nasrin faghih malek marzban

The application of fables over time to social and historical places, discourse systems or the creativity of their narrators have been associated with changes and developments in structural components. This article seeks to answer the question of what changes the character of the fox has had in the tales of the 3rd to 9th centuries and what effect this change has had on the story's narrative.33 anecdotes from 19 books have been selected from the 3rd to the 9th century and analyzed based on the general view of structuralist narratologists Especially Bermon's ideas. Most of the stories start from a state of imbalance. The fox not only plays an active and pivotal role in the stories, against other characters (rooster, duck, crow, wolf, lion, and snake); but also undergoes a transformation from a negative to a positive personality. In some books of the 6th century, we are faced with differences in the character of the fox, and the cunning and self-interested fox sometimes turns into a resourceful, wise and deceived figure, and sometimes becomes a cunning savior. This animal, influenced by the flow of mysticism and Sufism, realizes more inner values; Also, he distanced himself from the animal form and took on human roles such as ministry and guarding.

Imad Faqih Kermani is one of the poets of the 8th century. Five masnavis and a divan of poems have survived from him. Diwan of his poems has been published once by Rokuddin Homayunfarukh and once by Yahya Talebian and Mahmoud Modbari. Ignoring ancient and authentic manuscripts and using late, dated and incomplete manuscripts in both editions has caused problems in methodology and numerous slips in correction. In this research, we have cited four reasons for the necessity of re-correcting the Diwan of Imad Faqih, which are: 1. Obtaining new and advanced manuscripts; 2. Lack of methodology in the selection and use of manuscripts in the previous two corrections; 3. Misreadings of the base manuscript in Homayoun Farrokh's printing and the lack of reference by later correctors to Homayoun Farrokh's base manuscript. 4. Obtaining the correct form of many verses after examining the revised manuscripts. We have also tried to show the problems in the previous corrections with critical reviews; By using the newly found manuscripts, especially the 182 manuscripts of the Sepehsalar library and the 4197 manuscripts of the Noor Osmani library, which are older and more reliable than the manuscripts used in both corrections, the correct form of some verses let's shake hands

Verbal violence refers to any speech in which the speaker antagonistically exploits specific words and phrases to control, humiliate, coerce, threaten, ridicule, and quip his/her audience. Also, it refers to promiscuity in the speaker’s discourse. Social critics’ verbal system largely has an aggressive structure. As a social critic, Hafiz reflected his critique in his divan. Thus, his work can be a fresh, intersecting, social arena to examine verbal violence in his critical and individual encounter with a dominant ideological system. The current study will initially survey various definitions of violence. Then, it will define violence in the contemporary world. Afterward, it will concentrate on the violence within Hafiz’s divan. It will demonstrate that violence in Hafiz’s poetry is divided into verbal and nonverbal violence. The former has two categories: implicit and explicit. Given the implicit violence, it is the product of the poet’s imagination.  Lastly, the current article will study ‘inversion’ in the divan. The study results highlight the different degrees and types of verbal violence in Hafiz’s poetry when one pays attention to the implications of violence and its subject and addressees. Furthermore, findings indicate that Hafiz directly or indirectly employs vulgar and sarcastic expressions and descriptions in his relation to others at individual and social levels. Indeed, Hafiz’s verbal violence can create in his addressees a sense of abandonment, frustration, sorrow, and humiliation. Given the modern definitions of violence, one can classify with literary works containing high frequency of violence

One of the topics that has long received attention in our religious Quranic verses, and narrations, and has consequently found its way into our literary and mystical texts, is the subject of self-struggle. Examining Direct Quotes (DS) is one way of representing speech and thought. Asrar al-Tawhid, the subject of which is the sayings and states of Abu Sa'id Abu al-Khair, the prominent mystic of the fourth and fifth centuries (357-440), was written by one of his descendants named Muhammad ibn Munawwar. The book contains the accounts and statements either directly attributed to Abu Sa’id or reported by others about him, and includes important topics in Sufism. In this study, we aim to study the dialogic atmosphere (physical context), the syntactic construction, and the strategic plan of the quotations cited directly from Abu Sa'id in Asrar al-Tawhid by Muhammad ibn Munawwar, using library sources and a descriptive-analytical method. We will analyze these quotations to gain insights into Abu Sa'id's intellectual system regarding the struggle against the self.  The findings of the research show that contrary to some ideological deviations apparent in the manners of Abu Sa'id in Asrar al-Tawhid regarding issues such as pilgrimage (hajj), mystic listening, asceticism, and austerity, when it comes to the struggle against the self, there is not only no deviation, but it is entirely consistent with religious teachings, Quranic principles, and beliefs of the jurists and legislators.

