فهرست مطالب ali reza nabiloo

The translation of Molana's books as a one of the greatest literary works of One of the main sources of imagery in the poetry of children and adolescents is the elements of nature. In this research, ten natural phenomena have been selected in the poems of 27 poets of different periods of time. The research method is library, analytical and statistical. First, the number of images used is extracted, then the contribution of each of the poets in creating the original images is determined. According to the data in Table one‚the most frequent new images are related to the rainbow (0.72), the sun and the moon (0.64) and the lowest images related to wind and breeze (0.43) and spring (0.35). In table two, the original images of each of the poets are collected. Jafar Ebrahimi 3/ 17‚ Asadullah Shabani 9/ 11, Qaisar Aminpour 8/ 8 are the most illustrative poets. Due to the nature, purpose and attention to the needs and minds of young children, poets who have written more for this group of poems, have less time to illustrate. Poets have used various imaginative techniques of sensory-abstract similes, eloquence, discernment and sensuality. In these illustrations, most of these elements have been used: human features, nature and products, objects, safe and place, animals, special terms.

In recent decades, interdisciplinary studies in literary research have made literary research new and attractive. Considering the capacity of the quatrain as one of the forms of Persian poetry and emotion which are one of the main components of the poem, in this research, Khayyam’s quatrains have been studied and analyzed from a psychological perspective. The theoretical framework of this article is Plutchik’s theory. According to this theory, eight emotions are common to all living things. These eight emotions include Destruction, Joy, Incorporation, Orientation, Protection, Deprivation, Rejection, and Exploration. All the emotional dimensions of Plutchik can be deduced in Khayyam’s quatrains. The dimensions of Destruction were 37 items, Joy 90 items, Incorporation 107 items, Orientation 61 items, Protection 32 items, Deprivation 130 items, Rejection 43 items, and Exploration 103 items. Although the prevailing view is that the core of Khayyam’s intellectual system focuses on happiness and debauch, this psychological study reveals that in these quatrains, anguish dominates happiness and joy. The results of this study reveal a part of the dimensions of Khayyam’s emotional personality.

The history of Wassaf is one of the outstanding works of technical prose, which adaptation from verses and hadiths is one of its prominent features. The research seeks to analyze different aspects of using verses in this work at the word, sentence, and sentence-text levels. This research seeks to answer questions such as how the verses are used and to explain the verbal and spiritual aspects and their relation to the Persian text of the book. The results of the research showed that verses have such roles as the subject, object, and complement at the word level. Most verses are used as the genitive compound. Verses are in the form of compound, parenthesis, relative, independent, and dependent sentences at the sentence level. The text also has verses with spiritual implications such as verifying the previous meaning of the word, completing the meaning of the sentence, describing and explaining the previous meaning at the sentence level.

The folk culture of the Turkmen people, which consists of material and spiritual elements, is important from the sociological, anthropological and psychological points of view. Mirkazemi has compiled an encyclopedia of these elements in Yurt. This research extracts these elements and categorizes them in a library manner and examines them in a descriptive-analytic manner. The socio-cultural origin as a key factor, and other factors such as religion, language, and race from within, and the environment, proximity to ethnic nations, and policies of the governments of Iran and Russia, also affect it from the outside. In the last century, with the establishment of governments, forced settlement, stability and security, literacy, and the passage of time, the mentality and communication have also changed through these elements, the role of which will be examined as well. The climatic color of the work and its realistic style have helped to advance the elements of the novel such as character and characterization, scene and staging, and space and verisimilitude.

In the present article, which used a descriptive-analytical method accompanied by integration and comparison, the common verses of Ruzbihan's Mantiq al-Asrar and Sharh al-Shathiyat were studied from the perspective of their context and background of application. The main question of this study is in which contexts and backgrounds Ruzbihan has used Qur’anic Ayahs and if he has been loyal to the application of the ayahs in their Qur’anic positions or not. Our analysis showed that Ruzbihan has used Qur’anic ayahs in both his works to cultivate his intended concepts and themes. From a pragmatic point of view, ayahs having a mystical context and background have been used. Another part of the ayahs is accompanied by a context and a background of Shath and Shath-mingled interpretations, and from a pragmatic point of view, Ruzbihan has created valuable literary and mystical themes. We also see ayahs that have an integrative mystical-Qur’anic context and background. Some ayahs have also been adapted to the rhetorical context of the work, especially the description of the Sharh al-Shathiyat, and have produced attractive imagery. Semantically, some ayahs are used in accordance with the Qur’anic context, which is completely in line with the Qur’anic meaning and the position of the ayahs in the Qur’an and in some parts Ruzbihan has expanded the meanings of ayahs according to textual contexts, which has led to fascinating themes and literary creations.

