فهرست مطالب محمدامیر جلالی

The view on "death" varies greatly depending on various cultural and intellectual factors. Although death is generally considered a "negative" and "unpleasant" issue, it sometimes finds a "desirable" meaning and creates a kind of "death thinking" and "death wish" in people. This death thinking has manifestations in the literature, and this research aims to study the ideas of poets who perceive the mortality issue with this view. In the present study, we have first tried to examine the death-wish poems of three poets; the Iranian: Sohrab Sepehri, the Arab: Ghada al-Saman), and the English (John Keats) separately, and then we have tried to analyze the causes of this manner of thinking based on a psychoanalytic theory by Freud called 'death drive'; According to this theory, the activity of the death drive associates with the "psychological development"; That is, the more people develop psychologically, the more active the death drive is in them. During this research, we find many of the poems' intellectual components compatible with the characteristics of this theory.

From a long time ago until now, with referencing to the common narrations and the three verses attributed to Ferdowsi, Shahnameh has been famous for having sixty thousand or nearly sixty thousand verses; while the number of verses in the oldest manuscripts, as well as valid printed texts, does not exceed fifty thousand verses. The present research seeks to answer the questions such as where, when, and by whom these numbers became popular and how many verses the manuscripts and the famous printed texts have, by separating the fictional sections. This research consists of four parts: 1. Reviewing and criticizing verses related to Ferdowsi about Shahnameh’s verse number. 2. Reviewing various reports on the Shahname’s verse number (Including the quintet introductions of Shahnameh, biographies, historical, literary, geographic, and Rijali (narrator evaluation) resources, and various views of contemporary researchers). 3. Recounting and presenting the exact number of Shahnameh’s verses by fictional parts, based on printed copies of Turner Macan, Julius von Mohl, Berookhim, Dabirsiaghi, Moscow, Kazzazi, Jeyhooni, and Khaleghi. 4. A discussion about semantic significations of the number "Sixty" and "Sixty thousand". The authors assert that the number "Sixty thousand" was not versified by Ferdowsi. But this number was used by the Shahnameh enthusiasts in the late of his life, or a brief time after his passing, with the meaning of "plurality", "perfection", and "approximation" in describing the number of Shahnameh’s verses. Based on the famous narrations, at least starting from the sixth century, verses have been versified about the sixty thousand verses of Shahnameh and are annexed to Shahnameh.

This article examines the structure of popular and innovative meters in classical and contemporary Persian poetry, and a new category of all types of meters. Furthermore, formulating subcategories and the varieties of meters have been studied. Previously, meters were divided into two or three types, and in the most recent division divided into five types “Muttahid -al- arkan” (Unified foots), “Muttafuq -al- arkan” (Allied foots), “Mutanaveb -al- arkan” (Alternating foots), “Mutashabih -al- arkan” (Similar foots), “Mukhtalif -al- arkan” (Different foots), nevertheless there are new meters that are not included into any of these categories, for instance, the meter "‒  / U ‒ ‒ ‖  ‒ / ‒ U ‒ / U ‒ ‒ / U ‒ ‒" in Simin Behbahani's poem. The author has called these meters as the sixth categories of Persian poetry, the "Mustazad -al- arkan". The first part of the current article answers the question that what techniques have been used by creative poets from the past to the present.  This study demonstrates that new meters of each era of Persian poetry history is based on the same well-known meters and has been formed into eight methods:1. Reduction 2. Increase 3. Repetition 4. Transition 5. Change 6. Integration 7. Innovation 8. Combination. In the second phase of this study, according to the results of the first part and accuracy in the structure of common and innovative meters the six types of Persian poetry meters with the letters X, x, Y, y, Ẍ, Ȳ, Z, z, M are formulated.

