دانشگاه اصفهان فنون ادبی 20088027 16 1 2024 03 20 Analyzing Farabi's Artistic Theory in Poetic Creation in the Field of Poetic Industry Based on Russian Formalism Approach واکاوی نظریة هنری فارابی در حوزة صنعت شعری برمبنای رویکرد صورت‌گرایی روسی 1 22 28196 10.22108/liar.2024.139318.2320 FA شلیر احمدی دانشجوی دکتری زبان و ادبیات عربی، دانشکده ادبیات و علوم انسانی، دانشگاه شهید بهشتی، تهران، ایران. حجت رسولی استاد گروه زبان و ادبیات عربی، دانشکده ادبیات و علوم انسانی، دانشگاه شهید بهشتی، تهران، ایران. Journal Article 2023 10 16 Al-Farabi, a prominent Muslim philosopher and thinker of the 4th century Hijri, made significant contributions to the philosophy of art, particularly in the realm of poetry. Al-Farabi's perspective on poetry echoes Aristotle's concept of "Mimesis," which emphasizes the re-creation of observed phenomena rather than mere imitation, resulting in the enjoyment of a new artistic creation. This viewpoint positions literary works as independent phenomena. This article sought to investigate the extent to which Al-Farabi's ideas aligned with formalism, given his influence by Aristotle. Employing a descriptive method and content analysis, the study drew on the insights of Russian Formalists, particularly regarding Mimesis (re-creation), to analyze Al-Farabi's artistic views on poetry. The examination encompassed several works of Al-Farabi, including "An Essay on the Rules of Poetry", "Poetry Collections", "A Treatise on Proportion and Composition", as well as poetic speeches from "Iihsa’ Aleulum", "Ara’ Ahl Almadinat Alfadhila", and "Fusul al-Montazaea". By scrutinizing the perspectives of experts, who considered ancient Greek critics, such as Aristotle, as formalists, alongside the views of Al-Farabi, a prominent figure in Arabic literary criticism, and by delving into Al-Farabi's own works and opinions, it became evident that formalism strongly influenced Al-Farabi's notions regarding the poetry industry. Keywords: Ancient Literary Criticism, Farabi, Aristotle, Mimesis, Formalism. Introduction In the realm of poetry, Farabi's approach has diverged from that of many other writers as he did not produce an extensive independent work on poetry criticism. Instead, his legacy comprises a reinterpretation of Aristotle's perspectives. If we can establish Aristotle's predominant stance on poetry, it can also be inferred as Farabi's prevailing approach. Esteemed authors, such as Jane Riesman and Wilfred Greene, among others, have asserted that "in classical art and aesthetics, there is substantial evidence indicating a preoccupation with form" (Risman et al., 2021, p. 110). Specifically referencing Aristotle, they note that in his "Butiqa", Aristotle has advocated for the arrangement of parts to form a harmonious whole or organism (ibid.). These statements about Aristotle suggest a formalistic inclination in his approach. Aristotle's emphasis on evaluating poetry based on internal textual criteria rather than external factors and his refusal to assign didactic value to poetry can be viewed as indicative of his formalistic perspective. Additionally, in the book "Philosophy of Aristotle's Art", Mohammad Zimran posits that Aristotle's concept of order corresponds to the proper arrangement of components later conceptualized as "form" (Zaymaran, 2009, p. 42). These studies underscore Aristotle's formalistic approach, prompting the question of the extent to which Farabi's reiteration of Aristotle's thoughts aligns with a formalistic interpretation. Therefore, this article aimed to elucidate Farabi's perspective and approach to art, particularly in the context of poetry. Materials & Methods A preliminary examination of experts' perspectives on Aristotle, ancient Greek criticism, and ancient Arabic criticism suggested that since Aristotle, as a representative of his era's criticism, was labeled a formalist and given that Farabi's ideas represented another iteration of Aristotle's works, it followed that Farabi's approach to poetry could be viewed through the lens of formalism. To thoroughly investigate Farabi's works and analyze his viewpoints within the formalist framework, we had to carefully scrutinize his writings and juxtapose them with Aristotle's approach to ascertain the alignment of Farabi's opinions. To achieve this, we employed a descriptive method-content analysis rooted in the principles of Russian formalism. The extracts from some of Farabi's works, including "al-Risalah fi Qavanin Sana’at al-Sho’ara", "Javami al-Sha’ar", "Risalah fi al-Tanasob va al-Ta’alif", as well as poetic discourses from "Ihsa al-Ulum" and "Ara Ahl al-Madinah al-Fadhilah", were meticulously examined to reveal and probe Farabi's viewpoints. In contrast to the prevailing tradition of studying literature, which often involves interdisciplinary connections with fields, such as history, sociology, and psychology, Russian formalism, which emerged in the early 20th century, emphasized the distinct characteristics of literature (Makaryk, 2011, p. 198). Consequently, the fundamental tenets of their theory, such as literaryness and defamiliarization, were the primary focus of our discussion in this article. By considering the literaryness of the text in literary analysis and exploring the process of defamiliarization, we aimed to substantiate a formalist perspective. Research Findings According to Farabi, the creation of poetry involved two primary elements: Mimesis and Rhyme. Farabi posited that Mimesis forms the foundation of poetry with other elements serving to perfect the poem rather than adding more poetry to it. In the initial stage, Mimesis is achieved through imagination, which corresponds to semantic construction and other elements related to language construction aid in perfecting Mimesis. The literary form comprises semantic and linguistic constructions. Similar to Aristotle, Farabi offered a distinct explanation of how the literary form of poetry is shaped and how poetry acquires its unique character. Farabi contended that the human soul favors complexity over simplicity and comprehends meanings more effectively when presented in a different form. This distinct form of word combination is achieved through appropriate rhyme, tone, and rhythms, which intensify the transmission of imagination in speech. This section elucidated how the literary form was shaped according to Farabi and the significance of the literary form in the relationship between word and meaning or matter and form. From Farabi's perspective, the essence of a literary work lay in the creation of imagination and Mimesis, which, according to formalists, was akin to defamiliarization, a concept that represented an evolved form of what philosophers previously referred to as Mohakat. Discussion of Results & Conclusion 1) Firstly, Farabi's profound influence by Aristotle, who is considered the greatest commentator of, and secondly, Aristotle's formalist approach affirmed Farabi's approach as formalist. This conclusion was drawn from the insights of experts and the works of Aristotle and Farabi. In essence, both Aristotle and Farabi espoused a formalist approach. 2) The examination of Farabi's surviving works, such as "al-Risalah fi Qavanin Sana’at al-Sho’ara", "Javami al-Sha’ar", "Rasalah fi al-Tanasob va al-Ta’alif", "poetic discourses from Ihsa al-Ulum", and "Ara Ahl al-Madinah al-Fadilah", alongside the extraction of expressions and opinions about Farabi from various reliable sources, led to the discovery that Farabi indeed adopted a formalistic approach as indicated by his own writings and previous studies by expert researchers. 3) Upon careful examination of Farabi's viewpoints, it became evident that his moral, educational, and cognitive objectives for poetry did not diminish his attention to the structure and form of poetry. Farabi's detailed discussions on the language of poetry, Mimesis, the conditions and factors of artistic expression, imagination and rhetorical techniques, as well as the musicality of words, demonstrated that his focus on the epistemological functions and the impact and influence of the text and social factors aligned with formalism rather than contradicting it. فارابی ازجمله فیلسوفان و اندیشمندان مسلمان قرن چهارم هجری است که نظریاتی در حوزة فلسفة هنر به‌طور خاص دربارة شعر دارد. آراء فارابی روایتی دیگر از بوطیقای ارسطوست. ارسطو در بوطیقای خویش از محاکاتی سخن می‌گوید که هدف از آن تقلید صرف نیست؛ بلکه باز‌آفرینی و لذت از اثر هنری جدید است و اثر ادبی را چون پدیده‌ای مستقل می‌بیند. حال مسئله این است که باوجود صورت‌گراخواندن ارسطو ازسوی برخی محققان و بدیهی‌بودن تأثیر‌پذیری فارابی از وی تا چه میزان می‌توان آراء فارابی را متمایل به صورت‌گرایی دانست. به این منظور در این مقاله دیدگاه هنری فارابی درباب شعر، به‌ویژه محاکات (باز‌نمایی) با استفاده از روش توصیفی‌تحلیلی محتوا برمبنای آراء صورت‌گرایان روس بررسی شده است. این بررسی با مراجعه به برخی آثار وی ازجمله «مقالة فی قوانین صناعة الشعراء»، «جوامع‌الشعر»، «رسالة فی التناسب و ‌التألیف»، گفتارهای شعری از إحصا‌ العلوم، آراء أهل المدینة الفاضلة، فصول منتزَعَة انجام شده است. با بررسی دیدگاه صاحب‌نظران دربارة صورت‌گرادانستن ناقدان قدیم یونان از جمله ارسطو و ناقدان قدیم ادب عربی ازجمله فارابی همچنین با مروری بر دیدگاه‌های ارسطو که فارابی را بزرگ‌ترین شارح آثار وی می‌دانند و نیز با مراجعه به آثار و آراء خود فارابی و تبیین آنها این نتیجه حاصل شد که رویکرد غالب بر آراء فارابی دربارة صنعت شعر صورت‌گرایی است.