The status and role of a Sheikh and a guide in any mystic order is of great importance, because the wayfarer in his path is in continuous need to the guides and instructions of a Sheikh to be able to cover all states and positions in a healthy and good manner. This role is much more prominent in Kebrawiya order and the related mystics consider a special importance for it. It is worth saying that among the mystics, this order is well-known for having Shiite leanings. Najmuddin Kebrawi, the head of that order, and his disciples, especially Majduddin Baghdadi and Najmuddin Razi consider a very high position for Sheikh in esoteric authority. The present article is of descriptive-analytical type and uses library sources to investigate the sheikh’s characteristics and qualities in the famous works written by those three mystics, i.e. Fawayih al-Jamal, Tuhfat al-Barara and Mirsad al-‘Ibad, and compares it with a Shiite look. To do so, the sheikh’s status has been analyzed from three aspects: sheikh and God, sheikh and self, and sheikh and wayfarer. This study shows that the three mystics consider the existence of a perfect sheikh necessary for guiding the wayfarer and disciple in their way towards Allah, because lack of a sheikh in any state would lead to the wayfarer’s deviation. Similarly, for the Shiite Imams and mystics, this is of great importance in guiding the nation and the wayfarers.

Pragmatism is subfield of linguistic which studies the implied meaning and the hidden intentions. Speech act is one of the main pragmatic theories that impacts on the both philosophy and literature.In the same line, speech act can be interpreted based on the useful theories.So, Authors suggest Plutchik's theory to do the exact interpret of speech acts. He considered there to be eight primary emotions—anger, fear, sadness, disgust, surprise, anticipation, trust, and joy. This article poses the relation between speech act and its characters emotions.The largest chapter Kalia and Dimna is Lion and Ox whose number of dialogues are striking. Explaining the history of pragmatic and speech act, Authors analyze the main four characters dialogues based on Plutchik's.The results show that in spite of high frequency of the directive and representative speech act,the different emotions are transmitted from Abulmaa'li to reader.Thus,while starting in hope and continues in prudishness, Dimna’s speech acts is finished with anger. Also,As Kalila's speech acts are started in caution ، his emotions continued in expectancy and finished with sorrow. Moreover, triggered with fear, lion's speech acts are continued with anger and gets finished with guilt. Finally,Ox's speech acts are started with fear and continued with submission and finished with fatalism.

Fantastic literature is one of the most popular genres in the world. Due to its wide scope, literary theoreticians have put forth numerous theories to explain its various dimensions. On the other hand, many Persian literary texts make use of these features, but they have not been sufficiently investigated yet. In the field of mysticism, due to the connection with supernatural affairs, numerous works have been created by the mystics, which are related to fantastic and supernatural issues. Kashf al-Asrar is of this kind, which includes the writer's revelations and spiritual journey. In this spiritual journey, he encounters super-real creatures and visits fantastic places, and most importantly, has meetings and talks with God; a range of events that gives a fantastic, super-real and phantasmagoric structure to the book. In this article, in addition to explaining the super-real and fantastic literature, using the elements and methods used by Ruzbehan Baqli, such as symbol, metaphor, etc., the authors describe and explain the elements of the fantastic literature in Kashf al-Asrar. It is said that, in order to explain this journey and spiritual experience, Ruzbehan uses various tools in three realms of the inner, outer, and super-real worlds to illustrate his connection with the unseen world and its extraordinary creatures.

One of the monotheistic arguments extracted from the holy Quran by scholars of rational and narrative sciences is "The proof from hypothetical mutual hindrance" Regarding this argument and how it is received from the word of revelation, there is no similar attitude. According to some, the verse 22 of Anbiyaa: If there were therein Gods beside Allah, then verily both (the heavens and the earth) had been disordered, and the verse 42 of Israa: If there were other gods along with Him, as they say, then had they sought a way against the Lord of the Throne denote identically the proof. Against this group, a number of other scholars spell their words incorrectly and claim that the proof of these two verses is not the same, and the premises of the two are different. Following the denotative analysis of the verses, it has been concluded that the second view is consistent with the appearance of the verses and the meanings of the verses can not be regarded to be the same.

