مریم شریف نسب

Texts are not created in a vacuum. The realistic texts, particularly, the didactic genre inevitably contain the cultural extract of their times. The present research seeks to collect and formulate the most outstanding behavioral and cultural features of Iranians by examining four anecdotes from the four most important didactic works written in the fifth and sixth Hijri centuries which include Nizami Ganjavi’s Makhzanol Asrar (Treasury of Mysteries) in verse, Sanai’s The Hadiqat al Haqiqa (The Walled Garden of Truth) in verse, Khawaja Nizam al-Molk’s Siyasatnama (Book of Government) in prose, and Onsor Ma’ali’s Qabus-name (Mirror of Princes) in prose. These didactic and anecdotal texts were selected because they were produced to establish norms based on dos and don'ts. The study, moreover, chose the texts since they disseminated the socially approved ethical culture and discouraged existing cultural abnormalities.  This research’s findings (which historically cover the Daylamite, Buyid, and Ghaznavid dynasties) indicate that the anecdotes of didactic texts are truthful and reliable mirrors reflecting people’s existential, cultural, and behavioral issues in the absence of social and cultural histories. On a personal level, ‘being realistic’ is an approved and encouraged behavior having great frequency in these texts. On the collective level, ‘demanding one’s right and questioning’ was highly frequent, and in the governmental dimension, ‘encouraging rulers’ wisdom and judiciousness’ had the highest frequency. These features indeed mirror the irrational and biased ruling manner of those times.

Folk tales have always been explored in many ways. One of the viewpoints that can be explored in folk tales is the attention to cultural similarities and differences between folk tales in the two countries. Because folk tales show an unadorned picture of people's lives, these studies can reveal a profound understanding of the cultures of different ethnicities.The structure and content of each story have its cultural components. In this research, the structure and content of folk tales of Iran and India have been studied using conventional qualitative content analysis method.This study is based on twenty stories (ten stories from each country) in elements such as plot, active characters, structure, subject, and theme. The result shows that despite many similarities, there are fundamental differences in the structure, characters and content of the two countries' tales that represent the different cultural origins of the two nations.Keywords: Folk Stories, Structure, Content, Conventional Content Analysis, Indian Tales, Iranian Tales

The emergence of the genre of temperament in Iran by Ebrahim Tawfiq, Seyed Mehdi Yousefi, Hesam Turkman and Arash Heydari with good ideas tries to study and categorize the content about the temperament of Iranians from the constitutional period to the years after the victory of the Islamic Revolution, the elements and components of a " Extract the "genre" from it. This article has tried to study the book in four axes of form, language, structure and content through the documentary-critical method. The results of this study show that although the authors of the book have collected very extensive and accurate information from various sources and sometimes examined it, they have not been very successful in determining the boundaries of the "genre". Nevertheless, the content of the book is full of useful but scattered data. The authors' opinions on the subject, etc., have been reorganized and made more useful for the audience in this field.

Location is an indelible element in any narrative text, because every action or description in the story and every development in the plot takes place in a real or imaginary place, whether you like it or not. The place element in the story is sometimes just a silent background and context for events to take place; But sometimes it also plays a role as a living and dynamic element in the formation of events. In this study, Persian urban novels of the seventies to nineties, the events of which took place in Tehran, have been studied with the approach of cultural studies. The results of this research show that the place in these novels is sometimes an objective place (such as highways, streets, passages, etc.) that show the manifestations of progress and civilization of the capital; But due to the heterogeneity with the culture and emotions of the citizens, it does not create a discourse continuum. The result of living in these places is boredom for the native citizens and cowardice, sadness and confusion for the immigrant (city) citizens. Sometimes space dominates the citizens and the descriptions of the place are influenced by the wishes, nostalgia, fears, or ideals of the character. These spaces are generally out of reach, present in the memories or wishes of the characters and create a sense of nostalgia for them.