"Motion" is the fundamental basis of existence. Multiple scientific disciplines have examined and established this concept based on their own fields of study. Cognitive linguistics approaches this category from a philosophical-mental-linguistic perspective and investigates the process of how motion concepts are formed and transferred from the external world to the mind and from the mind to language. Talmy introduces the notion of motion verbs, categorizing languages as either verb-oriented (lexical) or satellite-framed based on the demonstrative direction of verbs. The present study employs an analytical-descriptive method to examine the translation of the novel Alfatah Al-Akhira from Arabic to Persian. The study focuses on the extent to which translators utilize verb-oriented verbs and satellite framing. Additionally, the study aims to investigate the reasons behind the differing translation choices made by different translators in terms of verb-oriented and satellite-framed translations. The findings of the current study indicate that two translators, when translating the novel Alfatah Al-Khaira, deemed satellite framing as a more appropriate template for conveying motion concepts from Arabic to Persian. Also, when the translations of these motion verbs were compared and looked at, it was found that being satellite-framed does not always mean that the idea is communicated better and more completely. However, taking into account the elements of association and substitution, as well as the verb's connection with other components of the phrase and the context of the text, is crucial to ensuring a more effective translation.

In narrative texts, different kinds of evidence are used for more acceptability. This topic is defined as "evidentiality" in Linguistics. F. R. Palmer is one of the semanticists who divides this category into two types: sensory and reported, and also states several types for each one of them. In this research, all types of evidential markers have been studied based on these features: visual evidence (direct and indirect), auditory evidence, sense of smell, the sixth sense, similarity, types of report, experience and cognition, rational signification, prediction (Astronomy and dream interpretation), Yezidis Xvarenah, swear, and witnessing. It is concluded that the markers of guess, even though including uncertainty and skepticism, occur in the entirely factual status of preposition. In the discourse of characters (princes, heroes, mowbeds, astronomers, etc.), because of the high rationality of sender, the guesses come true, and the contrary conditions never do happen. Among the evidential features, inference from signs, regarding its participation in all the other types of evidentiality, is considerable. The following perceptual and cognitive verbs such as "didan", "šenidan", "buyidan", "dānestan", "āgāh šodan", and the metaphor like "be del āmadan", and the other words including "gomānam", "guyi", and "bar ānam" are instances of evidential markers used in Shahnameh.

Hafez is not a poet like Khajoo that apply a word in his poem, merely in order to create double entendre, and He is not follow Khaghani's way in paling the grace of poem through abundance of scientific expression. Rather his poem is balanced synthesis of scientific aspect of word with poetical dimension of speech. Hi use this rhetorical figure (ihām) on the basis of his detailed Knowledge about scientific texts. So it is necessary to survey the series of couplets which have scientific background, considering every aspect. Our hypothesis is that, there is no sort of conventional word-play thing in such couplets. Although most of our medieval knowledge in comparison to modern sciences are almost nothing, in most cases the speech of poets like Khaghani and Hafez is exactly according to the facts of those ages. In this paper as an instance, meanwhile paying a complete attention to the variant readings and Hafez poetic art also by getting help from common scientific texts of the Hafez age, we have critically edited some couplets of Hafez. If this method receive verification from Hafezian scholars, we can be hopeful that it can be effective and solving in other cases of Divan-e Hafez.

So far Hafezian scholars have enumerated various factors in creation of different variants of Hafez poems. The nature of different variants at the first step is studied considering this aspects: whether these reforms were made by the poet himself? Have the scribes had any influence in its formation? Or other factors than these two have been the source of different variants? Hafez researchers believe that the most important determinant of different variants is not the scribes errors and mistakes, but they are related to the following agents: Unwillingness of Hafez to collect his poems The evolutionary rudiments of his aesthetical points of view The socio-political situations of his time Changing of individual and particular cases into general We can expand this list by two important points: The evolution of Hafez knowledge: Perhaps the evolution of Hafez knowledge in different branches of science of his time has been a reason for the substitution of some of the variants. Hafez textual researches: This factor can be the one of main and the most effective reasons of different variants. Therefore intertextuality will be the authentic method in critical edition of Hafez’s poem. Goals: “The establishment of a reliable text” of Divan-e Hafez -like his poem and character- is an exception in the world of text edition. For edition of Divan-e Hafez it is not the scientific method to collate one particular copy of divan with other manuscripts and note the variants in the footnotes without any critical review. On the contrary, for each different variant several explanatory essays are necessary, these notes along with paying attention to the different versions of manuscripts and exploring aesthetical and rhetorical aspects of Hafez’s poem should be assessed totally, and only in this case -maybe- it is possible to perceive Hafez’s mind and language. This burden is heavy enough to be carried by only one person, that is to say it is necessary for the scholars to research the various layers of Hafez’s multiplanar poem from a special angle where the differences exist. This article is -we hope- a small step in that direction.

