فهرست مطالب mazaher nikkhah

Kashf al-Asrar is one of the ancient Persian commentaries written by Rashid al-Din Meybodi more than nine centuries ago. In this commentary, below each verse in three stages (according to the author of the book three times) is stated. In this book, Rashid al-Din Meybodi first translates some of the verses into fluent Persian without explanation (Al-Nubah Al-Awali), then explains the opinions of commentators and scholars on the interpretation of the same part (Al-Nubah Al-Thaniyah) and in the third section expresses mystical points. In particular, he quotes his master Khajeh Abdullah Ansari (Al-Noba al-Thalasha) and generally in this section the beauty of Meybodi Persian prose can be seen. Most of all, the beauty of the prose of this precious interpretation is shown by the stylistics of the third part, which has been studied in the present study in the form of linguistic, literary and intellectual features

Layered stylistics is a method of contemporary stylistics that examines and analyzes works in a textual manner based on the layers that create them (lexical, phonetic, syntactic, rhetorical, and ideological). Using layered stylistics, one can achieve the characteristics of individual style, ideas and ideology that govern the text of the poet or writer. The main question of the research is how can the stylistic features of Farokhi's poetry be studied and determined using layered stylistics? This research deals with the descriptive-analytical method and library method to study the stylistic features of Farrokhi's poetry collection with a layered stylistic approach. After analyzing the characteristics of Farrokhi's individual style in the lexical layer, the frequency of sensory words is glorious with structural codes. From the stylistic feature of the syntactic layer, we can point to the shift from the standard syntax, the emphasis on the verb and the institution, as its tools, which has led to the formation of a continuous and active syntactic style. By examining the syntactic layer in the sections of word quality, markup arrangement, style and structure of sentences, etc., each section has a special stylistic feature. The verb and the institution have the most movement in the sentence level and the frequency of compound and simple sentences has caused the combined style. Sentence structures have rhetorical continuity. In the aspect of verbs, they have a predictive and then an emotional aspect and a high frequency. In terms of constraints, time and state constraints have a high frequency. In the grammatical sound section, the text has an active sound due to the frequency of transitive and quasi-unknown verbs, and also the expressive sound is the last component of light sound in Farrokhi.

In recent decades, stylistics research has led to a lot of growth. One of the branches and fields of stylistics is the study of female"s intellectual style and writing. In some women"s novels, even written by female writers, although the main characters are female, but with a negative attitude, they emerge in the form of a lower intellectual and cultural level than men, and in these novels, it has been talked about against women, with the production of superstitions and negative imagination. In this study, the main purpose is to investigate the negative feelings of contemporary female writers towards female personality in the intellectual style of Shahrnoush Parsipour Moniro Ravanipour.

This research has been done in a descriptive-analytical manner using the method of intellectual stylistics. The samples were randomly selected from the two authors.

The production of superstitions against women, the negative feelings of female characters towards each other in the novel, and the horizontal violence against each other, contrary to feminist theories, in order to strengthen the power of patriarchy in the novels in question, have been clearly considered by the authors.

In the novels of Shahrnoush Parsipour Moniro Ravanipour, the main characters are women but women have less education and social and cultural activities than men, and their most important concern is trivial issues. The intellectual level of some contemporary writers, including Shahrnoush Parsipour Moniro Ravanipour is influenced by the prevailing discourse, the same patriarchal discourse, in a way, regression about women can be found in their works

