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

In the heart of the ups and downs history of Islam, there are prominent figures who marked seasons of greatness and brilliance with their lives and efforts. Among these personalities, Hazrat Imam Hussain (a.s.), the grandson of the Prophet of Islam (p.a.), shines as a bright and inspiring star in the sky of spirituality and courage. He is not only recognized as an important historical figure, but also serves as an endless source of spiritual upliftment and inspiration for millions of people around the world. The life of Hazrat Imam Hussain (AS), from his birth to his martyrdom in Karbala, is a manifestation of high human and Islamic values. During his short life, he taught the world lessons of self-sacrifice, perseverance and resistance against oppression. The Karbala event, which is the peak of Imam Hussain's (AS) efforts, is not only a historical event, but also a symbol of the struggle of right against wrong and persistence against pressures and hardships. In this research, the author aims to investigate the biography and life of Hazrat Imam Hussain (AS) in historical and literary texts using a descriptive-analytical method and a library tool. The results of the research show that there are concepts and teachings in the life and morals of that Imam, which are taken from the Quran and the Prophet's life, and the Imam's behavior in terms of worship and morals is completely in accordance with the divine verses.

Mirza Mohammad Hossein Shuae Shirazi, pen named "Shuae" and tagged "Shuae al-Mulk", is one of the great biographers and poets of the Qajar era and the early Pahlavi age. Earlier researchers have talked briefly about his life and circumstances and they have not mentioned some of his works or have even made mistakes which are addressed in this essay. Unfortunately, although he is considered one of the greatest poets of Fars in that age, his bulky Divan has not been published yet. There are thirteen manuscripts of his poems scattered in the libraries of the University of Tehran, the center of the Great Islamic Encyclopedia, and the Farmanfarmayan Library; each of those copies will be introduced and discussed in this article. The data of this article have been collected using library sources and an attempt has been made for the first time to analyze the texts that Shuae Shirazi edited, wrote, or composed. In this research, Shuae's personal library, one of the few private libraries in Iran, is recognized as containing the main sources for compiling his biography; besides, some books available in that library have been identified and introduced.

The female biography plays a significant role in expressing the ideology of the female writer and shows the importance of women writers in relation to the important issues of the society. In other words; the writing of female autobiography is different from other types of literature because it directly emphasizes the essence of women in the face of the patriarchal society and is the best way to depict the concerns of women, especially Arab women. The current research is trying to examine the biography of the Egyptian writer Razavi "Al-Sarkha" based on the descriptive-analytical approach and relying on cultural criticism. "Sarkha" is the second part of the book "Asqal Man Razavi" in which he combines the experience of his personal life and the political events of the country. In other words, he portrays his severe illness, which is associated with the unsettled conditions of Egypt in 2010-2013. The most important results of the research are: Razavi Ashour is an intellectual writer who in his biography talks about women who had a deep influence on the formation of his personal experience. Also, culture and society play a significant role in the formation of Arab women's identity. Razavi's main concern in the issue of women is the issue of women's education, and he wants to make reforms in the field of freedom of expression in the Arab society.

The memoir of the sad contemporaries is considered a distinguished work due to its unique features; In this memoir, Hazin presents his critical views on poetry and literary criticism, as well as his political, cultural and social analyzes; Thus, this work, in addition to being a valuable source for historical, cultural, literary, etc. research, has provided the opportunity for researchers to analyze the discourse of the text in order to contain and reflect the author"s thought mechanisms in a specific socio-cultural context. The main issue of this research is to explore the stylistic layers of the book Tazkereh al-Moaserin written by Hazin Lahiji in order to represent and analyze the hidden ideology in the linguistic and literary infrastructures of this text.

This research was conducted using descriptive, analytical and reasoning methods.

Hazin Lahiji, in narrating the realities of his time and the way of life and poetry of the poets mentioned in this memoir, shows great adherence to his moral, cultural and, above all, critical-literary beliefs. And it does not judge the situation, knowledge and character of poets.

