عصمت اسماعیلی

Attention to literary history and biography through writing Tazkira (biographies), especially during the Mughal Empire's reign in India, has been more prominent than ever. Biographers employed various means to enhance their books' literary status and demonstrate their power in creating a literary work. One of these means is the use of stories and narratives about outstanding characters. In order to better understand these narratives and measure literariness of their language, it is required to use such means as the study of linguistic foregrounding. According to Russian formalists, standard language defamiliarization leads to the creation of a literary text, and the means of defamiliarization is the linguistic foregrounding in two ways; extra regularity and deviations. Undoubtedly, the stories in biographies have been a proper platform for establishing the biographers' position as a writer aware of linguistic subtleties. This article seeks to display such literariness in the biographies.

Imagination creates an infinite atmosphere in the poet's mind that leads to his creativity and artistic expression. The core of poetic thinking is rooted in the poet's imagination; Because it shows the poet's attitude towards the world and its surroundings. This element is considered to be the main building block of lyrical and epic literature. The lyrical-epic poem of Vargheh and Galshah Ayouqi has been written following the structure and story of Arwa and Afra in Arabic, and according to its Arabic origin, it has revealed many cultural and social elements of the mentioned society. On the other hand, in the illustrations of this work, the system of imagination has been used in the form of nested systems and by using symbols with positive and negative evaluations. The main purpose of this research, which has been done by descriptive-analytical method, is to study and discover the imaginary system of Vargheh and Galshah systems based on Gilbert Durand's model. The results show that the system of imagination in this system, both in terms of positively valued symbols (ascending, spectacular and separating) and in terms of negatively valued symbols (falling, darkness and animal) indicates that an accident story is made and told in a completely primitive land with a special Arab cultural and social structure; Therefore, from this perspective, the system of imagination and the events of the story are in perfect harmony with each other.

In the period of Persian literature, the poetry of the constitutional period is more than ever mixed with political themes, and political themes can be a proper basis for any kind of violence, including verbal violence. Farrokhi Yazdi is one of the prominent poets of this period who is a good example for studying verbal violence. Malkin (2004) is one of the scholars who have addressed the issue of violence in language. He introduces six patterns to illustrate how violence in language occurs, in which language provides a framework for the speaker to apply violence according to these patterns. In this article, we discuss how violence is manifested in 10 poems by Farrokhi Yazdi according to the discourse approach of Malkin (2004). Our criterion for choosing these poems was that Farrokhi used violent words and a violent tone more than any other in his poems. According to the results of this study, Farrokhi Yazdi has used the second pattern more than any other pattern of violence. According to this pattern, language can be a tyrannical weapon of domination and destruction. Frequent use of violent words by Farrokhi has made the second pattern more frequent than other templates. Farrokhi has used pattern number 5 less than the rest of the patterns. According to the fifth pattern, language can embrace and control power. This pattern, which examines the reflection of ideology in language, has been used less frequently in selected poems.

Much of the existential style indicators of "death, suffering, fear and sin" exist in the works of Sadegh Chubak. The author tries to portray the ugliness and inequality of society in the eyes of the readers, in addition to depicting the consequences of this injustice. The main research question here is how did the most important indicators of existential style emerge in the stories of "The Stone of Patience, the Entry of the Dead and the Atma of My Dog?" Existentialist philosophy based its analysis of Raber's fate on three fundamental inferences and considered three signs of existence for it. The purpose of this article is to elucidate three existential principles (sensory, moral and faith) in Sadegh Chubak's works. The results show that Chubak's worldview is influenced by philosophers' analysis. As a social writer, Sadegh Chubak has a good understanding of society, its pains and problems. The author's stories are full of themes such as "death, suffering, fear and sin", which is one of the most important concerns of existences. In character analysis of the stories of "The Stone of Patience and My Dog Atma" we conclude that most of these characters do not rise above the solitude of moral and existential existence, and do not reach the stage of faith existence. Experiences faith.

Khajuye Kermani, one of the great poets of the 8th century AH, has composed Gol o Nowruz at the request of a beloved and has dedicated it to his noble patron. According to him, the story is originally in Hindi and has been compiled by Babylonian storytellers. Although it has many similarities to Nizami Ganjavi's Khosrow and Shirin, it is a unique work because of having some love sub-stories, a lot of figures of speech and epics, and mystical and mythological themes. Also, Indian and Babylonian mythological beliefs and traditions are present in Gol o Nowruz and the influence of their culture, beliefs and myths on Iranian mythology, religion and epics and traditions has been proven. With regard to this influence and based on the statements of Khajuye Kermani, in the present article the mythical background of Gol o Nowruz is studied by using descriptive-analytical method, and its relation to the mythical narrative of Indra (Indian god) and waters or the cows captured by the Demon, as well as its relation to the Mesopotamia blessed Goddess and his husband are examined.

