فهرست مطالب احمد طحان

Ganjineh Raz is a book written by Owais ibn Ghiyath al-Din Rostamdari, the oldest manuscript of which was recorded by an inscriber halfway through the eleventh century A.H. This manuscript was probably contemporaneous with the author, who is not found in any bibliographical biographies (Tazkires). In this book, Rostamdari presents an exposition of sixteen scattered verses by Nizami which are taken from Makhzan-ol-Asrâr, Khosrow o Shirin, Haft Peykar and Sharafnameh. These verses of Khamsa are claimed by a follower of Jami to have been deemed meaningless by this poet. Rostamdari continues to present another exposition of seventy nine other verses of Khamsa which he believes to be of more complexity than these sixteen verses, and since Rostamdari is of Shiite faith, he brings the book to an end, out of blessedness and sacredness, by presenting yet another exposition of three odes by Nasir Khusraw, which include praise and glorification upon the great Imams and personages of Shiite faith.

This research was done in a descriptive-analytical way. Authors have carried out using the library and documentary tools. They have been carried out using the library research method, rely on three manuscripts of this book. in addition to recording the differences between the manuscripts and published versions and embark on a comparison of Rostamdari’s exposition of these sixteen verses with those of others.

Rostamdari’s explanations about verses 5, 6, 13 14 are illustrative and explain meanings clearly. In other verses, although his effort is appreciable, but he failed to understand the poet’s intention. Other editors have sometimes succeeded in description of meanings and sometimes they failed.

Rostamdari’s success in disambiguation of the verses is only relative and the explanations provided by contemporaries are sometimes unhelpful. the expositions have in some instances led to resolution and disambiguation and in some other instances the ambiguity remains unsolved.

Does loneliness merely mean willing or unwilling distance from the people surrounding us? or are there any other kinds of loneliness?From a long time ago, although some philosophers and psychologists have defined loneliness and its kinds, it’s not an easy task to define a definite borderline between kinds of loneliness. These experts have suggested that some kinds of loneliness can be merged and in some cases loneliness can be either the causes or forms of loneliness occurrence, not a specific kind.In a descriptive-analytical design, this theoretical research tries to examine the kinds and causes of loneliness in ShafieiKadkani’s poems through library and documentary methods. According to the findings of the research, among the factors of interpersonal loneliness in ShafiiKodkani's poems, we can mention the separation that is the result of his first poems.From this point of view, ShafieiKadknai is a romantic poet who mainly followsthe images and themes of the poets known to have Indian Style. With regard to intrapersonal loneliness, the poet shows a tendency for seclusionwhich is resulted from his frustration from the political and social events and his nonconformity with a group of people with whom he sees no affinity. However, there is no sign of existential loneliness (i.e., a subcategory of intrapersonal loneliness) in ShafieiKadknai’s poems.

Language has a paradoxical function as an important factor in the narration of mystical-historical habits. On the other hand, by broadening the imagination, it promotes the literature of historical texts and separates the reader from the world of reality. On the other hand, with a linguistic approach to creating logic and the relationship between linguistic cause and effect, it returns the audience to the context of reality in order to accept, at the astonishing peak, mystical and historical habits. This article, by combining structuralist linguistics and pattern-oriented linguistics and using a descriptive-analytical method, examines the linguistic and metalanguage elements in the story of "The Birth of Mustafa (PBUH)" from the book Tabashir al-Hikma by Raz Shirazi; The results of the research show that the author has made the most of the paradoxical function of language in creating credibility in order to make the life habits of the Holy Prophet (PBUH) believable. In this way, accurate characterization of historical people, narration of trusted people, accurate description of the places and time of life of the Holy Prophet (PBUH), dialogue element, variety of verbs and short sentences, use of letters for purposes Secondary has also made full use of.

The literary texts of each period serve as major sources of knowledge of the religious, historical, political and social situation of that period, representing the lives and times of the people. One of these texts is the Masnavi “Kholasah Al-Haghaegh” by the 11th-century (AH) mystic Najib Al-Din Reza Tabrizi Esfahani (1047 - 1102 AH) , known as the thirtieth Qutb of the Zahabiiya hierarchy. With 3500 verses, this Masnavi (also couplet poem) was composed in the year 1100 (AH) and included mystical subjects, basics of Sufism and ethics, as well as components of the [mystical] way; however, the poet has striven to use the imagery in the book to bring it out of a purely training and didactic book and express the complicated mystical and theological terms in a symbolic one using allegories. Five manuscripts of the Kholasah Al-Haghaegh Masnavi are available. Also, Mirza Ahmad Ardabili (another Aqtaab of the Zahabiiya hierarchy) had published this Masnavi from a manuscript with leaded print in a book called “Kefayat Al-Mo’menin Va Osaf Al-Mogharrebin” in 1338 (AH). This research is descriptive-analytical and uses library and documentary methods. In the meantime, the oldest version was scribed in the poet’s lifetime, i.e., the one with the least error or typing misspellings was selected as the top version and then compared to other versions to investigate the differences between the versions. The manuscripts have some misspellings, found in all or sometimes in some. The poet himself has made some rhyming mistakes in a number of verses.