The results of the research include this information: In the ideological layer, the author, while retelling the history, speaks openly and with prejudice about his personal judgments about the artistic and poetic skills of the poets and their moral characteristics. In terms of domination with Shiite nominal and spatial indicators, which emphasizes the author"s ideological tendencies, the abundance of moral codes in comparison with literary and religious codes has highlighted the place of morality in the author"s discourse components. In the syntactic layer, the author has explicitly and definitively sided with his thought and critical components by using simple and discrete sentences, active grammatical sound, and decisive news. At the rhetorical level, the multiplicity of use of rhetorical tools is less in the service of ideology and more in order to strengthen the beauty and expression of expression. At the level of pragmatics, the author has achieved his explicit and declarative purposes through expressive activity without utilizing communication and interactive paradigms, with monophonic discourse.

Foucault’s discourse theory implies that man is not the origin of a discourse since he is not considered to be a creature of will and decision, but a mere "subject" whose identity, profession and position in the society are formed by different discourses and the power relations and rules of those discourses. In Edward Said’s view, Orientalism is a discourse with colonizing imperatives under the dictates of which and in accordance with its rules, power relations and colonizing purpose, orientalists present a superficial, stereotypical and distorted picture of the Orient. Edward Brown and George Nathaniel Curzon are contemporaneous orientalists who have common grounds in some important aspects of life. Hence, it is expected that both be under the influence of the dominant imperialist discourse of the Victorian age and write in line with its colonizing purpose. However, this expectation is not realized about Brown. He is diametrically opposed to Curzon and criticizes his bestial policies toward Iran. Rare orientalists like Brown, who live in the heart of the dominant discourse but are not affected by it and even go against it, pose a big challenge to the definition of Orientalism as merely a discourse. The present study is an attempt to evaluate Said’s reliance on Foucault’s discourse theory and its efficacy in his definition and analysis of Orientalism as a discourse by presenting the biographies of these two Iranologists and the reasons why they took completely different approaches to Iran in their travelogues and other writings. This evaluation shows that it is impossible to analyze the activities and writings of those orientalists like Brown, who defend Iranians' rights humanistically and benevolently, based on Foucault's discourse theory which belongs to Nietzsche's anti-humanistic tradition.

A biography is a literary genre with a fictional essence which recounts the story of a person's life. Due to its distinct features, biography has attained literary, historical, and sociological prominence and function. The popularity and development of the genre, together with its diverse categories, are the culmination of the process of the recognition of a national and individual identity during the Iranian constitutionalism. The present study endeavours to explore analytically the background and development of the diverse categories of the genre as well as their structural and literary similarities, dissimilarities, and confluence. Meanwhile, the function of the biography, the biographer's literary and scholarly status, biographer's privacy, along with the prevailing impediments and obstacles, are critically investigated. A part of this study is allotted to the analysis of the biographies and autobiographies of Dr. Abdolhossein Zarkoub, Kamiar Abedi, Mehdi Akhavan-e-Saless, and Behazin (Mahmoud Etenadzadeh). Since each of the above-mentioned personages has their particular style and manner of biography writing, the structure and content of their works are utterly dissimilar.

Since old times, many books have been written about Persian poets, providing biographical information about them. At first glance, most of the materials seem to be completely valid, but when examined precisely and critically, plenty of contradictions and differences arise. Thus, it is a better idea for researchers to refer directly to the poems to extract correct information. One of the greatest Persian-speaking poets is Suzani Samarqandi. Academicians know him mostly for his obscene literature. Therefore, they have not paid enough attention to him. This essay is an effort to evaluate some biographical materials about Suzani based on his own words. It also tries to dispel some doubts and uncertainties of contemporary researchers about his life — regarding his date of birth and death, his repentance in old age, and his religion. It demonstrates that Suzani was born between the years 476-486 AH and died in 569 AH. He most probably followed the Hanafi School. Moreover, he most probably did not stop writing obscene literature and panegyrics until the end of his life. From his mid-life on, however, he expressed regrets about his obscene literature and the eulogies he had written for the people in power.

The Safavid Period (1148-1906 AH.) and the Ottoman Period (923- 1213 AH.) can be called the "Biography Era" in the history of Persian and Arabic literature because of the variety of approaches to biography writing and high number of biographies written in the era. This tendency to biography writing has led authors to have even more than one biographic work during this period. The increasing development of this type of writing over the mentioned periods has resulted in the development of works with different writing styles, which is, in fact, the drafting stage of modern histories of literature.

