فهرست مطالب کاظم دزفولیان

Art and aesthetics are broad components through which the world is interpreted, affecting imagination, creation and expression in a perceptual process. Aesthetic experience and knowledge challenge new methods and perspectives of the mind. "Nadia" by Andre Burton and "Three Drops of Blood" by Sadegh Hedayat serve as clear examples of objective and mental beauty elements that reveal the hidden reality of the deep mental state of man in his subconscious mind. They possess an ontological reality of which our consciousness has only grasped a small part. The purpose of analyzing the aesthetic elements of these works, which represent the needs of different areas of human life through intuition, reflection and attention to the transcendental world, is to create an interactive connection between human feelings, thoughts, wisdom and imagination. The goal is to understand how these works are written and why they hold value. In this research, using a descriptive and analytical method and the approach of comparative literature, we rely on the American critical school for qualitative analysis of the surrealistic aesthetic aspects of the works. We have concluded that the beauty of language and imagination in the superstructure part, and the beauty of the content in the deep construction part using the techniques of surrealism, are the constructive foundations of the beauty of these works that lead to the creation of spaces that is a rebellion to free the mind from limitations.

The concepts of Ahura Mazdā and Ahriman in the Zoroastrian religious culture are intertwined with the concept of Mainyu, such that Ahura Mazda holds Spenta Mainyu within himself, and Ahriman is another verbal form of Angra Mainyu. In addition to these two antagonistic deities, Mainyu also applies to other concepts in Zoroastrian scriptures. These three concepts are still ambiguous and confusing, despite ongoing research, due to factors such as antiquity, semantic multiplicity, abstraction, and changes that have occurred over time in their meanings. The authors of this article have attempted to analyze and demonstrate these concepts from the perspective of the similes that have been formed around them, using a descriptive-analytical method and by extracting data from Zoroastrian scriptures. This is to show how simile, as one of the most important tools of cognition, has been used to visualize these abstract concepts and what visual and semantic characteristics have been explained for them. The results of the study show, firstly, that the authors of the scriptures under discussion have consciously used similes to relate the intellectual to the sensory as well as the tangible and the popular to bring these three concepts closer to the understanding and perception of the general public. Secondly, using simile to compare the concept of Mainyu to martial art terminilogy has defined a role for it beyond mere personification, identifying it as the agent and combatant soul of the world of Asha. Thirdly, while the similes referring to Ahura Mazdā maintain aesthetic criteria, the images associated with Ahriman have been chosen from among the most terrifying and striking phenomena in the view of that era.

Shadow is the of Jungian archetypes. Archetype has an ancient and eternal concept. And it considers as the common language among all human beings. Archetype places in collective unconscious. Shadow is the sinner and unprocessed dimension of us that deals whit our defects and incompleteness. Also it is origin of creation and prosperity. Archetypes specially shadow usually appears in dream s or creative work of literature. In some parts of forough's poems we can see the traes of shadow. Chehre ye shegeft (the amazing face) has features of shadow. Forough e this rejected and ruined face that had no clear appearance at night and talked to it, and the shadow took the chance for telling the truth that always been hidden.

Denomination and ritual are subjects that have fascinated writers all around the world for many years. The denomination is a wide-ranging topic that cannot be included in concise books or writings. Poets, especially Urdu poets, express specific beliefs toward their denomination, ritual, and religious leaders. Denomination and ritual are involved effectively in human life and are evident in his speech and writing. The present study investigates the concerns and interests of the Urdu poet Iftikhar Arif. It studies his denomination and understanding and the influence of Islamic leaders. He has been able to take his name and his poems to the top of the literary sky in religious literature. His poems are full of a deep understanding of Islam, love for the Prophet (PBUH) of Islam, and his household. It can be said that he has a sufficient understanding of religion and has expressed the issues of the present age in the context of religion.

The Shahnameh embodies the culture and ideas of the ancient Iranians through numerous elements, including myths, epics, and stories of kings and heroes. These ideas narrate the cosmological perceptions, social structures, traditions and moral and behavioral examples of the ancient Iranians which is known as Khosravaniphilosophy. These profound thoughts have been formed in a philosophical way from various religions such as Manichaeism, Mithraismand most of all Zoroastrianism; The basis of Khosravi's wisdom is light And the manifestations of this issue in Shahnameh  with high-frequency components such as wisdom, Light, Fire, Splendor (Farr), Angles (Emshaspandan), Goddess (Izadan) and dark forces like the Devil (Ahriman) and Demons (Divan) which are in contrast to the light and Ahuraian Lighting, along with its romantic and lyrical aspects, express the philosophy of life from the perspective of Khosravi wisdom.In this study, using the method of content analysis, components of Khosravani'sphilosophyhave examined in Shahnameh and shown that the brilliant reflection of these themes interrelated to its roots in Shahnamehhas provideda ground for establishing transcendental ideas, creating free thinking space with flowing it to the the heart of society and literary works, as well as a situation for the dialogue of texts throughout history.Therefore, by recognizing this trend, a systematicperception of Iranian literary, historical and religious works can be achieved.

