فهرست مطالب مریم صالحی نیا

Metaphor is a symbolic and indirect language that conveys concealed and supplementarymeanings. Interpretive narratives may also exhibit gender metaphors and stereotypes. Thework is founded on the interpretive accounts of three Persian interpretations of Rowz al-Jannan, Jala al-Azhan, and Manhaj al-Sadeghin in this research. This article has selectednarratives that have employed gender metaphors or whose content is reminiscent of gendermetaphors. Subsequently, the qualitative content analysis method has been employed toinvestigate the value of these metaphors and their correlation with gender stereotypes.Examples of gender metaphors in these narratives include “bed,” “Boyut,” “Atbah,” and“Denya.” While some of these metaphors have a positive connotation, others have a negativeconnotation. The most significant findings of this research are that the majority of negativemetaphors about women are based on the role of a woman as a wife or sexual companion,which emphasizes her physical appearance. These metaphors are influenced by prevalentgender stereotypes that are detrimental. On the contrary, the majority of positive metaphorsare centered on the role of the mother and the qualities of kindness, creation, origin, andcommencement that are associated with the mother. In addition, this research demonstratesthat the female body is depicted in two distinct ways: the “heavenly body” and the “infernalbody.” The female heavenly body is a symbol of complete delight and benefit, while thefemale infernal body is a symbol of deception, sin, Satan, and adultery.

The concept of unity is one of the spiritual, ambiguous and fundamental concepts in the field of mysticism and philosophy. And metaphor is the main and most important tool that the mystic poets, including Biddle Dehlavi and Rumi, have used to make tangible abstract mystical concepts such as unity. In this study, we will examine and analyze unity in the Masnavis of these two great poets (Erfan, Telesm e heyrat, Mohit e azam, Towre marefat and Masnavi e manavi) based on the theory of cognitive metaphor. After identifying the types and cognitive functions of metaphors, we will determine the views and ideas of Biddle and Rumi through them. After examining the works of both poets, we find that Rumi used more metaphors referring to natural, accessible, and religious things; Biddle, on the other hand, used more metaphors about human artifacts. Accordingly, in line with their pedagogical intentions in using metaphors, Rumi's main aim is to make the unit more comprehensible to the audience; but Biddle has also sought drama and thematization. Both put more emphasis on the use of some metaphors under the influence of their geographical environment, lifestyle and life experiences.

Narrating the actions, events and wars of early Islam plays an important role in the formation of Sharia discourse and its transmission to the next generations, women's narration is an effective thing as a social action. Female narrators are the main or second narrators or the equivalent part of interpretive narratives and have narrated various topics in these stories. This article deals with the comparative analysis of the female narrator's face in the three interpretations of Rouz al-Janan, Jala al-Azhan and Manhaj al-Sadeghin, and follows the commonalities and differences of this role in the three interpretations. In this article, using the technique of content analysis; We have extracted the type of female narration, the subject of the stories and the participation of the narrators in the stories of these three interpretations, and from this point of view, we have drawn the image of the female narrator in these texts. The textual body of this article is the stories that were narrated by women in the three mentioned interpretations. This research shows that in these interpretations, women have been narrating and over time, the commentators have changed the face of the female narrator by removing, changing or adding narrators or narrations. Also, in these narratives, the reliability of the female narrator has been increased with techniques such as creating multiple levels of narrators, using an internal narrator, and the proximity of the narrator in time and place to the narration.

The land of India has been the cradle of various religions, the most important and most common of which is Hinduism. This religion is composed of different mystical schools and the school of Advaita Vedanta is one of the most important schools in Hinduism. In the school of Advaita Vedanta, Atman means "man" and Brahman means "God", and in this school, there is a kind of identity between Atman and Brahman. Bidel Dehlavi, the great poet of the 11th century, lived in India at the age of the spread of the school of Advaita Vedanta, he knew the Sanskrit language and was aware of the customs, mysticism and religion of the people of his time. In his Masnavi, some concepts and words such as "non-existence", "intellect and consciousness" and "man and God" have a high frequency. In what sense are these terms used in his Masnavi? To answer this question, we have examined these concepts in Bidel's Masnavi by referring to important Indian mystical sources. Considering the adaptation of Bidel's definitions of man and God to the mystical sources of India, the reflection of these concepts can be seen in Bidel's Masnavi. Biddle uses non-existence, intellect and consciousness, and man and God in a sense close to the teachings of the school of Advaita Vedanta