In the present study, we have attempted to classify this type of writing systematically by comparing the common features of Persian and Arabic biographies compiled during this period. In this segmentation we have tried to name the works in a way that Persian and Arabic biographies could be classified and introduced into distinct classes based on the following criteria: author motivations, collecting and editing approaches, including the time, place, and social origins of poets and writers, as well as the inner form (type of prose).

Persian and Arabic biographies of the period under study can be examined in three respects in terms of frequency, characteristics, causes and motivations of compilation. The remarkable increase in the number of Persian and Arabic biographies of this period is a result of the factors most importantly the increasing growth of poets and writers of every social class.

Contain a variety of classes, including literati, scholars, Sufis, Shiites, political figures and etc. and often do not include a limited time frame. These Biographies can also be named "general" as they contain information about personality and works of the authors who existed before the biographer.

They have specifically collected translations and works of one of the social classes of poets and writers, such as the biographies of scholars and grammarians; a description of the Iranian poets who have gone to India; a description of the works of the female poets and different classes of artists.

There are works that cover a specific time period, such as a century, the authors lifetime and the monarchy's history of one or more kings; Such as: Al-Nour al-Safer fi Tarajem al-Qarn al-asher by Abd al-Qadir Eidroos and the Tazkere-ye Nasrabadi, which mention the four classes of political figures, scholars, wise men, Sadat and noblemen and poets of the Safavid era.

Biographies that only mention one person's life story, such as: The Tarikh-e Fakhr al-Din bin Ma'n of al-Khaledi and Ma'aser-e Rahimi by Mir Abd al-Baqi Nahavandi (d. 1042 AH), a detailed biography of Mirza Abd al-Rahim Khan Khanan.

Some Persian and Arabic biographies have been compiled based on the order of literary centers, so the latter can be called territorial and regional biographies. The first issue in identifying the literary centers is the criterion of being "focal". This criterion is a combination of three components of language, time and place; namely the prevalence of a language's literature in a specific geographical area and time range. Thus, there are three types of literary centers: national (territorial), regional, and urban. Biography of Nafhat al-Rayhana consists of eight chapters, each introducing poets and writers to one of the centers of Arabic literature. These centers include Damascus and its regions, Aleppo, Rome, Iraq and Bahrain, Yemen, Hejaz, Egypt and the Maghreb. Persian Examples: Jam’a al-Kheyir Mir Monshi Qomi is composed by the poets and writers of Azerbaijan, Saudi Arabia, Iraq and Khuzestan.

This type is a subset of implicit biographies; that is to say, in addition to historiography, the author has also referred to biography. But there are other types of biographies whose biographic aspect overcomes historical records, that is, biographies that, in addition to translation, have also authored the expression of historical events of the period under study. Hence, it is more appropriate to name them "biography-history". In the history of Persian biographies, about seventy titles of such works date back from the 10th to the late 12th century AH. beginning with the Asar-e Ajam and ending with the Vaqeat-e Kashmir ,some of them being "history-biography" and others "biography-history".

These works are excerpts provided by some authors from their own or others' works. In Arabic, Shahab al-Din Khafaji provided a summary of the khabya al-Zawaya and named it Rayhanat al-Alebba and Nazhat al-Hayat al-Donya, which is compiled for the poets. Ohadi Balyani provided an excerpt from Arafat al-Asheqin and named it Ka'be-ye Erfan, then Abd al-Wahhab al-Alamgiri in 1155 AH. has provided excerpt from the Ka'be-ye Erfan and named it Goldaste.

Such biographies are in fact compiled as a complement or as a follow-up to a previous author's work and have attempted to complete the work. Among Arabic examples, Mohebbi, in the Kholasat al-asar biography, has mentioned the complementing and extending the works of earlier historians and biographers such as Bourini, Khafaji, Eidroos, and Ibn Ma'soom, as his intentions of the compilation of the biography.

The Rhymed prose, which is found in the introduction and the text of some of the biographies, is one of the other common Persian and Arabic biographies of this period. Examples of these biographies in Arabic and Persian include: Tarajem al- a'yan and Tazkere-ye Bazmaray.