In process of creation of art works, Hafez does not believe in “beginning from nothing”. He is the poet of selections and motivations. Instead of using his mind power for creation of art works at the same level, as the poets before his time, through literary critical criterions, which he has learned at the schools of rhetoric and poetic specialists, he strains “Persian/Arabic texts in literary as well as in scientific fields” and as an eloquent poet, selects what he approves of mentally and linguistically, and recreates by exceeding artistic genius values, his knowledge and reflecting incidents of his time. In the process of researching the textual relationships between Hafez poem and Persian/Arabic poetry/prose as well as scientific texts, it turns out that throughout his life time, he has been researching on these resources. There are evidences in the Divan-e Hafez which show that some of the different variants have a root in his researches in scientific texts. For example: حیلت / حالت / طاقت کوه اندوه فراقت به چه حیلت بکشد حافظ خسته که از ناله تنش چون نالی است (Hafez,1387Š: 129) Varian Readings in Hafez’ Qazals (Neisari, 1385Š vol.1:291): حیلت :based on 31 manuscripts→ oldest one: Hagia Sophia dated 813 A.H./1410 A.D. حالت :based on 2 manuscripts→ oldest one: Khalkhali dated 827 A.H./1424 A.D. طاقت :based on 2 manuscripts→ oldest one: dated 817-34 A.H./1414-31 A.D. حیلت:based on The Oldest Manuscript of Divan-i Hafiz dated 801A.H./1398-99A.D. (Hafez,1394Š:14) QB: حالت‖PNSEJ: حیلت Hilat (حیلت) in this line is a single word with a double meaning (=ihām) “obvious” and “far-fetched”: 1. Means or Plan 2. Scientific term applied in the knowledge of ingenious mechanical devices (=ilm-ul-hiyalعلم‌الحیل) that refers to the ancient form of modern mechanical engineer.

Although Hafez poem is clear, it has a deep structure which a thorough understanding of his poem and deciphering his “dense poetic language” would not be possible unless through Intertextuality. This principle can be true in editing his poem. In such cases we should use the method of adding up a series of rational, eloquent and narrative reasons for the preference of different variants and critical editions. It is necessary to be noted that while we emphasize Hafez textual researches, we do not ignore his independent individual and original artistic creativity in the formation and completion of his poems.

This study tried to explore how a competent speaker chooses a special arrangement for his/her text with his/her presupposed knowledge of the audience in his/her social and cultural contexts and how the structure of the text or, in other words, arrangement of its components plays an important role in the meanings received by the audience. With this purpose in mind, several stretches of speech with the topic of "request" were extracted out of the Shāhnāmeh to see what Ferdowsi's textual tactics were for arranging the structures of different types of requests with regard to the topic of "request", as well as the interlocutors involved. The results showed that such versified requests followed different types of patterns of arrangement. The following sequences of moves were found: "praise" (to God and the audience), "introduction" (variable), "the very request" (a story and a request), and "closing" (variable). These moves with minor variable arrangements and/or omissions showed that Ferdowsi paid attention to the cultural and social contexts of his own time. Therefore, the move patterns of "request" texts in the Shāhnāmeh were predictable, leading to a better understanding of the text by the audience. The moves of "introduction" and "closing", including different steps (sub-moves) with varied arrangements according to the subject and the context, played an important role in persuading the audience and providing the rhetoric of the request too.

