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

Art and aesthetics are broad components through which the world is interpreted, affecting imagination, creation and expression in a perceptual process. Aesthetic experience and knowledge challenge new methods and perspectives of the mind. "Nadia" by Andre Burton and "Three Drops of Blood" by Sadegh Hedayat serve as clear examples of objective and mental beauty elements that reveal the hidden reality of the deep mental state of man in his subconscious mind. They possess an ontological reality of which our consciousness has only grasped a small part. The purpose of analyzing the aesthetic elements of these works, which represent the needs of different areas of human life through intuition, reflection and attention to the transcendental world, is to create an interactive connection between human feelings, thoughts, wisdom and imagination. The goal is to understand how these works are written and why they hold value. In this research, using a descriptive and analytical method and the approach of comparative literature, we rely on the American critical school for qualitative analysis of the surrealistic aesthetic aspects of the works. We have concluded that the beauty of language and imagination in the superstructure part, and the beauty of the content in the deep construction part using the techniques of surrealism, are the constructive foundations of the beauty of these works that lead to the creation of spaces that is a rebellion to free the mind from limitations.

The educational concepts and components expressed in the ancient Persian works in two ways: either directly in the form of preaching, advising, and forbidding, or indirectly covered by the stories and the anecdotes. With the advent of the Constitutional Revolution and then, with regard to the political, social, cultural, and moral conditions of the era, the concepts and ideas of teaching found a more different manifestation than the past. In this period, especially in the Persian prose works, the educative concepts were stated indirectly, tacitly, and implicitly in the hidden layers of the stories, novels, humor, and social criticism laterally. Sadeq Hedayat is one of the most celebrated writers of this period, who by means of presenting facts and examining the social conditions of his day in his stories, introduces vices and opposing behaviors with human and social values to the audience, and indirectly makes them realize that, with the knowledge and intelligence of avoiding individual and social inaccuracies, they can recognize the proper path to reaching the highest levels of humanity and the peaks of happiness, hereby, move along the path to moral and social virtues. In this paper, several examples of various aspects of the educational concepts and components of Sadeq Hedayat's works and their application are investigated in an analytical-descriptive manner.

Zinde Bagor Sadegh Hedayat is one of the realist stories in which the narrator not only portrays himself but also others as black and ugly. The narrator then justifies his negative characteristics through the social and psychological context and in this way uses psychological defense mechanisms. has been introduced and the narrator has portrayed the main character as hateful and ugly in order to show his anger towards the existing situation at the same time as representing social realities.In this research, the authors will examine and analyze the two stories of Zinda Bagor and Haji Murad with a descriptive-analytical method and relying on Van Dyck's ideological square theory. Among the results of this research in the story of Zind Begour is the narrator's discriminating view of the foreign culture and finding out the personality disorders of the people in the story, as well as confronting the hypocrisy and patriarchal society among the achievements of this research in the story of Haji Murad river.

The following research examines the representation of identity in the Persian play Parvin, Sasan’s Daughter, written by Sadegh Hedayat. The purpose of this research is to identify and investigate the role of language in representing identity in Persian historical plays and to provide a linguistic perspective on the issue of identity in the writing of Persian plays and scripts. The work under study was selected based on its depiction of a specific historical period, when the Iranian identit`y was threatened with extinction. This work was analyzed according to the framework of Stuart Hall’s representation theory (1996, 2003). The results obtained from the analysis of the work showed that identity representation was mostly used in the intentional and constructive approaches, and the least in the reflective approach. It was also observed that among the levels of identity, individual identity had the highest frequency in both plays, followed by national identity and historical identity, respectively. The author also encountered a case that was not compatible with the identity of that historical period and categorized it as a fake identity. The author suggests that the inclusion of fake identity cases in the text is due to the author’s lack of familiarity with the language, culture, and beliefs of the people of that historical period. Moreover, the findings of the research indicate that among the identity-forming parameters, sentence and word were the most influential ones, followed by clause and group, respectively.

