javad mehraban ghezelhesar

In the field of narration, Gerard Genet has innovations that have been distinguished from two categories of language and tone. Emphasizing the aspect and tone of a fictional work reveals new aspects of it and is an indicator for assessing the quality of literary works. In the Persian literary range, many prose narrative works have been created, one of which is the DarabNameh for Beyghami. The author has succeeded in creating a great work by applying various techniques of narrative. This feature is especially featured in the story of "Firoozshah Among the Fairies and jinns". The review of the story based on the opinions of the Genet analytical method shows that in the narrative context, the inspiration in the domain of the narrative is not limited to the total knowledge capacity of the whole and, by interfering with the characters in the narrative process, on the concrete and concrete dimensions of their work It is infected. Also, the establishment of multiple dialogues instead of focusing on the monologue has been made possible by the use of the second narrative focus, which has had a positive effect on the process of communicating the audience with the production text. The use of the subjective mode at a limited level suggests that the characters in the story are more extroverted and dynamic than introverted and passive. In sum, the tone of the narrative in the story, while animating the characters of the story, has created an appropriate context for various readings of narratives..

The problem of the present research is to discover the aspects of literature in the script of Hazardastan as the most famous work of Ali Hatami. Hatami is one of the most influential characters in Iranian cinema whose unique narratives and dialogues in his scripts are unparalleled in the history of Iranian cinema. But it is unique. To the extent that even some of the dialogues and monologues of his works have become proverbs, and clearly the traces of unique dialogues of his works should be searched in the field of Iranian classical literature. In order to solve the problem and achieve its goal, with a descriptive-analytical method, the literature of Hatami's thousand-hand dialogues has been examined from two aspects: firstly, the aspects of the author's use of rhetorical and aesthetic literary techniques have been studied, and on the other hand, using the theory of intertextuality Borrowing aspects of this work from classical literature have been analyzed. The results of the present research show that, first of all, the literature of the dialogue-oriented text of Hazar Dastan is due to the author's benefit from all kinds of verbal and spiritual literary techniques; It is like a metaphor/animation, simile, irony, alliteration, sarcasm and pun. In the next stage, it was found that Hazardastan is connected with the treasure of Iranian literature using explicit and implicit intertextuality.

Vali Kermani was one of the contemporary poets of Safavid period at the time of Shah Safi and Shah Abbas II. Not much is known about his life and works, except for his poetry, of which only one manuscript remained in the Library of Parliament. As inferred from his poetry, he traveled to Isfahan and Kashan staying there for some time. His poems are linguistically simple with no difficult words. His poetic images are remarkable, and in terms of intellectual principles, there are lyrical, mystical, moral, theological, didactic, and in some cases critical, social and honorfull themes in his poems. Traces of delicate imagination are evident in his poetry. The present study aims at introducing the unique version of this poetry.

Kermani governor was one of the poets of Safavid period, contemporary with the reign of Shah Safi and Shah Abbas II. No information is available about his life. There is only one manuscript of his divan in the Library of Parliament. It is inferred from his poems that he traveled to Isfahan and Kashan and stayed in these two cities for some time. In this article, by introducing him and his version of Divan, an attempt is made to examine his poems from the point of view of stylistic levels.

The research has been done in a library style and the version of the poet"s divan is the statistical population of the research.

An examination of the stylistic features of his divan shows that he has used a variety of common weights of Persian poetry. Arabic words have used common Indian style words such as madness, herpes, bubbles, combinations and conjugations of previous styles, astronomical terms, mysticism, and pub terms. At the literary level, it is rich in literary arrays and all kinds of expressive and rhetorical industries, and the arrays of similes, metaphors and allusions have the highest use. In the intellectual coordinates there are lyrical themes, praise and mysticism, mysticism, ethics, didactic themes, and the history of the poem.

According to this study, it should be said that Vali is one of the average poets of Indian style who has followed the style of the period in the style of his poetry. In terms of language level, his poems have a simple language construction in general, but he is able to use all kinds of poetic literary arrays, and at the intellectual level, he has paid more attention to lyrical, mystical and moral issues.

