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

“Kelileh and Demneh”, being marked as a remarkable and valuable work, has been one of the most influential texts on various literary creations in different periods throughout the history of world literature. Its influence has been extended and integrated to Russian literature in the moral tales of Ivan Krylov, the fables of Garshin, Tolstoy in the 19th century, and even some works of 20th century by Russian writers (including Aleksey Remizov). In this article, the researchers aim at employing a comparative content analysis method, relying on Gerard Genette's Transtextuality theory and Remizov's approach to literary adaptation from ancient texts. By analyzing the elements of the story and exploring the interaction between The Tale of two Beasts: Ikhnilat by Aleksey Remizov and the pre-text of Kelileh and Demneh, the research sheds light on the extent and nature of their narrative engagement. As the results have indicated, hypertextual relationships, specifically within the sub-branches of Gerard Genette's transtextuality theory, are more pronounced concerning the relationship between the two mentioned texts. The two stories, “The Lion and the Cow” and “Investigating the Work of Demneh”, from Kelileh and Demneh emerge as pretexts for the Russian writer's story. The analyses coming afterwards reveal that transformation prevails over Imitation in the hypertextual relationship between the two mentioned works. Furthermore, based on the genetic classification, a subtle use of refinement, a quantitative transformation in the narrative, and a parody have been observed in their hypertextual relationship.

The basement is one of the most common spaces in most buildings that has been used since ancient times. Underground spaces have been used in past periods and traditional architecture and urban planning in various shapes, scales and contexts. Many of these spaces and their construction experiences are still in use.

The purpose of this article is to study the contexts, types and applications of underground spaces in the past and traditional Iranian architecture. In this regard, the most important question of this article is that "the necessities and types of underground spaces in architecture and what are the traditional urban planning of Iran? The research method used in this research is a historical-analytical research method with a qualitative and quantitative approach that is based on documentary study methods, library and case study.

Excavation of land, hills and mountains and sheltering in the basement, in addition to protecting users and their property, has created lasting spaces throughout history. These spaces are very attractive and memorable, especially for tourists and non-residents, due to their uniqueness in terms of external and internal form and landscape. Paying attention to the positive features of these spaces, especially in rural areas, can play an effective role in preserving their native identity.

The results indicate that the basement has been used in the past in various areas of housing, storage, shelter, animal care. Also, the reason for using these spaces is often security, climatic and environmental requirements, especially the steep slope of the land. The basement has a moderate air temperature due to its shelter in the heart of the earth in severe heat and cold, which is a great advantage for human use and its belongings in hot and humid, hot and dry (Shovadan in Dezful and Shoushtar city) and cold mountain climates. The basement has two main types of underground settlements and underground spaces. Underground settlements are also in two types of flat underground settlements such as Oei underground city and underground rock settlements such as Meimand. Underground spaces also have a variety of garden pit spaces, aqueducts, sheds, slums and storage.

The historical Bazaar of Kashan includes 11 mosques. These mosques along other buildings and places form the basic elements of Bazaar structure. Besides, these historical mosques play a significant role in the identity formation of the bazaar. Hence, shedding light on the given mosques, including their patterns, formation, and positions can provide accurate knowledge of the Bazaar and will be helpful. Like other historical elements in this city, these mosques have also undergone changes; that is, some parts have been destroyed, and others have been reconstructed. Regarding this background, the present study aims at figuring out the patterns, the assemblage of the principal elements, and the space of these mosques. In other words, the main objective is to identify and categorize these mosques inside the Bazaar of Kashan. In this respect, the following questions were addressed: what are the main spaces in these mosques? What changes and transformation have these mosques had undergone? How many types do they have in terms of spatial organization? Using a descriptive-historical method along with field surveys, the researcher has tried to compare the designs and compositions of these mosques. The surveys revealed that these mosques were mostly hypostyle ones; none had chambers and domes, while in the city of Kashan some grand mosques such as Jame Mosque, Mir-Emad Mosque, and Wazir Mosque included two key spaces, i.e., chambers and domes. This study also demonstrated that these mosques could be split into two types; that is, hypostyle mosques without and with courtyards. Furthermore, the hypostyle ones with courtyards could be put into two groups: those with courtyards and spatial identity and those in which courtyards had no special design or position, yet they contained open spaces without a shape or an identity.

What is the genre-based approach and how can it be used in mysticism studies? These are the main questions of the present study. This article first defines the genre and implements a critical analysis of its various definitions to reach an integrated definition that is the closeted one to the Persian writings. Next, these questions are answered: what is typology and who is a typologist? The essence of typology, how different literary knowledge can be adopted in this approach and the difference between typology and other literary approaches are among the focal points of this study. Eventually, the typology of writings, amongst mystical writings, while having similarities with other literary approaches, can be considered as an independent branch of literary studies. The research method adopted for this study is library research method and the technique used therein is descriptive-analytic.