Mikhail Bakhtin's theory of dialogue logic is one of the prominent theories in the field of literature that can be analyzed and analyzed in any literary work, especially novels and stories. In Sadiq Hedayat's works, it can be claimed that his works can be adapted to this theory in order to answer the question of what propositions and methods Hedayat used to spread his words and project his philosophical and social views. works before him with the intertextual method, had a remarkable skill in processing his works, so that in criticizing and analyzing his works, getting to know his mental space requires more precision and effort in different sciences.With the approach and method of content analysis and library study, the dialectic between me and myself, as well as the confrontation between myself and the society, and how to use rhetorical statements and the confrontation between me and the other have been examined. The works of Hedayat can sometimes be seen as arising from the action resulting from the confrontation between oneself and the community, and sometimes from the dialectic between oneself and oneself. The result of this research, by analyzing the components of me and the other, intertextuality, narrative style and interrogative, exclamatory and imperative statements, shows that the guidance between self and society and the dialectic between self and self is in Ceylon and he uses any method to express his opinions. He has benefited from his life and society and his philosophical thoughts.

In the contemporary world, by passing the universal epistemological-disciplinary system and the aristocratic/class belief of the classical world, it became possible to pay attention to the individual world and the individuality of individuals, and the identity of textual subjects based on their lifestyles and types of personal and social capitals is the subject of representation, Literary narratives were placed. Based on this, the lack of some capitals or a defect in them, which is supposed to be a form of stigma of the subjects, was narrated. Among the contemporary Persian novelists, Sadegh Hedayat is one of the most prominent representatives of the forms of stigma and the discourse of rejection associated with it. In this writing, the stigma of the subjects and the discourse of rejection associated with them have been guided and interpreted in several honest short stories. The result shows that the narrator of Hedayat's stories in the representation of the textual subjects has represented their grief in the form of three physical, personality/psychological and tribal/kinship forms, which are the basis for the formation of some of them such as The noble status of the story of Bonbast and Davood Ggozheposht is seen as a historical or philosophical matter, and in some cases, the basis of the disgrace of subjects such as Abji-khanom, Ismat-al-Sadat, Hassan and Haji Murad is a historical matter; It is the result of unbalanced social relations. What is important is that the representation of the mentioned cases, on the one hand, indicates the desperation of the current human being along with individuality and independence arising from contemporary individualism, on the other hand, it contains aspects of philosophical and social questions/objections that were previously They are not formulated in this way; Although, in some cases, the position of the hidden author of the stories and in continuation of that, the narrator's personal view has also had an effect on the intensification or frequency of the mentioned questions/objections.

The complete list of Sadeq Hedayat Literary Award winners from 1381 to 1402 is attached.

1381 coincided with the hundredth anniversary of Sadegh Hedayat's birth, and on this occasion, celebrations were held in Iran, Europe, Canada, and America.The first step was to print and publish the books of Sadegh Hedayat or related to him. The publication of the album of Hedayat's photos was done. The exhibition of Hedayat's photos was held in Sihon Gallery. At the same time, Sadegh Hedayat's short story literary competition was planned and the first round was held. This year, about 500 writers competed by sending 600 stories. For the competition winners, a statue of Hedayat was made and a number of them were made available. In addition, a poster was made for the competition. The first conference of criticism and review of Hedayat's works and thoughts at the university...

Modernism can be considered one of the most important schools of contemporary fiction literature. The main difference between modernism and the schools before it, including realism, is the refuge of the characters in the story to the inner world, to the extent that it can be said that instead of narrating the external world and surrounding events, the modern writer focuses on the spiritual and mental changes and conflicts of the characters in the story. It gives and shows, and by breaking the narrative and linear structure and with the help of the fluid flow of the narrative, the plurality of narrators, etc., the story in the line of the past novels, the components of dissociation, wandering, death thoughts, originality of the individual, change in moral principles and so on. The main purpose of this essay is to examine the components of modernism in the intertextual approach Two fiction works are Buf-e-koor by Sadegh Hedayat and The nocturnal harmony of the wood orchestra by Reza Ghasemi.

The research method in this article is descriptive-analytical based on finding the modernist components of the intertextual approach in the comparative study of the two novels The nocturnal harmony of the wood orchestra and Buf-e- koor in a library format and using the content analysis technique.

Two modern stories of the Buf-e-koor and the nocturnal harmony of the wood orchestra have used propositions such as the originality of the individual, absurdity, loss of identity, the separation of the narrative system, the fluid flow of the mind.

In the story of Buf-e-koor, Hedayat is interested in breaking the linguistic and spatial system of events, using techniques such as the fluid flow of the mind, nesting and vicious circle, mental associations and the integration of memories and time of the past, present and future in a delirious way, among his story tricks in Buf-e-koor. In a textual analysis, this narrative design can also be seen in the story of The nocturnal harmony of the wood orchestra.