In this research,It is tried to be examined how to convey the meaning and conceptualization of the Quran in two surahs of Taha and Anbia. There are many abstract concepts such as oneness prophecy , resurrection , guidance and human destiny on the Day of Judgement , heaven , hell and etc. In the Quran that are unfamiliar to human beinigs .Imagine schemas of cognitive-semantic achivments with types (kinetic,spatine,power,volume,…) play on important role in sensing unfamiliar mental-abstract and intellectual concepts based on sensory experience and human intraction with the envierment and body spaces.The necessity and purpose of the research is to invetigate the function of various image schemas in conveying abstract concepts of Quran. Evidance from the chapters of Taha and Anbia of Quran was examined by a descriptive-analytical method based on Johnson’s model. In addition , Jorjani was used as a traditional representative in ragard.The research finding in dicate that :1) By cobining various schemas and relying on sociocultural , sensory-perceptual experiences of human beings , the Qur’an has used a creative method in conveying concepts.2) From all of the schemas of surahs Taha and Anbia , the schematic of power has the highest frequency and the schema of the object has the lowest frequency.

Irony is an expression style which is based on creating surprisal or satire through binary opposition and contrast between two meanings or situations. MasnaviManvi’s allegories are often derived from folklore culture and common oral or written anecdotes. Yet, Moulana has created a wonderful world of meaning beyond the world and structure of Folk traditions for his readers. The influence of this transference of meaning is due to his special method of allegorization and his creative mental processes in choosing the conventional spaces to point out the unconventional purpose, the mechanism of blending dual spaces and providing meaning from the heart of this fusion. A meaning which is resulted from conflict between the opposed elements and concepts, and yet they are very prominent and influential.In this research, we intend to analyze the mechanism of creating ironic meaning through the study of projection and conceptual blending from a source to a target space in “Inadmissibility of indecent interpretation of the housefly” allegory based on Mark Turner’s theory of Literary Mind. The findings show that power and worth of such creation of meaning in this parable are resulted from Moulana’s creativity in choosing the unusual source and target spaces in a way that their blending, while corresponds structurally, possess a powerful conflict in terms of concepts and elements. The final meaning of a parable, as Turner says, is not resulted only from the meaning of each input, nor simply from sum of them. It is rather a resultant meaning generated from the contrast of the elements and contexts of the source and target stories. It is such conflict from inside of which an aesthetic technique like irony is generated from the point of view of Moulana’s mental mechanism. The ironic and humorous contradictions that arise from this mixing and tension have a persuasive and destructive effect on the minds of the audience, which is the semantic prominence of this allegory.

Studying 'women's identity' and their attempt to 'recover gender identity' as part of a lifestyle that changes their behavior and experiences, is the purpose of the present study that have accomplished with the help of social psychology and analyze a number of contemporary short stories. To achieve this, we have used the theory of social psychology Myers and Baron as well as the theory of Jenkins sociology, and we believe that, stories are a reconstructed structure of interpersonal actions and reactions derived from social realities in society and are Interchangeable with Sampling and completing a questionnaire or interview. Through the study of discourses and the subjective and linguistic monologues of the characters, and through their beliefs, behaviors, and memories, it is possible to address their attitudes toward analyzing individual and social behaviors and interactions in the behavioral system. The research population of this study was active, working , single and married female characters from the social class of 24 the selected short stories of the 1980s. After analyzing through qualitative research and content analysis, we came to the conclusion That: these women, after regaining their identity and moving away from "traditional female identity", under the influence of " Sociability, cultural commitments and values observing women's acceptable behavioral patterns and gender roles in society," prefer and choice " the gender identity and role of the spouse ". Studies also shows that one of the issues for working, educated married women of social class is gender inequality, conflict and the duality of identity beliefs caused by social influence behavioral stereotypes associated with traditional female roles.

This article aimed to introduce Paul Simpson’s model (2004) at the point of view of "Ayenehaye Dardâr" and "Ham Navayie Shabaneye Orcestre Choobhâ". Simpson applies "sequence, duration, and frequency" in the spatial planes of point of view from "camera angle". He also uses "Modality" in psychology, and "Helidian transitional system" in ideological. Exploring the point of view provides a better understanding of the thoughts and feelings of the characters. The research method is to evaluate the entire text of the novels in the temporal, spatial, and psychological points of view and identifying the "processes" and "aspects of verbs" in the "policy and beliefs motifs" of the authors’ ideology index. The flashback in two novels plays an important role. Ghasemi, with a partial view, and Golshiri, with the "here and there" frequency pronouns show the contradiction between the origin and destination community in the lives of immigrants. A confirmative attitude is dominated on novels and the narrator explicitly speaks of his dreams and beliefs. The high frequency of material process reveals realism and reports the specific application of the news, personalities, and lives of the characters.