One of the notable books of the Qajar period is Tabashir al-Hikma, the secret of Shiraz, which was created with the approach of literary return and simplification. Although this work is considered a mystical text, but in the narration of Noor Mohammadi, it has a common theme with the history of Sistan and it seems that it was written under its influence. Therefore, a comparative study of the history of Sistan is a good way to understand this work. In the history of Sistan, the story of the birth of Mustafa (PBUH) is full of amazing events that have been believed with narrative techniques. Has the author of Tabashir al-Hikma been able to use narrative techniques to make amazing events believable? In order to find a suitable answer to the descriptive-analytical method and with emphasis on narrative theories, this article has compared Noor Mohammadi in these two works. The results show that the author of the history of Sistan, by diversifying the narrative language, benefiting from the narrative and dramatic narrative, constantly changing the narrative center, using authentic historical and religious characters, benefiting from the narrative language of the main characters From the first person point of view, using the narrative perspective of the anti-hero, sacred voices, variety in the narrative aspect to create emotional language, dialogue, etc., has been able to make the story of Mustafa (PBUH) born artistic and believable. Although the author of Tabashir al-Hikma, while being influenced by the history of

A narrative is created only through oppositions hence, the characters and their actions must be studied in terms of binary oppositions in it. The conceptual structures in this study are binary oppositional ones, including the confrontations of good and evil, which can be seen in the whole discourse of Persian literature. In general, one of the most fundamental issues in explaining the similarities and differences between the works of Iranian and non-Iranian authors is the comparison of their conceptual structures, including ‘binary’ and ‘oppositional’ structures. Literary structuralism is a method of analyzing literary texts that are rooted in linguistic studies. Structuralism and its general orientation are based on the analysis of binary oppositions and the relationship between them, and structuralism itself origins from the linguistic studies of Ferdinand de Saussure, and the structuralists have been significantly influenced by his thoughts.

Method, background, and purpose of research:

The method in this research is theoretical, which is either descriptive or analytical. First, books on binary oppositions by structuralist authors have been studied and from which notes have been taken. And then, the biographies of both authors have been reviewed to obtain information about their social, cultural, and political status for analysis. The purpose of this study is to explain the similarities and differences between the binary oppositions in the works of an Iranian and a non-Iranian author basically to find out which oppositions can be universal. There has been no independent research on binary oppositions in children’s and adolescent literature. However, research has been done on binary oppositions in other areas of literature, some of which include:The binary oppositions of war and reconciliation and love and hatred in Ferdowsi's Shahnameh (Razmjooei, Tahan 2016) and the result of this research is that although love and reconciliation are superior to war, its superiority is not ‘absolute’.A study of binary oppositions in Nima Yushij’s ‘Sarivili house’ collection of poems (Mohseni 2014) This study shows that Nima has used binary oppositions to express the most important differences, similarities, and conflicts of his thoughts against those in power.

Binary opposition is an English term. Binary in English means dual. Stars that are placed next to each other in pairs are called binary stars. Of course, the understanding of binary oppositions as the basis of linguistic knowledge was discussed much earlier in the views of Plato and Aristotle. However discussing essence, accident, form, etc. goes back to Aristotle's ideas who himself was the founder of a dualistic view of human knowledge and later influenced literature and other areas. The term was first coined by phonologist Nikolai Trobetsky when he introduced it as the main foundation of a value rooted in cultural history. This term is one of the key concepts in the field of linguistics theories, semiotics, and literary criticism. Roland Barthes believes that semiotics is based on binary oppositions. In literary criticism, this term is one of the fundamental concepts of structuralism and post-structuralism (deconstruction). Jacobson believed that children learn these oppositions in the first place. In his view, the speech’s concentration is generally on binary oppositions, and the difference between consonant and vowel is the most fundamental element of phonology. Structuralism and its general orientation are based on the analysis of binary oppositions and the relationship between them, and structuralism itself is rooted in the linguistic studies of Ferdinand de Saussure, and the structuralists have been significantly influenced by his thoughts. Each text is a set of contrasts that encompass confrontations of good and evil, rich and poor, black and white.

