manouchehr akbari

Reality is what we experience in our daily life, which can include personal or social issues. Social realism in ancient works can affect us in today"s life by the rituals and customs of the past. Therefore, in this research, by examining the social realism that has been carried out in the stories of the Shahnameh, we will achieve this important goal, which links the author of the Shahnameh, Ferdowsi, established between myths and reality, because on the surface, the cause of the events and actions is supernatural and unreal. It is said that while most of the narratives of the Shahnameh are based on the facts of life, the author in this research also examined the social events from the perspective of social, religious, political and cultural life in the Shahnameh.

The present research is a theoretical study that was conducted as a library research. The main scope and society of the study was Ferdowsi"s Shahnameh, works and websites related to the research contents, after studying these works, the analysis and comments of the authors were included.

In this research, we find that the foundation of most literary works is based on the reality of life, and the connection and similarity of the real manifestations contained in the Shahnameh corresponds to the social reality of our lives. Although the most artistic part of the Shahnameh is the mention of superhuman adventures, and apparently, at first glance, it does not fit with the reality and logic of our human life.

It is hard to believe the acceptance of many stories of the Shahnameh in concrete human life. Although Ferdowsi"s Shahnameh has a mythical and unreal appearance; But in its heart it has preserved the roots of reality. It can be said that the Shahnameh is based on the facts of life, and not only the facts of the life of the Iranian community, but the facts of human life.

Naturalism is a literary perspective that considers the behaviors, attitudes and thoughts of humans originated from inner instincts and natural urge. According to the theory of naturalists, all the facts and phenomena in nature are in the field of scientific knowledge and can be justified by the laws of natural sciences.in the other words, naturalism is the formula for the application of modern science in literature.Naturalism emphasizes aspects of inheritance, environment, definitive fate, see life away from idealism and negating supernatural issues in literature,and in this way draws details which are generally ugly and disgusting. After the constitution, literary naturalism entered the field of Persian fiction through the translation of literary works and influenced writers such as SadeghChobak, SadeghHedayat, Ahmad Mahmoud, Mohammad Masoud, Ismail Fasih, etc.Examining the literary works of holy defense shows the existence of some prominent elements of naturalism such as objectivism, pessimism, black thinking, extensive description of war disasters, rare use of some unconventional expressions about warriors, attention to the science of physiology, and so on taht are seen in some of such works.This research has analyzed some of the characteristics of naturalism in the two novels "Zamestan 62" by Ismail Fasih and "Safar be Geray-e 270 Darajeh" by Ahmed Dehghan using a descriptive-analytical method and with the help of library sources.The result of the investigation based on the textual evidence shows that some naturalistic elements are prominent in these two works.It can be said that what distinguishes naturalistic works from other writings can be identified in these two novels.

Khosronameh is a poetic and romantic work that some have attributed to Attar and others have rejected this attribution. In the meantime, what is clear and recognizable is the difference in the content of this poem with other works of Attar. Khosronameh is a narration of the love story of two princes named Hormoz and Golrokh, which is somewhat reminiscent of Khosrow and Shirin Nezami Ganjavi. In this article, after a brief review of the accuracy and correctness of the attribution of this work to Attar, its allegory, types and extent in the loss letter are considered and analyzed. The purpose of the present study is to what extent the poet has been able or willing to use the art of allegory to advance his narrative and make it attractive.

This research is based on library studies and descriptive-analytical method. The study version belongs to the correction of Ahmad Soheili Khansari (1960).

Allegory is divided into two major categories: narrative (narrative) and descriptive. In the loss-making letter, it has almost no frequency in the first category (except for one case at the beginning). Unless we consider the whole story as an allegorical narrative for the insurance and instability of the world.

Among the types of descriptive allegories in the loss statement, the frequency of sending proverbs, allegorical metaphor, allegorical metaphor, and equation style are respectively higher. Placing proverbs and allegorical metaphors at the top shows that the poet is more interested in mentioning other common expressions in Persian language and literature than creating similes. This has brought his work closer to the language and understanding of the masses. Another point is that most of these allegories are also used in today"s language.