Some feminists believe that Foucault has not specified which gender dominates the other and which gender is dominated in the genealogy of power. Accordingly, by combining the Foucauldian concept of power with feminism, they have created Foucauldian feminism to give a convincing answer to the issue of domination in gender relations. The theorists of this approach believe that gender is not essential or biological; Rather, it is produced and induced by subjects by authorities of society. For this reason, after accepting the constructed ideals of femininity as true discourses, the subjects voluntarily engage in self-disciplining which is obedience to the patriarchal system. Therefore, feminists try to resist internalized norms of femininity and give freedom to women. In fact, this study attempts to introduce the basics of Foucauldian feminism to those who are interested in literary criticism and increases the audience’s awareness of the modernization of patriarchal power. It also demonstrates that Sadegh Hedayat in “The Doll Behind the Curtain,” has also drawn the characteristics of the ideal woman of the modern patriarchal society by describing the fascination of the main character, Mehrdad, towards the statue woman. In addition, with the characterization of a girl, named Derakhshande, he displays that the women seek to discover gender discourses produced by powers and to apply disciplinary techniques to themselves so that they can attract men’s attention.

Comparative literature can be considered as a medium for dialogue among different ways of thinking of different nations. Narratively, the dialogue is a textual means of focalization used by an author to concretize the events of the narrative, to get closer to the reader, to free up space for the reader's participation and to share private and public beliefs. The current research aims to use a comparative approach to examine the dialogues of Risalat al-Ghufran by Abul Alaa Ma'ari and "Asking for Forgiveness" by Sadegh Hedayat. To this aim, the paper, first, draws on the Gadamerian model to compare structures of dialogues, and secondly, it compares the function of this narrative structure employed by the two authors. Since Gadamer pays great attention to the role of dialogue in social communications, another benefit of employing this model would be for sociological readings of the two aforementioned narratives. The results of the current research indicate that the use of dialogue in these two works show common functions, including, a return to the past, characterization, telling instead of showing, expression of confessions, and the correction of misconceptions about the dead. Finally, "openness" as the foundational principle of the Gadamerian dialogues is seen in the dialogues of both works.

The terms self and other have been cast as constituent elements of the human condition. Philosophers like Hegel, Husserl, Kierkegaard, Bakhtin and Levinas have addressed these concepts as social problems, as issues within the society that are also reflected in literature. Sadegh Hedayat’s “The Stray Dog” and Paul Auster’s Timbaktu are two examples from Persian and American literature which show the writers’ preoccupation with the concepts of self and other. An important function of these works is their social function. Pat and Mr. Bones represent a society in which the relation between self and other is constantly constructed and reconstructed. Their actions make the audience think about the social and philosophical implications of the binary opposition of self and other. Sometimes they are the other to the social self and sometimes they are the self which enters into social relations with others. The present study probes into the notions of self and other in “The Stray Dog” and Timbaktu and asks how the texts define and construct the concepts of self and other and how could these constructions be interpreted. It also studies eschatology, altruism and indifference towards the demands of the other in the two texts as it draws a distinction between fear and social anxiety. It also discusses animal rights and the human domination of nature. As submissive characters, both Pat and Mr. Bones are entrapped in the rules and structures of human society. Even when they are rejected by society, they still seek the approval of a domineering power to experience the satisfaction consequent upon hegemony.

This is qualitative and fundamentally theoretical research. The logic that governs the research is deductive; that is, the results have been obtained by comparing extracts from the two texts. Using library sources and using the American school of comparative literature, this research has investigated the different aspects of self and other in “Stray Dog” and Timbuktu.

