majid mansoori

 The hero"s journey is a theory in the field of mythology and psychology, which was first proposed by Campbell. It brings heroes in contact with the deepest aspects of their existence and in this way enables them to reach the highest goals of humanity such as independence, courage, Creativity, honesty and love arrive. However, most hero myths only glorify men"s efforts and deprive women of a powerful framework to conceptualize their journey to perfection; Therefore, the American psychoanalyst Maureen Murdock designed the model of the heroic journey for women. The upcoming research with a comparative approach has examined the two models of the hero"s journey in male and female dimensions in the two novels Del Foulad and Zhani-Gal to take a new step in the subject of the hero"s jornaly.

 In terms of nature, the present research is considered to be a qualitative and comparative content analysis, and it has examined the two novels in question with a descriptive-analytical method. Research information and data have been collected using written and library sources and then analyzed based on the theories of Murdock and Campbell.

 Investigations and findings have shown that the heroes of each of these two works, according to their nature, start journeys that finally end in a different but almost similar way.

 What is obtained in this research is that the seven stages classified by Murdock in the book "The Depth of Being a Woman" are very similar to the stages of Joseph Campbell"s hero"s journey. After separating from femininity and choosing the path of exams, the female hero embarks on an unknown path, and after glorification and decline, she suddenly reaches a point where she sees that this is not the way to her perfection, and after that, she discovers the gem of her femininity; And also, the male hero, starting his calling, goes through many journeys until he reaches the final blessing, which makes him reach a kind of understanding and discovery of his purpose in his life and social environment.

The oldest existing manuscripts of Khamseh Nezami date back to a century and a half away from the year of his death. This may be the major reason for the existing errors and omissions and corrections in the text of the precious Masnavi despite the various corrections that have been made from the Khamseh due to the lack of old and reliable manuscripts. Also, this is why the combination of "Sabzakhor" in two verses of Sharafnameh appeared based on the incorrect reading of these Nezami’s verses.  Furthermore, all the correctors and commentators of this book based on the incorrect recording of the manuscripts and the existence of the entry "Sabzakhor" and its meaning in the dictionaries have accepted the recording of these words in those two verses in the same way and tried to justify the meaning for it. In the current research, alongside examining the cases that the commentators of Sharafnameh have raised about the meaning of this combination, it has been indicated that "Sabzakhor" in two verses of Masnavi is a translation of "Sarakhor" which means the best horse and special carriage of kings and officials who precede all the horses are closed in the stable and it is also used to inseminate the mares. In another part of the article, based on the in-text evidence of Khamseh Nizami and also using the evidence of other Persian literary texts, the suggestion of correcting "jers in the waist" instead of "jers in the throat" in a verse of the Shrafnameh has been proposed and it has been shown that "Aaronan the king, they tie the jerseys on the "waist".

Based on Julia Kristeva's theory, intertextuality is mainly a method that shows that each text is formed on the basis of previous texts, and it is a method that introduces history to structuralism and its orphaned and lonely texts and interpretations. Based on this method, some previous articles and researches have considered the novel Symphony of the Dead as a reflection of "the novel of fury and uproar" or "the novel of the city I loved once again". Although all these factors can be discussed and investigated, due to the similarity of some cultural aspects and the similarity of some historical and cultural events, such as the occurrence of world wars, the comprehensive system of fascism and capitalism, many literary texts may be combined in terms of structure and content. slow down But what seems certain based on the opinion of the authors is that the most important work that is close to the novel Symphony of the Dead in terms of content and structure is "The Play Death of a Salesman" by Arthur Miller. . In fact, according to the historical parallels, and the common experience of different nations in historical events, we can boldly say that Symphony of the Dead is an Iranian example of the play Death of a Salesman by Arthur Miller.

Sa’d al-Din Varavini's version of Tabari’s Marzbannameh by Espahbod Marzban bn Rostam is one of the major texts in Persian prose heritage. Three revisions of the work have been published over the last century, but there is not a very authentic correctd versoin. Being accessable the old precious manuscript dated back to Thursday, 10 Ramaza, 698 (AH), no. 216 in Istanbul Archeology Museum, it becomes clear that three other corrected manuscripts bear many mistakes, omitted parts, added materials, vague contents, mis-reasings, and changes. This issue makes it necessary to correct the manuscript again. This manuscript is so far the oldest known version of Marzbannameh in the world. So, this the first time that this valuable version is introduced in detail. This study introduces the most ancient manuscript of Marzbannameh and tried to examine and discuss its unique features under headings the scribe and the scribing date, the writing stle of letters, the illustrations of the manuscript. Examining his manuscript shows the vast changes, omitions, additions, vague points, and mis-understandings of other three manuscripts of Marzbannameh. Some examples are provided at the end of the paper.