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دانشگاه اصفهان فنون ادبی 20088027 16 1 2024 03 20 Mustazad from a Literary Device to a Form مستزاد از صنعت تا قالب 23 36 28478 10.22108/liar.2024.140963.2369 FA قربان ولیئی دانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه زنجان، زنجان، ایران حسین بخشی استادیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه زنجان، زنجان، ایران سعید توکلی دانشجوی دکتری زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه زنجان، زنجان، ایران Journal Article 2024 03 15 The general opinion is that Mustazad entered the field of literature as a form of poetry from the beginning, a form that did not receive much attention until the constitutional period. Today, this causes some difficulties in defining and classifying its types. A review of literature shows that the name of Mustazad was not mentioned in any of the literary texts until the 9th century. But after this date, the term Mustazad was introduced only in books related to rhetoric and other literary arrays, and some writers started dividing it. It is placed as a poetic array in the book Dorra Najafi (1330 AH) for the first time next to forms such as ode, sonnet, etc. After this book, the term Mustazad enters the realm of poetic forms. Most of the writers who started writing rhetorical books after Najafgholi Mirza followed the path, which has continued until today. In the present study, we intend to prove the truth of the claim that Mustazad has been transformed from a literary array to a poetic form by examining ancient and contemporary sources as much as possible. We also try to show the course of this evolution. Keywords: Persian Poetry, Constitutional Era Poetry, Poetic Forms, Literary Devices, Mustazad. Introduction In rhetorical texts, we sometimes come across terms that we have carelessly passed by many times, without having the correct image and definition of that term in mind. "By examining rhetorical books, we can clearly understand that for many categories and essays in the realm of rhetoric, it is not possible to give a comprehensive definition" (Rukhshandehmand & Fouladi, 2023, p. 60). One of these terms is mustazad, which is mentioned as a poetic form in all literary books after the Constitutional Era. Even though Mustazad has been one of the most popular poetic forms since the Constitutional Era and considerable works have been written about it, little attention has been paid to it in contemporary rhetorical books. Even great professors like Allameh Homaei end the topic with a short and general definition. This has caused the initial form of Mustazad and its origin to be neglected. The subject of Mustazad can be the subject of research in two ways: 1) in terms of defining and dividing its types, which few studies in this field have taken such an approach; 2) from the point of view of the origin of Mustazad and finding a reason for its diversity and multiplicity. In the current research, we have followed the second view to address the origin of Mustazad. Materials and Methods We first examine the most important books on literary techniques, from the past to the present, to capture the first signs of the emergence of Mustazad. Then, we will examine them to find sufficient reasons to prove our claim. In this way, we will use the library method in this research. Research Findings The results show that before it was known as a poetic form, Mustazad was a literary device that was occasionally used along with other literary arrays. An underused literary device that mostly had a technical aspect or was used only in certain circles. Due to the fact that additional parts can be added after the poem is written, it is likely that mustazad could be attributed to Abu Said, Attar, and Rumi. This term has been introduced as a form since the Constitutional Era. Discussion of Results and Conclusion In his book ‘The History of Arabic Literature’, Umar Farrukh quotes a poem by Abdul Muttalib, the Prophet's grandfather, which is Mustazad. Farroukh writes that after the attack of Abraha, Abdul Muttalib visited the door of the Kaaba and sang like this: لاهُمّ، انّ العبد یمنع رحله فامنَع حلالک لا یغلبن صلیبهم و محالهم عدواً محالک اِن کنت تارکهم و قبلتنا فامراً ما بدا لک (Faroukh, 1981, p. 151) Although the author does not mention Mustazad, this poem can be the reason for the prevalence of Mustazad in Arab literature before Islam. We should point out that Mustzad is called ‘Mardouf’ in Arabic poetry, and it seems that the term ‘Mustazad’ was created by Iranian writers because such a term is not found in any Arabic source. In the Persian texts of the first centuries, Mustazad has not been mentioned. Radoviani's Tarjoman al-Balagha and Rashid al-Din Vatvat’s Hadaiq al-Sehr fi Daghaegho al-SHer did not deal with the subject of Mustazad. Of course, nothing has been said about poetic forms. Shamsuddin Qais Razi has not written anything about this topic. In the book Al-Mojam Fi Ma'ayir Al-Ashaar Al-Ajam, he deals with poetry in a chapter that refers to poetic forms. Four types of forms can be extracted from Qais Razi: ode, sonnet, masnavi, and quatrain. These four forms are the main and most used forms of Persian poetry, and most of the great literary works were written in these four forms. We notice that until the 8th century AH, there was no mention of Mustazad either as a form or as a literary device. For the first time, Rami Tabrizi mentions Mustazad and lists its types. It cannot be supposed that Mustazad is a form and comes among a poetry device, while there is no name of other forms. According to the results of this study, for the first time, Najafaqoli Mirza mentioned Mustazad in the topic of types of poetry in the Durra Najafi. He enumerates eleven types of forms in this order: sonnet, tashbib, ode, ghat’e, quatrain, frad, masnavi, tarjie, tarkib, musammat and mustazad. After him, Zoka al-Molk also places Mustazad in the section of poetic forms in his book Elm Badi. He calls this section "types of poetry" and refers to forms such as ode, sonnet, ghat’e, quatrain, dobeiti, tarjieband, musammat, mukhammas, and mustazad. In general, the innovative books after the Constitution have followed the path of Najafaqoli Mirza and Zoka al-Mulk. There is no mention of the background of Mustazad in these books. In addition, the haste and ambiguity in the definition, and not mentioning its various forms, is proof of the inaccuracy of the scholars in this regard. Among the contemporary writers, only Zainul Abdin Motamen realized that Mustazad was primarily a craft, not a form. In the book Evolution of Persian Poetry, it is said that: "This type of poetry was also common in ancient times, but it was not considered one of the official types of poetry and it was considered a kind of recommended poetic art" (Motamen, 1960, p. 118). In sum, we believe that Mustazad has been transformed from a literary device to a form for at least three reasons: 1) Mustazad is not mentioned as a form in any ancient text, and this term is seen only in original books; 2) Famous Persian poets, from Nizami to Saadi and