مقالات رزومه دکتر مجتبی عبداللهی

Najmuddin Mohammad Falaki Shervani is one of the poets of the sixth century AH and the poet of the court of Manouchehr ibn Fereydoun Shervanshah. biographers have written the number of verses of the falaki's Divan from five thousand verses to fourteen thousand verses; But what is left of his poems does not reach two thousand verses. Research and search in the falaki's Divan and the manuscripts of his divan, shows the fusion of some poets' poetry with Falaki Shervani's poems. In this research, after studying and carefully examining the Divan of Falaki and its manuscripts and searching in the Divan of poets of the fifth to seventh centuries AH and the wars and manuscripts of their poems, the poetry of some poets, such as: Asjadi, Masoud Saad Salman, Qatran Tabrizi, Adib Saber Termedhi, Majd Hamgar and Jalaluddin Mohammad Molavi, we found out that either his poems were recorded in the Falaki printed Divan and its manuscripts, or Falaki poetry was published in their Divan. In this research, these poems have been studied and their true poet has been determined, In order to provide a complete correction from the divan of the mentioned poets, than this be the helper of the proofreaders as well as the researchers of theyr poems.

One of the issues which domestic and foreign scholars have done a lot of research surrounding, in recent century, is Persian national narrations and epic stories. About this topic, European researchers and other international experts on the subject of Iranian scholars conducted valuable researches. Zabih ‘Allah Safa. By writing the book “Epic Poetry in Iran” could open the way for Iranian researchers in this field and prepared an important resource for those interested in the study of Persian Epic Literature. This book, which is one of the major sources for PhD Persian literature students and also for researches in national narratives, in some cases need to be edited and corrected; So this research is about criticizing it both in the way of writing and in its content to be removed from ambiguity and redundancy. This research is considering; spelling errors and punctuations, Arabic unfamiliar words, ambiguities and contractions in some subjects, the mismatch of the text by its source, general discussion in some issues that need to be corrected and spoke about some matters which need to explain further.

 One of the valuable literary activities in the contemporary era is correcting the texts left by the predecessors. The Divan of Shervani, the poet of the sixth century (AD 540), is one of the texts from which has not yet received a proper revision.This is mainly because of the unavailability of a reliable manuscript, collected during or close to the poet's era. In addition, those who have attemplted to correct the available manuscripts, have not observed the proper critical methods of text correction. The existing version corrected by Taheri Shahab in 1345 AH suffers numerous methodological and typographical defects. In this study, while showing the main correction defects of the existing version, such as "improper recordings", "displacement of verses", "scattered poem lines " and "typographical errors", it tends to introduce the new versions and explain their role in correcting the poems of Shervani. The poems of this poet are discussed in order to highlight the necessity of re-correcting the Divan of  Falaki Shirvani, which, in addition to presenting a revised text of his poems, undoubtedly has a great impact on recognizing the stylistic features of Azerbaijani poetry and solving some problems of poems following this school .

One of the varieties of oral literature is the song. The songs in the Bakhtiari culture and literature are widely used. Language as a part of human society has a significant role in the forming of the customs and culture of every nation and community. The role of women in the lyric poetry is very significant and chief. In this research, we investigate the role and position of woman in oral literature especially Bakhtiyar's songs. In this regard, the songs were divided into eight categories. Subsequently, the role of women and the analysis of songs on the determination of women's role have been studied. Then, we find that the Bakhtiari woman, in many cases, is a self-constructor, speaker, and designer in relation to songs, and used them in most stages of their lives and everyday tasks. Some sample of songs are about the women but not created by them.