a new approach. It should also be noted that in these lines to avoid as much as possible the repetitive and stereotyped points regarding the row. One of the single most important functions of the row- that is, compliance between different words and different rhymes- that provide them with some prosodies, have not been investigated yet. in other words, Row gives freedom to the word rhyme that gives the word the ability to move across the continuum of musical rhyme and even closer to the beginning of the second line. According to the same row function, Words that cannot be used as rhyme in specific prosody might be pushed to be put the position corresponding to the prosody they are. For example, words (Jahan, Ravan, Javan, etc.) in the prosody of Motagharaeb Mosamman Salem, (without row or letters of Vasl, Khorooj, Nayereh ) cannot be placed in the position of rhyme, so by bringing an "ی" or "ر" an the like at the end of them, these words can be used in place of the words rhyme in this prosody. A cursory examination of the first period of Persian poetry, we can see that in a lot of poems, row serves as an anchor that moves rhyme words in order to reconcile them with some prosodies. In this article, we briefly discuss this basic function of row and shown that even in the short sonnets that rhymes do not need to be in there, some kinds new rhyming words with different prosodies of the row is used. Today far more extensive studies have been conducted on one of the unique characteristics of Persian poetry- the row. The basic and similar structure of all these researches is due to the formal, statistical, grammarial and sometimes musical aspects of the row have been formed by poets in their poetries. The main reason for the emergence of rows in Persian poetry is its prosodic function that has already been paid less. I just found something in the book Ghosn al-ban which the author had some similar view to the row. In this study, we made our attempt to show another reason for the entry and spread of the row in Persian poetry by means of a new approach. It should also be noted that in these lines to avoid as much as possible the repetitive and stereotyped points regarding the row.

https://liar.ui.ac.ir/article_21402_cabf657c667466d644d9c923d5fea0ec.pdf