Images of God are the result of the efforts of the human mind to understand better the mysterious and sacred existence.One of the most prominent images of God in the infinite range of human imagination is the "God of the Farmer" from whom we can call God's action in agriculture. This image, inside of the images of the realm of herbages makes the aspect of God's action in creation objective and tangible.God's activity in agriculture in texts that contain images for God, despite its dynamic presence, has undergone several changes. The present article has been reviewed this image in mythology, sacred texts and mysticism with a descriptive-analytical method and with the approach of metaphorical analysis. In mythology, the creation of God in the work of the goddess of fertility and the god of plant death is explained in the form of the rotation of seasons. In the sacred texts, this action is assigned to Ahuramazda, Yahweh, the God of the Father and Allah, in accordance with the context of each text, and in mysticism, this action is depicted in a diverse and comprehensive way with human focus.The results of the study showed; this image has passed a rotational journey from nature outside to nature within man and from objective nature to nature. In addition, the expansion of God's authority and dominion over the world and man is one of the things that can be seen in the transformation of this image.

To shed light on the real belief of Abu Hamid Al-Ghazali about political rulers, authors of this paper study the presence of political rulers as the Other in Al-Ghazali's letters. After appointing those parts of the text in which he encounters with political rulers as the Other, we introduce Al-Ghazali's tools for giving a negative presentation of them. Considering his way of using these tools, we enlight that Al-Ghazali's view of political rulers as the Other is oriented to the feature of "being misguided" and indicates his pity. So, instead of squashing and combating the Other, Al-Ghazali uses most of his strategies to encourage the Other to change. Among the two groups of "kings" and "ministers", Al-Ghazali usually engages in ministers and his caution and consideration causes the use of the techniques that increase the text's interpretability. The influence of Al-Ghazali's philosophical studies is apparent in his considering about the chance of change for the Other, using irritation adverbs and the text's high unambiguity.

Unity is of the central concepts in mystical thinking. Mawlana has used metaphor to elucidate this concept, similar to numerous other inexplicit mystic concepts. In this study, metaphors used for the concept of unity by Mawlana's in Masnavi Ma’navi</em> (The Spiritual Couplets</em>) have been studied and analyzed based on Lakoff and Johnson’s Conceptual Metaphor Theory. The present study aimed at understanding Mawlana’s view about the concept, his style of introducing that to the audience, and the factors affecting his choice of metaphors, through analyzing the metaphors and identifying their type and cognitive functions. Accordingly, we first extracted instances of unity metaphors and then analyzed and described them. In Masnavi</em>, Mawlana has used seven meta-metaphors of light, man, natural element, object, place and container, growing entities, and abstract concept; most of which are ontological metaphors. Through these metaphors, all the features and functions of the concept of unity are displayed to the audience, though via observing confidentiality principle. Rumi's eloquence as an orator, congenial relationwith the public, poetic style, and living environment have been influential in choosing simple, tangible and popular metaphors. Nonetheless, there is a category of metaphors, such as “unity is colorlessness” or “unity is thought”, in which the presented image of unity is highly abstract; as if it needs to be interpreted by special target audience or elites. In these metaphors, the image used to introduce the abstract concept of unity is itself abstract and needs to be clarified.

One of the elements which has a vital and relatively novel function in the analysis of contentand structure of literary works is motif. The recognition of this device as one of themost common expressions in art and literature is important due to its evoking and recurrent nature. The present study investigates the function and role of motif in the works of several novelists in 1320-1330. Motif has been commonly used in the literary works of this decade. These recurrent elements comprise a major part of most stories. The study introduces some prominent writers of the period; this introduction is preceded bythe description of the social and political conditions of the time. In addition, the functions of motifs are examined in some stories of this decade. The other objective of the paper is to analyzethe process of these meaningful elements, which represent writers' emotions, concerns andworldviews.

 In his Masnavi, Bīdil has seriously addressed human beings as a pivotal character. Human beings, his dimensions and existential potentials are among the most important concerns of the poet. To Biddle, all manifestations of existence lie in human "perception". In his stories - where there is only one single central character - Bīdil narrates the journey of human in search of his own existence. In this journey, he finally realizes that there is nothing beyond the scope of his own “perception” and “existence”. This makes man the sole truth of the universe. The study tries to show what sort of relationship Bīdil establishes with his hypothetical reader, as a “typical human”, and how he achieves this by drawing on the potentials and power in his narratives. This is carried out by examining the various aspects of narration in Bīdil’s longest stories. In fact, this study, in order to draw a pattern of Biddle's narrative at various layers of the story, along with examining the relationship between the "story" and "discourse", examines the relationship between the narrator, the single pivotal character of the story and the hypothetical reader.