In addition to the historical and social significance of Tarikh-e Jahangosha by Joveyni, the text is notable according to discourse analysis. In the discourse of war as the hegemonic discourse of the text, one of the distinctive discourses should be studied according to social presence of women. On the one hand, gender equality in Mongolian culture, and from the other hand the Iranian-Islamic identity of Iranian women have created a bipolar discourse which in Iranian women are ineffective slaves, while Mongolian women, as champions equal to men, are dominant and victorious.
Using Halliday’s ideational metafunction, naming and processes, all parts of the text where Iranian and Mongolian women attended were studied; then by collecting all statements about them, characteristics of each were extracted.
Under the effect of religious beliefs, Iranian-Islamic identity of women is represented in the form of defeated participants of discourse of war, by introducing their social characteristics, indirectly expressing their names and their low-frequency presence. While the identity of Mongol women, as the dominant and triumphant participants, is expressed directly and a special way of naming is used by the author. In many cases, the Mongolian woman is wise, hero and politician; whereas the Iranian, except in few cases, is a nameless veiled who goes into captivity.

The aim of this research is to explain the conceptual blending of war and hunting, and to analyze the specific dimentions of this blending in Saadi’s Ghazals based on Fauconnier and Turner. One of the frequent cognitive concepts in Saadi’s Ghazals is war and hunting as the input domain of love. The theory of conceptual blending is an effective instrument for understanding the interaction between a conceptual system with its domains. Fauconnier and Turner introduced the theory of multispace or network model. In the network model, the common concepts of two input domains create a generic space. Moreover, the interaction between these two input domains creates a blended space in which the conceptual structure can not be percieved only from the input spaces. In this research we will show that most concepts of love are related to the beloved and specific terms used to describe him/her. In the blended domain, there are some paradoxical concepts like considering death as eternal life, or captivity as freedom. After demonstrating the dimentions of conceptual blending of war and hunting , we will try to find out how the resulted paradox in the blended domain is created. The hypothesis is that this paradox is resulted from the effects of mystical concepts of love in Sufi discourse on the poet’s mental models, even if the Ghazal is categorized as a love one.

In this research we try to study and analyze the mystical capacities of Sa’di’s Gulistan of 7th Century AH and search the hidden aspects and lower layers of the text, applying some tools of critical discourse analysis approach. Thus sociological and historical approaches are applied in order to come to a scientific interpretation of the text. Linguistic, social and historical aspects are of so much importance to us when we refer to Sadi's time and society, to reveal hidden ideologies of the text. To this end, Michael Halliday’s theories are used for analyzing the text and Norman Fairclough’s for explaining the social aspects in Gulistan. Among suggested tools, ideational meta-function is applied concentrating on naming and processes. Also according to Fairclough, the text is studied in three levels of description, interpretation and explanation and so the joint between the text and society will be represented. Results show one main discourse named spiritual discourse. Expressing the role and function of participants in the above-mentioned discourse we finally found out that except God as the one participant in spiritual discourse, one can consider a special position for preceptor (Pyr) and mystic (Sahib-del) and recognize them as the most positive poles of Sufis discourse of Gulistan. Darvish is an individual with all kinds of abilities, not necessarily negative or positive.

Having a semiotic approach based on the study of codes, Shahriar Mandanipour's several short stories will be analyzed in this paper. This type of analysis is carried out based on the code analysis that Barthes has put them into five categories. Three categories of these five, concluding Semantic, Symbolic and cultural codes are considered for this analysis. Six short stories consisted of "A shadow of the cave's shadows", "yawn in the mirror", "Break the stone teeth", "mummy and honey", "East of violet" and "The fire lady" from the story collections of The cave's shadows, mummy ý and honey and East of violet has been chosen to be analyzed, in this paper. In these stories, animals are presented as important codes and depending on the position of the text, show a diverse range of Semantic, Symbolic and cultural codes. This study is based on a descriptive- analytic approach and instead of dealing with the theme and the overall meaning of the story, intends to achieve the “meaning” through the structure of interdependent signs and codes, and also, to achieve how different codes are activated to represent "the contrast and similarity of humans and animals".

Imam Khomeini’s poems, in addition to their literary attractions, belong to a evolutionary leader and an effective man in the contemporary world. In this article, according to discourse analysis and Halliday’s functional grammar, these poems are studied. In order to concentrate on Imam’s personality and personal reflections in his poems, just the statements beginning with the subject “I” were analyzed. The results show that in a private introverted approach he has noticed fordefining and distinguishing “I”. Also negating egoism, he introduces “I” a passionate lover who surrenders for the beloved and knows no power beside him.