The History of Al-Uthman perfectly illustrates the events and happenings of the Ottoman government from the beginning of its emergence to the time of Ragheb Pasha. It also includes the events taking place after 1744. Besides its historical value, this work provides the audience with valuable knowledge about the social situation of the people, the behavior, and actions of the Ottoman rulers, cultural changes, and the way of thinking and the viewpoint of people during that era. The author of this work, Ahmad Judet Pasha, was born in 1823 in Bulgaria and was a very prominent and influential person in the Ottoman government. The translator is Mohammad Hossein Khoei and as said by his own words, he tried to translate this work by the order of Naser al-Din Shah in 1900. The prose of this work, excluding the introduction, which is an artificial one, is in colloquial language and is one of the anonymous texts of the Qajar era. There are two manuscripts of this book, both of them date back to the thirteenth century. However, the first version is complete and the second version is incomplete. Due to the importance of the Qajar colloquial language in the changes and developments of modern Persian, the present study aims to investigate the position of the author and translator and its translation style so as to elucidate the worth of this anonymous historical version alongside its linguistic significance.

One of the most important branches of geographical critique is Michel Colo's theory of horizon structure. horizon It expresses the boundaries of the landscape and reflects the inner states and abstract landscapes of the individual, and in recognizing it, one must pay attention to the "hidden side" of the phenomena. Landscape in Kolo's view is a combination of reality and imagination, and for this reason, each person and each writer has his own view of the space around him. It is a geographical space in which several themes and semantic networks have been created in relation to each other to create a sunset landscape. The purpose of this study is to describe the sunset scene and discover the inner and outer horizons of this poem according to the poet's moods. The research method is descriptive. In the analytical part of the research; By expanding the horizons of the poem, the connection between darkness, death, bell, bird, the sanctity of space and sunset is shown, and each of the hidden and visible aspects of the sunset scene is consolidated and understood in relation to each other.

Classifying all narratives in a single type is the aim of narratology. Greimas is one of the theorists who, by reducing the number of actants of the propp model, tried to provide a comprehensive model for all narratives. The present research investigated the story of Rostam and Shaghad based on the Greimas' actantial model, the analysis of the status of narration with respect to the dual oppositions, the syntactic pattern and the syntgmes narrative (syntgmes contractual, syntgmes performative and syntgmes disjunctional). Greimas' model has acted dual in this story, and an actant in different situations acts as the opposite and the supporter. The subject actant comes to deceive to eliminate the role of the conflict actant. Breaking and contracting a pact by Shaghad is the main source of the narrative that is formed in the syntgmes contractual. The same thing shapes the syntgmes performative and its actions, ultimately ending up in a positive or negative status in the syntgmes disjunctional.

“Menahaj Al-Talebin Fee Ma’aref Al-Sadeghin” is one of general history books of 8th century, and had written by “Ali ben-Hoseyn ben-Ali, Alaa Qazvini” (726 or 727- 793 AH), in the period of 778-779 AH. The authors of this article tried to investigate Alaa Qazvini’s style through his book; so they interpreted “Menahaj Al-Talebin” in three different levels including: 1) Intellectual level, 2) Linguistic level, and 3) Literary level. His desire for Shia is the most significant intellectual feature. At the linguistic level, authors have focused on rare words and compounds used in this book. Finally, the use of eloquence and rhetorical figures have been reviewed in literary analysis of this book.

Emphasizes the Quran to know stories of the prophets, because the life of the early years of Islam, according to the subject dealt with in the books of commentary and history and stories of the prophets Written later Independent books in describing the life of the prophets Among the many stories of the prophets, manuscript Qesas Al-anbiya by"Mohammad Ibn Hassan Dayduzami" is notable. The identity of the author is unknown.All Bibliographers who have learned of his life and his work, his book titled "Nafayes al-arayes and Qesas Al-anbiya" and those considered Persian translation of Qesas Al-anbiya by Mohammd Ibn Abodolla Kisaei.From the Arabic text of Kisaei two Persian translation of a manuscript written in the seventh century AD. By comparing the Arabic text of Kisaei and Dayduzami,s book and Persian translations of his text It can be seen there is no correlation between them. This study attempts to provide reasons and evidence, stating that Qesas al-anbiy by Dayduzami is not translation of Kisaei,s book But rewriting is the book "Taj Al-Qesas" of Abunasr Ahmad Ibn Mohammad Bokhari(fourth century AD), respectively.

