فهرست مطالب khalil baygzadeh

Studying literary works in accordance literary theories is one of the most practical methods of criticism, which leads to the production of meaning for the audience. In the context these studies, literary works become a tool to reflect the conditions of the society and in this way help increase the level of awareness and social recognition their audience. The theory of receiving aesthetics is theory of narratology. This theory considers the action of the text as the creator of the horizon of literary expectation in the reader, which is the result of the production of the work. In this regard, social horizons attract the audience to the work. In fact, the collective patterns in the audience's mind are his mental framework, which is influenced by the conditions prevailing in the society, and along with the artistic horizon of the work, it is considered a determining factor in the continuation of the reading of that work.The current research with a qualitative study seeks to find the acceptance factors of the two novels Dalane Behesht and Paiz, fasle akhare sal ast, is with the audience. For this purpose, it examines the horizon of expectations and its compliance with the collective components in these two works with thematic analysis method. The present research examines the horizon of expectations its compliance with collective components in two novels, Dalan Behesht and Paiz, fasle akhare sal ast, with a qualitative study and thematic analysis method. The findings of this research show that the Dalan Behesht, with a traditional view of women, deals more with issues in which men's voices are the dominant voice, which in the Paiz, fasle akhare sal ast,, more diverse issues related to women in this work. which is consistent with the components and horizon of collective expectations related to the woman-centered perspective.

From a sociological point of view, identity has various dimensions, like religious, national and ethnic identity. And each of them has specific values and norms that are sometimes common and sometimes different memoir of Noor Al Din Pesar Iranof Iran" is one of the works of the narrative literature of the holy defense, which reflects some of the religious, national and ethnic values and norms. National and religious identity is based on the characteristics of the past, self-knowledge, self-belief and hostility, which is reflected in the memories of Seyed Nour al-Din Afi and shows the intellectual and cultural attitude of the warriors, their cultural and social conditions, events of the holy defense and in other words the comprehensive Iranian religious and national identity during the holy defence. The present study aims to explain the characteristics of religious and national identity based on the cultural and social conditions of combatants in the memoir of the studied story based on the proposed model of Henry Zalamansky based on content-oriented sociology with a descriptive-analytical approach. The results of the research show that the religious, national and ethnic identity in this memory is based on the past, self-knowledge, self-belief and hostility in concepts such as following religious patterns, religious and national pragmatism, the role and function of religious symbols, conscious rebirth and martyrdom. Patriotism based on religious and national identity, another identity and hostility are reflected in the most prominent contents based on religious and national identity.

Myths and stories are important types of popular literature, and popular literature is one of the main forms of expression of popular culture. These public products have a large share in the cultural heritage of any nation. The deep layers of these stories are a reflection of the culture, thought and imagination of the people. These stories are among the oldest examples of the emergence of human thought and imagination, and among the various branches of popular culture and literature, they are considered to be the oldest human cultural heritage, and “If myths and stories "It should not be the oldest work and the oldest leak of the human mental system, but it is one of the oldest works left from human thought and imagination" (Mahjoub, 2008, vol. 1, p. 121). Myths, epics, myths, and folk tales originate from the collective unconscious of man and are inextricably linked. The dragon is also one of the common elements of myths, epics and folk tales. This mythical-epic creature has passed from the world of myth and epic and, by preserving most of its functions and actions, has entered the realms of folk tales. "Iranian Tales" with two hundred and eleven narrations in four volumes, is the first example of scientific collection of folk tales that has been provided in two decades by Anjavi Shirazi and a large collection of cultural researchers and all researchers confirm the authenticity of these stories. (cf. Marzelf, 1994, p. 106). Therefore, the four-volume collection of "Iranian Tales" of the statistical population of this study has been selected. In general, twenty-one dragons are shown in the statistical population. In ten stories from the four-volume collection of Iranian stories, a dragon appears, and in five stories, more than one dragon emerges. This article tries to answer the following questions: What are the characteristics of the dragon's appearance, food and habitat in folk tales, what actions did the dragon appear in the tales with, and what is his end in the tales.