The results show that the remarkable increase of poets and writers and the wide range of literary centers of the era have led to the tendency of authors to use new approaches in the compilation and edition of this kind of writing.

researchers have sometimes criticized the absence of Shater Abbas-e Sabouhi, from the history of Qajar period literature, and even considered this absent as a kind of censorship. however, the lack of credible documents in Sabouhi's life and the inclusion of many false poems in his collection of poems has led to this absenteeism. Tazkere-ye sho'ara-ye mo'aserin-e darol'iman-e Qom, which has been written during the youth period of Shater Abbas, solves these problems by quoting a summary of life and a few samples of poem of Sabouhi. in the present article, based on this Tazkere, we have studied the life and character of Sabouhi. this article has been conducted with analytical and historical methods and the result shows that Sabouhi, have been a popular and good looking poet with internal contradictions such as "illiteracy and awareness", "celibacy and love" and at a time, even "distress and parapsychology" and all of these contradictions returning to his original internal contradiction, namely "being in the lower social class and having personal characteristics related to the noblesse class". the same contradiction has made him popular and famous among common and gentlefolk people and these two classes have presented contradictory narratives in accordance with their morals from his life, to the point where, according to similar cases, sometimes we encounter with making storys myths about this.

Persian biographies have long been one of the biographical references and important literary, historical and social resources. The Persian biographies flourished after the Safavi era, and the kings specially interested in this. The expansion of the publishing industry and interest of the Qajar princes to the writing of biography, led to a significant increase in the number of biographies in the thirteenth century, toward the previous.  Following the developments of the Qajar period on the eve of Constitutional Revolution, special evolution and transformation were created in different literary forms. In this research, an important chapter of the biographies, namely, the author's own biography has been discussed. In this research, the Self-written biographies in the Qajar era were compared by the definition of modern autobiography. Addition expressing the importance of this type of writing; were studied the Content and motivation, as well as the type of narration and style of writing it. The results indicate that the position of the author's biography in the biography, And manifestations such as, attention to detail, express of emotions and inner desires, and even the author's mistakes, as well as the interest of the authors of this period to the narrative of the first-person and to saying "I"; is Features that have been closer the Self-written biographies in the Qajar era, to the definition of a new autobiography. Place: The position of the self-writing section varies in different directions; the evidence suggests that during the Qajar period some authors who have inserted their biography in to their writing, preferred that this section, like any other biography, is in the text of the biographies (and generally the same alphabetical rows of the biographies). This suggests that there are still compliments and indirect writing in this period; However, the number of people who have devoted a separate part (at the end or at the beginning of the biographies) to own biography, is noteworthy. Attention to details: writing the details, mention the author's inner states, refer to the social and political conditions surrounding the author and the emotional and psychological prose, are from the signs modern autobiography in the self-writings of this period, and have not been common in the past. In the past, reference to the maternal lineage was not so common, and it was also very seldom about the biographies authors. Following the developments in the Qajar period, paying attention to details such as the ratio of the mother was common in the biographies. It is also noteworthy that the Indian authors have focused more on the details in their self-writings. Including that they often explicitly have referred to the name of their professors; whereas, most of the Iranian writer, in their self-writings, had a general refer to their education, and they have seldom mentioned their masters by writing the name. The style of writing: The style of self-writings in the biographies is generally simple. Even in technical writing, the style of author's written is usually simple and without the ornament in his own biography. In such works, the style of writing in the introduction, the text and the self-writing, vary from complexity to simplicity, respectively. Although, when is the writing's style of the self-writings in the biographies the more beautiful and rhetorical (literary), is the literary aspect more than its historical aspect, but the exaggeration of the author in literary art, the arrangement of sentences and exaggeration in Expressions and descriptions, distract him from reality.  The simple and intimate language in the self-writings of the biographies of this period is more sign of the language of today's self-writing (autobiography) not so the language of the biographies of the past. Recording of own poems and own stating: The most important motivations of the authors of the biographies, is their reputation and the recording of their own poems. If we put this together, with the fact that the biography's authors have all their poetry and poetical works in hand, we can accepted the assignment of many pages from each biographies to the insert of the author's poems.  This group usually uses the art of poetry, even in the context of biography; in criticizing, revising and completing the lyrics of others, or recording their own lyrics as a witness in the introduction or their treatises. Thus, they have included many poems in the context of the lyrics of others. Of course, one of the problems of self-writing of biographies (and even autobiography in its new types) is understate and humility, the traits that have always existed in all ages in Persians, and the appearance of this feature in self-writing of biographies of the Qajar era, in particular in the section describing the writer's poetry and his poems, are to some extent seen; But a large number of the author's biographies of this period (especially the princes), have written the own biography with pride.  As in the past, the mention of self-writing is very high from the angle of view of the third person's narrator; thus it is another reason what why their authors are humility and they have deprecated the saying "I". In contrast, the increase in the number of the first person narratives in the self-writing in biographies of the Qajar era is an explicit sign of the transgression from tradition and wish to the modernism. These are cases that differenced the self-writing of this period from the previous.