A text relation with other texts has been an important subject, which attracted the attention of researchers such as Kristeva, Barthes, Riffattere, Genette, ete. In the 1960s, it was Julia Kristeva who used "Intertextuality" for the first time, indicating any relation between different texts. Thereafter, Gérard Genette expanded the study domain of Kristeva, and called relation between a text with other texts or different from its own as "transtextuality" and subdivided this type into five categories where intertextuality was only one type. Other categories were called "arcitextuality", "paratextuality", "metatextuality" and "hypertextuality", each with their own subcategories. According to Gerard Genette's theory, whenever a text sets to criticize and interpret another text, it will be considered as a Metatext for that text. In Metatextuality as a form of Intertextual intercourse, a text can explain, condemn or endorse another text. This paper studies and discusses all the elements of narratives related to the birth and death of Christ based on comparison of the narratives in New Testament (Matthew, Mark, Luke and John), Quran, Islamic interpretations (Tafsir al-Tabari, Tafsir-i Sur abadi, Rawz al-jinan wa ruh al-jinan, Qisas Al-Anbiya) and Persian poems (until 6th century AH). Furthermore, this paper sets out to analyze the transformation of narrations as well as similarities and differences based on a Metatextual approach. This study documents that not only there are various narratives between Christian and Islamic sources, but also there are differences among Islamic sources (even in a single text) that have been reflected in Persian poems. A way of determining "Metatextual" relationships is examining of the similarities between two or more texts in the type and manner of the narrative differences of these references in a single subject compared to other sources. Moreover, it turned out that differences in narrations is depends on interpretations and interpretations itself is depends on translation. (As the term "taqi" is translated both in the noun and adjective; causing to make two different narratives of Mary's life) Considering Persian poems, especially poetic texts until 6th century AH, such as poems of Muslim poets who were living in Arranand Shirvan, we found out that both Christian and Islamic narratives have been reflected on poems. It shows that not only the author's ideological background makes narrative differences, but also cultural and historical context is effective. This study documents that, on Mary's getting pregnant, there are four interpretations based on the verse 12 of Surah At-Tahrim, as well as four narrations: 1. Blowing into her mouth (based on Tafsir-i Sur abadi's narrative) 2. Blowing into her sleeve (based on Tafsir al-Tabari's narrative) 3. Blowing into her vagina (based on Qisas Al-Anbiya's narrative) 4. Blowing into her dress (based on another story of Qisas Al-Anbiya). The poetic sources that have been examined on Mary's pregnancy are metatext of Tafsir al-Tabari that shows Blowing into her sleeve is the reason of getting pregnant; however, Mary's pregnancy in Manuchehri Damghgani's poems has been narrated based on Tafsir-i Sur abadi's narrative. Therefore Blowing into her mouth is the reason of pregnancy; these two texts can be considered as metatext of each other. Among interpretations are mentioned above, overall, Tafsir al-Tabari is more consistent with Luke's Gospel. While the going of Jesus near "his Father" is rejected by Nasser Khosro's poem, it is can be a metatext of Bible. While Khaghani's belief on the "accusation of being God" is a criticism of Christian belief, and also Nezami's interpretation of "being alive during crucifixion", is a denial of Jesus's crucifixion, all of them are metatext of the bible. Examination of Persian poetry until 6th century AH shows that there are the frequency of vocabulary such as blowing, sleeves and virginity which are related to birth of Jesus, as well as the cross, the fourth heaven, the position of the sun, Baitul Ma'mur, and the needle, that are related to the crucifixion / ascension of Jesus. We can say that these words are influenced by Christian and Islamic narratives in the same way; therefore, these words, which confirm the Christian and Islamic narratives, can be considered as metatext of both of them. As the Islamic interpretations (both Shi'i and Sunni) on Christ's birth and death are the Metatext of the Holy Qur'an and New Testament, there is also a Metatextual relationship between the Islamic interpretations. Consequently Persian poems (until 6th century AH) can also be a Metatext of Islamic interpretations, and hence they are a Metatext of the Holy Quran as well as Christian sources.

The main topic of this paper is prove that Sa'adi is a prosodic poet. In this article, Saadi's poems are examined from two perspectives on the number of meters and creativity in utilization of meters. The author first proposed two criteria and then introduced the prosodic poets throughout the history of Persian poetry. The main part of this paper has two parts: First, after examining Saadi's poetry and Golestan's poems by using printed text and manuscripts, all the meters of Saadi's poems are shown in a table (41 meters: 13 in Arabic poems and 30 in Persian poems, by lowering 2 common meters). The second part of this article shows Saadi's creativity in Golestan poetry. Too much meters and make new meters by changing the meters of Arabic poetry ("Iranicized meter") and his "musical eloquence" in Golestan's poems, are the reasons to prove that Sa'adi is a prosodic poet. In this paper, the errors of previous researchers have been criticized.