جستجوی مقالات مرتبط با کلیدواژه « رمانس » در نشریات گروه « ادبیات و زبان ها »

The present research considers the analysis comparative types of narrative in Samak-e-Ayar and the count Monte Cristo. Samak-e- Ayar is the greatest inheritance of the Persian written in prose in the 6th century Hijri and the count Monte Cristo was created by Alexander Dumas in the 19th century A.D. which belong to Romance in the classification of fictional literature. The major problem in the research is how the types of narrative apply in these two outstanding Persian and French works. They will be studied by descriptive- analytical method. The narration is the most important fictional item in the works. The writers have considered not only the presentation of type of narrator but also characterization and description. The findings show that the narrator of Samak-e Ayar and count Monte Cristo are a text-oriented heterogonous unlimited wise person. It can be seen the types of narrative to two forms: the 3rd person singular and the 1st person plural. Multiplicity of the narrative can be seen in Samak-e- Ayar and the count Monte Cristo, so it causes to be more attractiveness. The narrator have the same function. It is endoscope of out.

In this research, tried to measure the intertextuality relationships of Shahnameh with Abu Moslem nameh. According to the theory of intertextuality, any text is not apart from other texts, and certainly it is communicated to the texts before and after itself. . We know that Shahnameh is a comprehensive text or "Hypertextualite" that has had a lot of effect in the texts after itself, especially in the romance of Abu Musliml nemeh. I want to know which kind of connection is more between Shahnameh and Abu Muslem nameh? The textual features of Shahnameh with Abu Muslem nameh are examined by Gerard Genette's method that is the perspective of intertextual(simultaneously) and over-textual (impact and influence). As result of this, it is understood that Copresence method in this two works is more used than Paraphrase method. Shahnameh, it has had such a profound effect in the tradition of Persian fiction and poetry that included Folk stories that most of them were narrative. topics such as Invulnerable, fortune telling, son and father warfare, healing ,etc that transformed the Abu Moslemnameh into romance has been modeled from Shahnameh.

Samak-E-Ayyār is one of the most famous Persian folktale which has flourished in 6th century and it is known as romance. dialogue is one of the critical elements of fiction which has got the effective role in identifying the characters. Study and analysis of dialogue element are the main topic of this research. In this paper the researcher tries to analyze the dialogue function and role in Samak-E-Ayyār.

The present research is organized based on library resources and descriptive- analytical method. basically, this paper has studied Samak-EAyyār corrected by Parviz Natel Khanlari and published by Agah Press.

Following narration in Samak-E-Ayyār, there are direct and indirect dialogues. Most dialogues are short and reflex the pure classic prose of sixth century. In this work characters haven’t got distinct representation.

The function and role of dialogue in Samak-E-Ayyār have been demonstrated as argument, discussion and conflict. To reason the discourse, the mild language and errant’ reasoning, ministers and scholars are realized. Some facts, judgments and views are narrated by characters as well as narrator and it leads to democratic discourse. Love, suppliant and prayer are the reasons of emotional and sentient dialogue, characters’ performances make the audiences know them and bring along identification with the heroes. Dialogues are going to show as followings: They reflex events and adventures which help the narrative progress. Happy and sad settings are created by dreaming and astrology. Descriptions in dialogue deal to further introduction or recognition. Story’s climax and anticlimax, complication and denouement are appeared superiorly. Besides dialogues help the time acceleration of in Samak-E-Ayyār.

A heroic love story is a genre of the Persian literary that is similar in some aspects to love tales and in others to heroic tales; however, there are also differences that make it different from these two similar types. In the western literature, love and heroic-love tales both are referred as "romance". In the Persian literature, the series of Bahramnameh describing the life of Bahram Gor are considered as examples of romance genre. Meanwhile, some categorizes these poems as love stories. The present study aims to prove the "love-heroic" nature of this story, to understand the narrative structure of the literary type of a "love-heroic story", and to find its similarities and differences with two genres mentioned before. To this end, morphology, as a typological tool for the recognition of types of narratives in literature, is applied. First, Based on tale morphology in five famous series of Bahramnameh (Haft Peykar by Nizami Ganjavi, Hasht Bihisht by Amir Khosrow, Haft Akhtar by Abdi Beyk, Bahramnameh by Rouh-al-Amin Shahrestani-, and Haft Manzar by Hatefi), the paper identifies functions, characters and narrative models of this series as the example of heroic-love stories. Finally, its similarity and distinction with heroic and love tales are presented.

