فصلنامه ادبیات و زبانهای محلی ایران زمین
سال سیزدهم شماره 1 (پیاپی 39، بهار 1402)

Sarapanameh (Peikarsarayee) is a type of poetry in which the poet renders the figure of the beloved. The purpose of the poet in this type of poetry is to illustrate the body of the beloved in addition to expressing the romantic feelings. The poet like an expert painter represents her imaginary or real lover through words. This type of poetry is common among Kurdish, Loor and Laki poets, and usually famous poets have written one or more examples of this type of poetry. The rhyme of most of these poems is ten-syllable and they are often written in the standard language of western Iran. But the previous native poets have tried with their local language instead of the standard language of the west of the country. The late Zulfaqar Mohammadi, an unknown but talented elite poet, was one of the poets who wrote this kind of poem. This Sarapanameh is written in a new format and in syllabic rhyme. The variety of pure similes and phonology, composition, and imagery are among the most important literary features of this one. The poet's interest to local and national customs and traditions, and paying attention to the surrounding nature is exceptional in the selection of terms.

The ancient land of Iran has a long-lasting, extensive and rich folklore with many fields of study. One of these vast ones is the study of geographical dialects. One of the old Farsi dialects of Dari is the dialect of the border town of Taybad in the eastern part of the country and neighboring Afghanistan. The common dialects in the provinces of Khorasan, due to their antiquity, great poets, and the expanse of ​​Farsi Persian influence, have unknown hints that can be productively explained in terms of culture, linguistics and categorization. Thus, the current research studies three aspects including: word constructions types with Kaf Maksor, adjectival infinitives, and increasing Middling Alif in the Taybad dialect. The results of the present research show that the texture of the terms exemplifies the multiple meanings of Kaf Maksor in multiple textures and constructions. Besides, there are also fake infinitives with the ability to form the present tense in this dialect which makes it special; and the Middling Alif between two similar words is used with the intention of increasing practicality or exaggeration.

Shirin and Haani in the poems of Khosrow and Shirin Nizami and the Balochi poems of Haani and Shaimrid have many similarities. Both characters are in a male-controlled space and firstly, men treat them as a thing (object). In the beginning, Khosrow and Chaakar try to capture Shirin and Haani as an object. The present research compares the characters of Shirin and Haani and their female activism and activity with a descriptive-analytical method and answers these questions: Are Shirin and Haani agents in these two stories? How do they achieve female activism in a patriarchal context? The results of this research show that Shirin and Haani are not passive, but have action. The female intervention of Shirin and Haani in these two stories finally overcomes the patriarchal approach. In encountering the patriarchal discourse, they are finally promoted to the position of subjectivity with the agency. Shirin does not remain passive in the face of Khosrow and Shaapur's demands, and after a while, she overcomes their masculinity and wins over Khosrow with her activism. Haani is not passive against male hegemony and overcomes the patriarchal view of Chaakar and Shaimorid; finally, with his activism, she releases the chaakar and acquires Shaimorid. In this way, Shirin and Haani not only free themselves from the control of male hegemonic discourse by presenting a female counter-discourse but also they elevate the character of Khosrow and Shaimorid at the end.

Oaths like all daily phenomena and creations are full of mythological and ancient symbols, beliefs, and sign in the course of the work and effort and continuity of the people of every lands. In fact, Oaths are a reflection of beliefs, ideas, and culture of how to compromise and tolerate and continue the social life in each era which is mixed with the specific biological, geographical and cultural characteristics of that age in discussions and searches in anthropology are an expressive and valuable elements. Native and local songs are an important part of oral literature. In folk songs, couplets are a good way to express romantic moods and emotions. In this research, considering library and field method, more than 3000 native couplets of Mazandaran love oaths and 120 Khorasan ones have been studied. Means that about 4% of the romantic oath are observed. These vows are divided into general and specific categories in terms of the content. Based on the classification of types of love oaths and research findings, it can be said that in Mazandaran, the oath of love to God and in Khorasan the oath of love to the Qur'an has the highest frequencies. In the rest of the oaths as: Oath of lover and beloved against each other, Oath of religious sanctity to the beloved loving, oath by the mole on the face, eyes, and eyebrows of the beloved, The oath to the soul of the beloved and his brother, and the oath to the lover of natural phenomena.The statistics of the oaths of love of the two provinces are near to each other.

Many authors have explained and analyzed Nowruz, the great ceremony of Aryans. For this courtesy, several foundations are considered as the religious, mythical, historical, scientific, and political ones. The glory of the above mentioned festival has been lasted by the pass of time, and various folks meet it through special rituals and have convoyed it via glorified rites in order to worship God for his abundant blessings and the supernatural forces to get their own special weal.This article attempted to investigate the relevant rites of New Year as well as Nowruz in Kurdish areas, particularly among the Ilam’s people, through the analytical-descriptive method. some are as followed: the constitution quality of Chaharshanbeh Souri festival, the last Thursday of the year, The national Shili, Haji Firouz, Zeraatali, Ghashigh Da-kay-Dan, Khajang, Sizdahbedar, Panjeh, and the other courtesies and games with the perfect details. In addition, it is struggled to introduce the historical and mythical bases of these rituals and their conservations. All the decencies of Nowruz are founded on expanding this idea that sadness is the evil commodity and happiness is the propitious gift.

The present study is allocated to the investigation of the phonological process of fortition in some dialects of Isfahan province. In order to accomplish this research, the data of twenty-four dialects which are common in Isfahan province, and especially in Kashan and Natanz regions have been examined. The studied dialects are among the Central dialects of Iran. The phonological process of fortition has different types such as devoicing, stopping, insertion, gemination, etc. Different types of which are used in the studied dialects. In this research, an attempt is made to determine the types of phonological processes of fortition in some dialects of Isfahan, Kashan, and Natanz, and to determine their extent and frequency. It has been also tried to regulate in which contexts and places the fortition process takes places. The current research method is descriptive-analytical one. Some of the results of this research are: 1) The most frequent phonetic process of fortition in the examined dialects is devoicing. 2) Stopping is the second common strengthening process in these dialects. 3) The phonetic process of insertion is also a very common phenomenon in the studied dialects, and consonant insertion is more frequent than vowel insertion.