Introducing martyrs as the most effective and concrete models by means of art, literature and through poetic lens will be an admirable and even more impressive endeavor for the enrichment and expansion of the thought and culture of society, if not exaggerated, and this helps all the people, particularly teenagers and adults, to consciously take them as their religious, epic, and national role models, and consequently, avoid adhering to non-native and counter-cultural symbols. Using a descriptive-analytical method and focusing on Haft Band Eltehab by Moshfegh Kashani (1926-2015), The present research aims at representing and explaining martyr Hassan Bagheri’s (1956-1983) morals, behaviors and conducts, from the poet’s viewpoint.The poet’s attention to the historical and realistic expression of the soldier’s life, due to the interrelationship between these two categories in discourse and also the realization of spiritual aims in the ups and downs of life have been considered. The conclusive gist of the paper shows that Moshfegh Kashani, though relying on the documentary report of the events based on linear narrative, adds a color of mysticism and spirituality to his language, thus his language remains safe from the monotonous historical narration. Moshfegh Kashani, however, tries to highlight the ethical and spiritual aspects of martyr Bagheri’s portrayal, so that the readers are attracted by the martyr's character selecting him as a God seeker model for managing their lives.

Persian biographies are among the main sources in the history of literature. The movement of writing biographies was accelerated during Qajar era and on the verge of the Constitutional Revolution. Like other proses, the critique entered into the writing of this period, and it took the form of ironical or humorous biographies. Similar examples were also written for these critical-pleasantry works. One of the followers of this new approach was Mohammad Kazem Tabrizi (known as Asrar Ali Shah). He wrote his biography book in regard to the superficial and indiscreet thinking of the public with a humorous tone and full of anecdotes, and called it Behjatoshoara or Romouz Nojaba. Among various types of biographies, writing a biography like this full of worthless poems and unconditional praises show that the author had a special motive. But this issue has not been investigated by the researchers. This lack of clarification regarding the writer's motivation has led to some falsifications and judgments about the work and its author. In this study, Asrar Ali Shah's Behjatoshoara and his motivation to write it is investigated. Also, Hadiqatoshoara is introduced and its relationship with Behjatoshoara is clarified.

Ahli Torshizi is a poet of late ninth century A. H. and contemporary with Soltan Hussein Bayqara. His Divan was published about 50 years ago by Simon Israeli and OmraniChamraghi; yet, the biographical notes about his life are discordant, confused and at times distorted.In the later books, he is named as Muhammad ibn Yusuf, and Nafisi and consequently HadjSeyedDavoodi believe that he went to Tabriz after the decline of the Timuriadsand entered the court of SoltanYaghoub. He is also named as the author of Saghinameh and the translator ofTohfatolSoltan Fi ManagebolNaman.Akhtar Khan Hogoly, ModarresTabrizi, NazmiTabrizi, and OmraniChamraghiall have also claimed that he was originally from Tabriz but because he was born in the city of Tarshizi, he is known to be of this city. On the other hand, some great biographers claim that there is a poet known as AhliNavaei or AhliChagatai who was contemporary with Ahli Tarshizi.Investigation and analysis of allthe differences and the diversions in the biographical notes on Ahlicannot be explained here. However, this paper aims to carefullyanswer the following questions: 1. Was his name Muhammad ibn Yusuf?
2. Did Ahli compose Saghinameh?
3. Has Tarshizi translated the book of TohfatolSoltan Fi ManagebolNaman?
4. Is he originally from Tabriz?
5. Does a poet called AhliNavaei or Ahli Chagatai exist?
6. Has Ahli entered the court of SoltanYaghoub?