Complaint lyrics are one of the themes and types of literary subtypes, which means to confabulate from the painful events of life and express its speaker's pain and grief. Complaint poems are diverse in terms of subject matter and content. Many factors, including the sensitivities and psychological conditions of the poet, as well as the socio-political factors influencing his environment, affect the diversity of themes and concepts existing in the complaint lyrics. The political and social disturbances in society in the sixth century have led to a rise in the frequency of complaint poetry in this period. In this article, by reviewing the poems of Attar, complaint poetry has been analyzed in terms of both language and content. In terms of content, they are divided into five categories: political, social, mystical, philosophical, and personal; and each has been investigated and analyzed individually. These poems are sometimes expressed in an indirect and humorous language, and sometimes in a serious and direct way.

Mysticism is the recognition and realization of the Truth with the heart, and the mystic is one who walks in this way to see God with his heart. Perhaps one of the best definitions of mysticism is: "Mysticism is nothing but an aesthetic and artistic view of theology" (Shafi'i Kadkani, 2002, 19). The best platform for the emergence of Sufi ecstasy is the field of literature, especially poetry: "Sufism is closely related to literature, including prose and order, as if the mysticism of the literary language, especially poetry, is more expressive in expressing mystical findings. A form of mystical language is a scientific or teaching language. In this language, a mystic tries to convey his findings to others in the language of order or teaching poetry, such as most of the poems in Mathnawi-e Ma'navi and Shabestari's The Secret Rose Garden " (Fanaei Eshkevari, 2013:56).Resistance literature is another literary variant influenced by the spirit of resistance and freedom of nations.  In our country, especially in the contemporary era, resistance literature has become more manifested by the literature of Holy Defense, which itself is a subcategory of resistance literature."Although there are differences among poems with themes of resistance in the period before the victory of the Islamic Revolution, the period of Holy Defense, and the postwar era, all of which are considered as periods of contemporary poetry, the common point among them is fighting against oppression, advocacy of justice, and call for resistance against the enemy" (Hejazi, 2008, 74).Eight years of Holy Defense for the Iranian people is a passion for epics, faith and mysticism, as warriors defended their religion and country with such a vision: "In the field of culture of Holy Defense, love and mysticism, valor and masculinity, courage and epic, sacrifice and devotion, faith in purpose and confidence in victory, and in one word, genuine human moral values emerged. The culture of Holy Defense is a collection of thoughts, beliefs, values, interests and attachments, common relations, and habits manifested during the Holy Defense. The areas of 'spoken', 'written', and 'behavioral' form this valuable and value-creating culture, and can naturally be transmitted to later generations" (Barzanoni, 2006,7).There are similarities between the literature of Holy Defense and mysticism, whether it is the literature of Holy Defense as epic literature, because it is the narrative of the warriors of Islam, and at the same time, our mystical literature also implies epic concepts: "A mystical front in our literature has exactly the epic form: the hero of mysticism is a hero who dreams of immortality (and immortalizes himself by joining the eternal God through fanna-fi-Allah); his enemy is a demon in the name of the soul, a pitched war between them. In this war, there is a talk of bloody roars and whales, love whales, sea of monotheism and other epic objects" (Shamisa, 2002, 46).The poetry of the Holy Defense, as its name implies, should have an epic color, and it may seem, in the first place, that this branch of literature is a subcategory of epic literature (although technically the Holy Defense literature is a subcategory of resistance literature) because it is about battle, courage, and preparation for sacrifice in the way of national ideals and values, but more carefully, the poetry of Holy Defense can be considered a subcategory of mystical literature. Iranian soldiers' view toward war was a spiritual one, and saw jihad in the way of God and being killed in war as equivalent to martyrdom, which is a high status. So, the poetry of Holy Defense, whichsuch literature, can also be mixed with mystical terms and interpretations.