 In the Qajar Era, some poetic anthologies were written in literary and fictional genres. One of these anthologies belongs to Mirza Mohammad Bagher Rashha Isfahani who was one of the famous authors of Isfahan and Yazd. This anthology is considered the methodology of Persian anthology writing because firstly,it is poetic and secondly, it is written as a story. Therefore, the authors of this study consider it as an implicit anthology. In this study, we examine storytelling and anthology writing as a story and investigate the related cognitive errors. The results show that Isfahani, being aware of the literary conditions of the Iranian central region, tried to ignore the common norms of anthology writing in the Qajar Era and added stories as flavor. Since memorizing a poem is much easier than prose, Isfahani used poetic stories to write anthologies to attract the audience and make his work notable. His efforts in describing the life and works of poets were valuable as means of remembering and recognizing anonymous poets. Besides, in many cases, his work was the main source of knowing some of the poets from Yazd, Isfahan, Fars, and other regions of Iran.Introduction One of the anthologies written in the Qajar Era is the one written by Mirza Mohammad Bagher Rashha Isfahani which is unique. This anthology can be classified as an implicit anthology because it is written with the storytelling method. In this anthology, the story is a platform by which the biography of contemporary poets is described. Isfahani tried to forget about the traditional and common methods of anthology writing and employed a creative method to write it. Isfahani's anthology which Mohammad Ali Vamegh, the author of Meykadeh Anthology (Tazkareh of Meykadeh) called "Atashzaneh" is a poetic one with samples of poems written by the poets of that era. In this research, we aim to introduce Isfahani and his enlightening method of anthology writing. Also, we will examine the criticisms regarding his work and the reasons for its popularity.Materials and Methods The authors did not find any research done on this subject. Isfahani and his anthology are briefly introduced in Ahmad Golchin Maani's book and no other book has ever mentioned them. A Monumental History of Persian Anthologies (Tarikh-e Tazkareha-ye Farsi) is the main source for studying the history of anthology writing in Iran. This book introduces and criticizes 529 anthologies and compares their writing styles. It is an authentic and reliable source for studies related to anthology writing. In Golchin Maani's report of Isfahani's work, errors can be seen that will be discussed in this study. Except for the two mentioned works, no other papers have studied his work. In 2016, a study entitled ‘A Grammatical Reflection upon Isfahani's Anthology’ by Maryam Mahmoudi and Mojtaba Saadat was presented in the International Conference on Language and Literature which has nothing in common with the present paper. Some sources have provided information about Isfahani and his life which will be discussed while introducing him.  Discussion of Results and ConclusionsIsfahani's story-anthology is an implicit anthology and a great effort in the tradition of writing Persian literary history. Isfahani was a wise man and wrote this story to be a part of the anthology writing movement of the Qajar Era. The uniqueness of his work has two reasons: being poetic, and being written as a story. About the poetic feature, the writer was limited to the rhythm and rhyme, so the information given about the poets might be restricted to observing the poetic figures of speech. On the other hand, the combination of poems from different poets and using the Hazaj meter are the reasons that readers face difficulty and frequent pauses while reading them. Also, using rhetoric in anthologies written in the Safavid Era became so common that the facts and information got lost under the shadow of metaphors, puns, and rhythms. This problem is seen in his anthology and the reader gets no clear information about the poets. However, many contemporary poets’ names were mentioned and it is enough reason for it to be important and popular. Some poets got known only through this anthology and their names are not mentioned anywhere else. Isfahani made an effort to mention the name and title of poets of Isfahan, Yazd, and Fars.Regarding his ability of storytelling, it should be mentioned that due to repetitive plots and clichés, the reader experiences no special excitement. The linear story of lovers and beloveds is told without any characterization, suspension, or even an open ending. Isfahani tried to imitate Nizami Ganjavi, but like many others, failed in doing so. Nevertheless, Nowruz and Jamshid is considered as a great effort in anthology writing history, and the creativity and courage of the author to ignore the traditional methods is admirable.

Hossein Pejman Bakhtiari is a contemporary traditional poet who understood late Qajar period and Pahlavi era and was not fully aware of the changes in the form and shape of poetry, due to the form and the music of the predecessors. He brings a mixture of old and new terms into his poetry. From the linguistic point of view, the simplicity and psychic of the word is sparkling in his ghazale, and he does not use abusive and desolate vocabulary. He used the longest rows and repeated rhymes in most of his poems. He is capable of making beautiful compositions and elegance, and the element of imagination in his works has a competent place. Some of the compositions used in his poetry are: Iron courage, king Man, flattering, Sweet smell, Loving, Sugar Kisses,assassins , oppressors, gasbag( living away,help spreading,kamoor. From similes: oak hide, colorful shoulder, skyscraper... Poems are full of fresh themes and expressions. The poet"s art of illustrating is the use of expression arrays, metaphors, similes and metaphores. This use is modest and common, so that the word is complicated and does not act as unacceptable. The present study aims to analyze the poetic style of poetry"s ghazals in three levels of linguistic, intellectual and literary based on accurate statistics.

Reading two of Ali Babachahi's poetry works, based on schema theory in cognitive stylistics Abstract Using schema theory in cognitive stylistic, this paper on one hand, tries firstly to point out to some of the contemporary modern poetry stylistic variations through showing deviations and schema changes in Babachahi's poetry works, and on the other hand, by reading and analysis of two of Babachahi's poetry works, proceeds to scrutinize some schema so that considering the modality of schema disruption and/or creation of new designs in Babachahi's poetry works we could reach out to some of his stylistic components. Nevertheless the aim of the paper is not only reading Babachahi's poetry work but also more importantly it's about obtaining the criteria for studying verbal poetry works which in the writer's point of view the traditional stylistic is unable to analyzing and knowing characteristics of such poetry works Key Words: 1- cognitive stylistics 2- Ali Babachahi 3- schema disruption 4- creation of schema

