جستجوی مقالات مرتبط با کلیدواژه "اخوانیات" در نشریات گروه "ادبیات و زبان ها"

The book Atabat-ol-Kataba includes a set of epistolary compositions and correspondence of the era of Sultan Sanjar Saljuqhi written by Montajiboddin Badi’-e Joveini. The book has been edited and published upon the attempts made by Abbas Eghbal Ashtiani and Mohammad Ghazvini in 1950. Due to difficulties of comparative correction and the fact that there has been only one single manuscript of the work in question, certain words have been recorded erroneously in this book. One of these incorrect words is the expression “عاطار” for which both the editors/correctors and commentators of Atabat-ol-Kataba have made mistakes or have declared that the word in question bears no meanings, as they have relied on the edition published by Ghazvini-Eghbal. In essence, there is no such word in Persian or Arabic literatures. Such a meaningless expression has been a distorted form of the initial word of the Arabic proverb “مما طار به عنقاء مغرب” which has paved its way into the text of Atabat-ol-Kataba.

Over the tenth and mid twelfth Century, Persian prose experienced a noticeable transformation toward being degraded and inferior. Meanwhile, AbulFazl Allami, being the first to address the issue, began to reform and change the style of prose. He was aware of the Persian language and works of predecessors and, accordingly, got away from Safavi prose. Precisely, he had shifted to Iraqi style and created an innovative format called AbulFazl’s style". The Current paper aims at investigating Allami’s style and his prominent and frequent features via layered stylistics at five levels comprising; phonetic, lexical, syntactic, rhetorical, and intellectual. Having in mind that possessing a mixture of old and new features is one of the most important Characteristics in Iraqi style, Abulfazl's style is a combination of technical and simple prose, considering the predominance of simple prose. His avoidance in using secretarial tasks and artifices in phonetic and rhetorical levels has made his prose simple, and it is quite noticeable that the only weakness of his composition is the dominance of some grammatical defects in some points of his prose which was related to this period. From the intellectual point of view, the ideology of total peace, as the intellectual color of the correspondence, can be referred to as a decisive aspect to his prose. This intellectual feature, alongside Persianism and lexical combinations, which is the main feature of Allami’s prose, has made his prose unique. Therefore, Abulfazl's style can be characterized as a new thinking style and distinct from the existing style of the era. </em>This article, by presenting the reflection of the Alsat verse in the book Fiehmafieh, by showing some of the key topics associated with this one in the mentioned book, explains the difference in the style of this work with the Masnavi Ma'navi and Diwan Shams.

For its style and content, Nafsat-al-Masdur, the work of Shahab al-Din Mohammad Nasavi Khorandezi Zeydari, has always been considered as a canonical text in classical history and literature. In line with the new approaches in narratology and interdisciplinary studies, this work moves beyond the traditional classical studies of history and literature and enters into new domains of narratology and contemporary criticism. Genre and narratological studies of Nafsat-al-Masdur present different genres embedded in the work. These genres, such as autobiography, epistolary, and nonfiction, are intertextually intermingled in a historical context and problematize simplistic literary categorizations of Nafsat-al-Masdur. Also, different academic readings, in line with the narration and aesthetics tradition of the sixth century (S. H.), have degraded Nasavi’s peculiar narration style in restating the events to an insignificant piece of literature and deformed his primary objectives. The present article studies the generic and narrative structure of Nafsat-al-Masdur in an attempt to categorize the work as Ekhvaniyat and claims that although it has earned historical recognition due to its treatment of important people and events in the Mongol era, it cannot and should not be regarded as a multi-genric work.