Fakhr which is loosely called boasting poem is Persian literature is one of those literary genres which has been regarded among poetic intentions in ancient sources. Since the most famous Fakhriāt in Persian literature consist of boasting about poetic art and eloquence and they are mostly originated from professional rivalries or personal and social desperations, they show some similarities with other genres and literary intentions belonging to this origin like eulogies, oaths and elegies. Such similarities are so much that these works were sometimes mixed with each other and appeared in the form of a single work. However, according to our definition and argument in this paper, Fakhr includes other works which either have not been known to date or were not classified under this genre. This study aims to achieve a more scientific definition and classification of this genre by focusing on necessary theoretical elements and also exploring its various instances and similar genres.

This article seeks to examine the functional types of local poetry and music of Sangesar which are registered as an intangible cultural heritage of Iran in December 2011. Sangesar, one of the cities of Semnan province, which is actually the residence of the Sangesar tribes during the winter, is currently known as Mahdishahr. The local music is a part of Sangesar folklore, which includes local songs as well as reed instrument (Lale), which has become popular in Sangesar due to its use by shepherds. In order to collect and study the songs, interviews and recording of the musical samples were done. This article deals with the typology of Sangesari songs and poems from a functional perspective with a descriptive-analytical method. The results show that the local music and songs of Sangesari include various types of servers, lyric poems, and work poems that are related to migration to summer and winter and protect the memory of local heroes and their heroism. The most frequent songs are lyric songs and ritual songs, especially Nowruz poems.

A distinction element of the voqu school part in the poet report from Realities is earthly love, which is the result of the poet special experience is considered. The Voquhi Poet artisan perfection that is his romantic experiences tells frank and explicit with calenture. The aim of this article to focus on a certain attitude that will overshadow in the lyrical school, pay attention to Typology of Voquhi lyrics until sort realistic emotions and feelings one of the Voquhian. Accordingly, using content analysis method, innovative species that repeated in the lyrics of Vali, DashtBayazi, with high frequency, with approximately frequency each based on 377 poems could be divided into five types: 1- Lyrics says opacity and complaints 2- Lyrics of disclaimer 3- Lyrics of domination & threat 4. Lyric of envy and jealousy 5- Lyrics of anxiety and uncertainty Accuracy in such typology shows that Voquhian in the emotions and feelings field with protest rotational and sometimes aggressive, the Persian lyric content process changes and new species have been added. In fact, the pivot of Voquhi poets on type of the lyrical lead to their style difference than others.

Researchers believe Resāla-ye Delgošā by Ubaid Zakani as the first literary book specifically dedicated to anecdotes. The second most famous book is Lataʼif al-tavaʼif by ʻAlī ibn Ḥusayn Kāshifī Ṣafī who is known as the inventor of classification based on social castes. As literary theorists often emphasize, no literary work is formed suddenly and works of every kind progress gradually under influence of the previous ones. The key question is whether the works by Ubaid Zakani and Ali Safi were sudden and with no support. This paper presents a record of anecdotes books and tries to show missing circles in the process of compilation of such books from the 8th to 10th century AD. We conclude that there were some minor books on anecdotes before Ubaid, which are not available today. We may safely claim that writing essays on anecdotes was a tradition common before Ubaid period and this will not undermine the value of his work. The same tradition continued after Ubaid and authors invented their own style. We can point to Majma al-Latayef and Majma-al-Navader as examples of two books on anecdotes compiled before Lataʼif al-tavaʼif by ʻAlī ibn Ḥusayn Kāshifī Ṣafī.

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.

Definitely, the current category is the most important and influential part of every sentence. Examination of verb features and extraction of results in commentary works of valuable Persian Language, especially at the beginning of formation of Dari language, can help identifying its categories and more complete classification of its ancient grammar rules. The works that are less investigated in the study of grammar, stylistics, different types of prose, linguistics, and understang language varieties in different regions of Iran, In particular. In this article, we attempt to study verb forms, from the 4th to 6th centuries, relying on Persian interpretations of aspects of time, structure, linguistic processes and types of verbs so as to see whether we can analyze and categorize the verbs in terms of language forms. What are the factors and characteristics that distinguish these verbs from each other? For this purpose, interpretations such as the translation of Tafsir al-Tabari, An Interpretation of the Holy Quran, Taj al-tarajem fi tafsir al-qor'an le-al-a'ajem, Interpretation of the Qur'anic verse, Commentary on the Holy Qur'an (Cambridge Edition), part of The Ancient Interpretation, Propositional interpretation of part of Commentary on the Holy Qur'an (Shanqashi interpretation), Interpretation of Nasafi, Rawz al-jinan wa ruh al-jinan, Kashf al-asrār wa ʿuddat al-abrār are investigated.

The myths speak about the entrance of mythical elements (good or evil) to the realm of human beings; they depict different themes and there is much to be gained from them. There are myths about the origin of the world, man, drugs, plants, animals, and so on. Also, some myths deal with the issue of death. The myths associated with the origin of death have different types and layers and traces of it can be found across cultures. The study of their typology can pave the way for a more sophisticated analysis of the myths of the nations. The aim of the present article is to identify the typology of the myths associated with the origin of death in the mythologies of different nations. By using descriptive-analytical method and based on comparative approach, in the present research the myths associated with the origin of death are divided into two kinds of human-centered and non-human-centered. In human-centered myths, man brings consciously or unconsciously death into his/her life; but in non-human-centered one, an inhuman creature has a central role. Each of these two kinds have different divisions.