Hafez, have written poems about Mustazad, and there is no valid document to attribute the three famous Mastazads to Abu Saeed, Attar, and Molana; 3) In Abdulghahar's Aruz Homayun, Mustazad is explicitly mentioned as a literary device. Besides, one of his contemporaries, Zainul Abdin Motamen, has pointed out this issue. تصور عموم چنین است که مستزاد از نخست به‌عنوان قالب شعری وارد حوزۀ ادبیات شده است، قالبی که تا دورۀ مشروطه چندان توجهی به آن نمی‌شد. امروزه این امر باعث برخی دشواری‌ها در تعریف و طبقه‌بندی انواع آن می‌شود. بررسی‌های ما نشان می‌دهد تا قرن نهم در هیچ‌یک از متون ادبی نامی از مستزاد به میان نیامده است؛ اما جالب است که پس‌از این تاریخ اصطلاح مستزاد تنها در کتاب‌های مربوط به بدیع و در کنار دیگر صنایع ادبی معرفی می‌شود و برخی از نویسندگان به تقسیم‌بندی آن دست می‌زنند. تا جایی که دریافته‌ایم نخستین‌بار در کتاب درّۀ نجفی (1362) مستزاد به‌عنوان یک قالب شعری در کنار قالب‌هایی چون قصیده، غزل و ... قرار گرفته است. دقیقاً پس‌از این کتاب اصطلاح مستزاد از مباحث بدیعی وارد قلمرو قالب‌های شعری می‌شود. اغلب نویسندگانی که پس‌از نجف‌قلی میرزا دست به نگارش کتاب‌های بلاغی زده‌اند راه درۀ نجفی را پیش گرفته‌اند که تا دورۀ حاضر نیز ادامه یافته است. با این توضیح که در جایی از این آثار اشاره‌ای به سابقه و خاستگاه مستزاد دیده نمی‌شود. ما در پژوهش حاضر، در حد وسع، با بررسی منابع کهن و معاصر، بر آنیم تا صحت این ادعا را اثبات کنیم که مستزاد از یک صنعت ادبی به یک قالب شعری دگرگون شده است. همچنین تلاش می‌کنیم سیر این تحول را نشان بدهیم

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دانشگاه اصفهان فنون ادبی 20088027 16 1 2024 03 20 A Study of the Rhetorical Effect of Reflecting Greco-Roman Mythological Characters in Afghanistan's Contemporary Poetry بررسی تأثیر بلاغی بازتاب شخصیت‌های اساطیر یونانی‌رومی در شعر معاصر افغانستان 37 56 28479 10.22108/liar.2024.140331.2342 FA محمد دانشگر استادیار گروه زبان و ادبیات فارسی دری، دانشکده تعلیم و تربیه، دانشگاه جوزجان، جوزجان، افغانستان 0000-0002-4266-437X سید علی قاسم زاده استاد گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه بین المللی امام خمینی (ره)، قزوین، ایران رضا چهرقانی دانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه بین المللی امام خمینی (ره)، قزوین، ایران Journal Article 2024 01 04 Myth is the poetic expression of great landscapes of nature and mysterious directors of natural and supernatural phenomena, which justifies the origin of human emotions with poetic vision and has rhetorical value with imaginative action. For this reason, myth, with its intertextual nature, has always been reproduced in literary works and has played a prominent role in the semantic, rhetorical, and aesthetic development of literary works. From the distant past until now, Persian language poets have paid attention to all kinds of myths, including Greco-Roman mythology, and have benefited from the diverse functions of these myths in the application of various concepts. Afghanistan's contemporary poets have reflected different concepts and benefited from the capacity of these myths, considering the reproduction of Greco-Roman mythology. Therefore, the current research, using a descriptive-analytical method, based on the intertextuality theory of Gérard Genette, examines the rhetorical effect of Greco-Roman mythology reflection in Afghanistan's contemporary poetry. The results of this research show that Afghanistan's poets have often reflected Greco-Roman mythology in the form of implied intertextuality. These poets have re-created myths to reflect social, romantic, mystical, didactical, resistance, and ideological concepts, as model, idealistic, and charismatic characters, in declarative and imperative sentences. Keywords: Afghanistan's Contemporary Poetry, Greco-Roman myths, Intertextuality, Gérard Genette. Introduction Literature is the mysterious house of myths, and myths are one of the most important sources of inspiration and fertility in literary creations, which, having a two-way relationship, help each other with different actions and functions in survival, continuity, and development. For this reason, literary works in terms of mythological rhetoric, are an endless treasure full of mythological elements, which myths over time, with ups and downs, in literature's different layers, have survived and helped to rebuild and change each other. On the other hand, myth is one of the components of world culture. It is recreated in written and oral works due to its symbolical value in imagination, in a symbolical, narrative, and imaginative form, in connection with the reflection of different concepts. This re-creation occurs due to the myth's intertextual nature, and poets create themes and images according to the different capacities of these culturalized narrating symbols. Greco-Roman myths, as a prominent part of the mythological elements of the world, have always been recreated in Persian poetry. For this reason, poets have reflected various concepts with the help of literary, rhetorical, and aesthetic capacities of these myths and have made optimal use of the role of such myths, with differences in approach. Afghanistan's contemporary poets have drawn different images with the help of Greco-Roman myths and have benefited from the diverse capacity of these myths in the semantic, aesthetic, literary, and rhetorical development of their poems. Materials and Methods This research analyzed the rhetorical effect of reflection of Greco-Roman mythological figures in Afghanistan's contemporary poetry. For this reason, in this research, the poems of Abdul Rahman Pazhwak, Bareq Shafiei, Abdul Hai Aryanpur, Asadollah Habib, Sarwar Azarakhsh, Abdul Qayum Qawim, and Azim Shahbal have been selected as case study samples, so that their poems have been analyzed using a descriptive-analytical method, based on Gérard Genette's Intertextuality theory. Research Findings Intertextuality is one of the new approaches to literary criticism that was founded in the 20th century. This approach examines and studies how texts are related. This new approach was invented by Julia Kristeva. Roland Barthes expanded it from a simple plan to a significant theory. With the opinions of Laurent Jenny and Michael Riffaterre, it was expanded from theoretical topics to a practical field. Gérard Genette used this approach to categorize any relationship between texts and called this relationship "Transtextuality". Based on Genette's theory, every phenomenon that openly or covertly links a text with other texts is called transtextuality. In this approach, the relationships of the texts are categorized into types of intertextuality, paratextuality, metatextuality, hypertextuality, and architextuality, and each of them examines the connection of texts based on the relationship. For this reason, myths are recreated throughout history in literary works. Afghanistan's contemporary poets, being aware of this capacity, have benefited from the rhetorical effects of myth to express various issues and have sought help from the diverse roles and functions of myths. These poets have recreated mythical characters of "Narcissus, Echo, Pan, Venus, Prometheus, Achilles" as allusion, allegorical, and