Archetypal criticism is a new method by which literary texts are analyzed. Carl Gustav Jung has made this approach of criticism more coherent through suggesting and describing two concepts of Collective Unconscious and Archetype. The archetypes are the common heritage of human civilization that are accumulated in the collective unconscious. Anima, as the most important archetype, is the unconscious feminine side of a man's soul. This archetype is manifested as beloved characters in many works of Persian literature, such as the epic Vis and Rāmin. Hence, through a descriptive-analytical method, the most important manifestations of anima in the form of the character of Vis, the beloved woman of Rāmin have been analyzed in present study. The results show that Vis and Rāmin's love came at a glance. As a bipolar character, Vis sometimes makes Rāmin's life bitter and distressed with coquetry and ignoring, and sometimes, she makes her lover prosperous by approaching him and fulfilling his wishes with love-making... some issues about anima have been also pointed out by Jung.

The discovery of al-Asrar as a Persian prose book has verbal, lexical, spatial and syntactic features that each one is remarkable in its place. Perhaps the most important of them is the level playing of prose and the great attention paid to Old Persian language – both in the selection of words and in grammar –that makes reading this text more attractive. Considering that the third turn of this interpretation, that is, the mystical interpretation part of language and subject diversity, has a dominant literary and artistic aspect of language. From the point of view of the Religion, as well as from different perspectives of Sufi, you, from the perspective of the wise, the love-loving, and the sectarian, spoke of your subjects. And in the expression of each of the views, the language also has different characteristics; the linguistic analysis of the linguistic features of this valuable comment - especially in the third turn - seems essential. Therefore, the present study demonstrates the following hypothesis in order to reveal the rhetorical and linguistic values of Meybod's interpretation: The beauty of the third part of the collection, in addition to the variety of archetypes and techniques associated with the music of the word, is due to literary tricks from the rhetorical aspects of language. The research method in this research is descriptive and analyzes the content about the style (language) of the third turn of Kashf al-Asrar.

Amir HooshangEbtehaj, with a pen name as Sayeh, is a writer with special style and exclusive to himself. Due to his great talent and poetic genius, he sought something more than what was available in the society. Mentally speaking, he is a thought-centered poet who makes a combination of introversion and extroversion in his thoughts, and when he suffers from external social disorders, he refuges to introversion; in other words, inner poems. Despite evading from norms and going unconventional, he involves some arrays of mysticism. In spite of their originality, grace, and Iranian tradition, his poems takes the color of novelty, cross bordering, and freshness. His concepts, themes, and messages have a different color even with mystical themes. This paper tries to investigate the mystical themes of Sayeh’s poem through the descriptive analytic method in research

Nowadays, a considerable number of research is allocated to the morphological study of stories. However, a brief look at the books and researches available in the realm of Persian literature reveals that such researches mainly focus on the morphology of the stories and anecdotes on the basis of the models provided by Vladimir Propp, Roland Barthes, Claude Bremond, Tzvetan Todorov, and A.J. Greimas. Accordingly, the present article is to analyze the morphology of the characters of a-thousand-and-one nights on the basis of a slightly different model proposed by the authors which is composed of two components: indicator and status. Using a simple efficient coding system, and on the basis of 11 indicators, and some statuses each of which is different according to its number and concept, the authors try to analyze the morphology of the Alla-o-ddin Abu Shamat anecdote as a sample. It goes without saying that the results of the application of this method in analyzing the whole number of the anecdotes present in a-thousand-and-one nights will better clarify the efficiency and universality of such a model

One of the characteristics of a good poem is ornamenting it with literary figures. Simile is one of these figures that are found not only in formal Persian poems, but also in children spoems. Since children sworld is the world of imagination, simile can be used to take them to that world. But, not every simile can be suitable for children so a poet, who is familiar with children s spirits, can register his/her thoughts in children spoem. In this paper, in addition to analyzing thirty books of children spoem and introducing similes in them, different kinds of simile in children s poem are investigated. Each kind of simile and their place in children s poem are also discussed.

There is a significant difference between Ganjinat_ol_Asrar and other narrations of the event of“Ashoora. The poet of this literary work has, with a mystical and tasteful glance, associated this event to Misaghe Alast”(eternal vow) with a theosophical attitude. This article has tried to examine the narration of this work with a view to the ideas of structuralism about narration. Also, it has attempted to briefly define and clarify Proposition and development of the narration. Moreover, some parameters of structuralism in narration of Ganjinat_ol_Asrar”have been analyzed. Additionally, it has noted the narrator of the story.