فصلنامه پژوهش زبان و ادبیات فارسی
سال چهارم شماره 2 (پیاپی 7، پاییز و زمستان 1385)

Mysticism has had a great impact on the Iranian art. In order to reach the most paramount stage in suffism, there are several stages to go through. Each of these stages are defined by different mystics differently. Suffism has even penetrated into industries and art, and this way it was manifested in architecture of mosques. The structure of mosques can be taken as one of the manifestations of mysticism.

Types of attitude toward war and also toward the themes, main characters and….. are of four approaches, namely the value oriented, society oriented, critic oriented and human oriented; these approaches in literature have created war fiction.In the value-oriented approach the defence, protecting country, and the war are the focal points of the story tellers. The story tellers’ main purposes are promoting the heroship, feeling ideology-oriented reponsibility and protecting Islamic and Revolutionary values. The society oriented procedure reflects the war calamities and its effects on the people life and society. The minor and social issues and its devastating image are put on the sharp focus and its impacts on the people life and the cities and villages in which the family bases are changed. Critics oriented approaches deals with the uncertainty in the war and criticizes it. The story tellers’ view toward the war is negative and mostly is focused on the cities. Human oriented approach deals with human in war and the war generated by him regarding the human dignified value.

Insofar as it is related to techniques of story writing such as diction, omission, etc. short stories in the west have evolved to a great extent. These elements, that is, literary devices, can also be seen in the Persian classical works of literature. Terms such as Point of departure, and prolepsis, found in the works of great writers such as chekov, Allen Poe, Pomasant can also be found in Sadi's "Golestan". Point of departure in stories will lead to the emergence of perception, and neurological curves in the shortest period possible. The present paper is aimed at comparing Golestan with the stories of the west in this regard.

Ever since man appeared on earth, he has made every effort to achieve immortality. To do this, he has made imaginary symbols of immortality. Of the most prominent of these symbols are the imaginary eternal buildings. In the ancient Iranian mythology, there existed buildings in which one would be protected from death and become immortal. These buildings have apparently been made of sacred stones or metal, enjoying supernatural characteristics. Many of these buildings shared the same patterns. Disregarding the formal differences, one comes to understand the deeper hidden layers of these imaginations, and that these imaginations somehow give form to eternity. It has been the objective of this paper to probe into these characteristics in order to illustrate that all these buildings share the same origin, and features.

Emphasizing the necessity for changing the logical approach to the definition of the nature of poetry from Aristotle's logical dichotomy to the Fuzzy relativist logic, the present paper will first deal with three different viewpoints in the field of poetics. Attempts will also be made to employ the approach which does not take into consideration literature and poetry in particular, as being different from other types of communicative acts. It will thus be possible to analyze poetry within the framework of a general theory. Based on Haliday's functional systemic theory (1985, 1994) and taking into consideration the pattern proposed by Mohajer and Nabavi (1376), The present paper attempts to provide a functionalist analysis of the discourse of the poetry, as well as linguistic and paralinguistic parameters, based on

Mohabahart is an Indian work of epic, which narrates the war of Pandowan between the five sons of Raja Pand and gurus, the sons of Raja, to rule over a region called, Hastnapur. In this eighteen-day war, Pandowan defeats his cousins. Arjan, one of the characters, who shoulders a large number of responsibilities during different events, resembles Rostam in many ways.It is the objective of this paper to compare the two champions: their relations with gods, their marriage in a foreign land, having a son, becoming aware of revitalizing herb, going on seven dangerous journeys, and finally each killing his own brother. Attempts have been made to prove that due to the immigrations of the tribes from Iran to India, the Iranian beliefs, customs, and mythology, have had a profound impact on Indian epics.

Story-telling has always existed through time in different lands. However, it so appears that it has not undergone much of a development in Iran. Before the emergence of Islam in Iran, the Parthian Gossans and Sassanind musicians made use of music, dance, songs, probably a number of actors and actresses. In the course of change of religion from Zoroastrianism to Islam, story-telling preserved its nature, though it lost its characteristics such as dance and music, mainly relying on the artistic features of the narrator. Due to restraints existing in the Islamic period which followed the interpretations of the religious teaching concerning arts and drama, story-telling was somehow limited to the narration of merely one person called "Tazieh" (passion play). The very same constraint, however, reinforced drama and became the source of development for Tazieh.