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

Tone analysis is a topic that attracts researchers' attention in studying literary works. In this way, the tone of the text is evaluated in terms of its proportionality or incompetence with the theme and content of that text. The current article studies the comparative analysis of the tone in the Romances of Samak-E Ayyār and The Count of Monte Cristo. Samak-E Ayyār is one of the most well-known works of Persian prose literature from the sixth century A.H., and Alexander Duma wrote the Count of Monte Cristo in the nineteenth century A.D. In this comparative study and written with a descriptive-analytical approach and citing library resources, the tone application method has been analyzed in the two works. According to the research findings, Samak-E Ayyār is more commonly used in the folk tone, while the Count of Monte Cristo has a formal tone. The tone of people adapts. to special emotional situations in the story, such as joys, mourning, and romantic events, as well as elements such as age and literacy, social class, individuality, and characters. The tone creates a perfect atmosphere in the rise and falling of the narrations. (wars, victories, and defeats)

Abstract
Initiation rites are rituals a person goes through to achieve inner growth and maturity, and while getting rid of his former self, he/she can step into the next stage of his life with a refined personality and a new sublime perspective. The story of Khosrow and Shirin, according to Nizami’s narrative, displays many symbols and rituals of initiation. This descriptive-analytical research aims to identify and explain the symbols and rituals of orientation in Nizami’s Khosrow and Shirin. Based on the findings of the research, all kinds of initiation and familiarization rituals, such as vows and prayers, naming, ritual nursing, education, travel, testing, austerity, seclusion, ritual washing, secret learning, and funeral and burial in three stages—break, transition and attachment—can be seen in the four stages of the life (birth, maturity, marriage/kingdom and death) of the two heroes of this story, Khosrow and Shirin.

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 Persian literature, to express lyrical and romantic themes, along with the form of sonnet, it is also common to use romantic verses. Storytelling is one of the types that was noticed very early in Persian poetry. At the end of the 6th century, the order of romantic stories reached its perfection by Nizami Ganjavi. He arranged some famous stories of his time and the performances of this poet were so skillful that most of the composers of romantic verses, knowingly or not, have been influenced by his style and manner of storytelling. One of his brilliant poems is Leyli and Majnun, whose origin should be sought in Arab literature. This story has been imitated many times by poets in different languages. The Eastern world has known the tragic story of Leyli and Majnoon in its literature since ancient times. Over the years, this story has inspired dozens of great poets in the creation of fantastic poems, and it is still reflected in the works of poets, writers, playwrights and musicians of different nations of the East. Undoubtedly, the origin of this story belongs to the Arabs and its history goes back to the end of the 7th century AD.

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.

In the twentieth century, almost simultaneously with the formation of Romanticism, in addition to lyric poetry, lyric novels were formed, and speaking about love and displaying its various forms in addition to poetry became popular in Persian prose. Iraq's imposed war on Iran created a literary genre called “holy defense literature” that also met the needs of the holy defense of the child and adolescent literature community. Adolescence period is a time of growth of the individual's imagination and emotion. During this period, the individual experiences many physical and behavioral changes “puberty grows rapidly and the adolescent attends to the opposite sex. Also, attention to gender-related books, more taste differences will be created in the studied books” (Ghafari, 1384:43). In this time, lyric concepts such as love, received less attention from holy defense writers of adolescent and child, while addressing this issue with regard to the emotional and cognitive needs of adolescents seems to be an obvious matter. In this study, the authors attempt to clear the lyric characteristics of holy defense and related concepts by analyzing and reviewing the novel “Younes’s romances in fish belly” the work of Jamshid Khanian and then find response to the following questions:1- What are the techniques are used by the holy defense writers to express lyric love?2- Where is the place of mystery and ambiguity in the theme of love?3- Which factor in this novel makes the audience aware of virtual love - true and mystical love?

This study has been done in a descriptive-analytical way. For this purpose, by using the library tool, first of all, the sources and articles which are related to child and adolescent literature, holy defense literature, and lyric literature were studied and then the concept of love and the different stages of phenomenal, maturity and end of love of fictional characters in this holy defense novel of adolescent and child were analyzed.