In the 8th century AH, the Iranian historians, wrote many history books amongst which, the book Manahidj-attalebin fi maaref assadeqin written by Ala-e qazvini (born in 726 or 727-alive in 782 AH), is one of most importants. This book contain a history of the world from the beginning up to the year 779 AH and is dedicated to Shah-shodja Mozaffary. This book is not ever published before. In this article, after having introduced the author(Ala-e qazvini) we tried to provide a description of the content, and the stylistical features of the book and ultimately we have introduced the manuscriptions of the book.

At the end of the Sassanian era and the early Islamic period, ancient history has been written and has taken it out of oral form and has been called it “Khoday name”. Since, these documents were boring, and out of print, people like Ferdowsi brought it to poetry and add it elegance and literary industries and gave them a very nice atmosphere. Fifth and sixth-century epic poets put Ferdowsi as their model and his defects were completed with other epic one. Wherever they encountered something wrong in Shahnameh or saw an expression needed to explain, with respect to Ferdowsi, issues were resolved. In this paper, we have examined the books “Garshasb name” and “Kush name” which written by “Asadi Toosi” and “Iranshah-ibn-Abilkheir”. In these books, Ferdowsi differences about “Jamshid”, “Barmayen”, “Dive Sefid”, and “Mazandaran” was expressed in very pleasant manner.

This research aims to familiarize the researchers with “Qisas Al-anbiya” written by "Mohammad Ibn Abdollah Kisai", to introduce detailed Persian translations of this book manuscript. Study within the text of the translations in order to achieve the structure of style (language and literature) is also one of the strategic objectives of this research. Considering the lack of information on the author's life and identity of the Persian translators work, cataloging and bibliographers critical comments about it in this article are intended. The main reasons for the author's approach to this issue can be the narrative style and the popularity of Kisai's work of fiction among Muslim communities and numerous manuscripts in the libraries of the world, as well as translations of Persian manuscripts unknown in Iran and the world considered

Qasas Ul Anbiya by Kisa''i is a works in Arabic by Muhammad b. Abdullah al-Kisa''i. The realidentityof itsauthoris not well known. This work is common in Islamiccommunities، especially among the public withnames such as“Bad’aldonya VA Qisas ul-Anbiya’’، “Qasas Ul-Anbiya va almobtada’’ and Bad al-khalq va Qasas Ul Anbiya’’. Coherence in structure of the stories has madethis book isas afictionalliterarytext. The authorhas used from theQuranic storiesandhistorical narratives in writinghisstoriesandhehas filled his book with imagination. The storiesofthisbookareconsideredintwocategoriesincluding the storiesin thecreation of the universe and (The primitive affairs، such as Divine table، pen، Throne، the empyrean، Heaven، Hell، etc.) and Storiesof the Prophets. The mostimportantpart of bookis devotedtothe story ofthe prophets. In this research، it is brieflyconsidered types of stories and itsstructuralanalysis with story elements ad mention of motifs in Qasas Ul-Anbiya by Kisa''i.

Shahnameh and Mahabharata may be assumed as the greatest masterpieces of the Epic genre. The sixth part of Mahabharata, Bhagavad-Gita (hymn of gods), according to some scholars, is the most philosophical part of Mahabharata, that presents some profound aspects of Hindi mysticism and wisdom. The fearful hesitation of Arjuna, a great hero in the battlefield, to entering the realm of avarice and indecency is the departing moment of Bhagavad-Gita, and then his long conversation with Krishna, an Avatar, is presented in which Krishna puts forward three ways to salvation in order to make Arjuna overcome his hesitation. On the other hand, Avarice is a repeated theme in Shahnameh, and whenever it has been used, the very counter-argument of wisdom has been presented, that like a shield protects man against the avarice. This article aims at surveying these two approaches against Avarice in Iranian and Indian Myths.