Mystical terms and concepts are of great variety and illuminate the study of the poems of the Holy Defense, as well as how poets deal with them. One of the terms that has taken another color is the night. Mystics make use of natural phenomena to express their spiritual experiences, and night is of no exception. Mystical terms are not mono-semantics and sometimes accommodate fruitful meanings. Night is one of these terms, the multifacetedness of which becomes clear when taking a look at mystical texts, its. The night can be transcendent and precious, on the other hand it can be degraded and represent the darkness of existence and the symbol of the human soul. The purpose of this paper is to investigate and evaluate the 'night' used in the poetry of the Holy Defense with a mystical approach.     

The value and position of the night in Islamic culture is definitely derived from the teachings of the Qur'an and the prophetic tradition, and since mysticism is not separate from Islam, in order to better determine the spiritual position of the night, we have investigated it from the perspective of Quranic verses and hadiths, and then from the perspective of mysticism to evaluate the attitude of the poets of the Holy Defense with a mystical approach to the night by specifying the spiritual characteristics of the night. Night and its value in the Qur'an .The night is very important in the Islamic religion, because God has sworn to it in the Qura'n and assigned a separate Surah (Al-Layl) to it. In contrast to the day, which is special for working and trying to live a worldly life, the night is a good time for peace and stillness, and as a result, a better heart-focused attention towards God. This is why it is recommended in the Qur'an that: " Stand vigil through the night, except for a little [of it], a half, or reduce a little from that (Qura'n, 73:2-3 ).The special emphasis of the Qur'an on performing worship and night prayers has increased the importance of the night for Muslims, especially since worship in the night is a sign of the truth of the faith of the servants: "Indeed the watch of the night is firmer in tread and more upright in respect to speech, for indeed during the day you have drawn-out engagements" (Al-Muzzammil: 73: 6-7). In the Qur'an, God has mentioned thirty nights completed with ten other nights, which is a total of forty nights of prophetic solitude with God: " We made an appointment with Moses for thirty nights, and completed them with ten [more]; thus the tryst of his Lord was completed in forty nights" (A'raf, 7:142).The night is so high in position that the Qur'an was revealed at that time: " Indeed we sent it down on the night of ordainment " (Qadr, 97:1). The existence of the nights of ordainment for man is a blessing that makes man hopeful for both the erasure of previous sins and the determination of a good fate.-Night in Hadiths The night is also mentioned frequently in the hadiths of the Prophet (s) and the Infallible Imams (a), and as quoted by Muhammad (PBUH), this mentioning is influenced by the recommendations of the angel of the revelation: "Jibrail recommending me to worship during the night made me believe that the  good people of my Ummah would never sleep, but only a part of the night " (Ibn Babiway, 1988, 13). In emphasizing the importance of the night, the Prophet (S) goes so far as to draw a line around certain people and distinguish them from other people and gives them a special title: 'The Companions of Layl (night)', who are the noblest Muslims: "The noblest people of the Ummah are the bearers of the Qur'an and those who are familiar with the night"  (Allama Majlisi, Vol 110, 230).Imam Hasan al-Askari (a) says about night in a mystical expression that he considers night as the path to truth and proximity, and thus, the night is a shortcut that brings man to his great goal as soon as possible, which is the proximity to Allah. Indeed, the proximity to Allah and reaching the position of proximity to God  is a journey which cannot take place except by staying up during the night" be 2. The Verse 103 It doesn't arrive). (Allama Majlisi, vol. 75, 380).