implied intertextuality in the reflection of romantic, erotic, socialist, ideological, resistance, didactical, and patriotic concepts, and have created literary images with the help of myths recreating. Discussion of Results and Conclusion Considering the results of the present study, it can be concluded that: Afghanistan's poets have recreated the myths of "Narcissus, Echo, Pan, Venus, Prometheus, and Achilles" in allusive, simile, and allusion forms of implied intertextuality, and have reflected concepts of romantic, erotic, socialist, ideological, resistance, didactic, and patriotically with the help of expressed myths. Afghanistan's contemporary poets have greatly benefited from the rhetorical capacities of Prometheus, due to the reflection of socialist, resistance, and ideological concepts. Because "Prometheus" is symbology a symbol of rebellion and resistance and a manifestation of justice and anti-tyranny. For this reason, Afghanistan's contemporary poets have used this Greco-Roman myth to encourage people to form national resistance movements to fight against domestic tyranny. According to the signs of paratextuality and architextuality, Afghanistan's contemporary poets often have used Greco-Roman myths to reflect the political-social situation, express romantic feelings, describe didactical concepts, resistance, and ideological concepts according to the aesthetic characteristics of romantic, socialist, and resistance poetic currents, didactical, mystical, idealistic, and charismatic characters. Greco-Roman myths have been recreated in the contemporary poetry of Afghanistan in news and imperative sentences with the secondary purposes of warning, regret, rebuke, praise, description, atmosphere, expression of greatness, expression of importance, compassion, exaggeration, and removal of ugliness. These myths have been recreated in allusive, metaphorical, and allegorical structures with the depth of proportion, exaggeration, and simile as a model of commitment, loyalty, narcissism, autocracy, sacrifice, rebellion, standing, awareness, kindness, beauty, life, and ideal heroes. اسطوره، توصیفِ شاعرانۀ مناظر سترگ طبیعت و گردانندگان مرموز پدیده‌های طبیعی و فراطبیعی است که خاستگاه عواطف آدمی را با بینش شاعرانه توجیه می‌کند و با کنش خیال‌انگیزی ارزش بلاغی دارد. به ‌همین دلیل اسطوره با ماهیت بینامتنی همواره در آثار ادبی بازتولید شده و در توسعۀ معنایی، بلاغی و زیباشناختی آثار ادبی نقش بارز و برجسته داشته است. شاعران فارسی زبان از گذشته‌های دور تا کنون به انواع عناصر اسطوره‌ای ملل مختلف ازجمله به اساطیر یونانی-‌رومی توجه کرده و از کارکردهای متنوع این اسطوره‌ها در کاربست مفاهیم مختلف سود برده‌اند. شاعران معاصر افغانستان نیز باتوجه به بازتولید اساطیر یونانی- ‌رومی، مفاهیم مختلف را بازتاب داده و از ظرفیتِ این گونه‌های اساطیری بهره برده‌اند. پژوهش حاضر به روش توصیفی‌تحلیلی مبتنی بر آرای بینامتنیت «ژرار ژنت»، تأثیر بلاغی بازتاب اساطیر یونانی-‌رومی را در شعر فارسی معاصر افغانستان بررسی و تحلیل می‌کند. یافته‌های این پژوهش نشان می‌دهد که شاعران معاصر افغانستان اساطیر یونانی‌-رومی را به صورت‌های تلمیحی و اشاری بینامتنیت ضمنی، در جملات خبری و امری با اغراض ثانوی هشدار، تحذیر، تأسف، توبیخ، ستایش، توصیف، ترحم، بزرگ‌نمایی و قباحت‌زدایی به‌واسطۀ آرایه‌های اغراق، تلمیح، اسلوب معادله، تشبیه و استعاره بازآفرینی کرده‌اند.

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دانشگاه اصفهان فنون ادبی 20088027 16 1 2024 03 20 The Story Structure of Javaherolasmar Using Some Concepts of Psychoanalysis تحلیل ساختار داستانی جواهرالأسمار به یاریِ چند مفهوم روان‌کاوی 57 78 28508 10.22108/liar.2024.140230.2336 FA محسن نصیری استادیار گروه فرهنگ و معارف اسلامی، دانشگاه علم و صنعت ایران، تهران، ایران حسن خیاطی دانش‌آموختۀ کارشناسی‌ارشد جامعه‌شناسی، دانشگاه اصفهان، اصفهان، ایران Journal Article 2023 12 27 This study tries to analyze the macro-plot of Javaherolasmar using a psychoanalytical approach. One of the fundamental questions of literary research is "how" masterpieces are formed. It is possible to investigate how the work was created by using what we have learned about the human psyche, including the creator as well as the society in which it was created. By studying this collection of tales, we find out that applying psychological mechanisms to it can identify its structure and make its foundation visible. The analysis of Javaherolasmar based on this method shows that the beginning of its stories is motivated by Id. The knotting of the story takes place with the presence of Ego. In the end, the knot of the story is gradually opened with the revelation of the Superego. If we want to apply the interaction of these three psychological aspects to the basic story of the book, after the long absence of her husband, Mahshekar is on the one hand "willing" to have relations with Amirzade (Id) and on the other hand "willing" for her husband's loyalty (Superego). She satisfies both her lustful "desire" and her "desire" for loyalty by being entertained by the parrot's lustful stories. Along with the expansion of this pattern throughout the book, seven distinct and at the same time, similar plots are made. In particular, three fundamental themes can be recognized in them: the importance of the superego and eros, fear of social authority (the king), and the transcendence of love. Keywords: Javaherolasmar, Tutiname, Plot, Psychoanalytic Literary Criticism, Fruid Introduction One of the basic questions in literary research is "how" masterpieces are formed. It is possible to approach the answer using what we know about the mind, including the creator of the work as well as the society in which it was created. This study tries to analyze the macro-plot of Javaherolasmar using a psychoanalytical approach. Literature is one of the phenomena that originates from the human psyche and mutually affects it. It is possible to know more about literature by knowing the mind and vice versa. This research tries to know the tale structure of Javaherolasmar by following this assumption. Javaherolasmar is a collection of tales of Indian origin, similar to Kelile va Demne. In the main tale of the book, the four main characters are the merchant (Sa'ed) and his wife (Mahshekar), and two talking birds (Parrot and Sharak). The book's tales are narrated by Parrot. Parrot tells those often-lustful stories to her maid, to prevent her from committing sexual misconduct with Amirzade in her husband's absence. The point is that maybe tales with other themes could entertain Mahshekar. But why should 'night Parrot tales' necessarily have such an atmosphere? By studying this collection of tales, we find out that applying the basic mechanisms of the human psyche to it can identify its structure and make its foundation visible. Regarding the necessity and importance of this research, any research that reduces the unknowns of human existence and adds to what he knows about himself is important and valuable. Being a narrator is a part of human existence. Since Naxŝabi's Tutiname is a re-creation of Javaherolasmar and they have little difference from the point of view of the tale, the storytelling studies of the two often overlap. Those two books have been