In this work all of the kinds of the love are seen: Love of mother to the child, love of mother to the partner, love of sister and brother to each other, love to materialism and finally symbolic love of Younes and Sarah which is the main love in this novel and the study is based on it. The common point of all these earthy loves is their purity and simplex.In this work, earthly and heavenly love is necessary for each other. Not annoying or opposing each other. As a result, it is a means of knowing and attaining intuitive knowledge. According to the symbols which are seen in this story, this work can be considered as an allegorical – mystical work. Based on this view, the novel can be interpreted as follow: Sarah is a teenage girl and loves music; music is the manifestation of divine sounds. She starts a journey to attain self-knowledge, the first step in mysticism. Sarah meets Younes in the middle of the road, a strange character who is also seeking self-knowledge. Yunus invokes poetry, and throughout her plays invites Sarah to look in the mirror which is the symbol of the mystical heart and the source of self-awareness. He proves to Sarah that the everything is reversed in the mirror. This scientific fact is an illustration of this mystical point that this world is the shadow of the parable and nothing has true existence in it, but the existence of anything depends on the heaven universe and this world is just a means to know and discover the truth of the universe: “when you want to draw a line in to the left side but your hand go through the right side, it means that the mirror tells you that you can extract something strange and new from repeated things, provided you abandon your habitual habits … we really look at ourselves in the mirror, who are we watching? (Khanian, 1382: 162). Younes who is sure that Sarah will follow Salma to know her and discover Younes’s love mystery, provides a condition in which Sarah can climb the ladder with the help of her brother Sam, by enduring the hardships of the journey, to discover the garden which Salma lives in it. In this way, as mentioned above, the ladder is a means of ascension and a means to bring the lover to the beloved and Sam is a guide and mediator; the garden can also be an allegory of paradise or attainment of knowledge and intuition. After that Younes dies while digging a well. The well is a symbol of material world which Younes by passing it goes to meet God (die). The well can also symbolize the darkness behind which the water of life exists and Yunus attains eternal life in the pursuit of the water of life. So presence of these symbols in the work causes the story to become double layer. In the surface layer, war and jihad for the defense of the homeland and in the second layer self-Jihad attributes that are consistent with one of the features of allegorical story One of the features that is emphasized in the story of the allegory is the existence of another layer of meaning beyond the apparent layer of the work (Fotouhi, 1390:259).

 the Novel of Asheghanehay-e Younes Dar Shekam-e Mahi is an adolescent novel of holy defense. Love and war are the two main themes of this novel. The author depicts the pure love of two teenagers parallel to violence and brutality of the war. In this novel, love has a dual structure and involved of two outer and inner layers, in its surface layer, the love was mentioned in war background. This layer contains many of the features of a romance novel and includes stages such as the beginning of love, revealing the secret of love, describing the beloved, jealousy, suffering, sacrifice, the death of a lover, and so on. In its inner layer, the author tries to show love from its primitive form to its most enduring and original form, with the help of mystical symbols and allegories. The basis of the movement of love in this work is from earthly love to heavenly love. The Love of Teenage Characters This story is accompanied by a sense of pride that is linked to the concept of heaven love by departing from the sensual desires. This power of love departs the characters from the savage world of war and blood, removes class distances, divisions and disagreements, and ultimately acts as an instructive and guiding power. It is in such an environment that the beloved comes to know herself and goes with the lover and finally dies in his presence and attains knowledge and intuition. In this way the lover needs a guide and a mediator who is Sam (Sarah’s brother). This guide is a mediator and a link between the lover and beloved and shows the truth of love to the beloved. Thus, we can describe this novel as a lyric work, that the author gives mystical attributes compatible with his adolescent audience as well as the spiritual atmosphere of the holy defense and images the love of two adolescents in a delicate and symbolic form, a love which responds positive to the emotional needs of today's adolescent audience.

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.

Characterization and Type creation of male protagonist in Persian old stories is based upon traditions which are derived from ancient Iranian kingdom and religions. A survey based on six cases proves that there are three types of male character in the ancient Iranian stories. First type, is the mythical hero of the Saam dynasty, i.e. Zaal and Rostam, the champions of Iranian book of Kings. This type reflects attributes ofthe divinity of verethragnaor Bahram, which has Indo-Iranian origins. The second type is related to the Old Iranian kingship and royal families who possessed the Divine “Farr”. Characteristically, this figure demonstrates the ideal form of Iranian kings and princes. Though related to the court traditions of Persian banquet, the third type or the amorous wine loving “troubadour”, is considered an independent one because of certain properties.

Romances are regarded as the integral part of Iranian national epics. Considering the fact that epics produced after Shahnameh were all influenced by it, many lyrical characteristics of Shahnameh are found in them. The attempt is made in this article to study these characteristics in the light of intertextuality approach. Intertextual relationships are divided into three categories in terms of diction, theme, and content. The epics were examined from the perspective of content intertextuality and the descriptive analytic library method was employed in this research. The results of the study indicate that subjects such as falling in love via hearing, the role of mediators in love, women as pioneers in declaring love, role of astronomers and priests or Mobadan, and etc are used intertextually in most romances.

Romance is a literary genre that seems to be tied with European literature. Western scientists first have representedits definitions, types and features. In this paper, we study three romantic poems"VeisvaRamin" (Veis and ramin),"GolvaNorouz"(“Gol and Norouz”)and “JamshidvaKhorshid” ("JamshidandKhorshid") from different poets to clarify similarities and differences infeatures of this literary genre with what western scientistshave presented for European romance. According to the fact that romance includes different types from primitive and pastor to adventure and police films and postmodernliterature. Surely, comparing Persian literatures from different centuries, some changes in dominance of some motifs are certainly recognized in some works. These motivesexpress general direction and differences of romance in Persian literature. As we can obtain from this limited project, epic and miracle features are more faded in Veis and Ramin; two other poems i.e. “Gol and Norouz” and “Jamshid and Khorshid” are more adventurous; “Veis and Ramin” is more romantic. Chivalry and hero sanctification faces that are feudalistic features can be observable in “Gol and Norouz” and in none of these works, searching for treasure and killing dragon has been considered as main purpose.