So far, many books have been written for children’s  literature. Most of the writers of these stories have been male, but female writers have also begun writing stories in this field within recent years. Since men and women are physiologically different, the stylistic studies have concluded that the men and female use different way of writing. The stories adapted from Adults’ books particularly The Epics of Kings (Shahnameh) that children’s  literature are so pleased with it. Atusa Salehi and Asadollah Shabani are among the writers of children’s  literature who first adapted the stories of The Epics of Kings for these two age groups. In this research, two works adapted from the story of Forud from Ferdowsi have been chosen from one male and one female writers in order to present the effect of the   writer’s gender on the adapted work. This research is based on a descriptive-analytical method. The present research aims to contrastively scrutinize the characterization in the two selected works and display the similarities and differences caused by the effect of gender. Finally, it is concluded that gender affects adaptation. The gender of Atusa Salehi has given a famine ambiance to the story, while the male adaptor has given masculine ambiance to the whole story.

Tabaghat Sufia of Ansari (fifth century) and Tazkirat al-Awliya Attar (sixth century), and the Nafahaat ol-Ons of Jami (ninth century) are among the biographies that for three consecutive periods with the sole purpose of teaching the basics of Sufism, and of course, according to the intellectual attributes, during his life, he has been exploring the dimensions of the elders' personality, including Abraham Adham. Abraham Adham is one of the great Sufis of the second century, which has attracted the attention of the biographers due to his significant role in the evolution of the principles of asceticism. In this study, with a look at the historical works and officials of the Sufis until the time of Jamie, we find that the focus is on the Sufi levels of Abraham, and Ansari, for some of his beliefs, The Sufis are preferred to Ibrahim, and they are merely Sufi, ascetic, and truster, but in Tazkirat al-Awliya, the later humanity of Abraham is superior to him, and he is considered to be the one who has become a man in the path of humanity, freethinking, popular warrior and ascetic. While Jami tries to merely portray Abrahim Adham as a moralist Sufi. In the paper, we also mention the possible reasons for these different visualizations. For example, Ansari is more concerned with Sufism and Sufi ways, Attar had more artistic looks and Jami preferred more reasoning approaches.

In this research, we sought to answer the question of whether existential psychology (as presented by Bo Jacobson and Ernesto Spinelli) provides a conceptual framework for understanding the main problem of young adult literature and research in this field. To this end, we first analyzed the problem of young adult literature in the existing theoretical frameworks and found that all of them ultimately have considered this problem as a kind of dichotomy between self and the other/the world. After a brief introduction of existential psychology (from the perspective of Ernesto Spinelli and Bo Jacobson), we have shown that one can rely on the inter-relatedness principle and two basic life dilemmas, love/aloneness and the free choice /the Obligations of your life reality, as well as concepts such as daimonic, choice, freedom, responsibility in authentic or inauthentic ways to formulate the main problem of young adult literature. We propose, then, specific requirements for the method to apply this theory in literary criticism or theorizing (being qualitative, subject-oriented, and based on description), and appropriate areas for theorizing and literary criticism in this field, based on existential psychology.

In the paper, Fifth sense metaphors are studied and analyzed in Maarif of Baha –e-Valad. Fifth sense metaphors explain psychic realities and rational cognition. These metaphors have considerable quantity and quality in the Maarif. The central metaphor of text is:  psychic realities Perceiving is objectives perceiving with sense. The fifth sense and the perceptions of them, in Maarif of Baha –e-Valad have  epistemological quality. Baha–e-Valad`s special attention to psychology topics as Muslim scholars including Farabi, Ibn Sina and Sheikh Ishraq has shaped this particular metaphorical frame. Through mystical experiences, he refers to three chains of sense, ego and intellect, which results from rational cognition. Baha–e-Valad has established a reconciliatory link between Islamic philosophy and mysticism. In this paper, the process of perceiving truth and cognition through the sense, is presented in the form of two ascending (Climbing the  sense to perceive of cognition ( and descending (declining of cognition in the sense) paths.