  Anand Ram mukhlis, Persian poet and author of the 12th century, was born in the Sialkot district of North Lahor in the Punjab. His birth was between 1107 and 1111 AH. He followed his master, Bidel Dehlavi in poetry and he was one of his best students, but we do not know in his poetry the complexity of  Bidel's  poem. his prose style has been known to sobriety and Simplicit, So that He is considered as one of the bestwriters of the time Anand Ram Mukhlis's works consist of: Karname-ye eshgh, Hengame-ye eshgh, Pari khaneh, Rogha'at-e Mukhlis, Mer'at-ol estelah, Chamanistan, Badaye' vaghaye', Divan-e ash'ar, Tazkirat-oshoara, Masnaviat-e Mukhlis, Long letter, Entekhab-e Tohfe-ye Sami, Rahat-ol afras (Anosheh, 2001:2324-2325). Chamanistan is one of the works written on the subcontinent in the imitation of the Golistan-e Saadi Shirazi. In Chamanistan sometimes we see a beautiful and colorful prose. Anand Ram Mukhlis tries to create a poetic work by using the literary arrays. One of the main questions of study is to determine in the Chamanistan what are topics and important points, and what is the Anand Ram Mukhlis's prose style in this work. Anand Ram Mukhlis is one of the 12th century poets and writers in the subcontinent. He has the influence of composition, story, dictionary and letter-writing. It is one of his prose works that only once printed by lithography in 1877 AD in India. Because of the importance and value of this book, this paper seeks to introduce and examine the characteristics of this work  The method of research in this paper is based on the library method and content analysis based on peresentation of evidence. Therefore Camanistan was studied and was show prominent topics and points, and characteristics of  Anand Ram Mukhlis's prose. Also whit the study and research in related Mukhlis's works, has been used for the richness of this paper.   Camanistan, one of the Anand Ram Mukhlis's prose work is a collection of jokes, ironies and nuances, some contemporary and some indication of status descriptions of trees, flowers and fruits. Subject matters organized on four grass and grass on the two bouguet. This work written in 1746 AD and printed by lithography in Nolkeshvar press in india in 72 pages  in 1877 AD (story, 1927:1/6123). This book contains special information about the kings and princes and ministers like Abbas shah-e Safavi, Awrang zib Alamgir, Sa'dollah khan, Omdat-olmoluk, Jahan ara Beygom, that no existe in other history books (Zohur-oddin Ahmad, 1977: 166-167). Also Anand Ram Mukhlis described some Indian customs and other contries. For example in the 31and 32 pages, he dealt with the Seti Hindu tradition and He narrate the event that he has seen exactly. in detail about the kinds of flowers, fruits and trees, wich showed his interest in growing the flower and plant and his extensive information in this regard. In this book, he described only 44 various of tulips. Mukhlis uses Indian words in his prose and combines Hindi and Persian names together, but he warns beginners of doing this (Anosheh, 1380: 2324). In this invalauable work, we face stories of poets, writers and artists. For his devotion to Sa'eb Tabrizi, like the rest of his works, he talk more to him than other poets. He expresses beautiful tales of his memories in meetings with his contemporary poets.Anand Ram Mukhlis in many instances, in this work, wrote verses of contemporary poets and his verses. Anand Ram Mukhlis refers to some strange things and events that he has seen or heard, For example a square board called the Choki. The stylistic features of Anand Ram Mukhlis, like the other clerks of the course, use local words in prose, although he have been used rhythmical and poetic phrases (Hashemi,1996:194).      Camanistan, one of the Anand Ram Mukhlis's prose work is a collection of jokes, ironies and nuances, some contemporary and some indication of status descriptions of trees, flowers and fruits. Subject matters organized on four grass and grass on the two bouguet, that written in 1746 AD. Chamanistan is one of the works written on the subcontinent in the imitation of the Golistan-e Saadi. In Chamanistan sometimes we see a beautiful and colorful prose. Anand Ram Mukhlis tries to create a poetic work by using literary arrays. his prose style has been known to sobriety and Simplicit , So that he is considered as one of the bestwriters of the time. Mukhlis uses Indian words in his prose and combines Hindi and Persian names together, but he warns beginners of doing this. In this work, we face important historical, literary, social and linguistic points, including: valuable historical references and some otherlands, the introduction of flowers and various plants,  poet's stories and poems, jokes, strange things and events, indian customs, the use of indian words, ancient terms, etc.    