Examining the oppositions and analyzing their relationship in the stories by Houshang Moradi Kermani and Roald Dahl, shows that the common consequence of poverty in Iran and British society is children’s forced labor and also, their confrontation with the realities of life. A child, at an age when he should be enjoying his childhood, is struggling with economic problems, illness, and hunger. In the works of both writers, these poor children’s neighbors or classmates are from the rich class of society. And that creates problems; the children either escape or start to protest against the wealthy class. The use of force, violence and insults by the wealthy is another issue addressed by these two authors. The poor class’s captivity and slavery are among other common themes employed by both authors. There are differences between the binary oppositions in the works by these two authors; In Moradi Kermani's, the poor adults mainly believe in fatalism and superstitions, and the poor children are realistic. While, in Roald Dahl's, the poor adults and children are both realistic.In Moradi Kermani's, the poor are harmless, while in Roald Dahl's, the poor cause harassment.In Moradi Kermani's, the poor are not advocated by the people, while, in Roald Dahl's, the poor have supporters such as doctors or priests.

A unique manuscript of Suleimannameh in the form of Masnavi and the convergent sea, by Yusuf ibn Siraj ibn Muhammad, nicknamed the teacher in 1339. It was composed in 8352 bits and written in Naskh script. The name of this anonymous poet does not appear in any literary memoir. This Masnavi is a religious epic that tells the stories of the prophets of the nation of BaniIsaiah, including Soliman, Elias, Elisha, Jeremiah, Dhu'l-Kufl, Yones, and Daniel. The present article introduces the manuscript of this epic-educational system. The main question of the research is what literary, linguistic, cultural, moral, social, and religious components are in this version and what information can be obtained from the author's time? This article also examines the stylistic and aesthetic features of the version, and since this version is unique, the recording of distorted verses has been done on the basis of stylistic symmetries and, of course, with the preservation of fidelity.

The research method in this article is descriptive-analytical and the data collection method is documentary (library).

The manuscript of Suleiman the Magnificent was written in the convergent sea of the deleted Muthanna and tells the stories of the prophets of Israel. The poet does not have a stylistic personality in the order of these stories, but examples of Khorasani style are evident in this poem. In this Masnavi, for the first time, the stories of the prophets of Israel are arranged; The stories that are still scattered in the books of commentaries on the Qur'an, the stories of the prophets, the chronicles and the stories of the prophets of the Torah, and many of them are unfamiliar to Muslim readers.

In this poem, there is no mention of the city in which the poet lived, and the place of the poem can not be found in the text of the story, but the use of some words indicates the specific dialect of the region; As in Neishabour, such conversations are common. Regarding the stylistic and lexical features of the text, it should be said that all the mentioned features, except for two cases, including the use of the verbs "Danstmani" and "Avrdman" and the observance of the rule of signifier, which is related to the sixth and seventh centuries, The fourth and fifth are especially Shahnameh.

The cognitive view considers metaphor a verbal-conceptual device that humans employ to recognize and express the concepts in their environment. Based on this theory, humans make many concepts understandable through metaphors. The present study is a descriptive-analytical research that relies on a cognitive approach to investigate and compare “head and heart” conceptualizations in Shah Nameh, Ghazaliyat-e Shams and Nezami's Khosrow and Shirin. The study, more specifically, seeks to answer the following questions: (1) What are the primary concepts used by the afore-mentioned poets in this mode of conceptualization? (2) What are the cognitive mechanisms used in these literary works to distinguish their poetic language from ordinary, everyday language? The findings of the present study indicate that the head and the heart were conceptualized in most metaphors through more objective entities such as “humans”, “animals”, “plants”, “container metaphors” and “objects.” Furthermore, although the poets in some cases used similar metaphors in accordance with their literary traditions, linguistic conventions, and cultural roots, they drew on such cognitive mechanisms as extending, negating and combining, while deviating from some linguistic rules, to create innovative images and contribute to the distinction of their conceptualizations.

lion that have been created by Angra Mainyu to destroy the good world. In Avestā and Pahlavi texts, some manners are proposed to eliminate these devil creatures. The influence of Ferdosi and his book, Shāhnāmeh, on Iranian language and culture are clear. Yet an explanation is needed to show that how much his idea about khrafstars are influenced by Avestā and Pahlavi texts. By using descriptive and analytic method, the authors of present article try to study and compare the creatures that in Zoroastian religious texts are called khrafstar which are mentioned in Shāhnāmeh. The research shows that in Shāhnāmeh not only the term "khrafstar" is not mentioned but also it is not referred to an animal as devil creature. But, there are similarities between Ferdosi's ideas and Avestā and Pahlavi texts about noxious creatures. Finally, it has been referred to the role of these creatures in the myths of other nations and has been compared with Avestā and Pahlavi texts and Shāhnāmeh.