-Interpretations of The Night in Mysticism Night is one of the multifaceted terms in mysticism. From a point of view close to the view of the Qur'an and hadith, the night has a great status that has secrets in itself.In the heart of the night, God reveals his friends and lovers, because lovers visit friends and enjoy proximity to God in the solitude of the night, away from the sight of aghyaar:"When night comes, the special friends of God will be praying: their hearts in prayer, their hearts in need, their lives in secret... When it is time for dawn, it is commanded that these doors of the victory will be opened and the skirts of the holy throne will be thrown over and those closest to Him should be extinguished by the command of the glory. Then, Jabbar-e Kaenat, with his pride, says: Every friend came with their friend in private, where are my friends?" (Meybodi, 1982, 3710)But night is a multifaceted phenomenon in mysticism. The night can also be the bedrock of pure mystical moods and the joy of worship and make proximity to God possible, it can also represent the dark part of existence and take on a negative semantic burden. The night, in the words of mystics, sometimes refers to God, for example, Shaykh Mahmud Shabestari, with the term 'bright night', refers to the right to transcendence: "The meaning of the bright night in the words of Shabestari is the 'essence of ahadith', "which is likened to the night in colorlessness and indiscriminateness, because as there is nothing to be understood in the night, in this stage of nature, which is the stage of the demise of manifestations, there is no perception, for the inconsiderate nature of proportion and constraints is all vanishing. But, it is bright because the right of the Truth is bright in Himself and everything is takes light from Him" (Sajjadi, 2004, 497).Night is sometimes a symbol of the high levels of existence: "Also, mystics, since they often look at the truth and the heart of affairs, consider the night to have esoteric and spiritual meanings and characteristics, which are mostly interpretations; for example, ibn 'Arabi interprets Layl as intellect and clergy and lunch as a appearance and tangible, and believes that it is necessary to bring man to the limits of existence. And his senses are aroused" (Asadollahi & Fathi, 2015, 12,13).The night is an allegory for 'possible' because of its darkness, and from this perspective, its semantic burden is reduced: "The darkness of the dark night is a possiblity because the possibilities are 'zill' and the diagram of plurality and manifestations of the truth" (Sajjadi, 2004, 497). Also, the night in the interpretation of the wisdom of Illumination is the stage of absence and 'the position of the standing property': "The standing property are also inferred as the darkness of the night. As the night of humanity implies, is the position of the standing property. The darkness of the night is the darkness of the possibilities because the possibilities are subtle and the diagram of plurality and manifestations of the truth" (Sajjadi, 2004, 496).A corporeal thing is in the position of darkness and appears to Incorporeal things as a defect. The materialistic world is Absolute darkness: "Sohrevardi considers the materialistic world to be a shadow of a black stain on Gabriel's left feather because of its inherent darkness" (Amini Lari, 2010, 3).Sometimes night, blackness, and darkness and the day and light are interdependent, which refer s to spiritual conditions. In this definition, the night represents ghabz and obstruction: "This bright day is the sign of the covenant of the heart, and that dark night is the example of a resentment. O you! who are calm in the daylight of the state, do not feel safe that the darkness of the night is a suffering. That's why the states are sometimes ghabz or bast" (Sajjadi, 2004, 497).In a summary of the mystical categories mentioned, the night is seen from the perspective of time capacity, place of solitude, secret and romantic need, joiner with true lover and mystery or discover secrets. The night, due to darkness and anti-light, represents the ego and the dark side of the existence of man, the possible and the universe of matter, as well as the stage of non-existence. From a more specialized mystical point of view, the night represents the essence of ahadith as well as the highest levels of existence.

By examining the selected poetic evidences of the Holy Defense in this paper, the night with a mystical approach in these poems has various interpretations that this diversity of perceptions can be close to the multidimensionality of the night in mysticism.From one perspective, the night is at odds with light, which can represent blasphemy and falsehood, as well as sensuality and sensuality. The night is the time for the red death, which in the poetry of the Holy Defense is equivalent to martyrdom.The night itself has no credibility or value, but it is the people who pay the price for it by their behavior or devalue it.As can be seen and the evidence quoted in this article, the night in the poetry of the Holy Defense is consistent with its mystical interpretations, but in the poetry of the Holy Defense of mystical terms and interpretations such as the essence of ahadith, rationality and clergy, and the position of the lords of the fixedness is not a sign.Two things that are specific to the poetry of the Holy Defense and are new in mysticism, are the occurrence of red death or martyrdom at night and the last night or the night of the operation.