The eternal mythological motifs with flexibility and deep extensive meanings, ever exist in the various narratives according to their contents and also to the intellectual and social characteristics of the different periods. They also maintain that beliefs which are the bases of the narratives forming. Volcano is one of these motifs which transfigures as a dragon or a daemon. Struggle of the main character with this daemon is interpreted as his bravery, his competency to achieve the goal and also as a benediction upon the others. This ancient motif which is related to the Aryan mythology, not only exist in the epic narratives, but also it is possible to see its displaced samples in some of the romantic poems. In this essay, the mythological motif of the volcano has been studied in these four romantic poems: Homay-o-Homayoun, Gol-o-Norooz, jamshid-o-khorshid, Mehr-o-Mah. Also, this motif in the romantic poems is compared with its role in the epic narratives. So, the dynamic current of the myths in the non-epic texts will be proved.

The rich literature of Persian language could be used in the simplified form in teaching Persian as a foreign or second language to improve learners’ proficiency to advanced level. The main question of the current study was to explore the effect of using simplified literary texts on the learning of non-Iranian learners of Persian. This field study was conducted over a four-month period in Iran and China. 22 participants were randomly selected from among 40 Chinese learners of Persian language. The selection criterion was to obtain a minimum score of 65 out of 100 in the pretest. Inferential statistics were used to analyze the data obtained through the tests. The covariance analysis (analysis of variance design in which the effect of pretest scores is removed or controlled) and Shapiro-Wilk test (due to the small sample size) were used to examine the research hypotheses. The findings of the study showed that teaching simplified texts along with the original literary texts to Farsi learners positively affected their reading comprehension scores.

One obvious feature of Hafiz's style is ambiguity and among this, ambiguity of musical words has obvious usage. Among the poets that hafiz was under the influence of them; Khajou kermani and Amir Khosro dehlavi clearly use musical ambiguity too. so that some of words that make ambiguity in their poems have been used with common structures . Our main question is that in use of ambiguity, to what extent hafiz was impressed by Khajou and Amir Khosro. For this purpose, first we have extracted musical ambiguity of the three Divan, then we have separated mutual ambiguities and have written brief description of semantic and structural features of each of them, and by doing so, we have demonstrated that hafiz in his feature style, has paid special attention to khajou's poetry and Amir Khosro's Poetry.

Regardless of Its values and advantages as an Encyclopedia, Akhtari-e Kabir or Sihah-e Akhtari Arabic – Turkish lexicon (or dictionary), by Muslih Al-Din Mustafa Ibn Shams Al-din Ahmad karehisari Kutahiyyavi (D.968 / 1561) known as Akhtari, Usmani literary, linguist and faqih, Living in the era of Sultan Süleyman Kanûnî's kingdom, can set a good example to demonstrate growth of Persian language influence among the Scholars, philologists and the Usmani Arabic-learning in minor Asia, Despite the fact that this lexicon doesn’t include Persian language. In such a way, it can illuminate the cultural and linguistic relation between the two vast and ancient countries. In this article, I have tried to demonstrate how this lexicon has been benefited and affected by Persian language and literature in terms of vocabulary, expressions, names, dates, culture, grammar, prose and poetry.

For a long time, the development of artistic creative paradigms has not been necessarily simultaneous with the emerging social changes in Iranian society. In spite of the fact that the emergence of Iranian novels was due to the social changes, novel is generally considered to be an imported literary genre rather than a traditional Iranian trend, which found its way into the system of Persian literature mainly as a result of translation. Moreover, the principles of modern aesthetics have not been in tune with the accepted norms of Iranian literary community. The novel "Christine and Keed" By H. Golshiri due to its unintelligible content and form and lack of social themes is considered by many critics to be missing a natural and logical continuation of his era’s writing, which has deviated from the coordinated norms of literary community. More clearly, Iranian novel has been an imitation of western literary works in terms of form and figures of speech and the context of the story has not been a product of real situational and social contexts in Iran. This discrepancy caused the novel not to be generally favored among its readers and critics at the time of its publication. However, several decades after the publication, it was faced with a relative acceptance by its readers and critics because of the advances in criticism and literary theories, innovative experiences in fiction, and writers’ passion for modern and progressive movements. This paper aims at providing an innovative explanation of this novel based on the principles of Nouveau.