Moral exhortations and teachings have always been one of the prominent concepts of poetry, and Sana'i and Sa'adi are are known as ethic-oriented poets. In this paper, a comparative study of moral themes in Saadi's Bustan and and Sanai's Hadighat-ol haghighat is conducted with content analysis approach. After giving an introduction to ethics and ethical themes, taking into account the ideas of Sana'i and Sa'adi and Hadiqat ol-Haqiqat and Bustan, he has focused his attention mainly on the self-fight and in this regard, the author has used the verses of the Qur'an, hadiths and poems to prove this and has included these in the conclusions. And finally, this was achieved that the common axis of the moral teachings of the Saadi's Bustan and and Sanai's Hadighat-ol haghighat has been the prosperity of man. With a fluent language, a mystical expression, and a Shari'a-oriented attitude, Sana'i invites his audience to uphold moral virtues and avoid moral vices in order to reform society. Saadi too, as a moral teacher, since his ethical teachings are derived from the Qur'an and Sunnah, calls on his ideal human beings, at every social level, to engage in spiritual struggle and ethical orientation

 Archetypes are considered as shared heritages within men’s collective sub/consciousness. Carl Gustav Jung first coined this concept. One of the most common concepts in archetypes is love, which belongs to all human cultures. Love as a common human experience can be considered an archetypal form embedded in the human psyche. Thus, it has been attended to within psychology departments too. Among those primeval archetypes described by Jung is the Anima (male’s female spirit), which has both desirable and destructive effects for the males. Darabnameh of Beighami is a prominent work that describes the romantic and epic adventures of Firuz Shah with Ein Al-Hayat, the daughter of the King of Yemen. The manifestation of Ein al-Hayat in Beighami's narrations is such that the effects of his character  on Firuz Shah can be perceptibly measured by Jung’s Anime. The results of this library research using a descriptive-analytical design showed that ‘love and individuality’, ‘eternity of love’, ‘manifestation of love (lover) in dreams and thoughts’, and ‘negative manifestations of love (mistress)’ are among the main Anime manifestations in Darabnameh. Moreover, the main effect of  Anima on the character of Firuz Shah is his upsurge to higher positions, which is a symbol of individuality and perfection of personality.   Introduction In this research, the reactions of Ein Al-Hayat were initially examined with an approach to the theoretical foundations designed in line with the archetype of Anima to provide a methodical reading of the category of love within classical Persian folk texts. Then, the personality of Firuz Shah and the process of his attainment of individuality, epistemological perfection and the role of the mistress in such a realization were investigated. Therefore, the purpose of the present study was not to provide a merely superficial comparison between the archetype of Anima and the character of Firuz Shah and Ein al-Hayat. The research questions in this study were: a) what are the Anime manifestations of the beloved in Darabnameh?; b) What dimensions within Ein Al-Hayat’s character are known viz-a-viz Anima archetype?; and c) What is the role of Ein Al-Hayat in the perfection of Firuz Shah’s personality with regard to Jung’s archetypal assessments?   Materials and Methods In this library study, detailed definitions of Jung’s archetypal theory (especially the Anima) are primarily presented. Then, the content categorization of the features of the Anima was completed and exemplary indications from Beighami's text were cited and the analyses were finally conducted.   Discussion of Results and Conclusions The results of the present study showed that the archetype of Anima had generally the following main manifestations: 1) ‘Love and individuality’  (the kingdom of Firuz Shah, a clear example of individuality, the dual aspect of love, and the effect of travel to achieve individuality), 2) ‘Eternity of love’, that is, the manifestation of love (lover) in dreams and dreams, and 3) ‘Negative manifestations of love (lover)’ including mental and physical weaknesses, restlessness, and internal irritation. Firuz Shah’s arrival to the kingdom and the defeat of his enemies is a sign of his spiritual perfection. Beighami alleged that through love, one can realize abundant positive effects and enhance spiritual abilities. By leaving his safe haven and traveling to unknown spaces, Firuz Shah revealed the undiscovered parts of his inner world with the help of love and became aware of his human values. Therefore, in this epic via a fierce journey, the signs of spiritual and personality changes could be clearly understood. The accompaniment of emotional and epic issues in Darabnameh is one of the most prominent writing styles which distinguishes it from other popular proses. In Darabnameh, Ein Al-Hayat (Anima) was an external character appearing at the beginning of the story, though keeping the epistemological incentives in Firooz Shah's character and motivating him to relinquish life and initiate a difficult journey to attain humane facts in the end and reach the elevated positions of ministry (individuality). The beloved Anime in Darabnameh did not show only desirable manifestations, and due to the limited cognitive capacities of Firoozshah, we see the appearance of negative effects from two viewpoints: 1) the aim of Anima was to deliberately create physical and spiritual cognitive barriers against Firooz Shah’s conduct in order to give him a different view of the world both from inside and outside angles; 2) Some of the negative manifestations of the Anima were rooted in the pre-revolutionary life of Firuz Shah and the imperfection of his personality. Overall, an examination of the process of Firuz Shah's epic, lyrical and epistemological journey showed that although he initiated this journey provoked by an external element (the manifestation of good-natured mistresses in dreams), this nevertheless led him to an accelerated understanding. Inspiration and not giving up were inner forces that can be called the ‘pleasure of gaining knowledge’.