This study has aimed to examine the religious characteristics represented in Persian war novels from the perspective of Critical Discourse Analysi. To do so, the religious identity of warriors in their conduct with prisoners of war, discursive presuppositions about such issues as sacrifice and martyrdom, and the attitude of warriors towards such issues as represented in Persian prominent war novels have been analyzed. The results of the study revealed that the interdiscursivity of Persian war novels is composed of religious teachings and defense strategies. Furthermore, it was found that the Islamic Revolution discourse has articulated a religious semantic system based on Islamic ideological signifiers such as Jihad, sacrifice, martyrdom etc., and that it has consolidated the meaning of discursive signifiers by modeling the ‘eventof Ashoura’ , reference to the Quran, and utilising positive comments about martyrdom and consecration of that, thus facilitating the hegemonization of this discourse.

Grimas (1917) believes that there are six positions, including the sender, the receiver, the actor, the object, the deterrent, and the assisting force, and five positions, including the initial position, the destructive force, the intermediate position, the organizing force, and the final position in each story. In the poem "Khosronameh", attributed to Attar, which is a lyrical and romantic poem, in addition to the said situations and positions, according to the role of a valuable object (Golrokh), which the main events of the story are created by his presence, except the main narrative, sub-narrative is formed with a plot separate from the main plot; As the multiplicity of characters caused numerous episodes in the story, and this is what adds to the appeal of this work. Accordingly, in this study, we intend to analyze the plot structure and the position of a valuable object in the story of "Khosronameh" based on the model of Grimas actors. The results of the present study, which has been provided in a descriptive-analytical manner using library resources, show that the existence of sub-narratives and plots hidden in the heart of the "Khosronameh" narrative, in addition to creating multiple structural patterns of plot caused suspense and various episodes.

In a general perspective, narratology viewpoints in the field of “story” (including novels, short stories and so on) is founded based on the narrative characteristics of the story. Therefore, for illustrating “Memory” as a narrative context with unique characteristics, we need to redefine a number of the descriptions according to fundamental ideas about narratology along with considering the special characteristics of memory. In this article, after a brief discussion about memory, its components, its narrative characteristics, the narrator’s role and James Phelan’s theory of the narrator’s reliability and we examine the role and reliability of the narrator in Ahmad Dehghan’s book Rouzha-ye Akhar based on the viewpoints of rhetorical narratology. Our main purpose is to identify the narrator’s role and his functions and to measure the reliability of his dialogue according to James Phelan’s “theory of unreliable narrator”. With this study, it is known that the narrator of the memory by using various methods such as omission, reticence, moral and ideological evaluations, repetition, etc to support his purposes and this can change him into an unreliable narrator in all three aspects of reporting, interpretation, and evaluation.

 The Writers intention in this article is to study the Herats vulgar distich couplet . These distich couplet took arouned four hundred year of time. The method of studing is like this , at first about three hundred distich couplet choosen and analysed based on them accomplished, and these results mentioned mentioned in a short formed in this article. and these results mentioned in a short form in this article. In the articles text for the limitation reason some distich couplet has been chosen from the origin distich couplet.

Controversial games and tricks in the field of language of postmodern sonnet is what has been examined in present study. We have tried, avoiding prejudice, to study the course of language and its games that goes sometimes to the border of waggery and dysphasia. The noticeable point is that the poet confronts language differently in the postmodern way of thinking, and the researcher faces the overcoming of language and form on meaning and content, respectively. In this view,"language" does not serve meaning definitely, but language and aesthetics can be the ultimate goal of the author, what does not coincide with the aesthetic criteria of traditional scholars. But the most important question about the pathology of postmodern sonnet becomes: "How justified is the abnormality or norm-confronting of postmodern poets and their departure from language rules?" It has been tried, in present research, to study the common language games in Iran's postmodern sonnets to find the answer of above mentioned question.