For a century, our literary society has suspected Shater Abbas Sabouhi as a poet (1841-1898 A.D.). On the one hand, his name has been inscribed in mind as a beaux esprit in this society, on the other hand, some poetries of other poets can be seen in his printed dīvān. Firstly, these divans, which were collected by two book sellers in Tehran (Iran), were lithographically published from narratives (Sabouhi, 1927) and the number of their poems raised to three sequential collections until the year 1928 (Ibid, 1928). Finally, the same publishers entirely published all the three collections, so that the fourth edition of their collection can be seen in 1935(Ibid, 1935).In addition, to the above lithography (Moshar, 1966, they v. 3: p. 659-660), they have been published in more than ten different compilations. From the very beginning of its publication, the poems were attributed to Sabouhi and his writing were divided into five categories of reportorial, sourceological, biographic, encyclopedic, and critical. However, his being a poet has been questioned. Most of the available sources have not been able to definitely confirm his being a poet as they are relying on narratives and invalid poems. Accordingly, scientific study on her life and poem must firstly investigate the available documents to ensure that the reality of his poesy and the present study has been focused on this issue. It has been carried out by the analytical and historical method. Generally, researchers have not yet been fully aware of the valid document published in 2014, which has not only proved his poesy but also has shown his role in the art of poetry. This document is the biography of the contemporary poets of Dar-al-Iman in Qom (Tazkere-ye sho'ara-ye mo'aserin-e darol'iman-e Qom) written by Aliakbar Feyz Qomi (1830-1895 A.D.). In addition to this document, Feyz has mentioned that the period of his life and his youth, and his status. Moreover, he has described him as a famous poet with popular personality (Feyz, 2014).
It is now necessary to see how invalid poems have been included in his divan. According to the researchers' viewpoints, the three factors which have probably played role in this issue are publishers, followers, and the poet. To determine the accuracy and inaccuracy of this role help us understand the main factors. As mentioned, lithographical triple divans of his divan were initially provided in 1927-1928. According to the introduction of the first collection, this was published thirty years after his death. The same introduction, explicitly, indicates that this had been gathered in terms of narratives (Sabahi, 1927, pp. 2-4). So, the main factor has likely been the daring publishers who attributed it to him in the first print of divan. However, as it is explicitly stated in the introduction of the third collection (Sabahi, 1928, pp. 3-5), his followers have attributed the beautiful poems which they knew to him, before the publishers of his divan; thus, the publisher's action has led to these attributions. Accordingly, it seems that the first group has been influenced by the second group who tried to publish divans. Among them, the poet is less likely to play a role in this issue due to the mentioned reasons and others including existence of his works and status in anthologies and publications between his death and divan publication. The biography of the contemporary poets of Dar-al-Iman in Qom (Tazker-ye Sho'araye Mo'aserin-e Darol'iman-e Qom) by Ali'akbar Feyz (1830-1895), not only shows his poesy but also the reasons underlying his fame and popularity with his authentic poems.Also, the attributed divan has been published thirty years after his death in terms of the oral narratives which proving that the publishers of this divan along with his followers have played the main role in incorrectly attributing poems to him.However, his being a poet is a problem in Qajar period. This issue has been solved by firstly investigating the accuracy or inaccuracy of the attribution of divan poems to him.

Biography is the genre that is contour between the reality and the imaginative, between history and literature and constantly in fluctuation and, according to the author's obsessions, inclined to this side or that side. In the two biographies of Mansour Hallâj, Life of Hallâj (first volume of the Passion of Hallâj collection) wrote by Louis Massignon and the Flame of Tour wrote by Abdolhossein Zarrinkoub, we see the French writer made himself write objectivist and scientific and in opposite Iranian writer has literary and imaginist approach in his work. But it seems that is purely impossible for them to create absolute scientific or literary biography. This study shows that both authors, for creating fact, have to use elements that have turned in apparently. Titles on the cover, the method of chapterization, narration and references to the literature are the items that bring heterogeneous elements to the author's original intentions in their texts.

The present study is an attempt to classify and analyze scattered information regarding Abu Ali Sirjani. Abu Ali Hasan Ibn Mohammad Ibn Ahmad Sirjani was a 5th century ascetic, Sufi, and Muhadith (one who relates Hadith). Sirjani was born in the year 408 A.H and passed away in 495 A.H. He lived in Baghdad and traveled through many Islamic lands such as Kerman, Fars, Iraq, Shamat (Syria), Egypt, and Hijaz. Sirjani suffered much in his pursuit for Hadith and recording them, and he experienced many masters and students. However, he was not reliable in relating Hadith and was accused of forgery. However, he was one of the Sufi elders (sheikhs), and a follower of asceticism and abstemiousness (virtuousness), whose wife, Set-ol-Balad, and daughter So’da were among Hadith relators.