The research method in this paper is library and documentary and based on notes from written and non-written sources. In this study, the four-volume collection of Iranian folk tales collected by Anjavi Shirazi with the letters of Iranian tales, the patient stone doll, the flower to the spruce, and the orange and bergamot girl are examined. The present study uses descriptive-analytical methods to examine the apparent characteristics, feed and habitat of dragons in folk tales and to examine the actions and functions of dragons in tales, and finally this creature in myths To dig.

Iranian myths and legends are a reflection of a long-standing tradition in Iranian culture and civilization that has been transformed by the transformation of the barrier to self-destruction and continues to be supported by millennia: “Iranian myths, stories and tales There are ancient beings that include supernatural and transcendental beings. These myths, which have survived from the legend of Iran, reflect the views of the society to which they originally belonged ”(Curtis, 1997, p. 3). The dragon is one of these supernatural beings. In the legends of lands such as India, China and Babylon, the dragon is a symbol of drought, darkness and destructive floods, and in Iran it is a symbol of moral vices and a manifestation of deadly and evil forces (cf. Koyaji, 1999, p. 77). The dragon "in epic narratives and folk tales, is a manifestation of calamity, drought and evil. By destroying him, the hero restores blessings and comfort to the people ”(Pakbaz, 2006, vol. 1, p. 965). This evil creature is a prominent element in folk tales and stories, and provides the basis for the emergence of good and evil. The dragon has special appearance in the stories and is manifested in the legends by the way it prepares food and its habitat. The dragon does not behave in the same way and appears with different actions. The dragon determines the end of his life and finally his stories with his actions. The dragon's appearance, food, and habitat are then examined, then the dragon's behavior, and finally the creature in the stories. 

The dragon of fairy tales, in terms of its limbs, food and habitat, has the same characteristics as the mythical and epic dragon. Dragons and snakes are not separated from each other in some of the stories. The dragon is described in the stories as majestic, horned, eloquent, fiery, old, black, or green. The dragon has the power to kill humans and its prey with its powerful breath, and this is the feature that makes it a scary and invincible creature in the eyes of humans. Storytellers, like mythical and epic narratives, provide their food in the form of hunting or sacrifice. The dragon of fairy tales is always successful in hunting humans and wild animals or in sacrificing to the general public, but with the presence of the hero in eating Simorgh chickens or eating princes and princesses, it fails to draw the victim. In most cases, the habitat of this creature is either not identified or is associated with water. Wells, mountains, caves in the mountains, forests and deserts are other dragon places in fairy tales. Unlike the myths associated with the two elements of water and fire, the dragon of the tales maintains its connection with the water in the tales rather than the fire. Dragon actions are destructive and destructive in most stories, and therefore the evil dragon is killed. These actions include hunting, fighting the hero, blocking the water, capturing the victim, and enchanting. The battle of the dragon and the hero is rooted in the myth of the battle of good and evil. In these stories, the hero, like the epic narratives, represents Simorgh in the battle of good and evil. By circling the water, the dragon also shows the functions of taking the victim and fighting the hero, which is another manifestation of the battle between the forces of good and evil. The heroes of the stories, unlike the epic narratives that are likely to be defeated, are always victorious and dragonfly. Women and the general public have no role in fighting and killing dragons, and their dragon heroes must be the sons of the king (except for one example), and this thinking is rooted in the beliefs of the ancient Indian and Iranian gods. However, the destructive actions of the dragon make it an evil character, and evil is perishable in the minds of Iranians. Therefore, evil dragons are killed in stories, but sometimes the dragon does not show evil by having passive and constructive actions. Dragons with actions such as supporting and helping the hero or the action of his actions in the stories have caused us to no longer be able to call this creature a pure evil, and the dragon with such actions in the stories is not doomed to deat.