The golden age of religious poetry is the Qajar era. Number of ritualpoets, creation of religious epopees and the emergence of poets who have accused exclusively with the issue of guardianship, is notable. During the Mashruteh period this process is ongoing and many of the poets of the period, have eulogy and elegy poems in the Prophet and his household, especially poems about Imam Hussein (AS) and Ashura event, praise and elegy for the Imam Reza (AS) and also in praise of Imam Mahdi (AS), are seen. Many poetshave this feature.They are Poet laureate Bahar, Saqir Isfahani, F. Kermani, Mftaqar and Mirza Yahya Esfahani. We report a case of these people and their poetry criticism oftheir Mahdavi poems.

Reza Amirkhani is a writer with a unique style which discriminates his stories from other contemporary writers. Strange orthography, language games and proper use of various meanings and forms of the words in are some of the features of this writer’s unique style which have been studied in this article. The story elements have been analyzed in three of his novels, namely, Ermia, Man-e-Ou, and Bivatan. The results show that the appropriate use of story elements, lively and skillful description of places, characters and their feelings in a way that the reader can fully visualize the scenes of the story and imagine himself as part them, are some of the properties of Amirkhani’s writing style.

This article reviews the cultural and literary history of Tajikistan, attaching importance to research in folklore literature, while summarizing the characteristic features of common Tajik couplets and quatrains, and elaborating on a wide range of topics and themes. The quatrains and couplets presented in this article have been collected from the masses of people in Tajikistan. In this article, efforts have been made to group themes and to relatively clarify the boundaries of themes in Tajik folklore quatrains and couplets. For each of the branches of themes and their related sub-groups, examples have been mentioned from Tajik folklore poems, while also other characteristic features of these poems have been pointed out.

Human beings as a Percipient creature always deals with “understanding” and every action and reaction of him is accompanied with understanding. From early times، this permanent and significant feature of understanding has made the scholars to investigate the structure and methods for achieving a valid understanding. Augustine as a Christian impressive saint in early middle age and Rumi as a mystic and Moslem scholar at the late part of this period are examples of such scholars. One of the principles of their existential hermeneutics is believing in the impact of existential factors in understanding. These two scholars do not separate the Communicating vessels of understanding domain from emotional and voluntary domain. The motto” Credo ut intelligam” of Augustine which is equivalent with “the faith is the same as discrimination and understanding” of Rumi، indicates the common ideas of these two thinkers. To confirm this motto، the philosophical common basis of this theory is discussed and then has been tried to discuss the Rumi’s view based on necessity of cognation between subject and object. Finally tried to claim that misunderstanding of Augustinian’s motto is the product of factors such as the difference between the point of view and ignoring the degrees or levels of faith and understanding in two forms: interreligious and out of religion. Therefore، by introducing three degrees of faith and two domains of understanding and knowing their relationship as dialectic، I have triedto explain and eliminate these misunderstandings.

There is no doubt that the survey and analysis of Prophet’s life is one of the most significant and influential topics in the series of the Persian Literature Researches.This study took place through focusing on the valuable literary work entitled as “Hadiqa” and was done by a descriptive-analytic method.Sanayi, the author of Hadiqa, respected the character of Prophet Mohammad, the prominent points in his life, his spiritual, moral dimensions, his lofty position and even his other subtle aspects to the extent that he actually devoted one of the ten chapters of his book on the dear Prophet. Sanayi has poetically offered the story of the Prophet’s Heavenly Ascent, his superiority over all the other prophets, his amazing manners and behaviors, the never-ending spirit of blessing- as the major medium for the essential creation of the universe- his superiority over Adam and the other prophets, his role within the allusions mentioned in the Holy Quran, and the reflection of the most significant matters within the Prophet’s life in his book.