explored a lot from the storytelling points of view. Jungian psychological theories are widely used in storytelling analysis. Similarly, we have also found general patterns in all the stories of Javaherolasmar, and to explain these patterns, we use concepts such as Id, Ego, Superego, eros, etc., which are derived from Freudian psychology. From this point of view, we did not find a similar view of Javaherolasmar, especially if it wants to know the macro-plot of these two works. Materials and Methods Many scientific studies are trying to know the human being, regardless of immediate use or benefit. The current research is one such 'fundamental' study and tries to analyze and identify one of the human phenomena, that is, the collection of tales of Javaherolasmar/Tutiname with the help of literary and psychological knowledge. This research started with the question: Why did Javaherolasmar find the present form among the possible forms, and why should Mahshekar be entertained with such lustful tales? Our research proceeded with the hypothesis that psychology could be useful in approaching the answer. For this purpose, all the tales of Javaherolasmar were first translated into modern Persian. Then, the hypothesis of the role of the basic parts of the human psyche (Id, Ego, Superego...) in shaping Javaherolasmar was tested in all its tales. With more study (psychology, storytelling, and Javaherolasmar itself), we were able to describe the structure of this book. Therefore, the current research is a fundamental theoretical study, with a descriptive-analytical method, and based on library studies. Research Findings Based on our findings, the analysis of Javaherolasmar shows that tales generally begin with a motivation from the Id. Knot-throwing is done with Ego. In the end, unraveling the tale gradually happens with the revelation of the Superego. The basic tale is a mimesis and a narrative of the conflict between the Id and Superego. The Ego also steps into the field of this book to reconcile these two. The actions and reactions of these three, whose manifestations are Mahshekar and Sharak/Tuti, are spread throughout the work. By tracking and categorizing the similarities and differences of the tales from this point of view, seven types of plots are recognized. Discussion of Results & Conclusion If we want to apply the interaction of these three psychological components to the main tale of the book after the long absence of her husband, Mahshekar is on the one hand "inclined" to have relations with Amirzade (Id) and on the other hand "inclined" to be loyal (Superego) to his husband. She satisfies both her lustful "desire" and her "desire" for loyalty by being entertained by Parrot's lustful tales (Ego). With the expansion of this pattern throughout the book, three fundamental themes can be recognized: the importance of Superego and Eros, fear of social authority (the king), and sublimation of love. In all the seven types of plots that we have identified, the tales begin with the motivation of the Id, just as human beings begin life with the motivation of the Id. The tales of Javaherolasmar are all told using universal patterns. Patterns that show mental commonality between humans. The final point is that in most of the tales of Javaherolasmar, Parrot invites Mahshekar to meet her lover. This invitation of Parrot shows the power of Eros in the literary treatment and shaping of Javaherolasmar. Here, the main theme of the book revolves around harnessing (not suppressing) the libido force. According to the mood of the tale, Parrot sometimes stops Mahshekar (indirectly) from going to Amirzade and sometimes encourages her to do so. As it turns out, the libidinal element (Id) is kept active and not suppressed. Because by suppressing it, there is no more tale left to tell. Sharak (pure Superego) was killed in the very first pages of the book. این مقاله می‌کوشد پیرنگِ کلانِ جواهرالأسمار را با بهره‌گیری از رهیافتِ روان‌کاوانه بررسی کند. یکی از پرسش‌های بنیادینِ پژوهش‌های ادبی «چگونگی» شکل‌یافتنِ آثار شاخص است و می‌توان به یاریِ دانسته‌های روان ازجمله خالقِ اثر و همچنین جامعه‌ای که در آن به وجود آمده، چگونگیِ خلقِ اثر را تحقیق کرد. با مطالعۀ این مجموعۀ قصص درمی‌یابیم که تطبیقِ سازوکارهای اساسیِ روانِ آدمی بر آن می‌تواند ساختارِ داستانیِ آن را بشناساند و شالودۀ آن را رؤیت‌پذیر کند. تحلیل جواهرالأسمار بر پایۀ این شیوه نشان می‌دهد که عموماً شروع قصه‌ها با انگیزشی ازجانب نهاد است؛ گره‌افکنی قصه با حضور خود صورت می‌گیرد؛ در پایان نیز گره قصه به‌تدریج با عیان‌شدن فراخود باز می‌شود. اگر بخواهیم برهم‌کنشِ این سه وجهِ روان را بر قصۀ اصلیِ کتاب تطبیق دهیم، ماه‌شکر پس‌از غیبتِ طولانیِ شوهرش ازطرفی «مایل» به ارتباط با امیرزاده است (نهاد) و ازطرفی «مایل» به وفاداری (فراخود). او با سرگرم‌شدن به قصه‌های هوس‌انگیزِ طوطی (خود) هم «میلِ» هوس‌جویانۀ خویش را برآورده می‌کند هم «میل» به وفاداری‌اش را. با گسترش‌یافتنِ این الگو در سرتاسرِ کتاب، هفت گونه پیرنگِ متمایز و در عین حال مشابه ساخته می‌شود که به‌ویژه می‌توان سه درون‌مایۀ بنیادین در آنها تشخیص داد: اهمیت فراخود و رانۀ زندگی، ترس از مرجعیتِ اجتماعی (پادشاه)، استعلای عشق

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دانشگاه اصفهان فنون ادبی 20088027 16 1 2024 03 20 Analysis of Revision and Innovation Methods in the Literary Tradition of Flora Motifs in Zolali Khansari’s Poetry تحلیل شیوه‌های بازنگری و نوآوری زلالی خوانساری در تصاویر موتیوهای گیاهی (مجموعه اشعار زلالی‌خوانساری) 79 102 28467 10.22108/liar.2024.140956.2368 FA مهین دخت فرخ نیا دانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه شهید باهنر کرمان، کرمان، ایران سمیه مظهری صفات دانشجوی دکتری زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه شهید باهنر کرمان، کرمان، ایران بهجت السادات حجازی دانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه شهید باهنر کرمان، کرمان، ایران Journal Article 2024 03 11 This research tried to explore the use of floral imagery and literary traditions associated with them in the poetry of Zolali Khansari, a Persian poet of the 11th century. At times driven by necessity and at other times by poetic talent, Khansari revised traditional literary associations with floral motifs in his work. This study employed an analytical, descriptive method to investigate Khansari's approaches to these literary traditions. The findings revealed that Khansari adopted 3 main strategies: repeating established literary traditions, accompanying traditional imagery with new poetic expressions, and innovating entirely new floral representations. In many cases, Khansari drew upon his skill in crafting vivid, artistic images to create novel depictions of motifs like red flower, cypress, anemone, blossom, bud, tulips, and palm tree. These new imaginative renderings were often showcased in the second stanzas of his poems. Keywords: Zolali Khansari, Indian Style, Literary Tradition, Flora Motifs, Innovation. Introduction The poetic imagery associated with plant life is often informed by the rich literary traditions and associations each floral motif carries. These established rhetorical and symbolic representations shape the character and evocative power of these botanical