In Persian literary history, many readers of Persian poetry and even those contemporary with old and new poets have not often known the correct and real name of many poets and most poets have been known by their pen names or nom de plumes. Therefore, the poets have always tried scrupulously to choose the most beautiful and appropriate pen names with utmost precision; this is why some poets, due to various reasons, realized after a while that they needed to change their pen names. It must be noted that changing pen names has had a tremendous impact on the formation and durability of the poets' poetry; That is, when a poet with an old pen name had provided a name for himself, and that pen name was the best choice for his poems, there was a possibility that by changing his pen name, he would face many problems in keeping the durability of his poems. In this research, some reasons for changing poets' pen names were analyzed descriptively and analytically and it was shown that changing poets' pen names, as a literary tradition, is influenced by political, social, literal, and individual characteristics among others. Meanwhile, some poets, while choosing new pen names, did not abandon their previous pen names, and some others have replaced their old pen names with the new pen names in their old poems, and still others did not stick to the new pen names either - sometimes using the previous pen names again and sometimes newer ones. All these cases are investigable separately for each poet.

In the midst of the Mongol invasion of Iran and the subjugation of the cities, two authors with a time difference of a few years, translated Marzbanname of Marzban bin Rostam bin Shahryar bin Shervin bin Rostam bin Qaran, from the simple prose of the first centuries of Persian prose style, into the artificial prose style; these works were produced in the sixth and seventh centuries. (Mojtabaei, 1390: 185). First, in 598 AH (about 15 years before Varavini), Muhammad bin Ghazi Malatiwi wrote his version of Marzbannameh called Roza-tol-Oqul in artificial and mutakalf prose style. This work is closer to the Marzbannameh of Marzban bin Rostam from two perspectives: firstly, (unlike Varavini's Marzbannameh), the anecdotes and chapters are not summarized, and secondly, the translation or rendering of phrases, from the semantic point of view, is much more trustworthy than the Varavini Marzbannameh. (Varavini, 1376: nineteen). A few years after that, Saad al-Din Varavini wrote another version of Marzbannameh; this work is a rewriting and a summarizing of Marzbannameh of Marzban bin Rostam through its removing, introducing, and delaying chapters and anecdotes.
A comparison of the number of articles, treatises, and books written about Varavini's Marzbannameh and Roza-tol-Oqul Malativi reveals that of these two texts, Marzbanamah written by Saad al-Din Varavini has been popular with readers and researchers from the past centuries until now, and that Roza-tol-Oqul has been less the subject of criticism and research. Perhaps the efforts of researchers and the title of the book chosen as “Marzbannameh” can be considered as one of the main reasons for the popularity of Varavini’s work.


In this study, based on the version of the National Library of Iran, some errors in Marzbannameh have been corrected, and in some cases, suggestions have been made for the comparative correction of some other distortions. Based on evidence from Marzbannameh and other old texts, numerous examples are given to confirm the acceptable recording.
 


Conducting research on ancient texts of Persian literature without having a neat and original text is subject to all kinds of errors. Marzbannameh is one of the forerunners of Persian prose texts, which has been discussed in various studies from stylistics, rhetoric, historical, grammatical, and many lexical perspectives. However, despite several corrections, and writing of numerous commentaries on this book, misreadings and omissions have made their way into it, and these errors need to be corrected.
As mentioned earlier, in this study, suggestions have been made for correcting several spellings in different chapters of Marzbannameh, some of which are supported by the version of the National Library of Iran ‒ which has not been used by any of the correctors of Marzbannameh. Accompanied by evidence from Persian literary texts, comparative corrections are suggested, and based on evidence from Marzbannameh and other old texts, numerous examples are given to confirm the acceptable recording.
 


In the last century, three corrections of Varavini's Marzbannameh have been printed; however, there is still room for correction and an original and worthy report of this important and valuable text. Being in a rush and not knowing about the existing versions, or the unavailability of all the old versions of Marzbannameh made the task difficult for the correctors of this technical and complicated text, and caused various changes and spellings to remain hidden from their eyes. In this study, relying on the version of the National Library of Iran and some other versions, as well as citing evidence from ancient Persian literary texts, some deviations in Marzbannameh were reported and corrected.
Also, in other cases, suggestions were made for comparative correction of several other spellings in Marzbannameh, and efforts were made to emphasize the correctness of these suggestions based on intratextual and extratextual evidence.

One of the distinguishing features of Khāghāni’s Divan is the reflection of various people’s beliefs, socio-cultural customs of the people of that time including childish games, and superstitious beliefs .The popular and sometimes superstitious beliefs that have been prescribed in the past for the treatment of various disease have been reflected among the ancient Persian literary works especially Khāghāni’s Divan. One of these ancient medical beliefs about the treatment of animals and insects bites and stings, the treatment of some other disease, such as plague and colic, was the use of a tired cock which has run a lot before Dhabīḥah. In Folk medical and traditional books, different ways have been examined in order to use them in the case of this medical belief. To make run the old cock with other animals, however and according to ancient beliefs makes their meat tender. This research investigates these cases based on verses of Khāghāni’s Divan.