Studying Persian heroic epic verses affected by narrative tradition and Shahname is one of the areas that can be analyzed from different perspectives. Samname which is considered as the last national epic in Persian Literature and apparently is written in late 7th century and early 8th century – if we accept to be written by Khajooye Kermani- is among these works which is similar to Shahname for it is influenced by epic tradition and existence of a romance element on the one hand and a hero who escapes using his own ways to reach his beloved on the other hand and these features make this work a heroic romance. The present study deals with recognition and analysis of fictional motifs of the work in order to compare it to other fictional and narrative works and therefore to determine better role for Samnameh in evolution of different literary genres in Persian literature. In this study, supernatural motifs including heroic- crafty, romantic and dignity motifs are among most famous motifs applied in this literary genre. Main characteristic of choosing and investigating the motifs in this work is existence of two factors i.e. repetition and motivation which are suitable criteria for offering frequency chart to be compared to other Persian epic or romantic verses.

This article explains the issue of woman in two fields of social and romance. In social case, Motran defends the rights of woman and considers her as a human with its rights and one of the two major factors in the society. Woman is a basic and essential party in building the social and even political body of the society, at Motran's point of view. The woman in his explanation, encourages the man for the revolution against the cruel governments or enters the politics to defend the oppressed's rights. In Romantic explanation of the woman, Motran doesnt introduce the woman as a carnal object and respects her with eminent human characters. In Motran's romantic poems, woman is enormous in sensations and fellow feelings. In explaining the subject of woman, his genre is romanticism that proposes the highest emotions and senses of the poet. Sometimes he uses the story poems to imply the romance. He uses this method even to explain the social and political subject to increase the influence.

This essay will indicate that Herman Melville's Billy Budd, Sailor inherently possesses cultural, philosophical, and literary paradoxes. To examine this, we will focus on these paradoxes in three domains. First, we will elaborate on some paradoxical themes, such as democracy, which stem from American culture. In the second domain, we will trace Melville’s inclination toward the representation of paradoxes in his ambivalent place within the American romantic tradition. Here, we will argue that since Melville belonged to the Dark Romantic movement, he disavowed Emerson’s optimism and sublime, and introduced man as a Manicheancreature who determines his destiny by choosing freely between good and evil.Billy Budd is generally known as a romance, but a close look at the work shows that the text is not faithful to the definition of the romance, since it is highly philosophical and this is beyond the capacity of the romance. This philosophical characteristic pushes Billy Budd towards the definition of the novel where man’s inner world is depicted. Thus, Melville employs an ambivalent literary form to manifest the ambivalent and paradoxical nature of American culture. To gain this objective, the essay will follow three theoretical domains: a historical-cultural reading of Billy Budd; an examination of the theory of American Romanticism, both Emersonian and Dark; and eventually, Henry James’s theory of the novel.

The diversity of themes that exists in Thousand and a Night stories cannot be seen anywhere else. One of these themes is Love. Since love is a theme whose trace can be found everywhere in this book, its analysis is inevitable. From Love Stories, we mean stories in which love is the main subject from the beginning to the end. In this research, the Thousand and a Night has been analyzed with regard to its theme, and then its love stories are identified. These stories are then criticized from a sociologiacal point of view, using Goldman’s genetic structuralism. A taxonomy of these stories are delivered afterwards. This taxonomy is in fact the typology of "One Thousand and One Night" book. According to Goldmann, the work’s structures have strong associations with social structure. Therefore we should discover their underlying ideologies and their relation with larger ideologies of society and social mind. Therefore it is expected that once this research has come to a conclusion, we can at least identify the form and structure of its love stories, and tell the number of types that represent their social origins and designate the role of cultural and regional differences in the formation of these stories.

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.

A literary work is some kind of announcing the self-existence، and a woman''s works are considered as continuity of her natural existence as well as an emphasis on her cultural، social، ideological and spiritual aspects. In fact، romance is the arena for introducing a woman''s identity. Prototype is the primary model، which stimulates the writer''s mind in the real life to create a character، and gives her or him the instrument and raw materials for this creation. “Suvashun” is the first Iranian romance written by a woman، Simin Daneshvar، and “Albabol-maftuh” is the first realist romance of the Egyptian woman writer، Latife Azzait. The influence of both writers'' personality is severely sensible in creation of the main heroes of the two romances. This paper aims at proving the prototype (the writer''s character) in personalization of the main heroes of the two romances، and attempts to show artistic similarities and differences of the two Iranian and Egyptian writers in personalization and story writing technology. The method of the research is analytic-descriptive with a comparative approach. The results show that Simin Daneshvar had less intentionally through prototyping for developing the female hero''s personality relative to Latife Azzait.

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