The present study deals with philosophical perspectives on self and the metaphysical concept of otherness. It also addresses alienation, rationality, power and the rise of modernism against Cartesian philosophy in “The Stray Dog” and Timbaktu. It studies the emergence of self/other binary opposition and modern man’s rejection of Descartes’s concept of subjectivity and his embracing of Hegel’s notion of consciousness, a philosophy that makes allowances for the presence of the other. The binary opposition of self and other is evident in “The Stray Dog” and Timbaktu. In these narratives the opposition between human beings and dogs provides the writers with a fertile ground for investigating the social and philosophical implications of self and other. The confrontation between humans and non-human animals represents the ontological and social dimensions of self and other in the modern world as self–other understanding is a central concept that forms the backbone of social cognition. The study also addresses eschatology in the narratives in terms of the dimension of time and space. The eschatological journey of Pat and Mr. Bones is beyond the realm of comprehension because it is the mysterious separation of the subject/self from society/other. Although both characters move towards annihilation, their journey could be seen as moving toward an ultimate perfection yet to be attained. Pat and Mr. Bones are both seeking a Utopian world and a master who would make an ideal world for them. This is the subject’s escape towards the sacred and the transcendental. Both narratives challenge the concept of time and place. According to Auster, Timbuktu is “Where the map of this world ends, that’s where the map of Timbuktu begins” or it is “an oasis of spirits.” (Auster:  2017:61) or “a realm of eternal nothingness” (ibid, 62). It is also described as a place “where no things are nor will ever be. Except me. Except not me. Except eternity” (Ibid, 76). Similarly, in “The Stray Dog”, Pat “did not know why he was running, did not know where he was going, could neither go back nor move forward”. (Hedayat, 2017: 28). The two narratives are caught between the impulses of life and death. That Pat finds peace by separating from the human society and Mr. Bones finds peace in reaching Timbuktu show that both narratives are eschatological chronology: both stories are concerned with the ultimate destiny of the individual and the return to one’s origins. The two texts are similar in many respects. Both writers employ suspense to highlight the outcomes affecting the characters’ fate. Hedayat creates suspense by choosing the word stray to describe the dog and Auster creates semantic ambiguity and suspense by choosing the title Timbuktu and relating it to the other world. In both texts, space becomes time and vice versa. The temporality and spatiality of the two texts is close to Bakhtin’s concept of chronotope. As chronotope has a cognitive meaning and narrative structure, it expresses the style, attitude and ideology governing the narratives. By choosing two non-human animals as major characters, Hedayat and Auster portray and criticize the self through its confrontation with the other.  In both stories, the other becomes a catalyst for the recognition of the social self. In addition, both writes emphasize the interrelationship of the self and the subject as well as the independence. However, in “The Stray Dog” the self is in a destructive relation with the other, while in Timbuktu the self and other complement each other. Both texts address the coexistence of self and other, the ethics of care, animal rights, eschatology and man’s passive attitude towards nature. Both writers have addressed self-other dualism in their other novels. This theme is evident in Sadegh Hedayat’s The Blind Owl and Paul Auster’s The New York Trilogy, The Book of Illusions, Moon Palace and Oracle Night. In both texts, the binary of self and other is based on the presence of the self, the presence of the other and the interaction between the self and the other. This self-other dynamic is closely related to Bakhtin’s idea that self is implied dialogically in otherness.

An analysis of the two texts shows that they have many points in common: non-human animals as narrators, narrative suspense, the interrelation between the social self and the subject, symbiosis and social ethics, eschatology, the ethic of care, animal rights and the metaphysical concept of otherness.in both narrative the self is represented in opposition with the other. Both texts suggest interaction between the self and the other and caring for the demands of the other. Otherness is approached as the presence of the self, the presence of the other and the interaction between the self and the other. The dialogical implication of the self in the otherness is Bakhtin’s suggestion for the self/other binary opposition. Through this opposition he comments on hegemony, displacement, abandonment, loneliness, the problematic relation of man and nature, and the expression of pain and suffering. As hegemony designates complete domination, both narratives criticize the way oppressed societies recreates the discourse of power. Hedayat and Auster use the relation between humans and nature and humans and non- human animals to show the dark side of the society. Moreover, both narrative show the distinction between fear and anxiety which, at the narrative level, related to existentialist fears and jouissance.

Every literary work is the result of the author’s thought and ideology which has been achieved during the time and on the basis of the science and experience. This is true about the works of Sadegh Hedayat, a contemporary author that the paradigms and ideologies of his work belong only to him; however, there are influences from others in his works, according to studies and learning. Hedayat is skilled at processing his stories, as if he were writing only for a professional and punctual audience. For this reason, familiarity with his mental space in the critique and analysis of his works requires more accuracy and diligence in the relevant sciences. This research has also analyzed his works with the approach and method of content analysis and by library study to find the components of system of thought on Sadegh Hedayat's thought. Therefore, the creating works of realism and surrealism can sometimes be considered as the result of the action of his confrontation and society and sometimes his dialectic and himself, with the hypothesis that the author is attached to his chosen subjects. The result of the research by analyzing components such as aimlessness and aimlessness and mortalism, realism, surrealism and nationalism, shows that his idea between his confrontation and the society and his dialectic and himself is variable and both of them have never reached a common point..