Intertextuality studies are considered as one of the most recent approaches to literary criticism. In this approach to literary criticism, it is believed that no text is independent of prior texts and texts are written with reference to earlier texts. Intertextuality, as a field of study, was first introduced on the basis of the ideas of Julia Kristeva and was extended and developed by Gérard Genette into a unified and systematic discipline after three generations of theorists. Genet called his body of works transtextuality and divided them into five categories: intertextuality, transtextuality, paratextuality, metatextuality and architextuality. Architextuality focuses on the relationship of a work of art with its literary genre. In Persian literature, each literary text belongs to a specific literary genre. Tazkirat al-Awliyā by Farid al-Din Attar is one of those literary texts which, despite the fact that it belongs to general biographies, has some very specific features that distinguishes it from other types of biographies. This study is an attempt to investigate the relationship between Tazkirat al-Awliyā and its literary genre drawing on the notions of architextuality. This study illustrates that Tazkirat al-Awliyā is a didactic poets’ biography and a mystical epic that has a special place in literary texts.

Najmal Ghani Khan Rampuri is the author of one of the most important and comprehensive Persian grammar books titled Nahjal Adab. He has many other works in Urdu and Persian. Many of them are published in the Subcontinent and are available in the Subcontinent libraries. Apart from this, he is a poet and prose writer. He is also the author of more than thirty books on religion, history, medicine and rhetoric. he is one of the great scholars of the Persian literature and language in the Subcontinent, there is little information about him in Iran. This paper introduces him and his works based on Urdu references and bibliographies.

Ali Qoli Khan Valeh Daqestani is one of the twelfth century (AH) poets who was born in 1124 in a Daqestani family and went to India in 1146. In India، he entered the court of Gurkani kings and did military as well as court jobs until 1170 when he died. His Divan consists of 12 odes، 199 sonnets، 8 Qet’ehs، 5 Mathnavis، 476 quatrains، 20 couplets and 36 one-verses which are in all not exceeding 3170 Persian stanzas and a few Turkish and Urdu verses. Most of his poems are in the form of sonnet and quatrain. In composing his poems، he paid attention to the manner of poets like Anvari in ode، Hafiz and Naziri Nishaburi in sonnet and Nizami Ganjavi in Mathnavi. Most of his poems are romantic and for showing separation from his beloved Khadijeh Sultan، the very person who made him Valeh. She was the daughter of his uncle and they had been grown with each other from childhood. The invasion of Afghans and the Nadir’s dominance over Isfahan separated them and led to his infatuation and finally compulsive immigration to India. The description of this sad separation has been reflected vastly in his poems as well as the works of his contemporaries like Mathnavi “Valeh and Sultan” by Faqir Dehlavi. In spite of possibility of well living in India، he had a very simple and dervish-like living and accompanied the poor. He is a Shiite poet and has some poems in praise of Imam Ali and satire of some of his contemporaries. The similarity of his name with other poets has led some catalogue-makers into mistake and consequently the poems of other Valehs have been recorded under his name. This article aims to shed light on some corners of his life and career.

Writing biography of poets in the area of thespread of Persian language has a long history and prevalence especially in Transoxiana and India. After the composition of Lubab al-Albab, a long pause in writing biography occurred. In the ninth century, only one biography, namely Tazkirah al-Shuara-yiDawlatshah, was written. However, from the late tenth century, writing biography flourished especially in India, where due to the existence of Iranian governments, a suitable environment for poets and Persian writers wascreated. A major biography written at that time was Majma’ al-Fuzala written by Muhammad Aref Bukhara’i. Unfortunately, there has been no significant research about the poet and his book. Indeed, most of the researchers have just quoted remarks from Abdul HaiHabibiand Alireza Naqavi, and have not added anything to them. One of the reasons for anonymity of Majma’ al-Fuzala and its author is the scarcity of it scopies. There are only two known copies of the book; one of them is located at Punjab University and the other one is at Tehran University. This paper attempts to analyze and review the previous researches about Majma’ al-Fuzala. The biography is reviewed and introduced based on the copy at Tehran University.