Despite several existing emendation from it, Khaghani Sharvani's Divan requires a lot of researches in the light of purgation. Therefore many Khaghani researches sought to analyze and study the recording of Khaghani's divan. The authors of this research attempt to examine the efforts of some Khaghani researchers who have provided opinions about the emendation and distortion of the Khaghani's divan. Accordingly, among the essays published in journals and various literary conferences and also books which in the midst of their discussion devoted a section to distortion a number of randomly selected sample were chosen. The results show that sometimes oversighting Khaghani's personal style according to his imagery criteria, not counting whole texts and lack of attention to lateral texts, led Khaghani researchers to misrepresent the original text by their research in the eyes of readers.

Asefi Heravi is one of the prominent poets of the tenth century AH, whose name has been mentioned as one of the idiosyncratic poets in several tazkeras of Safavid era. The core argument of this study is that in the tenth century AH, Nazok-khiyal (narrow imagination) poetic trend existed along with the Voquʻ poetic style, that led to the emergence of the former in the eleventh century. The tazkeras and poems of Asefi, show that he was one of the pioneers of Nazok-khiyal style, and this paper tries to prove it through studying the historical documents and stylistic features of Asefi’s poems. In this article, Asefi’s biography and style are studied, and some unclear points are analyzed. Moreover, it is discussed that the poets of Door-khiyal and Nazok-khial styles welcomed Asefi’s poetry, and Nazok-khiyal poets followed his style. Finally, the features of Asefi’s Nazok-khiyal poetry are explained through various examples of his poetry.

The thoughts of ancient Iranians are the main origin of the intellectual thinking of Nizami Ganjavi. His major interest was on ancient Iran and Pahlavi ancient language. He had applied pre-Islamic context of Iran in several of his poems. With his publications, one can understand that he is highly influenced by these ideas which have led to various court metaphors in Khamse. This had made Khamse a solid text which is one of prominent and notable rhetoric characteristics of Khamse. Keeping this in mind and duo to importance of role of court metaphors of Khamse, this paper studies effect of ancient thoughts on formation of court metaphors based on theory of cognitive metaphor. It also analyzes effect of these thoughts on Nizami Ganjavi through analysis of several major court metaphors. This suggests that the application of metaphors in Khamse, such as Mohammad is king, Khorshid is king, king is the light, and Khovarnegh is utopia, illustrates that thoughts such as the idea of Iranshahri and its components such as believe in The King of Armani and utopia, as well as believe in blessing of God and Mithraism ritual had played a significant role on formation of the most important court metaphors that were applied by Nizami Ganjavi.

Khāqānī Shīrvānī (595 AH-520) is one of the great poets of Arrānī (Āzarbāījān school), which is one of the prominent features of this style, using various tools to complicate the word. Khāqānī's knowledge on Christian myths and teachings, and attention to the delicacies and allusion moments of the book, and, of course, has influenced complexity and ambiguity in his expressions. This article seeks to identify the causes of ambiguity and complexity in his talks by examining allusions of mythical and epic tales, as well as the Jesus' suggestions of Khāqānī’s poetry. Exploring the sources of allusions is one of the goals of this research. The method of this research is to examine the samples based on the text of Khāqānī's poetry and other works of the text and books that Khāqānī seems to have been aware of. Due to the fact that one of the ambiguities in Khāqānī's poetry is ambiguity, which is the cause of some of the allusions in his poems, research in this regard is necessary. The results show that ambiguity in Khāqānī’s allusions is more in the context of intentional ambiguity.

‎“Distinction” is one of the main components for the success and ‎continuity of any literary work. “Literary distinction” has not been ‎studied directly and concentrated in Islamic rhetoric; but this topic was ‎always in the focus of Islamic critics and rhetoricians. The major problem ‎in this research is receiving the attitude of Muslim literature scholars ‎towards the topic of “literary distinction”. By relying on the original ‎references in literary criticism and Islamic rhetoric, this article intends to ‎find out the essence of this discussion from the standpoint of different ‎opinions of Muslim literature scholars. While the literary distinction is the ‎result of convergence function of “form and specific meaning” in the ‎Islamic rhetoric, the fundamental topics including specific meanings and ‎forms, discretion-creating domination, mutual meanings and forms, plus ‎their types and subtypes have been investigated.‎This essay tried to make up the effectiveness of Islamic literary criticism ‎in this field in order to criticize the classic literary works based on such a ‎standpoint that the creators of these words believed in

Khaqani is a poet of Arrani style (Azerbaijani), and one of the most prominent features of this style is the use of various tools to make the discourse difficult. Having benefited from a reach cultural background besides a deep understanding of science and technology of his own era, Khaqani has created the magnificent images and has avoided any obscenity in his words. In other words, this diversity and variety in his poetic images may be due to the extent of Khaqani's information, research and his knowledge of historical interpretive books. One of the tools used by this poet to create his own images is allusion which can be considered a featured style of Khaqani due to its high frequency in his Divan. In his allusions, Khaqani occasionally refers to the indications which we cannot find their resources and references in the official and written literature; therefore we should search folk and oral narratives to find those references. In this research, we intend to look at the sources of some Shahnameh allusions of Khaqani which are based on oral and folk narratives and they are not mentioned in the official and written sources.