Subject and subjectivity are among the elements which can help determine a story as modernist. The modern subject reflects on itself, thus many characters in the modernist fiction think about themselves and their life and thoughts are the focus of the story. Concentration on ‘characters’ and their thoughts are of great importance in modernist fiction, which is less noticeable in pre-modern fiction. In Persian modernist fiction, there are two works in which such a concentration can be particularly observed, i.e. Sadeq Hedayat’s The Blind Owl and Bahram Sadeqi’s The Heavenly Kingdom. In both of these novels, the characters and their thoughts are central. In this study, first, the characteristics of the subject are listed, then a relatively precise definition of the subject is provided, and finally it is shown that the main characters of these two novels are subjects and the features of subjectivity are discernable in them. Consciousness, agency and individuality are the main features of subjectivity which are all studied in relation to the main characters of these two stories. 

In the past century, a number of Iranian writers have produced stories that can be viewed as examples of modernist fiction. One of the most important features of characters in modernist fiction is their subjectivity. In the present study, Hedayat’s TheBlind Owl and Sadeqi’s The Heavenly Kingdom, as two prominent modernist works of Iranian fiction, have been examined, with the subjectivity of their major characters being the main focus of attention. Both of these works are character-centered and the stories revolve around the minds of the characters. In other words, everything is filtered through the minds of the characters and there is no objective reality in them.

The definition of modern fiction is closely associated with the definition of modern personality, resulting in the development of different ideas about the modern personality. Subjectivity, as highlighted by modernist critics, is an important feature of modernist fictional characters. While the subject is defined in different ways, in the present study we have relied on the definition accepted by the majority of modernist critics. The subject, according to scholars in this field, is characterized by awareness, freedom, and individuality.

In the present study, first, by drawing on the ideas of scholars in this field, a definition is offered for subjectivity, based on which the subjectivity of the main characters in Hedayat’s TheBlind Owl and Sadeqi’s The Heavenly Kingdom will be analyzed. Then the most prominent features of these characters will be examined.

The main characters of two important Iranian modernist novels were examined and it was found out that both characters share their ideas about subjectivity with the reader and enjoy their free will and individuality.

In The Blind Owl, the narrator knowingly speaks about the characteristics of subjectivity, shares his ideas with the reader and even analyzes them. He examines every idea rigorously and refuses to accept any idea as a presupposition. He questions the ideas instilled into him by society and tradition and tries to redefine them. His ideas about life and death are the result of his individual awareness. He tries to protect his free will and freedom and influence people surrounding him, even by inflicting violence on them. In The Heavenly Kingdom, Dr. Hatam has devised a plan through which the characteristics of subjectivity can be found in this personality. He sometimes speaks about these characteristics directly and reveals subjective awareness in his ideas in his solitude. He thinks about his own life more than anything else and is aware of the differences between himself and others. Dr. Hatam uses his free will and freedom to joyfully torture and even kill others. He cannot view others as human beings similar to him, and by disregarding all presuppositions he starts to think about himself and others.

In the current study the book of “Tadíb-alatfál” is the case of analyzing and evaluation. The study method is case study and the authors tried to clarify and explain style special properties of this book by considering text and illustration together. The great book of “Tadíb-alatfál” (written or translated by Meftah-ol-Molk) which was written and published before the constitutional revolution is one of the prototypes of Persian children’s literature. This book was not surveyed in any academic research until present. Stylistics is a knowledge of studying of distinct aspects of a literary work regarding the lingual and literary sides of the work. Illustrated children’s books are one category of children’s literature for which a thorough theory and methodology of stylistic analysis is not available in the Persian language. This study Hypothesis is that “Tadíbalatfál” is the first illustrated book in Persian children’s literature.

Didactic literature is one of the means of prescribing moral norms. The tale is one of the best ways to prescribe approved morals; Because the tales are taken from people's lives or are made to convince the audience. It does not matter if the characters are human beings or animals with symbolic roles; However, two clear points can be understood from them: First, the proposed ethics is endorsed by the author (And from there, one can find out what kind of moral tastes have been made by the author and his audience); Secondly, the ethics of interest in that period have not been thriving (Accordingly, the mood of the people of that time can be guessed.) In this research, the mood of the characters of all 20 stories of the book, Makhzan al-Asrar , Descriptive-explanatory method has been investigated. The study shows that a large part of these tales are related to explaining how people behave in a non-material world. After that, in the stories, the relationship between the people and the government is explained and lastly, people's relationship has been investigated</span>