elements. This legacy of literary traditions has permeated across various poetic movements, including the Indian style poetry of 11th century Persia. Seeking to avoid mere imitation or repetition of these conventional tropes, poets of this era strived to adopt fresh perspectives on the literary traditions surrounding floral imagery. Their aim was to build upon the established depictions, adding new descriptive layers and expanding the poetic potential of these botanical motifs. Zolali Khansari, a prominent 11th century practitioner of the Indian poetic style, is notable for his engagement with the literary traditions linked to floral imagery. In addition to drawing upon these established associations, Khansari also recognized them as a rich creative platform to showcase his own poetic innovations. Aware that the repetition of conventional floral tropes could lead to stagnation, Khansari sought to recast these traditions from new vantage points, injecting dynamism and expansion into his poetic renderings of botanical elements. This study therefore aimed to examine Zolali Khansari's approaches to the literary traditions surrounding floral motifs in his poetry and how these approaches manifested in his work. Materials & Methods This study examined the full poetic corpus of Zolali Khansari comprising 13,252 verses by using a library research and document analysis methodology. The verses containing plant-based imagery were closely scrutinized and the most frequently occurring floral motifs in Khansari's poetry were identified. A descriptive-analytical approach was then employed to qualitatively examine and analyze the treatment of these botanical elements from the lens of established literary traditions. Research Findings The analysis revealed the 13 most prevalent floral motifs in Zolali Khansari's poetry to be leaf, violet, vine, grass, red flower, cypress, hyacinth, anemone, blossom, bud, tulips, palm tree, and narcissus. The poetic renderings of these botanical elements exhibited three primary approaches employed by Khansari: Repetition of Literary Traditions: Khansari's poetry frequently echoed established literary tropes associated with these floral motifs, utilizing techniques like simile, personification, and fantastical etiologies. Accompanying Literary Traditions with New Imagery: Alongside repeating conventional associations, Khansari also transformed the common usage and imagery of these floral elements, introducing novel poetic expressions. Table 1 outlines the specific methods Khansari employed in this second approach. Table 1: A summary of the methods employed in the second approach (source: authors' findings) Methods Row Alongside repeating the literary tradition, he altered its conventional visual application. 1 Concurrently with reiterating the literary tradition surrounding a motif, he depicted a novel image of that motif through the establishment of lexical proportions. 2 He juxtaposed two distinct literary traditions - one plant-based and one from another thematic domain - in a way that the second literary tradition became an attribute of the first motif. 3 He reiterated the literary tradition around the floral motif, but selected an image contrary to that established tradition, thereby creating a new poetic rendering. 4 He repeated two motifs - one familiar and one novel - and accompanied one of these motifs with a fresh image. 5 Concurrently with restating the literary tradition around a motif, he presented a new and unprecedented image of that motif, which emerged from the fusion of novel imagination with the literary tradition. 6 He reiterated a literary tradition, but simultaneously used it as a foundation to construct a new poetic image. 7 The literary tradition was repeated indirectly and through associative meaning, upon which a new image was then created. 8 By reiterating the literary tradition of a motif, he redirected that tradition to another motif, thereby generating a novel image from this transference. 9 Through a fleeting allusion to a literary tradition, he presented a new poetic image. 10 By harmonizing and balancing the components of the literary traditions surrounding a motif, he depicted a fresh image of that same motif. 11 He reiterated the literary tradition in a manner that gave rise to a fantastical etiology and consequently a new image of the motif. 12 He created a new image by synthesizing various literary traditions. 13 He situated the literary tradition within a novel metaphorical or ironic construction, which was formed on the basis of proportion and fantastical etiology. 14 Innovation: In this third approach, Khansari distinguished his poetic voice from his predecessors by discovering novel proportions, similarities, unities, and harmonies between the visual components of plants and other phenomena. Through this process, he established a sense of moderation and balance, while also creating fantastical etiologies interwoven with similes and descriptive compounds and considering the content and spatial dynamics of the verse. Discussion of Results & Conclusion Despite drawing upon established literary traditions related to plant imagery, Zolali Khansari made concerted efforts to move beyond common and conventional depictions. By replacing these traditional associations with new poetic expressions, Khansari demonstrated remarkable innovation and creativity in his rendering of floral motifs. The findings of this study revealed that Khansari's treatment of each botanical element was largely shaped by the pre-existing literary traditions surrounding that particular motif. One of his key approaches involved the direct repetition of these established tropes. However, Khansari also built upon this foundation, utilizing various techniques to generate fresh, unexpected images from within the literary tradition. Moreover, Khansari's refined artistic sensibilities allowed him to create truly novel and unprecedented depictions of motifs, such as red flower, cypress, anemone, blossom, bud, tulips, and palm tree. Through these innovative approaches, Khansari was able to imbue botanical imagery with a renewed dynamism and expressive potency in his poetry. موتیوهای گیاهی و سنّت‌های ادبی مربوط به آنها یکی از وجوه تصاویر شعری زلالی‌خوانساری شاعر سبک هندی در سدۀ یازدهم هجری را تشکیل می‌دهند. وی گاه به‌ضرورت و گاه به قریحۀ شعری به بازنگری سنّت‌های ادبی مربوط به موتیوهای گیاهی در شعر خود دست زده است. براین‌اساس، پژوهش حاضر با بهره‌گیری از روش توصیفی‌تحلیلی، رویکردهای زلالی را در برابر سنّت‌های ادبی مربوط به موتیوهای گیاهی بررسی کرده است. دستاوردهای این پژوهش نشان ‌داد وی در مواجهه با سنّت‌های ادبی مربوط به موتیوهای گیاهی سه رویکرد داشته است؛ تکرار سنّت ادبی، همراهی سنّت ادبی با تصویر تازه و نوآوری. بدین‌ترتیب یکی از رویکردهای شاعر تکرار سنّت ادبی بوده است که از بطن آن با روش‌های گوناگون تصاویر تازه شکل گرفته‌اند. افزون‌‌بر این زلالی‌خوانساری توانسته است با توانی که در آفرینش هنری تصاویر دارد، تصاویری نو و بدون ‌پیشینه از موتیوهای گل سرخ، سرو، شقایق، شکوفه، غنچه، لاله و نخل پدید آورد که اغلب این تصاویر نو را از‌طریق تصویر مصراع دوم، شرح داده و تکمیل کرده است.