The question addressed in the present paper is how similes are treated in Rawzatol Anwar. They are studied in terms of structural, thematic elements of simile, aspect of simile, quality, being single and in combined form, etc. An attempt has been made to review the statistical and frequency of Khajou similes. As it is shown RawzatolAnvar contains 1827 verses and 839 similes, which is determined by comparing the number of verses and similes. Almost two verses contain one simile.Khajou’s similes include 7.5 of human quality type, 8.24 of abstract concept type, 5.32% of objective type and 5.18% of natural type. Similes are repetitive and stereotyped. Fresh similes are few.Kjajou is also more willing to use singular similes and has made little use of complex similes.

In this study, Persian children's stories have been investigated from the perspective of Gremas. For this purpose selected stories from the book of ancient Iranian legends of Fazlollah Muhtadi have been used. After explaining about the children's stories, the researcher has considered narrative and narrative sociology. By considering the features such as being fake and artificial, being repeated, having a speaker and audience, property and move referring to absent affairs, Gremas corrected Prap's theory and presented six active recognizer/ subject identification, transmitter/ receiver, Sponsors proposed a new look for narrative structure. Additionally his three separated narratives have been introduced: executive, contract and discharge. Examining children's stories from the Gremas perspective one can achieve valuable points. The stories can be treated in terms of same themes and chains. Stories have five categories in terms of presence or absence of six actives. In this study, The Gremas has concentrated on narrative characters. According to the categories of actors in this story, in total, the frequency of different characters used are: business owners (34%), animals (30%) men and boys (13%) and women and girls (10%). The narrative chain of triple executive, contract and discharge are in the most children's stories. So in this study-based on the theory of Gremas and true to the stories of children in Iran, the design of narrative pattern and regular narrative structure have been presented.

The study of binary oppositions in art and literature has attracted some contemporary linguists, mythologists, narratologists and semiologists. They maintain that one may get a better understanding of the literary work through these binary oppositions. In this study attempt is made to have another look at the poems of Shams al-Din Muhammad Hafiz by considering binary opposition as one of the central elements and main features of his poems. For this purpose, 100poems have been selected randomly.In these poems 637 binary oppositions are seen indicating that in each sonnet there are 4 to 6 cases of binary opposition. The binary oppositions are grouped in three parts: verbal and lexical (35%), semantic and conceptual (54%), and literary (11%). Semantic pairs are repeated more often in the poems of Hafiz, which give his Ghazalstheir distinctive feature.

In this paper we investigate Halliday''s analytical approach of Systemic Functional Linguistics and explain concepts such as Ideational Metafunction،Interpersonal Metafunction،Textual Metafunction and material،verbal، behavioral،mental and relational processes. We then discuss the role of the Participants of Process،Actors،Inactive Persons،Carriers and Predicates،as well as the Circumferential Elements of the Lexical Plans from the point of view of Halliday. Based on this model،an analysis of Rumi''s «the Song of the Reed» is subsequently offered. In this introductory poem to his well known Masnavi،Rumi has used 21 Relational Processes،13Material Processes،7 Verbal Processes،4Mental Processes and 3Behavioral Processes. In addition،Molavi has mostly used linking verbs. Participants of Processes in «the Song of the Reed» mostly include the reed،the poet، anyone، and the companion. Among these participants،the reed،the poet and anyone have a higher frequency of appearance. Circumferential elements of this poem include location، time and quality elements. Rumi has most used positive lexical plans،rather than negative categories in «the Song of the Reed».

According to Michael Riffaterre's (1924-2006) semiotic theory, the reading of poems includes two stages; an exploratory (heuristic)and a reading-oriented (retroactive) stage. The first stage involves the search for meaning and the second stage considers the implications of language. This approach in reading the text may explain the relationship between covert and internal accumulation of elements and systems in the text. This then brings the reader or critic to the Hypogram and ultimately leads to the perception of these issues and uncovers the poems structural matrix. In Nima's "Phoenix",after the consideration of ungrammatical elements, the accumulation, descriptive systems and the structural matrix of the "Phoenix" are uncovered as follows;the accumulation of the Phoenix, its location and community, the descriptive systems of despair and homesickness of the poet and the indifference and despair of the society, and the matrix of despair - suffering and sorrow - death – and a promising future.