The narrator is a fundamental concept in analyse of the narrative texts and Focalization as an interstitial element, from one side connecte to the story and the characters and from other sid connecte to the narrator's speech. Pari Saberis leili o majnoon in dramatic persian Literature and Ahmed Shoghis majnoon leili in Dramatic Arabic Literature Dramatic as other dramatic text consists of dialogue and scene descriptions. Saberi and Shoghi in the dialogue, hide themselves behind his personality that creates and contrast in a scene description directly speak to their readers and give them different information to better understand the interaction and to better visualize . Thus we can say that found both the External and Internal focalization in leili o majnoon and majnoon leili. in the description of the scene, the author does external focalization and in dialogue by the plays characters Internal focalization is done. However, the considerable differences in the model of internal focalization and focalized phrase of these two works connect to the modern and classic plays and playwriters ideology and gender.

In this paper, at first the existing grounds of theorizing in children's literature are classified on an objective and logic basis. These grounds are: theories relating to the existence of children's literature, theories relating to the nature and the specific issues of children's literature, and revisions of the concepts and the categories of literary theories and their relations according to the nature and the specific issues of children's literature. The present article offers examples for each case. Then with regard to Vandergrift's figure of the focal points of the literary theories, the positions of children's literature theories on this graph are determined. By determining the dialectical relationship between literary theory and literary criticism, it is shown that the production of literary theory itself relies on literary criticism. At the end, by posing the need for complex thinking, the possibilities ahead the theorists are pointed out. Thus, the descriptive metatheory of children's literature is portrayed. This metatheory shows the routes and the areas of research in the field of children's literature.

In this study, we have investigated Sam battles; the hero of Sam Nameh; applying structural research methodology. To this goal, at first , the collection of battles have been categorized in five agents such as subject , battle’s motif , battle adversary, adjuvants , and the results of battle. Then, by summarizing table data, we reached nine total conclusions related to the battle’s structure of this poems. At the next step, by reducing these nine conclusions, we obtained three general formula. The main function of Sam nameh hero’s battles is to highlight an exaggerated hero who is always victorious. In a non-linear study and regarding sender / motif pairs, the progress of battles is separable. The first class includes hero’s battles from beginning of the story till his departure to the land of Shadad A’d and then his battles with the king of china and his army by the motif of love.
Second class has been devoted to the collection of hero’s battles with regard to religious motifs and other marginal factors. Also, Sam Nameh hero’s is an independent actant who do not obey any king. Considering this fact and absence of no national motif , it is possible to say that Sam Nameh is not an epic work , rather this is a love story whose poet intervention in order to shape a an affected discourse has made it an exclusive work with special structures.

Tabaqat-al-Sufia by Ansari, Tazkirat al-Awliya by Attar, and Nafahat al-Uns by Jami are among the most prominent works in the history of Sufism that follow the same purpose, content, and manner of expression in describing the demeanors of the saints or spiritual leaders. In the three books, influenced by the thoughts, beliefs, and the time period of their authors, particular manners of the saints have been taken into consideration which could be analyzed from a variety of perspectives. Egyptian Dhul-Nun is one of the most prominent saints of Sufism. With a comparative historical, descriptive, and narrative investigation of Egyptian Dhul-Nun’s personality in the three aforementioned works, it could be seen that all the three works contribute to a transcendental recognition of Dhul-Nun's personality in line with teaching Sufism foundations. However, Ansari, due to the prejudice and religious and sectarian conflicts of his time and in the course of development of the principles of Sufism, introduces Dhul-Nun as a pious and religious mystic. Attar, through great depiction of spiritual munificence, skillful exploitation of story elements, and with a critical look at his era of corruption, introduces Dhul-Nun as a champion and popular mystic. The image of Dhul-Nun in Nafahat is different from the one depicted in Tabaqat. Jami, while disregarding the social conditions, tries to introduce Dhul-Nun as a moderate Sufi whose teaching mission is to direct the individuals towards ethical principles. To him, he is a moderate and decent mystic.