In the series of research and psychological criticism of Sadegh Hedayat’s works, the issue of the evil mother among his various fictional characters deserves a separate study. The term “evil mother” derives from the dual aspect of the mother’s archetype in mythological psychology, which has been applied to the realm of humanities studies by the theories of Freud and Jung and their students. Hedayat depicted the evil mother and the consequences of her presence in the lives of the main characters of his stories in the novel Buf-e-kur (The Blind Owl) with the fluid character of the narrator’s mother (narrator’s aunt / narrator’s aunt’s daughter), in the short story Se ghatre khun (three drops of blood) with the character of Rokhsareh (evil woman), in Abji Khanom (Mrs. Abji), with the character of Abji’s mother, in Zani ke mardash ra gom kard (the woman who lost her husband) with the character of Zarrin Kolah’s mother and Zarrin Kolah herself, and in his two unpublished stories with the characters of the mother of the spider and the mother of the murdered man. Adopting a descriptive-analytical method, the present article investigates the power of the evil mother’s influence on the tragic fate of the characters in Hedayat’s works (mother complex, psychosis, suicide, homicide). The findings indicated that there are symbols with the supporting role of the evil mother in Hedayat’s stories. Hence, the influence of the evil mother in the lives of the main characters is predictable i.e., confrontation with the mother, psychosis, suicide and homicide are repeated fates of characters in these stories.

Introduction :

Mrs. Dalloway’s novel is the story of a fine day in London in 1923; Clarissa Dalloway is preparing a big party and many people are introduced during her tours of the house, the town and her relationships with others. She has hired a tutor for her daughter Elizabeth, whose name is Miss Doris Kilman. She is one of the non-main characters who has a short presence, But it is very strong in the novel. While promoting the party and in just a few pages, the author shows us Kilman’s character from the mind and point of view of  Clarissa, Elizabeth and Kilman herself and the author reveals her appearance and psyche. In Hedayat's short story, Abji is an ugly girl who, although she is twenty-two years old, her time for marriage has passed and because she has no hope of any enjoyment in this world, she has taken refuge in religion and hopes for the blessings of the other world in heaven. She commits suicide in her younger sister's wedding due to humiliation and jealousy. Hedayat wants to show the destructive effects of people's beliefs. Therefore, the tragic end of Abji khanum's story is a bitter criticism of the culture of his time.

Today, intertextuality has provided the necessity of research between texts; the discussion of texts and intertextual influences examines the many commonalities and differences in the texts. This issue is the main necessity of all comparative research. This article, with the library method and characterological investigation of two stories that have different origins, habitats and languages, seeks to compare many similarities and differences of these two stories characters.

Each person's unique personality is made from his genetics, environment, interaction and lived experience with others; But some factors cause the emergence of similar characters, If one person interprets an experience as similar to another person, then their processes are psychologically similar. This is how the characters analyzed in this article, namely Abjikhanam and Doris Kilman, are similar. Abjikhanam and Doris Kilman, although they were created in two different countries, cultures, times and languages, have deep similarities to each other; Because they have similar psychological, interpersonal and family background. Wolff's view of the female characters in his stories is combined with feminist attention. There are many women in Mrs. Dalloway, each of them is treated as necessary; But in the characterization of Doris Kilman, she used a lot of precision and in addition to characterization techniques, she also used psychoanalysis. Hedayat also considered the psychological dimensions and invisible causes of behavior in dealing with Abji's character, and both works have a psychological infrastructure. The influence of family, community and relationships in the formation of human characters is undeniable; The basis of the personality of both women in both works is in addition to the direct psychological aspects related to the family and the dominant culture of the time. 