In order to focus on the analysis of the Mehr -o- Māh story in this paper, a number of issues, literature reviews and different versions of narratives as well as fiction structures and its elements are rendered. Moreover, it is considered to review some related topics such as language, character, narrator, the point of view, the structure chain and plot, theme, setting and time. As a result, the whole book considered as a long story with numerous characters promoting the events. The structure of the sentences and its style of writing are uncomplicated and technical simultaneously. Furthermore, 45 characters with usually proper names play a role in the narrative, while most of them are magicians and fairies (24.30 %) or women and girls (22.2 %). The narrator, additionally, is unclear and vague, so the story is narrated in the third person point of view. The paper aims to study the story based on the 31 acts which mentioned by Propp and also considering his classification in 6 stages, including preparation, complication, transference, struggle, return, recognition. At the end, it is worth mentioning to know that narrative pattern of the story is as following:α γ φ δ β ↑ ε λ F A C λ E G G K D H F C B E B O λ H K M Ex φ Pr U K E Pr O T L K W QN I Rs ↓Moreover, the characters could be classified in 7 distinct groups of act, which extraordinary events as the main elements of the story play a great role. In more details, the time of the narrative is unclear; some of the locations are realistic, while some of them virtual, such as China, India, Mecca, Sham, Egypt and Morocco.

In this comparative study, the elements of the stories of Hamidi and Hariri Maqamat were investigated from different directions. Hamidi and Hariri Maqamat are of those types of Arabic and Persian prose related to mannerism in which features such as the narrative, story writing, the narrator, theme, and linguistic features can be found. Hamidi and Hariri Maqamat were the same as traditional stories due to their narrations. Thus different elements of a story such as theme, character, narrator, act, motif, time, setting, size and type of narrative expression could be investigated in them. However, the absence of strong features such as cause and effect relationships between events, absolutism, producing moral results, immutability of the characters, quality of the narrative, etc could be added. These two works were considered as real and moral stories in which writing method was more significant than the other elements. The expression in these stories was both serious and ironic. The main character in Hariri stories was Abo zeyd and in Hamidi stories was an unknown person. The homodiegetic narrator in Hamidi maqamat was Hares-Ibn-Hamam but there was no heterodiegetic narrator while in Hamidi Maqamat, both homodiegetic and heterodiegetic narrators were anonymous. There were common Act of speech and motif in both works which were presented in the following line based on Propp’s pattern.α ŋ3 A8 a a5 B1 B7↑ D2 D5 E2 EVI K1 K2 K3 Q Wº< Time in Hariri’s was unknown, while in Hamidi’s it was generally expressed. Common settings wherein the stories took place mentioned in both of them.In addition to the introduction, the present study had three parts which are as follows:The main features of the stories A look at the structure and chain motif of the stories Studying the most significant elements of these two stories0

 In this article, four anecdotes i.e. Siyavush and Sodabeh from Persian literature, Konaleh and Tishirak Tshita from Scythian literature, Yousef and Zulekha from Semitic literature and Phedre and Hippolyte from western literature selected and have been studied based on the content analysis of Todorov. In all these four anecdotes, actual and incidental circumstances and proposition can be reached in the similar fashion. In other words, all peripheral incidents show three personalities and in each of these anecdotes, queen falls in love with a boy but the boy remains faithful to the king, uncovers woman’s love and charged with and at last, the fact is revealed. The propositions of these stories emerge identical with the situation, traction and adjective. With reference to the viewpoints of Todorov, existence of five-dimensional aspects i.e. predictive, prerequisite, supplicating, conditional and foresighted have been studied in these four stories and these matters emphasize more on the similarity of permissible structure of the stories.

In this article, we classify and search for Makhzan al-Asrar and Tohfat al-Ahrar's similes from different point of view،topics, sides of the comparison, point ofresemblance, words of comparison, etc. We show the theoretical and statisticalresolutions of those two, after comparing the two poet's similes. One of thepurposes of this research is statistical studing the similes of these poets andshowing the amount of Jami's initiative and imitation. Another purpose of thispaper is to obtain a complete view about the kind and classifications of theirsimiles. These poets have a tendency for human personalities and spiritualnatures.

Sanaei and Nizami have particular literary approaches and criticisms of poetry. These approaches and criticisms have a large implication from the point of view of speech and poem, poet and reader. Nizami has been influenced by Sanaei specially in Makhzan-al-Asrar, and his thought is the same as Sanaei. Nizami has reviewed his thoughts after Makhzan –al-Asrar, but his approach remains unchanged in speech and poetry. Attention has been paid to the pivotal communications in both poets works which are still utilized in contemporary poetry. Thus, the present article attempts to select and analyze their approaches to the message (speech and poem), the speaker (poet) and the reader (hearer), because the main branch of their thoughts center around such things. Both of tem have pointed out specific traits for these three aspects which come closed to each other. To support my argument, I illustrate some charts to show their comparisons.