One major sign that is important in understanding of mystic texts is the element “light”. The designation of semantic significations and internal associations of the element light makes it easier to understand mystic texts. Semiotics, as a new approach in literary criticism, allows us to study these applications inside the discourse. The present paper is about to analyze the applications of the element “light” in one section of the story “Jafar’s conquest to Take Hold of a Castle All Alone”, using a descriptive-analytical approach. The major question is: how does the element “light” affect the discourse and how does it create the meaning. In fact the objective is to study the conditions that govern the creation of stories and the discourse, and to show the fluidity of meaning. In this story, the element “light” has a discursive function, and this way, a dynamic fluid discourse is created. The main hypothesis is that in this discourse “light” has embodied, cognitive, interfacial functions and these functions have affective, representative, explosive, simulative, reflexive and aesthetic characteristics. The analysis of functions and characteristics of “light” can designate the discursive capacities of the stories in Masnavi, and help us in studying this book.

One of the elements of fantasy poses and meaning construction in the poetry of the new style poets or Indian style, are the Motives. The key words of meaning construction, which get situated in the centre of language and communication network, and associated with the concept of language and vocabulary, while using parallelism and the narrow sense of the poet, lead to a very effective lyric discussion with the audience, especially in the lyric type of poems. In the poetical works of Naziri Neyshaburi, some descriptive combinations and words get out of the circle of their ordinary dictionary meanings and being placed in the centre of the language networks, help the poet, in order to creation of innovative concepts, they also transfer their cognitive concepts to the reader's mind. For instance, words like: sepehr with 51 or khat with 74, khak with 166 or ka’be with 125 different usages in his poems- have helped the poet in constructing differentiated meanings. In this article, I try to compare the motives of khat in the poetical works of Naziri and Sa’eb, while referring to some motives used in the poetical works of Naziri.

Anand Ram Mukhlis, Persian poet and author of the 12th century AH, was born in Sodhra,Sialkot district of Lahore. He followed his master, Bidel in poetry and although he was one ofhis best students, there is not the complexity of Bidel’s poetry in his poems. His prose style has been known to be of sobriety and Simplicity So that he is considered as one of the best writers of the time.‘Hengame-yeEshgh’is a romance story in prose written by Mukhlis in 1152 AH. It is a free translation of the ancient Indian legend, ‘Padmavat’ written by Malek Mohammad Jayesi.Mukhlis’ prose in ‘Hengame-ye Eshgh’ is poetic and beautiful. In the present article, ‘Hengame-yeEshgh’manuscript and its author are introduced.

Semio-Semantics is the outcome of the interrelation between Structural and Post-structural linguistics. This approach believes that formation of meaning is a very complicated process in which many semantic factors are involved: the discursive actant incessantly reviews the semantic boundaries and creates a dynamic, multifaceted system of signs which is the result of the adjusting the emotions, perception and cognition. This article examines the sensual-perceptual process, and the aesthetic mechanism of the poem “Rain” by Golchin Gilāni and concludes that “rain”, as a mediator sign, through the formation an sensual-perceptive relation, creates a process that isolates the poet from his “I”, integrates it with transcendental “I” and thus attains the “secret of immortality” and “ideal being”.

As a new method in literary criticism، semiotics is applied in terms of various processes one of which is tension process. In such process، a relationship is made between semiotic elements in which meaning plays the role of an element fluctuating between periphery and center. Accordingly، in sensual-perceptual activity a kind of process can be identified in which all the elements of tension are dynamically present. By the aid of these elements and in a discursive process، the rebel is placed at the center of sensual tensions. Then، relative to the depth of tension، it triggers the formation of signifieds. Such presence leads discourse to a kind of value system on which discursive content is based and confronts us with created meaning. While explaining the semiotic characteristics of Daghughi tale of Mathnavi، this article tries to analyze the transition from semiotic square to tension square and the formation of tension process in this tale by using analytical-descriptive method in order to provide an answer for this important question that how tension process can change discursive conditions and produce floating meanings. In fact، this article aims to show how an approximated mystic، as the rational Self، is disintegrated from himself via an emotional-tensional relationship. Then، in a mystical journey and via a transcendental process، he can see the Substitutes and، in a higher stage، achieve the status of Unity with God.