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

By selection, Ferdowsi collected most of his earlier narrations, which were narrated in books such as Sir al-Muluk, Khodaynameh, Shahnameh of Abu al-Muayyid Balkhi, Shahnameh of Abu Mansouri (prose), and Goshtasbnameh (Daqiqi), and later, the main reference of people and epic Readers. The composition of the Shahnameh created three waves of imitators or followers, lovers and admirers, and finally opponents. Mokhtari and other epic poets after Ferdowsi tried to narrate stories that Ferdowsi did not include in his great Shahnameh or ignored their length and detail and brought only a part of the story or made references to it. Stand at the foot of the epic palace. Of course, Iranshah (Iranshan) Ibn Abi al-Khair and Asadi Tusi are successful followers of Ferdowsi. The importance of Osman Mokhtarichr('39')s work is due to the fact that he is in the circle of the opponents of Shahnameh, that is, those affiliated with the Ghaznavid court. This research has tried to examine the position of Shahriyarnameh and Osman Mokhtari in the epic by describing and analyzing and intertextual view and textual effect on another text, and then, briefly compares Shahriyarnameh with Shahnameh in terms of literature, language and thought. In this way, explain how the Shahnameh affects the Shahriyarnameh. The findings show that Mokhtari, in order to get rid of the apprehension of influence, has made changes in the form, structure and content of his work compared to Shahnameh, which has caused his work to become popular.

Genesis of Mehr in myths and development it to Jamshid on epicOne of the general theory about the heroes is that are developed over time and with the men who live in different terms of historical and geographical conditions to acquire its own form. One of the intellectual pillars of Iranian and Indian Aryans, the tendency has been that natural events .The question now is that with the passage of time stamped with the legend,  what transformation will be created and the epic, love the look and have taken?The author has tried according to the patterns of mythic and epic proper answer to this question.Alpha Mhrparsty as a phenomenon in the minds of certain functions of this family has taken various courses. West puts up Mhrprsty with the Persian conquest, and then accept the new face of solar deities, some functions of the human form - Godchr('39')s own evolution continues. Structures Mithra in Iran, according to their previous form and the transformation that occurred in the phenomena ,combined with the newer, In a more recent phenomenon, combined with new paradigm in the face of the title character reveals the name of Jamshid. In this paper, research and analytical way, the genesis and evolution of

Comparative literature is a kind of interdisciplinary research study and it is a branch of history of literature which considers historical and literal relations between two or among several national literatures. This study comparatively considers the objectification of female characters in Suvashun written by Simin Daneshvar and a change of heart ( la modification) by Michel Butor. The main character of Suvashun is Zari, which is a woman of family And this dependence makes her timid and obedient and takes the subjectivity away from her. From the beginning of the story she is in fluctuation between fear and bravery until the moment when her husband is assassinated and then she decided to be brave and remove her objectification. In Change of heart, Cecile and Henriette are the two women who suffer from the imposed objectification in the mind of the main character mr Leon Delmon and until the end of the story this objectification lasts. Leon Delmon wants his wife as a lady who manages his house affairs and his beloved as a lady to promenade with her in Rome. The results of the present study showed that female characters of these two novels suffer from objectification. In change of heart there is no way for them to be free from objectification while in Suvashun there exist a possibility for the female character to be free from objectification and her subjectivity is developed at the end.

After the World War II, the notion of spatiotemporality plays an important role instead of space and time independence from each other. This emphasizes time category and all its strata and dimensions. Based on the theoretical framework of geo-criticism and according to Bertrand Westphal's point of view, the present study attempts to investigate spatiotemporality from textual space, relying on La Modification novel by Michel Butor in order to create a new study of this novel on elements of geo criticism. Space evolution during time is described in textual space by Michel Butor's novel. Research questions are: what is the role of time in space evolution? How the spatiotemporality evolution in Butor novel is described? Therefore, results of this paper demonstrated that space cannot be analyzed without considering the temporal strata and intervals; space and time have created a spatio-temporal continuum. Space and time are inseparable elements in geo-criticism. If time is dynamic and variable, the space is also variable and dynamic. Therefore, the only way to represent transformed and stratified space is paying attention to textual space. This paper aims to scrutinize the represented space and its changes in literary discourse, so that the reader can imagine this space and represent it in his/her mind.

rogue is among words that in theosophical literature has a lot of usage, as yet a lot of writters and poets, had probed in this field. This word among theosophist poets had a different usage. Sometimes have been used in negative and sometimes in positive way. rogue means "amative" is the opposite of asceticism and devout and name, disillusionment and disgust, shrewd, uninhibited slovenly used among poems of poets. The aim of this issue is showing the usage of rogue, among eminent poems, like: Sadi, Hafez, Attar, Sanaei, Khajoye kermani and check the metamorphosis means of rogue in theosophical literature. By studing of poems and theosophists books, we can note the deepness of metamorphosis and semantic diffrences of "rogue" word from poets point of view. Without doubt with comparision of different semantic meaning o The aim of this research is to show the use of the term “rogue” among great poets like Sanā'ī,Attar, Khwaju Kermani, Sa’adi and Hafez, and to investigate the conceptual change of the termin mystical literature. According to the present article the term had a positive load in the secondperiod in Persian texts and introduced the characteristics of a perfect human with attributes ofloving, moaning and piety. In Sa’adi’s Golestan and Boostan “rogue” has a negative face, buttakes a positive face in Ghazaliat. Attar considers the rogue holy and bibulous. In the third periodrogue has a negative concept. After Hafez, it was attributed to opportunist, cunning and deceitfulone.

This present article aims at examining a narratological study of the inner plot of selected stories of Masnavi-Ma’navi –namely, “The Parrot and the Merchant”, “The Snake and the Snake-Catcher”, and “Students and their Teacher”- on the basis of Aristotle’s theories as discussed in his seminal work Poetics. Introducing Aristotle as the founder of narratology and using his ideas about an effective plot as discussed in Poetics, we aim at investigating the moral lessons conveyed through the use of the two Aristotelian concepts of Peripetia and Anagnorisis. The selected stories contain the fifth and sixth forms of Aristotelian discovery, the most effective forms of discovery, which are formed either through the natural sequence of events, the false inference, or deception of the characters. The article tries to answer the question: Are Aristotelian theories of Peripetia and Anagnorisis applicable to Mowlana’s narrative poetry? This research has profited from comparative and analytical methodology.

At present, arising of blank verse is assumed as a turning point in Arabic language and literature. By birth of poetic modern phenomenon, verse total meaning and especially its poetic music were transformed. As a result, in the course of the given process, musical structure of contemporary Arabic verse exited from its traditional and ancient texture and reached to a completely different architecture. The aforesaid architecture, in which qualitative parameters have been adopted in its formation rather than quantitative ones, has been realized in verse internal space. This was, in turn, overshadowed musical performance of Arabic contemporary verse as well. Hence, musical verse was deemed not only as a Phonetic Phenomenon, but a broad- based and comprehensive element under its light the Discursive and Dialectical Relations have been established among intellectual, emotional actions and lingual structures in poetical text; the fact that was an evident for musical richness and depth in Blank Verse