Persian language learners can be classified by several aspects such as their nationalities, their mother-tongue, being mono or multilingual, and their age that is itself divided to three groups of children, adolescents and adults. There are similarities, and also differences in language learning program of each of above mentioned groups. Non-native Persian language learners are divided, in present study, into two groups: 1. Adults, and 2. kids and adolescents. The kids and adolescents literature is originally produced for the audiences in the same age category, but the first part of the study is to answer whether the kids and adolescents literature is an approprate program for teaching non-native Persian language adult learners or Not? And after finding the answer, is to explain what types of Persian kids and adolescents literature seem being suitable as a program. Since the authors found no theory or hypothesis to benefit as a theoretical framework, this study has been accomplished through an inductive reasoning method to answer the research questions, because according to the research background, answering the research questions has also an innovative aspect. The results show that, based on educational and literary principles, a for-kids story is an appropriate base upon which one can teach Persian Language to non-native adult learners.

Folk stories have come from the ventricle of populace، because they are comprehensive mirror of habits، manners and tempers of populace. Then we could barely observe living culture of people. One of the ways for reading texts (among them folk texts) is the discovery of hidden reciprocities in the texts. Extracting reciprocities make the texts، hidden layers accessible. According to Drida، this oppositeness is in hierarchy and step – by- step form. In other words، one part is considered superior، and is not only “natural and apparent” but also totally “cultural”. Therefore، we could attain important points about supportive ideology of text through getting the inner reciprocities of any text and distinction of the superior part. In this essay، the inner texts of two folk and famous stories (Shangool and Mangool and Bewildered Nightingale) are contrastively considered on the base of the most famous and detailed narrations. This consideration indicates that folk stories are truthful to the inner contrasts، and recognizing each part of the contrasts leads to better comprehension of the opposite part positions and traits (for example، woman’s position against that of man or mother against stepmother، etc.). In these stories، the narrator mobilizes all story parts to provide the addressee with his desired result، and stimulate cultural and cogitative beliefs to make it evident and logical

Hamid Amjad is a contemporary playwright، who has his own style. By writing plays and taking them to the stage since 1986، he has made his presence in this field highly precious and continual. After a short prelude and brief introduction of Hamid Amjad، the paper briefly discusses the concept of structure and structuralism and then analyzes some of the works by Amjad by relying on their narrative structure. Each play was investigated separately and the conclusion was that Amjad''s plays follow the Claude Bremond pattern; of the 11 plays that were studied، nine of them ended in failure and two ended in triumph. In the remaining part، situations were named and similarities in structures were revealed. The result was that most plays concerned follow three patterns.

New techniques of story-writing in the West have had a significant impact on Iranian fiction. Aspects of modern techniques can be found in short stories published in the past few years. One of these techniques is meta-fiction. In this article, several short stories published in 1990’s and 2000’s written by various authors are analyzed. The authors of these stories have used a variety of techniques to create the meta-fiction which are introduced and investigated in this study. It is shown how the use of such techniques has led to the creation of meta-fiction and what effect it has on the form and content of the story.

Creating connections between people is possible in different ways, but verbal communication is the most common way. This connection in classic Persian poetry has appeared in numerous ways such as verbal communication and question - answer, communication, colloquy and dialectic, etc. In this essay a variety of verbal communication and their features in the classic Persian poetry are discussed. In the end, it is shown that only in dialectics, logic and reasoning are very vivid and in the other methods of verbal communication they have not been substantiated. This could be occur because of the hegemonic and monophonic social systems under the authorization of autocrats.

In the evolutionary trend of poetry in the present age alongside the special application of prosodic meters and relative cohesiveness in the stanzas, poets while focusing upon modern rhetoric potentialities, have also utilized writing capabilities to strengthen a specific form and to reach at an artistic structure. For example, they concentrate upon the writing style and lexical capacity through dissection while creating the desired atmosphere. One of the possibilities having been used by the contemporary modernist poets to enrich the form and the linguistic-artistic construction, as well as to exactly represent the poems is using punctuation. These signs, besides their special application for describing numerous kinds of sentences and correct reading of phrases and words, in the modern poetry and especially in the works done by the followers of Nima’s style have attained semiotic aspects and particular signification as a part of artistic-poetical structure, Their analysis can indicate the diversified viewpoints of contemporary poets about different phenomena. This research is an attempt to indicate the importance of the signs of writing in the modern poetry with a view to open the new phase in a vast perspective which requires more attention and exactness.