Ma’aref is a book from Baha‘– e Valad which contains varied subjects and there is no certain rule between the chapters. In addition it is not clear that whether it is written by "Baha‘– e Valad" or it is a set of his words and advices that are collected and written by his followers? And it is clear that such a book with such a style has no similar method. Sometimes it has non – smooth and scientific prose and sometimes it is near to "Balkh" people language and sometimes it has a fluent and literary prose but in many cases especially when Baha‘–e Valad explains his spiritual states and courtship with audacity – It converts to a poetic prose. The researches that have been done since now about Ma’aref are generally about the concept and its mystical subjects or it may be about the effect that it had on thought and versification of his son, Molavi. This article with an analytical - descriptive method, talks about Aesthetics and observing Ma’aref Array in two Fields of Exquisite and expression. I Exquisite verbal there are a lot of phonemes, (vowels and consonants repetition) and types of rhyme and pun and some cases of balances are found in it. In Exquisite spiritual Group presentation of (Eltefat) – (atlention) Array draws the book writing to a kind of Exquisite spiritual. There are lots of harmony and conflicts but a few opacities paradox in it and there are also few authorized and metonymy in expression area.

Modernism is a term applied in various fields including Philosophy, sociology, art …. After World War I, however, Modernism refers to an aesthetic discourse which points to a radical break from cultural and artistic traditions. Although Modern poetry commences with Nima Yushij in Iran, Modernism reveals its influences in literature with the beginning of social changes and modernity from the 1340s. Consequently, Modern poetry emerges with the following characteristics: relativity, individualism, imagism, and an inclination towards prose. In spite of being a follower of Nima, Manuchehr Atashi comes to be known a Modern poet from the beginning of his career. Even though one cannot claim that Atashi has all the features of a Modern poet, one can still observe a majority of these features in his poetry.

There are very few romantic works in the sky of World Literature that can compete with Love poem of Khosrow and Shirin by Nezami. Perhaps the only work that can be compared with this masterpiece is Romeo and Juliet، the tragic love story that is full of literary delicacies and lyrical beauties by the unique poet and playwright in English literature، William Shakespeare. Using a comparative approach، this article aims to study the similarities of the two stories in characterization and theme in order to clarify the neglected aspects of these two valuable and eternal works.

Hafez intended to avoid repetition in the application of figures of speech which results in nonsense and so he appealed to an artistic and psychological technique; mentioned in this article as "association of meaning". In psychology, association of meaning relates to a concept which associates a series of concepts to the mind based on the principle of proximity, similarity or contrast. In Hafez's poetry, association is used in the sense that he disintegrates the component parts of a traditional image, and through substitution, he uses them in a way that each component connotes the others. For instance, in literary tradition, "ringlet" is accompanied by a series of stereotypical adjectives such as disordered, long, black, wavy, etc, or is compared to violet, hyacinth, ring, chain, musk, and so on. However, in contrast to this tradition, Hafez, when talking of ringlet, attributes length to hope and disorder to heart. In the modern Persian books, association of meaning is not observed a literary ornament and the only literary man who has mentioned the role of rhyme in the association of meaning is Dr. Shafee Kadkani, yet in the West this issue has been discussed as "stream of consciousness"; especially in story-writing classes. Once the association of meaning has been surveyed in psychology, literature and its differences with ambiguity, proportion, and ambiguous ambition are expressed, the discovered samples of this ornament in Hafez' Divan are further on discussed. The finding of the present research is that although the primary samples of this ornament are seen less in the poetry books of poets before Hafez and even his contemporary ones, and even in pioneering poets such as Rodaki, these samples are quite rare. However they have a higher frequency in Hafez' poetry and therefore due to their high repetition and variety, samples of such displacement in adjectives and their related elements are more than other works.

“Nafsat-ol-Masdoor” was written by “Shahab-Eddin Mohammad Khorandezi Nasavi” after the Mongols attacked Iran, killing “Jalal-Eddin Kharazm Shah”. He wrote it in e poetical prose style, describing all his own pains, sufferings and wanderings. This book bears three separate styles; plain, technical and literary and full of complex and integrated literary multi-layered poetical ornaments. The ornaments and devices used for creating poetry in this book are divided into three groups on the basis of their function and frequency. Verbal rhetoric; phoneme ornament, puns, versification and parallelism Spiritual rhetoric: equivocalness, paradox, allusion, proverb, etc. Expression; imagery, simile, metaphor, irony. This article in brief offers examples for each of these literary figures of speech.

The epic of Rostsm and Isfandiar is the story of man’s bewilderment at the junction. In written narratives, Isfandiar becomes vulnerable through eating a pomegranate on whichZoroaster has prayed. Pomegranate is the symbol of eternity as well as immortality, but his father blindly fought with Rostam in order to reach to the crown and the throne. Hence, vulnerability of the eyes of this “blind prince” is the sign of his lack of insight. In myth, blind eyes are the symbol of lack of wisdom and mean death and annihilation.