While the death of Abdul Latif Tasooj (about 1300 BC.), Translated by renowned and skilled Thousand and One Nights, long ago, life events, and other writings about his possible little information at hand. In addition to the names of Najaf Abdul Naser al-Din Shah Qajar Tasooj to send a valid document about his life, is given. Keywords: comprehensive proof, discovered Alghmh translation, translation of Panchatantra, Zilossoltan, Nasereddin Shah.While the death of Abdul Latif Tasooj (about 1300 BC.), Translated by renowned and skilled Thousand and One Nights, long ago, life events, and other writings about his possible little information at hand. In addition to the names of Najaf Abdul Naser al-Din Shah Qajar Tasooj to send a valid document about his life, is given. In addition to the names of Najaf Abdul Naser al-Din Shah Qajar Tasooj to send a valid document about his life, is given.

One of the single most important functions of the row that compliance words and different words with different rhymes and to provide them with some prosodies, up to now not been investigated. in other words, Row gives the freedom to the word rhyme, Freedoms that because of it, the word across the continuum of musical rhyme and even closer to the beginning of the second line can move it.
According to the same function row, Words that rhyme in poetry as in specific prisody can not be used, Pushed to the position corresponding to the prosody they are. For example, words (Jahan, Ravan, Javan, and ...) in the prosody of Motagharaeb mosamman salem, (without row or letters of Vasl, Khorooj, Nayereh ) can be placed in the position of not rhyme, This is because by bringing an "ÇáÝ" or "ÑÇ" and so on, so the words can be used in place of the words rhyme in this prosody.
A cursory examination of the first period of Persian poetry with poets, we can see that in a lot of the lyrics, which serves as the anchor row Rhyming words and moves to reconcile them with some prosodies. Today, about one of the unique characteristics of Persian poetry, the "row" is far more extensive studies have been conducted. Nearly all of the same basic structure and formal aspects of the research and statistics Court orders and sometimes musical poet or poets row in particular, is formed.
In this article, we briefly discussed the basic functions row and shown even in the short lyrics that rhyme do not need to be in there, Again, to accommodate new rhyming words with different prosodies of the row is used.
Row, the unique characteristics of Persian poetry diverse functions that some of these functions has been paid. Those like Shafiee Kadkani role in Ghana row up music lyrics as well as the current row nominal or specifically in creating new virtual verbs and metaphors and images looked new.
The main reason for the emergence of rows in Persian poetry, prosodic function that has already been paid less. I just found something in the book Ghosn al-ban to be weak, the owner of the book, had no comments to this row. In this study attempted a new approach to the row, another reason for the entry and spread and extent of the row of Persian poetry, is shown. It should also be noted that in these lines as much as possible to engage in repetitive and stereotyped point of the row, has been avoided.

Immortality and undeterminity of myths cause them to have continuity in human unconsciousnessthrough the passage of time, and to be considered as one of the inseparable parts of human life. Indeed, it seems that, semantically, continuity of human life is not possible without myths because myths provide a deep response to one of the great challenges of man, that is, immortality instinct. By using the analytic-documental method, the present article tries to study the main themes giving rise to the immortality instinct and reasons of using the same structures in the different cults and ethnic groups. The theme of immortality can be found in mythical motifs like eternal return, myth of fertility, resurrection, the days of childhood, return to unity and myth of becoming a writer. The processes of formation of these motifs are the same, because the mythical mind (collective unconscious) has common function.

One way to correct the hand-written dictionaries is the comparative analysis of two or some of them. In order to know the original form of a fake or distorted word and follow the changes happened to it, a great number of sources are needed. A general look on dictionaries makes it clear that the lexicographers have always changed the unsure and unfamiliar recorded forms and different dictionaries have had different recordings of the same word. Therefore a historical study of hand-written dictionaries is necessary. This article examines some distorted forms in a series of Persian dictionaries, of which two words are extracted from a poem, and the others are some known Persian words and compounds.

Tazkerat-ol Owliyā, the same as many other mystical mémoires, has almost made use of various literary forms. For the very reason it is very difficult to make necessary corrections in it, even if the most original and authorized versions are at hand. The scribes have often been compilers who have rather definitely made distortions and perversions in the books they corrected. This is more probable about the masters like Kharaghāni who used their vernacular languages and their disciples recorded their words to the full. This article examines two perversions in Tazkerat-ol Owliyā in order to determine the original script by following a group of evidence.