In the comparative analysis of the characters of Doris Kilman and Abji Khanum, it should be noted that both authors have spoken about the past of the characters in such a way that their current personality, intellectual and psychological characteristics can be seen. Also, the influence of family and general culture is prominent in the formation of both stories; Poverty and ugliness have increased Doris Kilman's sense of humiliation. She is alone, she has no supporter, friend or family, and most importantly, she has never been able to attract a man's attention. She is looking for a replacement to fill all her emotional and psychological voids; So she goes to church. Now she is a radical Christian. Abji khanum is also the same; she is ugly, she has a poor and ignorant family, she grew up with humiliation and discrimination from childhood, and as a result, she is now grumpy, jealous, hopeless and self-deprecating; her compensatory behavior is the extreme refuge in the mosque. Both characters believe that they should win over everyone and show off their superiority; Abji wants to achieve this goal with religious knowledge and Doris with her university degree. In addition, both of them wish for a situation where the differences between people disappear and everyone is equal; A condition or situation like heaven.The misbehavior and aggression of these two are also reactions of two damaged and wounded souls, with the difference that Doris had a happy life in Germany as a child; But Abji khanum has not benefited from this blessing either. Her mother always beat her and told her from the age of five that she was ugly and no man would marry her. The suicide of Hedayat's character shows the difference between his attitude and Wolff's. Woolf was an egalitarian feminist and wrote the character of Doris in such a way as to show her stubbornness in the unequal male system: Doris struggles for her life. Woolf - contrary to Hedayat - lived in a time when women had taken great strides for their rights. So, these two oldgirls have two different destinies, because the historical-cultural conditions and environmental conditions and the views of their authors are different.

In descriptive study, various aspects of description are considered as an important part and a main element and a broad perspective so that the description is used in the form of efficient and analytical structures to study and analyze literary texts such as stories and novels. Descriptors believe that it is possible to know and understand many of the methods and aesthetic techniques of a text and its features depending on the study of descriptive methods and how it is used in the text. In the past, the element of description was considered as a sub-element and static in narration, but today in the science of descriptively, this element is very important. The main purpose of this research and its field of study is to investigate the dynamics of the descriptive element in the text of the two stories of Tangsir and Buf-e-kur by Chubak and Hedayat.

The study method in this article is library and the use of descriptive-analytical method is based on the text of two stories of Tangsir and Buf-e-kur in terms of descriptive propositions.

The findings indicate that descriptive propositions in the structure and content of the two stories have been used artistically by Chubak and Hedayat in the service of storytelling, and therefore the descriptive elements in these two stories can be considered dynamic.

In Tangsir and Buf-e-kur have used short, detailed, long, explicit, implicit, hidden and content descriptions with literary, ironic, mythological and aesthetic functions.

The main goal of art and even life has always been to increase the definition of reality to include everything "wonderful". Surrealism aims to define reality in a different way, so that by developing the definitions, things that others call unreal, can be called reality. Andre Breton and Louis Aragon, inspired by Freud's researches, based their new school on the activity of understanding the unconscious mind, which is the source of imagination. The school of surrealism, which was based on the Parisian movement, was formed in Iran under the guidance of Sadegh Hedayat. In the novel of Blind Owl and the novel of Bloody Cow by Modares Sadeghi, there are prominent components of this school such as: first person point of view, objective coincidence, individualism and escape from society, surrealist objects, love and sexual instinct, the world of illusion and dream, uncertain time and place. , imagination, existentialist themes, ambiguity, adaptation of Freud's psychoanalytic theory, myth and symbol, automatic writing, contrast and contradiction, and humor were used. The following writing has been done with a descriptive-analytical method and it has been concluded that common surrealist components are present in both works; but the diversity of the frequency of the common components is more in Blind Owl. With the explanation that the world of the narrator of Blind Owl is wide and in both, there is a surrealist component in various forms in the text.

This is the retrieval of the other texts' presence and regenerating them in the narrative texts that enriches the process of reading as well as evaluation of any substantial work. On the other hand, assuming archaeology and its evidences as yet another textual source, the question arises that, how was the interplay between the narrative texts and archaeological evidences, as two influential and important texts, during their natural development process in Iranian society? Preliminary studies indicate that the issue had become increasingly apparent in the works of celebrated authors such as Sadegh Hedayat — due to their relatively extensive studies in different fields of historical geography, their historical approach, as well as their inherent propensity in discerning archaisms and “epochs” in their works. Furthermore, among his oeuvre, “Atash Parast” is the one that provides the ground for a comparative-intertextual reading, by establishing the connection between the narratives of the story and the most prominent elements of the Iranian archaeology. Accordingly, the present study explains the reasoning behind the relocation of the fabled place-in-question by comparing subsequent text (“Atash Parast”) with the former text (the travelogue of Eugène Flandin), using the principles of comparative and intertextual criticism to prove the hypothesis behind its intentional relocation from Persepolis to Naqsh-e Rostam. Moreover, the mentioned relocation has caused the elements of the original discourse to be separated from their context, placed in another context and provide more substantial archaeological ground for the intertextual reading of the work-in-question.