The literary origin of the modern-day style is geographically ascribed to the West (Europe), which reached the East at considerable intervals. Although there has been a history of ancient oral and sometimes written legends and anecdotes in all Eastern countries, there is a fundamental difference between these types of narratives with short stories and novels. Translating the works of Western storytellers provided an introduction to the literary genre of fiction for the eastern regions, and consequently for Iranian writers, and especially for western Iran, a look at the structure and content of Western Iranian writers' stories suggests this influence. The present study, while investigating the effects of the fictional index of these areas, has analyzed how the storytelling began and the structural and content development of storytelling in western Iran. Studies show that the stories of the writers of these areas, in simple realistic narrative (social realism), narrate the lives of people suffering from poverty, ignorance, day-to-day living, and the bottlenecks of living. In terms of fictional elements, the subject of stories, climate, narrative style, and personality type are the most prominent structural indicators of Western Iranian writers' stories. The subject of their stories mainly focuses on issues and realities in western Iran (Pahlavi era) such as poverty, unemployment, local oppression, violence against women, most of them narrative and narrative, in the form of subordinate personalities of color. And the smell of climate is expressed.

Dīv (Monster) is a mythical creature - a legendary storyteller in Iran, Which is rooted in mythological beliefs and cultivated by popular thought and imagination. Dīv (Monster)once was among the gods of India and Persia, but has gone down in Iranian beliefs The dual aspect of dealing with Dīv (Monster) has affected the collective subconscious and he has made Monster's character in dual or multiple myths and beliefs. Therefore, the root of the duality or multiplicity of Monster's personality must be sought in different mythological beliefs, gender and type. This research investigates Monster's personality and action from various aspects in a four-volume series of Iranian stories in a descriptive-analytical way. The findings show that demons appear in various stories and Their character is not always fixed and they have different functions in Iranian stories. These functions, in order of frequency, are: destructive, constructive, passive, and variable. The face of the Monster in Iranian stories reflects the collective beliefs and beliefs of the Iranian mythology. The love of the devil and the beloved is also a prominent feature in these stories that prosperity and affluence will be provided by the power of evil and the failure of evil. Destiny and eventually Monster are also relevant to their faces and actions in the stories studied.

The literary school of naturalism emerged from the point of realism that considered nature as an influential element in the structure of life, and its purpose was expressing the painful facts of society.The author's style Dolatabadi and Darvishian is Realism and is one of the most talented writers among the third-generation story writers of Iranian fiction literature. Short stories Despite the differences in writing style, in the dimension of thought there are similarities in the aspect of thought that the two authors' naturalistic thoughts in their short stories are one of these similarities, as many naturalistic theories in the short stories of Dolatabadi and Darvishyans which is generally related to the atmosphere of Iran that has seen during the Second Pahlavi era.These writers depict the ugliness of the Iranian society of the 1990s clearly under certain conditions of the political and social conditions of the Pahlavi era.Therefore, the research has been conducted with the aim of explaining the naturalist effects in the works of Dolatabadi and Darvishian with a descriptive-analytical approach. Its achievement is analyzing the common features of naturalism:poverty and unemployment, violence against women, ignorance and superstition, lack of love and Beauty, the function of colloquial language, detailed descriptions the details, death and a sad ending describing the suffering and difficulties of life. Failure to respect the words and concepts is a dark and annoying atmosphere in the short stories of these two writers.

Following the formalist tradition which was after creating new forms through the application of verbal strategies, the creators of literary works were also attracted to the issues relevant to form and technique. Using intricate forms and techniques, and expressing the themes in the shortest language forms as possible, this group of writers created a new story type to deeply influencereaders’ affects and beliefs. This new type of story writing, which was later known as minimalism, actually drew upon techniques such as simple language and concept, surprise, attractive themes, brevity and realism. As believed by some scholars, some of the classical Persian literary works such as Jami’s Baharestan include stories with minimalist features. This study was a descriptive-analytical comparison of Baharestan’s stories and the minimalist features of story writing. It was found that the short anecdotes of classical Persian literature including Baharestan are not absolutely compatible with minimalist stories. There were significant differences between the two, though they were superficially identical.