Keramat (Dignity) is always renowned for the Sufis and is considered as the most prominent ability of the Sufi elderly. Dignity topic is one of the beginning topics of Sufism and a major part of Sufism literature is narrating Dignity of Sufi elders. According to Quran, prophets do acts that are impossible for mankind in facing of opponents to be an approval of their speech and acts. Some of Sufis consider Dignity as a reason to rightfulness of their leadership. But, some others denied it and consider it as a reason of downfall in the way to advancement and perfection. However, Dignity is seen in Iranian romances and is an example of the capabilities of the hero of the romance. The root of it should be sought in the culture derived from myth. In this research, the author is going to analyze these commonalities together, and according to it, explore the Dignity out of Sufian stories and separate Dignities of story heroes from other in two romances that have religious attitude, Abumoslenameh and Hamzehnameh, and come to the conclusion that ‘Far’ (God Chosen), that is the spiritual power said in ancient thoughts, is the source of Dignity thought. The belief in all these stories is central. According to this, romance, especially religious romance, tries to promote the important element of belief; meaning that it will try to follow the purpose that Islamic mysticism got from telling elders stories.

For centuries, storytellers and scops recited epics and national, tribal, historical, and religious stories for people, through musical speeches. Some of these narrators wrote down what they recited, and some others dictated them for scribes to be recorded. Some kings and lords also had scops in their courts to recite the stories to scribes. One of the old, oral stories of Persian literature that has been written down is Darabnameh by Mohammad Beighami. It is a long epic-love story and a sample from Persian flok literature, dealing with the victories of Firouz Shah, son of Darab. Since understanding the genre of work contributes to the understanding of the work itself, the authors of the present study have provided evidences, based on which, Darabnameh could be included in the genre of romance.

The story of Samak-e Ayyar is an Iranian long folklore in the late 10th century AD، written by Faramarz ibn Khodadad ibn Abdollah Kateb Arjani، who wrote the story of Samak-e Ayyar by quoting a person named Sadaqeh bin Abi al-Qasem Shirazi in the third person form. The language of this work is simple and fluent; the sentences are simple، short، and sometimes intermittent. The storyteller has adopted brevity method، which is one of the features of spoken or colloquial prose. This book is a fiction epic، and its hero is a man named Samak. Samak is a symbol of courage and bravery and is unique in wisdom، insight، and designing clever plots. Due to its fictional nature، the characters in the story have natural and supernatural behavior، which is a feature of old folklores. Discourse (written and oral) in this story is in the form of monologue or dialogue، which is done in the form of oral messages and letters. The monologue is seen in the form of praise، insult، oath، etc; and the dialogues comprise issues such a confession، marriage proposal، consultation، etc. In this work، time and place is imaginative and due to its showing more excitement، it has been attributed to the mythical far lands. The events of the story are apparently in China، Machin، East Mountain، and India; perhaps because the rulers at the time were not offended، and from the names of places such as Dasht-e Maran، Shahak Castle، Saffron Meadow، etc it is obvious that it is an Iranian story. Intellectual، ethical and social themes of this work become clear from the inside of discourse، acts and thoughts in the event of the stories.

The story of Amir Arsalan Namdar is a nightly storytelling in the chamber of Nasereddin Shah Ghajar which was told by the narrator of his court, Naghib al-Mamalek and then was written down by the pen of Shah’s daughter. Despite the aristocratic ambience of its origin it was rapidly turned into the most popular and admired Persian folk tales. Unfortunately such works precisely due to being folkloric have never been truly analyzed in terms of literary and dramatic aspects. However in this article first the European equivalent of this genre of literature namely romance is dealt with, then certain theories of Northrop Fry, the great literary critic regarding the structure of such stories are presented, and finally the main story of Amir Arsalan is told and its outstanding dramatic points and theatrical potentialities are analyzed.

The unfinished or very short Cook's Tale is an exception among the Canterbury Tales. This quality didnt make the author or later editors to dismiss it from the collection. Yet, it made the tale absent from almost all anthologies and caused it to suffer from the negligence of most critics and Chaucer scholars. However, both the narrator of the tale, who is a lower class Londoner living or working in the crowded city center, and the Tale, which deals with the corruption of lower class Londoners, can be significant from a realistic point of view. The Cook's Tale follows The Miller's and the Reeve's tales, and all three, intertextually linked, are fabliaux. This is in sharp contrast with the romantic and highly idealized Knight's Tale. This contrast is the first manifestation of realistic literature in the Canterbury Tales, and perhaps the whole of Chaucer's works. Indeed, it is this quality of Chaucer that makes the work his masterpiece.