Folk poems are an important part of oral literature, resulting from feelings, sufferings, joys, wishes, prayers and love of the public. From generation to generation, they represent the culture, thinking, beliefs and traditions of the given region and have remained intact. Due to the diversity of its climate and environment, the sea, the mountains and the plains, Bushehr province is one of the rich and popular- cultural regions. People’s life of this province has always been accompanied by many poems, from birth to death, to which these folk poems have been applied in the dialect of the population for various purposes. By adopting a descriptive- fundamental research methodology, the authors seek to identify, collect, categorize and analyze different types of poems from Bushehr province. To this end and to carry out this research, the authors used a combination of two research methods called field study and library-based. This research aims to answer the following questions: What are the most current types of folk poems in Bushehr province? What time were these poems being read? Who were the narrators and their audience? The results showed that these poems were of seven types including lullaby, game poem, work , lyric and mourning songs. These poems have always been accompanied either by music played with a special instrument, or by using voice length and different sounds which gave them special rhythm and intonation. The narrators of these poems were usually women.

“Adjective” is among the most important dependents of any nominal group. A large of nominal group structure’ features in the past can be learnt by examining different types of adjectives and approaching to Persian interpretations. These features are particularly created by crafted translators of Quranic verses, and so far, none of the historical structures, stylistics, and cultural references have addressed its important parts. The current research is an attempt to study adjective “typology” from 4th to 6th centuries with an approach to Persian interpretations. The question to be answered is whether it is possible to analyze and categorize adjectives from linguistic point of view? Which factors distinguish these attributes from each other? For this purpose, interpretations like Translation of Tafsir al-Tabari, An Interpretation Of The Holy Qur'an, An Interpretation Of Taj-Ul Tarajem Fi Tafsir-E Quran-Ul A’ajem, An Interpretation Of The Last Tenth Of The Holy Quran, An Interpretation Of The Holy Qur'an (Cambridge Version), Part Of The Ancient Interpretation, Part Of The Ancient Interpretation In Persian, A Classical Persian Commentary On The Qur‘An (Tafsīr-I Shunqushī), Nasafi Interpretation, Rawz Al-Jinan Wa Ruh Al-Jinan, and Kashf Al-Asrar Wa Udat Al-Abrar are reviewed to approve that, in these works of art, adjectives can be identified and categorized, typologically.

Resistance is one of the genres which has been considered theoretically in the new era. However it does not mean the creation of similar works in the new era and the lack of its classic types. Considering the climatic and regional conditions of Iran, different national- patriotic examples can be seen in our classic literature. Other examples have been of substantive nature. Shahname can be considered as the best type in this regard, for in its superficial and deep layers, it is full of messages that invite people to resist. Interestingly, these messages are not just for a special point in time, but they can be understood and used in parallel in all periods. In this paper, we intend both to study and analyze this genre using Aristotle’s Four Causes and analyze different strata of the poem. We also try to explain and demonstrate resistance messages of Shahname that are covered in different layers and have diverse functions. Finally we conclude that Iran and Iranian resistance is rooted in their history.

Love story is one of the ancient and popular genres of Persian literature. The purpose of this article is to explore the genre. For this purpose, the morphology, which is one of the tools of Typology to identify the genres of narrative literature, has been used. In this article, twenty-two amorous verses – as the dominant and popular form of love story in Persian literature - to identify functions, characters, and narrative patterns of love stories and Typology of them, have been investigated and finally Persian love story as a literary genre, narrative has an opening scene and twenty-two functions that five main characters in the play and a single narrative pattern, have been defined. This genre according to two criteria: the presence/ absence of "resolves an obstacle" function and the final functions, has three sub-narrative patterns or three sub-genres of material love story, spiritual love story and material-spiritual love story.

The first generation of intertextuality was developed with Kristevaand Barthes and expanded with the second generation theorists’particularly Jenny and Rifatterre and has been used as a means ofartistic and literary studies. Then, Gerard Genette with transtexualitydesign makes a huge leap in the field of the study. Transtexualityfocuses on possible relationships existing among the texts and is offive types: Intertextuality, Paratextuality, Métatextuality,Architextuality and Hypertexyuality. The Subject of literary-artisticgenrologie is one of the five topics of interest in transtexuality wherearchitextuality is one of its five kinds and dedicated exclusively to thistopic. However, in the hypertexyuality too, a substantial portion hasbeen discussed in genrologie with a specific name called " hypotextualgenrologie ".The text explores the hypotextual with the study of two text wherepresence of first text is attached to the second text. Hypotextuality isstudied with the review of variety of texts that have dérivationrelationship i.e. the second text is taken from the first text. In thisrelationship, Gennet identifies six basic types of hypotextual: Pastiche,Charge, Forgerie, Parodie, Travestissement and Transposition(permutations). The six types are divided into two major categories ofImitation and Transformation. The current article attempts to brieflyintroduce these kinds of genrologie. The aforementioned genrologiecan be helpful in literary researches especially Persian literature.