In the present study, major discourses of serial novels published from 1320 to 1332 are investigated. Identifying the dominant political discourses of the period including the Islamic, the Royalist, the Nationalist, and the Marxist discourse, it then attempts to find the links among such discourses in Hossein Sokhanyar’s (Masroor) Ten Ghezelbash. The theoretical framework upon which the data analysis here is based is Laclau and Mouffe’s discourse theory. This analysis demonstrates that, among other things, there exists in this work a particular variety of the nationalist discourse within which both Islamic and Royalist discourses are articulated. It is worth mentioning that not only the modern dimensions of the major political discourses of the period in question – including the Nationalist, the Royalist, and the Islamic discourse – are not reflected in this work, but that there exists a certain kind of hostility towards them all. For example, there is no trace of the Marxist discourse within the discourses of this serial novel.

By investigating into the Persian poetry، we find out that the poets have used natural elements for various purposes، such as describing، praising، criticizing، etc. The purpose of this research is to investigate the role of nature and its elements، and to find to what extent the imagery based on natural elements is used in Shams Tabrizi''s divan. The appearance of nature in Ghazalīyāt-i Shams is numerous. This presence is noticeable both in the number of verses and variety of the natural elements used. The Mowlana''s high attention to nature which is the result of his poetic taste and abundant reading demonstrates Mowlana’s awareness of the verbal facilities and the impact of nature. His view of the nature is based on Islamic culture and the Qur''an. He has observed natural elements from a different perspective and used them to express his educational and spiritual purposes.

One of the different kinds of literary criticism is mythological criticism which is a method born out of Yung’s theories on collective unconscious. A mythological critic’s task is to analyze the archetypes of a literary work as representations of the collective unconscious of the writer or the poet’s mind; archetypes which are prevalent in that society or people’s mind or above that, in all humanity. Human’s mind often turns such archetypal beliefs and behaviors into symbolic ways, and one manifestation of the appearance of such archetypes as symbols alongside dreams and sleep, etc. is literary creations.Nizami’s Haft Peykar is a work full of mythical symbols and archetypal applications. In this essay, it is tried to offer an analysis of a verse narrative of this work using the tools that Yung’s psychological model in relation to collective unconscious and also Northrop Frye’s theories on mythos give us in order to shed light on the symbolic applications of this narrative.

One of the basic features of contemporary modern stories is the use of numerous narrative devices. In order to present their novice ontology, contemporary modern writers have always used complex narrative techniques and avoided classic and linear narrations popular in previous centuries. Hoosang Golshiri is a contemporary writer who created complex, multi-layered and difficult works by using countless narrative devices. The complex narration in stories by Golshiri is one of the most important features of his writing style. This research analyzes the narration of the short story called Ma’soum-e Dovvom (“The Second Innocent One”) based on the theory of Genette who’s a theorist of structuralist narratology. After explaining Genette’s theory, three narrative levels of the story, the narrative text and narration of this short story along with the components linking these levels, namely “tense: order, duration, frequency”; “mood: distance and focalization” and “voice or tone” are analyzed and discussed. Therefore, the techniques and devices used by Hooshang Golshiri in these works are shown, and it is revealed that he used these narrative components in a modern way. This paper aims at showing that an investigation into the narrative structure of Golshiri’s works helps one to understand their complexities and know more about their semantic aspects.

Iran and Greece with their ancient civilization have been the subject of researchers from the political confrontation of Greek democratic society and Iran''s monarchy and many other perspectives. However comparing the myths of the two nations has been neglected by the researchers; therefore، the present paper puts forward a Bakhtinian reading of the myths of Iran and Greece. According to Bakhtin، Iranian and Greek myths have fundamental differences to consider. The main three differences taken into account in this paper is firstly the absence of the other in Iranian myths and its presence in Greek''s; secondly the presence of dialogue in Greek myths and its absence in Iranian''s، and finally the distinguished task of gods in Greek myths and its absence in Iranian''s.

Masnavi Manavi, one of the progenitors of mystical anthologies, involves some topics about death, exclusively over voluntary death. One of the reasons that the writer intends to deal with this topic is to express Rumi's attitudes and concepts plus accounting for one of the most important mystical points presented in Masnavi. In fact, this type of death in mysticism is based on the relation, namely 'they die before they are dead', so that the mystic traveler can find his way into the heavens and get a rebirth. Knowing about the voluntary death, Rumi is of a believe that the most significant barrier to have a voluntary death is ill spirit, hence Id. In his view point, the means of achieving a voluntary death are as follows: ascetism, and dedicated love and attention to God. The greatest outcome for achieving a voluntary death as he believes is the unity of visibility and the source of visibility.