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دانشگاه اصفهان فنون ادبی 20088027 16 1 2024 03 20 Analysis of Sa'di's Literary Legacy in Persian Secondary School Curricula: A Qualitative and Literary Content Analysis نقد و بررسی جایگاه سعدی در کتب فارسی متوسطه دوم؛ تحلیل محتوای کیفی و ادبی 103 122 28535 10.22108/liar.2024.140491.2349 FA محمدحسین نیکداراصل دانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه یاسوج، یاسوج، ایران یوسف نیکروز استادیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه یاسوج، یاسوج، ایران نصیب اله الوندی دانشجوی دکتری گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه یاسوج، یاسوج، ایران Journal Article 2024 01 22 Persian literature textbooks play a vital role in promoting the Persian language, literature, and Iranian-Islamic cultural identity among students. This study examined the qualitative and literary content of Sa'di's works featured in textbooks from the old and new Iranian educational systems (1997 to present day). The research methodology involved a detailed content and literary analysis of these educational resources. The findings indicated that the selection of Sa'di's works in textbooks had not been systematically or accurately represented. The excerpts often failed to capture the full breadth of themes and stylistic nuances present in Sa'di's original writings. Furthermore, the texts tended to emphasize Sa'di's religious and moral perspectives over his literary artistry. In comparison, Sa'di's works featured in the old educational system’s textbooks demonstrated greater depth, scope, and clarity in conveying the author's artistic and poetic style to readers. This suggested a need to revisit the curation of Sa'di's literary works in the new educational system to provide students with a more authentic and comprehensive exposure to this prominent Persian poet and his literary legacy. Keywords: Education, Sa'di, Old and New Systems, Golestan, Bustan Introduction This study examined the content and literary quality of Sa'di's works featured in Persian language textbooks across both the old and new Iranian educational systems from 1997 to the present day (2016). The analysis evaluated these textbook materials from ethical, educational, rhetorical, and literary perspectives. Given that these textbooks presented influential cultural figures to adolescent and young adult learners, the selection and representation of such literary works merited careful scrutiny. A close examination of the textbooks revealed significant discrepancies between the content included and the authentic depiction of Sa'di's literary legacy. This research aimed to identify the weaknesses and strengths in how Sa'di's works had been curated and presented within the educational curricula. Specifically, the study sought to address the following questions: What are the shortcomings in the selection of Sa'di's works for the textbooks? Which aspects have been represented well? Where has the textbook curation fallen short in accurately reflecting Sa'di's literary style and themes? Analyzing the treatment of Sa'di's writings could provide insights to guide the selection of other prominent Persian poets and authors in the educational system. Previous relevant studies, such as those by Zardakhshoui (2017), Sadzadeh (2017), and Aalizadeh Mersht et al. (2019), had not undertaken as comprehensive a critique and analysis as the current research. Materials and Methods This study undertook a comprehensive analysis and review of the content and literary quality of Sa'di's works featured across textbooks from both the old and new Iranian educational systems, covering the period from 1997 to 2023. The textbook analysis was guided by theories and frameworks from educational scholarship both within Iran and internationally. This included evaluating the appropriateness of the content for the target student age groups. Additionally, the researchers considered Sa'di's evolving educational and pedagogical significance over time, as well as his broader standing as a prominent cultural figure. The textbook materials were reviewed and analyzed in two parts - one covering the old educational system (1998 to 2016) and the other the new system (2016 to present). A comparative assessment was then conducted between these two time periods. By using Sa'di as a case study, this research aimed to illuminate the strengths, weaknesses, and underlying approaches employed by authors and educational systems in curating the works of major cultural and literary figures within the curriculum. This analysis could provide valuable insights to guide the selection and presentation of other prominent Persian poets and writers in educational materials. Research Findings The analysis revealed that the textbooks in the new educational system typically included short anecdotes from Golestan (The Rose Garden) and a ghazal (lyrical poem) with selected verses and an anecdote from Bustan (The Orchard). These selections had been criticized not only for their limited quantity, but also for weaknesses in their quality and content. While Golestan anecdotes did have moral and educational value, they failed to fully capture the depth and nuance of Sa'di's literary style and voice. Similarly, Bustan excerpt did not align well with the cognitive and emotional maturity level of high school students. From a rhetorical standpoint, the chosen texts did little to showcase Sa'di's renowned eloquence and mastery of language. Additionally, the treatment of literary devices like irony was superficial, lacking a comprehensive exploration of its different forms and applications within Sa'di's writings. In comparison, the textbooks from the old educational system provided a more holistic introduction to the artistic elements of Sa'di's work - his lyrical poems, eloquent prose, and distinctive stylistic features. They also delved deeper into the educational and ethical dimensions inherent in Sa'di's literary corpus. The relatively limited and simplistic representation of Sa'di in the new system's textbooks suggested a more superficial and unsystematic approach to curating the works of this literary giant. Significant and expert-driven reforms were needed to ensure a more authentic and multifaceted portrayal of Sa'di's literary legacy within the educational materials. Discussion of Results and Conclusion The findings of this study indicated that the textbooks in the new educational system did not accurately represent the breadth and depth of Sa'di's literary corpus and intellectual legacy. Notably, the new system's textbooks included only a single ghazal (lyrical poem) by Sa'di despite his rich body of romantic and lyrical verse. Additionally, the excerpt from Bustan (The Orchard) appeared more suitable for younger, elementary-level readers rather than the intended high school audience. Golestan (The Rose Garden) anecdotes included in the section of "Ganj-e Hikmat" (Treasure of Wisdom) were primarily focused on moral and religious themes, neglecting the sophisticated rhetorical and literary elements that defined Sa'di's masterful prose. This suggested that the selection of Sa'di's works in the new system was driven more by ideological considerations than by robust pedagogical frameworks grounded in literary scholarship, psychology, and educational theory. In contrast, the textbooks from the old educational system offered a more diverse and nuanced representation of Sa'di's oeuvre. They included a range of content - romantic ghazals, educational literature, and devotional poems - that not only showcased Sa'di's artistry, but also elucidated the moral, ethical, and instructional dimensions of his writings. The comparative analysis indicated that the old system's textbooks were significantly richer and more profound in terms of both quantity and quality of literary content. This implied that the current approach to curating Sa'di's works in the new educational materials was oversimplified and failed to capture the full complexity and significance of this revered Persian poet and thinker. Significant reforms guided by interdisciplinary scholarly expertise were needed to ensure that future educational resources would provide a more comprehensive, contextual, and analytically rigorous engagement with the literary legacy of Sa'di and other prominent figures in Persian literature and culture. کتب ادبیات فارسی آموزش‌وپرورش نقش و جایگاه بسیار مهمی در ترویج زبان و ادب فارسی و پیوند دانش‌آموزان با اخلاق و هویت ایرانی و اسلامی دارد. از مقدمۀ کتاب‌ها برمی‌آید، این کتب، حافظ میراث فرهنگی و همچنین مؤثرترین ابزار انتقال ارزش‌های اعتقادی، فرهنگی و ملی به نسلهای نوجوان و جوان است. در این درس‌ها هدف آموزش‌وپرورش علاوه‌بر آموزش مهارت‌ خواندن و جنبه‌های زبانی و بلاغی، جهت‌دهی به افکار، اندیشه‌ها و اعتقادات دانش‌آموزان بوده است. به همین دلیل محتوای این کتاب‌ها بارها تغییر یافته است. این جستار به توصیف و تحلیل محتوای کیفی و ادبی آثار سعدی در کتب درسی نظام‌های قدیم و جدید آموزشی ایران (از ۱۳۷۶ش. تاکنون) پرداخته است. روش پژوهش در این جستار، مطالعه دقیق کتابخانه‌ای و تحلیل و واکاوی از نظرگاه محتوایی و ادبی است و به این نتیجه دست یافته ‌است که گزینش آثار سعدی برای کتاب‌های درسی به شایستگی انجام نشده است؛ زیرا این متن‌ها نه تنها معرف واقعی سبک نویسندگی و شاعری سعدی نیست، تنوع محتوایی و موضوعی را که در آثار سعدی وجود دارد نیز به دانش‌آموزان نشان نمی‌دهد و اغلب مطالبی را در این کتب قرار داده‌اند که نگاه دیندارانۀ سعدی را نشان می‌دهد. در آن سوی دیگر، آنچه از آثار سعدی در کتب نظام قدیم آورده‌اند ازنظر محتوایی و ادبی ژرفا و گسترۀ بیشتری نسبت به کتب نظام جدید دارد و تمام جنبه‌های هنر و سبک نویسندگی و شاعری سعدی را بر خواننده روشن می‌کند.

https://liar.ui.ac.ir/article_28535_c0ab10315ff27e3d2d6cef900c24b40c.pdf

دانشگاه اصفهان فنون ادبی 20088027 16 1 2024 03 20 Innovation in the Interpretation of the Stories of Kashf al-Asrar and Odat al-Abrar نوآوری در حکایت‌های تفسیر کشف‌الاسرار و عدة الابرار 123 146 28420 10.22108/liar.2024.139976.2330 FA نیره سادات موسوی دانشجوی دکتری زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه قم، قم، ایران لیلا پژوهنده دانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه قم، قم، ایران محمود مهرآوران دانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه قم، قم، ایران Journal Article 2023 12 16 In addition to the interpretive and mystical dimension, the discovery of Kashf al-Asrar has a special place among the Sufi works from literary, narrative, and artistic perspectives. The widespread use of anecdotes, along with comments - general and exaggerated - on Meibodi's storytelling reminds the need for careful and reliable research. In this regard, and in response to the main research question of the innovative and creative aspects of storytelling in Meibodi’s works, using the tables and diagrams, we examined the characteristics of stories and dominant elements in the third chapter of the fifth and sixth volumes in a descriptive-analytical way. The delicacies and buds of this innovation in the sixth century AH provide a more accurate, realistic, and authentic perspective than the place, function, and evolution of the story. Examples of the presence of multiple characters, dynamic, believable characterization, the effective presence of women, the use of the hadith and the types of monologues, the tone and mood of the characters in the conversation, the first-person point of view, the details of the scene, relatively complex and strong plot, the unpredictable ending, the multiplicity of themes in a story and the use of story style in the story show Meibodi's creativity in the narrative. In 4 stories out of 42 anecdotes, the detailed treatment of the story elements brings the stories closer to the structure of the short story. Meybodi's subtleties and smart innovations in a context of love and faith lead to the truthfulness of the stories and the companionship and empathy of the reader in Kashf al-Asrar. Keywords: Discovery of Al-Asrar, Meibodi, Storytelling, Innovation, Stories, Anecdote. Introduction The book Kashf al-Asrar and Odat al-Abrar contains more than four hundred stories and anecdotes, which, despite the diversity in form, story elements, and content, have a coherent structure as a whole and are mentioned under the verses on different occasions. Meybodi has used various types of mystical, moral, realistic, extraordinary stories and honors, allegory, and allegorical stories in his work. In this study, Kashf al-Asrar stories are categorized and then analyzed based on the dominant and effective story structure and elements such as characterization, point of view, dialogue, time, scene and place, subject, and theme. Analyzing and classifying the stories in order to discover the relationship between their form and content and presenting and highlighting the characteristics of the stories have been provided in response to the main theme of the research (i.e. innovation and creativity in the narration of the stories of Kashf al-Asrar). Materials and Methods In this descriptive-analytical study, with the help of tables and graphs, we have investigated the characteristics of the stories and dominant elements of the story in the third edition of the fifth and sixth volumes of Meybdi’s Tafsir Kashf al-Asrar. The story features and elements are described, categorized, and then analyzed separately in each volume, and finally, a comparison between the stories of these two volumes and a summary is provided in order to show Meibodi's innovations in storytelling. The statistical sample of the research includes 30 anecdotes from the fifth volume and 12 anecdotes from the sixth volume. Research Findings The anecdotes in the third volume of Meibodi’s Kashf al-Asrar are often short, however, there are also many characterful anecdotes among them. The bold and dynamic presence of female characters and showing women in the role of influential and instructive characters is the distinguishing feature of Meibodi's stories from most mystical stories. Unlike most stories that have static characters, in these stories, we also encounter dynamic characters. The multiplicity of characters and attention to character details are considered to be Meibodi's innovations. Most of the stories are told from the third-person point of view and some stories are told from the first-person point of view. In some anecdotes, we see a change of perspective in such a way that the story starts from the third-person perspective and changes to the first-person perspective in the middle or vice versa. Dialogue in these stories has functions such as expressing the opinions, thoughts, and methods of different characters, giving some story information to the audience, creating suspense in the story, attributing the tone of the characters, and conveying the theme. In most of the stories, a general reference to specific times such as morning, night, dawn, evening prayer, etc. can be seen. Most of the stories follow the sequence of time and events happen one after the other, but in some stories, we also see a return to the past. Describing the scene and place or naming specific places can also be seen in anecdotes. Although most of the stories take place in a vague time and place, the frequency of the names of specific places and times in the mystery stories cannot be ignored. The main content of the stories is derived from mystical, religious, and moral issues as well as common concepts among Sufis. Discussion of Results and Conclusions Examples of the presence of multiple, dynamic characters, believable characterization, the effective and efficient presence of women, the use of hadith nafs and various monologues, the expression of the tone and state of the characters in the dialogue, the use of the first-person point of view and sometimes changing the point of view, and dealing with the details of the scene show Meibodi’s creativity in narration. Tales are expected to have a weak and simple plot, however, in mystery stories, we see examples that have a relatively complex and strong plot. The end of some stories is absolutely not predictable for the reader, although it cannot be said that the end of these stories will surprise the reader, in some stories, the story progresses in such a way that the end is not predictable for the reader. In some anecdotes, the author has used the style of a story within a story and has included several stories in one story. In addition, in some anecdotes, there are multiple topics or themes, and the author deals with different themes in one anecdote, in addition to the stated features that can be seen in most of the anecdotes and short stories, in 4 of the 42 anecdotes examined. The story is told in such a way that it is close to a short story from the point of view of structure and the precise use of story elements can be seen in these stories. کشف‌الاسرار افزون‌بر بُعد تفسیری و عرفانی در میان آثار صوفیانه ازنظر ادبی، روایی و هنری از جایگاه ویژه‌ای برخوردار است. کاربرد گستردۀ حکایت‌ها به‌همراه اظهارنظرهایی - کلی و مبالغه‌آمیز - درباب داستانپردازی میبدی لزوم پژوهش‌های دقیق و درخور استناد را یادآور می‌شود. در این راستا و در پاسخ به مسئلۀ اصلی پژوهش که چگونگی نوآوری و خلاقیت میبدی در داستانپردازی است، به‌شیوة توصیفی-تحلیلی و به‌کمک جدول‌ها و نمودارها به بررسی ویژگی قصه‌ها و عناصر غالب داستانی در نوبت سوم جلدهای پنجم و ششم کشف‌الاسرار پرداخته‌ایم. ظرافت‌ها و جوانه‌های این نوآوری در سدة ششم چشم‌اندازی دقیق‌تر، واقعی‌تر و اصیل‌تر از جایگاه، کارکرد ‌و تحول قصه به‌دست می‌دهد. نمونه‌هایی از حضور شخصیت‌های متعدد، پویا، شخصیت‌پردازی باورپذیر، حضور مؤثر زنان، کاربرد حدیث نفس و انواع تک‌گویی، بیان لحن و حالت شخصیت‌ها در گفت‌وگو، زاویة دید اول شخص و گاه تغییر زاویۀ دید، پرداختن به جزئیات صحنه، پیرنگ نسبتاً پیچیده و قوی، پایان پیش‌بینی‌نشده، تعدد درون‌مایه در یک حکایت و کاربرد شیوة داستان در داستان خلاقیت میبدی را در روایت نشان می‌دهد. در 4 حکایت از 42 حکایت، پرداخت دقیق، عناصر داستانی قصه‌ها را به ساختار داستان کوتاه نزدیک می‌کند. ظرافت‌ها و نوآوری‌های هوشمندانه میبدی در زمینه‌ای از عشق و ایمان به حقیقت‌مانندی قصه‌ها و همراهی و همدلی خواننده در کشف‌الاسرار می‌انجامد.

https://liar.ui.ac.ir/article_28420_5906365e549ebc86c6679c402a0bb1fa.pdf